a small contribution to the documention of the great burberry epidemic of 2004

mark anstees work at the de la warr pavilion

street sculptures. it's some photos. don't really need describing

the house virginia woolf mention in her story a haunted house.

during our visit we spoke to a woman who had lived their and experienced the inexplicable events such as lights turning themselves on and off by themselves.

the house had been divided into two and while the eastern side was accessible we had to break into the western half. entering a room in pitch black i had a strong and very physical feeling of intense malice being directed at me. it was extremely clear the feeling was coming from outside me. i fired off my flash and withdrew - that's picture 12.

and off by themselves.

the house had been divided into two and while the eastern side was accessible we had to break into the western half. entering a room in pitch black i had a strong and very physical feeling of intense malice being directed at me. it was extremely clear the feeling was coming from outside me. i fired off my flash and withdrew - that's picture 12.

along the road to nowhere with a clown and a skinful of summer lightning in autumn

http://www.jinpow.co.uk/

Developed by the Pittsburgh-based artists Ben Kinsley and Robin Hewlett to address the issue of surveillance, the project Street With A View has become an integral part of the Google image archive. Together with the inhabitants of Sampsonia Way in Pittsburgh, the two artists staged collective performances and actions in May 2008 when the Google Car drove through the neighbourhood: a 17th-century sword fight, a gig by a garage band and a big parade with a brass band and majorettes. These actions now form part of the digital maps of Sampsonia Way made available by Google Maps and can therefore be seen on the Internet.
The Street With A View is an ironic comment by the two young artists on the idea of access to reality through mass-media images. Users of Google Maps can have the impression that they have seen (and therefore know) the streets of Paris, New York or Pittsburgh without ever having set foot there. With their series of collective performances and actions, Kinsley and Hewlett create an analogy between their carefully planned and coordinated artistic events and the equally fictitious reality presented by Google. As images cannot replace direct, physical experience, they always constitute a reconstruction, if not indeed manipulation, of the real world, but one that we are led to regard as real in today’s media-driven society. According to Paul Virilio, the representation of reality in an image then becomes a reality in turn, but of lower degree. The image has replaced the word, thus creating a visual truth that has become the contemporary language most used and of most importance in the globalized world.

Together with the inhabitants of Sampsonia Way in Pittsburgh, the two artists staged collective performances and actions in May 2008 when the Google Car drove through the neighbourhood: a 17th-century sword fight, a gig by a garage band and a big parade with a brass band and majorettes. These actions now form part of the digital maps of Sampsonia Way made available by Google Maps and can therefore be seen on the Internet.
The Street With A View is an ironic comment by the two young artists on the idea of access to reality through mass-media images. Users of Google Maps can have the impression that they have seen (and therefore know) the streets of Paris, New York or Pittsburgh without ever having set foot there. With their series of collective performances and actions, Kinsley and Hewlett create an analogy between their carefully planned and coordinated artistic events and the equally fictitious reality presented by Google. As images cannot replace direct, physical experience, they always constitute a reconstruction, if not indeed manipulation, of the real world, but one that we are led to regard as real in today’s media-driven society. According to Paul Virilio, the representation of reality in an image then becomes a reality in turn, but of lower degree. The image has replaced the word, thus creating a visual truth that has become the contemporary language most used and of most importance in the globalized world.