Akahshic's Records

Preoccupied: The Story of How the News Covered Occupy Orlando


A documentary examining how the local Orlando network news media framed the local faction of the Occupy Movement and how that affected its representation. From its inception to its high point in coverage, American television network news represented the Occupy Movement in a consistent, restrictive frame that ultimately limited the ways in which the movement could be understood. Using a combination of a content analysis of local newscasts and interviews of journalists and Occupy protesters, I analyze the news media through the lens of media framing theory and a critique of journalistic values.

By Skye Anico

Note: I think the Youtube upload threw my audio slightly off synch.




The Self in the Age of Mechanical Simulation

Google Reader Response: Fengsel

In Briney Anne Majure’s photo series, Fengsel, she photographs Norwegian prisons. In her artist statement, she talks about the differences between prisons in Norway and those in the US or UK:

You can find superfluous amounts of articles showing how cushy and attractive Norwegian prisons are, and the American media often portrays them as ‘vacation spots’ or ‘summer camps’. Some say this system is spoiling, and others say Norwegians might simply be more hopeful than other societies. And figures show they are onto something here. The country boasts a prisoner return rate of 20%, whereas the US and UK have return rates of 50% to 60%. And despite the beautiful aesthetics, small forests, and professional and educational opportunities, these people are still behind a wall [or on an island] and far away from their friends and families. In my inmate interview sessions, almost all are apologetic for their crimes and say the worst punishment is isolation from their homes and society.

Majure emphasizes that–despite the US typically making fun of Norwegian prisons for not being “tough” enough–the true punishment that all prisons are meant to provide is isolation. This comes off in her photographs, where often some kind of dividing structure is present: a fence; a tall, concrete facility; railings, nets, walls, and even windows. All of the images are beautiful–some showing how elegantly designed and pleasant the structures of the prisons are, like the one of the windows along the wall or even some of the colorful outdoor shots. But in all of theses there is a sense of isolation and loneliness. In them there are ever-present, looming structures that are either boxing you in or cutting you off from seeing further into the world of these photographs.

Google Reader Response: Hye-Ryoung Min’s Channel 247


As a quiet person that finds enjoyment from just people-watching, I especially liked Min’s set of views through the window in her photographs. Looking at her photos, I slowly realized that they would read completely different if there was nothing in the blurred foreground that references a window of some kind that the viewer is peering through. With that single element it changes the conversation in the photographs and makes them much more voyeuristic. The idea that we make up stories based on assumptions for strangers as we watch them from a distance becomes more apparent. The link made between a window and a television is strange yet fitting–we look through these two kinds of windows to watch a kind of world, from the safety of our home. We get bits a pieces of the world, a framed world, but never the whole complexity of the story. The only thing a window does is maybe show moments where we are not prepared to be seen, the in-between, mundane moments where we might show a little more of ourselves because our guards are down.

WIP #4

Google Reader Repost | The Iconic Photos of Zimmerman and Trayvon

Google Blog Post – “Before Life”


Araminta de Clermont’s “Before Life” series is inspiring in the way that it layers images, ideology, and commentary. At first glace it seems like a commentary on poverty, glamorized wealth, and power. And just when you think you have it figured out, you read the artist statement and it throws you another curve ball that makes the images much more complex. It is difficult to describe it, and I suggest you read it for yourself. These photos are both celebrations of triumph and costumed imitations of dreams. You want to feel happy for these people–and you can’t help but do so–but the longer you look at it, it begins to become uncomfortable. For some of them, they seem so out of place you question whether the models have been superimposed into the scene.

WIP #3


Footscray, 2004 From the Conscientious blog, I found Simon Terrill’s photo series, Crowd Theory. Here he organizes a performance with over 400 participates to a time and place and photographs their spontaneous interactions. I find these photographs amusing in a world where virtual communities can “pop-up” in much the same way (or not so much, […]

WIP #2


I am taking pictures of images associated with objects.

My project has evolved to focus more how a simulacrum is formed when text and images are attached to consumable objects and how identity is formed within that relationship when unconscious narratives intertwine. Ideas and arguments embedded within the image are associated with the product, and vice versa. Things that are untrue and never truly existed become a reality as they are pulled into the “real” world of tangible objects. In other words, models of an idea that have been constructed, like when a model poses for a photoshoot that is meant to portray something true, have been made true by the very association made with the tangible product being sold. Consumerism defines reality, as that picture of the model may not be “real” but this object it is associated with is “real.”