April 21, 2013
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February 28, 2013
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likeafieldmouse:

Kader Attia - Holy Land: 21 Mirrors (2006-7)

(Source: likeafieldmouse, via hyperallergic)

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THE AFRONAUTS

In 1964, still leaving the dream of their recently gained independence, Zambia started a space program that would put the first african on the moon catching up the USA and the Soviet Union in the space race.

Only a few optimists supported the project by Edward Makuka, the school teacher in charge of presenting the ambicious program and getting its necessary funding. But the financial aid never came, as the United Nations declined their support, and one of the astronauts , a 16 year old girl, got pregnant and had to quit.

That is how the heroic iniciative turned into an exotic episode of the african history, surrounded by wars, violence, droughts and hunger.

As a photojournalist I have always been attracted by the excentric lines of story-telling avoiding the same old subjects told in the same old ways.

Now , with my personal projects, I respect the basis of the truth but allow myself to break the rules of veracity trying to push the audience into analyzing the patterns of the stories we consume as real.

“Afronauts” is based on the documentation of an impossible dream that only lives in the pictures.

I start from a real fact that took place 50 years ago and rebuild the documents adapting them to my personal imagery .

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Photograph Cristina De Middel: One of my intentions with The Afronauts was to raise awareness of how we consume the image of Africa that is given in the media, and how a whole continent has been stigmatized. This uncomfortable reaction and prejudice belongs to the viewer as it is not literally included in the images. http://www.layflat.org/a-conversation-with-cristina-de-middel/

Photograph Cristina De Middel: One of my intentions with The Afronauts was to raise awareness of how we consume the image of Africa that is given in the media, and how a whole continent has been stigmatized. This uncomfortable reaction and prejudice belongs to the viewer as it is not literally included in the images. http://www.layflat.org/a-conversation-with-cristina-de-middel/



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February 24, 2013
wesdelval:

My favorite Paul Caponigro. An apple.

wesdelval:

My favorite Paul Caponigro. An apple.

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Iceberg Theory

wherethebookwormlives:

Ernest Hemingway used his own writing style, it is known as the iceberg theory or theory of omission. He believed the main point of a story shouldn’t be obvious or on the surface, he believed the meaning should be underlying or under the surface (in other words not obvious).

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February 15, 2013
Frost Flowers.
They aren’t flowers, of course. They are more like ice sculptures that grow on the border between the sea and air. On Sept. 2, 2009, the day Jeff’s colleague Matthias Wietz took these pictures, the air was extremely cold and extremely dry, colder than the ocean surface. When the air gets that different from the sea, the dryness pulls moisture off little bumps in the ice, bits of ice vaporize, the air gets humid — but only for a while. The cold makes water vapor heavy. The air wants to release that excess weight, so crystal by crystal, air turns back into ice, creating delicate, feathery tendrils that reach sometimes two, three inches high, like giant snowflakes. The sea, literally, blossoms. On NPR.

Frost Flowers.

They aren’t flowers, of course. They are more like ice sculptures that grow on the border between the sea and air. On Sept. 2, 2009, the day Jeff’s colleague Matthias Wietz took these pictures, the air was extremely cold and extremely dry, colder than the ocean surface. When the air gets that different from the sea, the dryness pulls moisture off little bumps in the ice, bits of ice vaporize, the air gets humid — but only for a while. The cold makes water vapor heavy. The air wants to release that excess weight, so crystal by crystal, air turns back into ice, creating delicate, feathery tendrils that reach sometimes two, three inches high, like giant snowflakes. The sea, literally, blossoms. On NPR.

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xo-skeleton:

Nam June Paik, Global Groove, 28 minutes, 1973

(via longhairshorttemper)

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February 14, 2013

The function of writing is to explode one’s subject — transform it into something else. (Writing is a series of transformations.)

Writing means converting one’s liabilities (limitations) into advantages. For example, I don’t love what I’m writing. Okay, then — that’s also a way to write, a way that can produce interesting results.
(11/5/76)

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A Liberal Decalogue: Bertrand Russell’s 10 Commandments of Teaching

  1. Do not feel absolutely certain of anything.
  2. Do not think it worth while to proceed by concealing evidence, for the evidence is sure to come to light.
  3. Never try to discourage thinking for you are sure to succeed.
  4. When you meet with opposition, even if it should be from your husband or your children, endeavor to overcome it by argument and not by authority, for a victory dependent upon authority is unreal and illusory.
  5. Have no respect for the authority of others, for there are always contrary authorities to be found.
  6. Do not use power to suppress opinions you think pernicious, for if you do the opinions will suppress you.
  7. Do not fear to be eccentric in opinion, for every opinion now accepted was once eccentric.
  8. Find more pleasure in intelligent dissent than in passive agreement, for, if you value intelligence as you should, the former implies a deeper agreement than the latter.
  9. Be scrupulously truthful, even if the truth is inconvenient, for it is more inconvenient when you try to conceal it.
  10. Do not feel envious of the happiness of those who live in a fool’s paradise, for only a fool will think that it is happiness.

From BrainPickings.org

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February 12, 2013
Concentrating on a pond that had once been used to cool the factory blast furnaces as recently as 2006, Gill became curious about the newly forming microscopic communities of life that would be returning and flourishing. As he writes in the afterword to ‘Coexistence’; “For eight months leading up to my first visit to the territory, my mind increasingly started tuning into the microscopic worlds within worlds, and I became ever more aware of the many parallels between patterns and process in the pond and those in our own lives as individual humans within societies…Slowly I became committed to the idea of attempting to bring these two apparently disparate worlds — so physically close yet so different in scale – visually closer together.”
In order to draw these two worlds together Gill employed the use of a medical microscope from the University of Luxembourg and a pail of water scooped from the pond. With the microscope, he studied and photographed the miniscule creatures and plant life. Carrying around the pail of water, he would dunk his underwater camera into it prior to making portraits of residents he met in Dudelange. The results, page after page, have your mind jumping back and forth between the recognizable and the indistinguishable — the scientific and the conceptual.
One might be tempted to dismiss Gill’s strategies as gimmicks were it not for the immediate beauty and complexity of the images. Admittedly this writer has questioned his cleverness, on occasion, as “the idea” dominating the actual content (dipping prints into the pond water to transfer life onto the surface of the paper), but I find the two approaches to image making here flow together into the ‘tapestry’ that Gill expresses as his intent.
Read more: http://lightbox.time.com/2013/01/03/coexistence-by-stephen-gill/#ixzz2KiYTSOsF

Concentrating on a pond that had once been used to cool the factory blast furnaces as recently as 2006, Gill became curious about the newly forming microscopic communities of life that would be returning and flourishing. As he writes in the afterword to ‘Coexistence’; “For eight months leading up to my first visit to the territory, my mind increasingly started tuning into the microscopic worlds within worlds, and I became ever more aware of the many parallels between patterns and process in the pond and those in our own lives as individual humans within societies…Slowly I became committed to the idea of attempting to bring these two apparently disparate worlds — so physically close yet so different in scale – visually closer together.”

In order to draw these two worlds together Gill employed the use of a medical microscope from the University of Luxembourg and a pail of water scooped from the pond. With the microscope, he studied and photographed the miniscule creatures and plant life. Carrying around the pail of water, he would dunk his underwater camera into it prior to making portraits of residents he met in Dudelange. The results, page after page, have your mind jumping back and forth between the recognizable and the indistinguishable — the scientific and the conceptual.

One might be tempted to dismiss Gill’s strategies as gimmicks were it not for the immediate beauty and complexity of the images. Admittedly this writer has questioned his cleverness, on occasion, as “the idea” dominating the actual content (dipping prints into the pond water to transfer life onto the surface of the paper), but I find the two approaches to image making here flow together into the ‘tapestry’ that Gill expresses as his intent.


Read more: http://lightbox.time.com/2013/01/03/coexistence-by-stephen-gill/#ixzz2KiYTSOsF
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February 11, 2013
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January 27, 2013
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January 11, 2013
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