relating to or using signals or information represented by a continuously variable physical quantity such as spatial position or voltage. Often contrasted with digital (sense 1).
"ANALOGUE" is a pun--but also a virtual space--between the palindromic part of my name, the speed of the (b)log, and the potential for dialogue.
Given that so much of the data of the torture trials I studied involved detailed pictorial narratives of torture, I have often turned to painters (e.g., Fernando Botero's Abu Ghraib paintings) and other artists (e.g. Coco Fusco) searching for tools to dismantle the intersection of science, technology, and the body in the pictorial representation of torture.
This is how I came upon the work of painter Walton Ford. Ford--a man in his 40s living in the East coast of the U.S. --paints animals and landscapes in a naturalist 19th century style…down to the yellowish color of the paper. He even found someone who owns a 19th century printing press to reproduce his work. Ford insists on working within the limitations of the media used by these 19th century English explorers: watercolors, an antique press, and travel-size notebooks. He also insists on painting his animals life-size... something that can become rather tricky when his subject is an elephant, for example. All 22 panels of “Nila”:
(To get a sense of his brilliant voice, check out the following interviews:)
"Printmaking and Natural History Artists":
"Political Humor and Colonial Critique" :
Ford's paintings are haunting and extremely clever. They are beautiful in their technical execution and sinister in their sexuality; they are scary because they are so violent, and familiar because they are so 19th century. His paintings remind me of the term "encoulage" (in English, "buggery") which French philosopher Giles Deleuze uses to refer to his own method of philosophical interpretation. Deleuze (who could render a leftist reading of Nietzsche possible!) defines "encoulage" as: "sneaking behind an author (or a painter such as Audubon, in Walton Ford's case) and producing an offspring which is recognizably his, yet also monstrous and different."
In this very post-modern (because subversive) re-appropriation of an old-fashioned art medium and genre, Ford has been compared to Kara Walker, a contemporary artist who uses the Victorian medium of the silhouette to re-visit Antebellum America creating images that are extremely violent, overtly sexual and always refer to race…But that's another blog.