John Paul studied art in England at West Surrey College of Art & Design as well as Arizona State University. At ASU he was privileged to study under the guidance of art photography historian, Bill Jay. There he had personal access to many of the legends of photography including Eugene Smith, Paul Caponigro, Minor White, and Ansel Adams. John worked many years in Chicago as a professional photographer. He then developed a successful career in Information Technology at AT&T Bell Laboratories, studying for a Master of Science from Northwestern University and providing consultation to many Fortune 500 corporations.
“Few industries have escaped the disruptive nature of digital information technology. It has changed photography and given rebirth to an aging medium for millions of people. Along side of its arrival, John Paul reexamines some of the ideas defining photographic art. He introduces us to current scientific thought concerning information theory, the acquisition of meaning and truth. His “photographs” are remarkable examples of his ideas about creating art in the digital age.” – Max Chevron
This field is the primary essence of art’s domain. From this domain creativity, novelty and meaning spring up as partially independent events for a certain kind of moment and then dissolve back into the underlying order. It is an unceasing process of becoming. These relationships are intricately structured in their own resonant ways and gives rise to other relationships that are not necessarily causal in nature. The lack of causality does not negate the occurrence of discovery and meaning.
Discovery and meaning can be a-causal projections from a multidimensional ground where events flow multi-directionally; bringing with them new relationships of creativity, information and knowledge gained. From this ground, projections determine the relationships of time; where the ultimate elements of art are not point events as instantiations of properties in objects but of moments. As such, moments that “skip” superseding spaces become as valid as other relationships that may appear continuous. These relationships give shape to all interactions and their meanings give order to exchange where a deeper and more extensive resonance creates, maintains, and ultimately dissolves the interaction.
Interactive Whiteboards by PolyVision
What we call a photograph and what it has become over the last two centuries is interesting. The first photograph was a photogram, drawn with light, without a camera or lens. Today a photograph can be an image of the gamma ray distribution in the Milky Way Galaxy. It can be something drawn with a certain kind of camera, a computer, without light or lens. In some instances, the new tools and materials are blurring the categorical lines of what we would historically define to be a photograph.
Is it a photograph that is now displayed and viewed on a monitor rather than in print? Is it animated or does it evolve or move across the screen? Indeed, we have moved into the age where photographs are images purchased for viewing on our iPads, Kindles, Nooks, and HDTVs. They are not, necessarily, works produced to be printed and hung on a wall. We might call this new development in photography digitwork in the same spirit that Alfred Stieglitz invoked when he referred to the art of his pictorials as camerawork.
This book published by DigitWork, Projected Moments, introduces the artwork of John Paul along with some of his thinking and writing. He introduces us to current scientific thought concerning information theory and the acquisition of meaning and truth. His works, the 70 images represented here, are remarkable examples of his ideas in this book and about about creating art in the digital age. —Max Chevron
The images from the book Projected Moments by John Paul are printed in a limited edition of five at 24″ x 24″ plus 6″ borders on museum quality, thick – 240 gsm, French watercolor rag paper. Each is tagged with a secured sequence numbered hologram and mapped to a certificate of authenticity with like hologram. One print from each limited edition is over matted and placed behind plexiglass in a wood frame with remaining prints available for sale.
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