dr paul caplan : the Internationale

  • Content Strategy

    I develop ways for brands and campaigns to work with the logic of the conversation economy. I help turn messages into conversations. I create strategies built through content

    For COI Communications, RAF, QCA.

  • Conversation Audits

    I map the content relationships as they develop across social media spaces and platforms. I track the issues by analysing the language and the discourses in play. I find the conversation attractors.

    For RAF, Change4Life, MMR uptake campaign.

  • Content Training

    I train marketing directors and communciations professionals. I run workshops and seminars. I help local and national businesses and organisations take content seriously.

    For NHS, DoH, Airbus, Media Trust.

Content Researcher

I've published in peer-reviewed journals and open access journals and have a PhD on digital imag(in)ing, JPEG and Facebook's Haystack.

the PhD (pdf) Techne Art + Research pamphlet Other papers at Academic.edu

Content objects

My current practice-research is around object-oriented photography (OOPh), everyday remix and content improvisation. I'm researching using a guitar and a mobile phone.

Everyday remix Object-Oriented Imag(in)ing

Content Teacher

I've written, managed and taught undergraduate and postgraduate degrees in media, journalism, computing and advertising. I currently run the BA in Advertising at London College of Communication.

| A collection of lectures and talks
  • Device Content Image
  • Device Content Image
  • Device Content Image

Mindful Object Oriented Imag(in)ing/Object Oriented Photography

Object Oriented photography is part practice-research philosophical exploration, part creative commentary and part mindfulness practice. Imag(in)ed in mobile and through Instagram, it begins and ends with “objects”, the weird material mesh of things.

OOPh draw on the work of philosophers developing an object-oriented ontology and the turn to the material. Following Graham Harman’s account of a panoply of objects - real/unreal, human/unhuman, concrete/abstract as well as Tim Morton’s ecological mesh where these objects at different scales refract and reflect in a complex Indra’s Net mesh, OOPh approaches the world as flat. At an ontological level all objects are in play. All are worthy of attention. All are power full. As they connect and fail to connect, configure and reconfigure the mesh, those power relations change but from the ‘tiniest’ electrical charge across a camera sensor to the ‘largest’ political-economic system of surveillance, all the objects dance and demand our attention. Following Jane Bennett’s exploration of ‘vibrant matter’, these objects are approached as material. Quantum fluctuations, undersea cables and server farms, lawyers and photographers are presences. Real. Present. But inexhaustible. We can never fully reach let alone imagine or image their nature, vibrancy or reality. All is just slightly ‘weird’.

OOPh is an exploration of as well as commentary on that weirdness, that unreachable, unimaginable nature of things. Following the philosophy of the flat ontology where I am objet in play not Subject outside, I am not the author of Creative decisive works but object with uncreative, indecisive moments. I, the charge, the camera sensor, the cable, the conflict mineral, litter and glove are weird sisters dancing in the mesh. The image, imag(in)ing practice, imager and imag(in)ing regime… just so many objects improvising an object. The thing is not the thing. The photographer, the camera, the software, cultures and capitalist system are objects alongside the imag(in)ing/photograph. Neither simply product nor practice, neither authored nor automatic, OOPh is an improvisation with and through objects.

OOPh is a mindfulness practice. Its flat ontology sets in motion a flat engagement with objects, time and space. OOPh is a slow weird engagement with the quantum dance of things. It is outside thinking. Its moments are indecisive, uncreative. The sixty seconds of the Instagram imag(in)ing are a flattening of relations, hierarchies and determinations. The sixty seconds of breath connect the imager object to the hardware object in movement. The sixty seconds of objects connecting or failing to connect between imager and litter and light, between viewer and imag(in)ing is an indecisive moment of engagement and absorption in Indra’s mesh.

OOPh is not mine because there is no I to have it.
OOPh is a way of seeing and being, a way of composing and improvising, a way of practicing and researching
OOPh is imaging and imagining
OOPh is weird.

Content Creator

I've been a photographer, journalist, editor and illustrator for B2B magazines such as Marketing Week, New Media Age and The Lawyer. I launched a campaigning magazine for Mencap and took Marketing Week and the Bookseller online during the (first) dotcom boom. I've even had work in Horse & Hound.

As part of my practice-research into content improvisation with words, I play with short-form werable imagism and mobile remix imag(in)ings.

As part of my practice research into object-oriented photography, I experiment with digital pinhole and stereo imag(in)ing experiences.

"Fifteen years ago William Gibson wrote that the sky was the colour of a TV tuned to a dead channel. He wrote his novels on a typewriter - as personal computers were still a rarity. Now he is heralded as the man who invented cyberspace. "I'm sort of stuck with that," he says. "The characters can't use the word 'cyberspace'. I can't allow them to use a word that was invented in another William Gibson fiction. It is a violation of some internal consistency."" - Interview with William Gibson, Marketing Week

"Chief Executive Martin Sorrell doesn't think he's "wired" however. Neither, in his opinion, is his company. "I'd like to be more wired," he says and then, slipping from the personal to the business, "I don't think we're doing enough."" - Interview with Sir Martin Sorrell, Marketing Week

"When you meet Mrs Edwina Currie, that 'Mrs' sticks in your mind. Like 'Mrs Thatcher' there is something slightly imposing about the title. You don't talk to Mrs Currie. You engage in verbal combat, somewhere between a battle and a game." - Interview with Edwina Currie, Viewpoint, Mencap's campaigning magazine

See some content

content to be different

let's talk