Been really enjoying the old Konica Hexanon lenses lately. There's something about them that's building my loyalty to the brand. There's a sharpness to them, no matter the camera used.
âHere's a selection of photos I've taken over the last couple years, using a few specific lenses. And I think I'll post a few lens-specific posts later on.
Here's the 57mm F1.4:
Here's the 50mm F1.4:
The 24mm F2.8
The 52mm 1.8
The Konica S2 Auto's 45mm F1.8:
I don't jive with memes. I remember back when people showed me the "I CAN HAZ CHEEZBURGER" memes a decade ago, but it took me quite a while to "get" them. For a while, I enjoyed them on Facebook or Twitter, but now when I see a meme-like image with a quote on it, I just scroll past it. They're not worth my time or mental investment.
However, my current English 11 class has confronted my habits and bias head-on: they are deeply involved and invested in meme-based thinking. Their quips and inside jokes are largely meme-ish. The class has pushed my mind into deeper thinking about how memes work and why I seem to sluff them off so much. I've found myself saying to the class, "Memes stop deeper thought," or "Memes end a nuanced conversation before we can get to the meat of it," or "Memes put down a flag before you've even reached the field," or "Memes make an in-out group mentality where it's not useful." I don't know if this sort of thinking really works, but it seems like my thoughts coalesce around "Memes stop thought."
While reading the print edition of The Globe and Mail last week, I saw an article that made reference to the following book, Memes and the Future of Pop Culture, by Marcel Danesi. It looks like it's gonna' be a good book.
The article from The Globe and Mail, "Malls, bowling alleys, and the places of our youth are disappearing. Where do we go for a nostalgic place?" by Odessa Paloma Parker, describes part of Danesi's book like this:
Danesi is the author of the recently published book Memes and the Future of Popular Culture, a work that explores how “meme culture” could bring about the end of pop culture – movie theatres, etc. – as we know it; he describes popular culture as “an experiment that may be coming to an end as we shift away from real spaces into virtual spaces.” If you think about what nostalgia means to a millennial, he’s on to something. Ferrao explains that the younger staff at Superflux have a twinge when it comes to older technology, much like she would catching a glimpse of shag carpeting or another symbol of a certain generation’s collective youth. Those even younger, under 20, might not even know how to ascribe a parallel set of emotions to a tangibly familiar place as to an evocative one, as Ferrao has done with the Barbican.
Hm. I wonder, perhaps, if my tendency to dismiss meme-thinking stems from my pop-culture stewardship. As I read the part of Danesi's book that's available through Google Books, I couldn't help but think "I get that," over and over again. But meme culture is something new, something that follows different rules, that exists in a temporal space different from my pop culture conditioning.
The thing is, I have no interest at all at playing with a culture that aims to score points by stopping conversation for a laugh, or for virtue-signalling points. So perhaps I don't belong in meme culture. I look forward to getting a copy of Danesi's book somehow.
And I have yet one more piece of data to support the following statement: I'm old.
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