Pain leading to photos
And then I started taking steroids
Pain leading to photos
And then I started taking steroids
The new improved
I have spent most of the day at my computer improving my wordpress skills so I could move my Links blog off wordpress.com (they started including ads on their hosted blogs) and then updated and redesigned both blogs. I made my first wordpress child theme, rewrote some php files, changed the css, etc. At least I have something to show for these hours of staring at my screen, but seems a far cry from art making, but part of the process I suppose.
Thanks to the ubiquitous spread of smartphones, and the ease of photo-taking they bring, our photo galleries have become filled with what are almost like disposable memories. We snap and share, but then never return and reminisce. New York-based Memoir, a new app… more
TIME and the TIMES
I was brought to Time’s Light Box by a post on Facebook about this piece: Witness to a Syrian Execution: “I Saw a Scene of Utter Cruelty”. An unnamed (for his safety) photojournalist documented public beheadings in Syria. The first photo is the ‘before’ moment. I have not hit the play button to see the rest. Reading the title and seeing the first image is enough and then reading the article and words by the photographer is more than enough. Why would someone want or need to look at more? Why is there a need to publish all of this?
“Because of the danger in reporting inside Syria, it was not possible to confirm the identity or political affiliation of the victim. Nor are we certain about the motivation of his killers. One eyewitness who lives in the area and was contacted by TIME a week after the beheadings said that the executioners were from ISIS, an Al-Qaeda franchise operating in Syria and Iraq.” Like the NY Times front page of the mass executions by rebels, here again horrific images are published without specific knowledge. The Times finds out its front page image is over a year old and the correction is buried, not front page news. I feel manipulated. I am troubled by this trend by the big NEWS organizations of getting the “shots”, being the first, etc. This has always been the case with photojournalism but the landscape is different now with social media and everything being filmed or photographed and then being circulated without the facts or without verifiable facts.
Looking at the NY Times image again, I see that we cannot identify those being shot (thankfully) but we can clearly see the shooters. Has this image been their death sentence? Because I haven’t looked at the rest of the Time images, I don’t know whether or not, we can see the faces of the executioners.
Barbie Zelizer writes about ‘About to Die’ Images. From an interview in Slate: ”We’re squeamish because news pictures of the dead and dying are of real people and real events. If a news image works, it penetrates, lingers, forces our attention to the events involving death that it depicts. If a news image works, it doesn’t disappear when we cast aside the newspaper, dim the TV or turn off the Internet. That may be more intrusion than most people are willing to allow.”
These images from Syria haunt me. But are they really news images? What is the news? The rebels are bad too? Many Syrians are barbaric? That the war is horrific? Many questions, no easy answers.
I also have been following Watching Syria’s War at the Times but interestingly, I had trouble finding this section – no link from the Crisis in Syria section. If that front page photo of the mass execution had been in these sections, the politics would have been much different since it would be in the context of the difficulty of reporting in Syria and not being able to always know what is going on.
insightful piece from Bag News. As the author notes, it stopped me in my tracks. I was disturbed not just by the content but by the apparent political nature of the Times publishing it and its questionable origin.
…[the photo] was from a post at GlobalResearch.com, originally posted at SyrianNews.cc, titled “Will this Photo prevent the Attack on Syria?” If sympathetic to the Syrian government, the post posits the question whether (this) one image could actually prevent the United States from going to war. Citing how of the iconic Eddie Adam photo of a suspected member of the Vietcong being shot in the head crystallized domestic anti-war sentiment, the author applies the same question to the image splashed across five columns of The New York Times… more
And the NY Times correction: An article on Thursday about the brutal and ruthless tactics adopted by some rebel groups in Syria misstated the date of a video that showed a band of rebels executing seven captured Syrian soldiers. The video, which was smuggled out of Syria by a former rebel, was made in the spring of 2012, not April 2013. (link)
Four Easy Tips on Preserving Your Digital Photographs
post from head of Digital Preservation Project at the Library of Congress
Marianne and I are writing about Collected Visions for Photoworks journal. To get my mind moving to answer her questions. I started researching what the web looked like in 1996 when Collected Visions launched.
Internet Society > Brief History of the Internet
Wikipedia > History of the Internet
The Internet was commercialized in 1995 when NSFNET was decommissioned, removing the last restrictions on the use of the Internet to carry commercial traffic.
Slate Magazine – Jurassic Web, Feb 2009
Media Bistro How Does the Internet of 1996 Compare to 2011? [INFOGRAPHIC]
From ekarj.com (?) Written 7-10-06
The World Wide Web: Past, Present and Future by Tim Berners-Lee (written in 1996)
Voyager Co. that was the major player in the production of interactive CD-Roms disbanded in 1997! Case study
going back a step>
What the Internet looked like in 1995 Washington Post (with video form PBS Computer Chronicles
Smithsonian Blog from December 12,2012:Fun Places on the Internet (in 1995)
Just discovered this archive and it’s in Brooklyn. Title alone makes me want to visit.
Interference Archive explores the relationship between cultural production and social movements. This work manifests in public exhibitions, a study and social center, talks, screenings, publications, workshops, and an online presence