February 2012
23 posts
Ας φανταστούμε για μια στιγμή ένα οποιοδήποτε τρισδιάστατο σώμα, π.χ ένα αφρικανικό λιοντάρι, μεταξύ δυο στιγμών της ύπαρξής του. Μεταξύ του λιονταριού LO ή λιονταριού τη χρονική στιγμή Τ=Ο και του λιoνταριού L1 ή του τελικού λιονταριού, παρεμβάλλεται μια απειρία αφρικανικών λιονταριών, διαφορετικών όψεων και μορφών.
Αν τώρα θεωρήσουμε το σύνολο που δημιουργείται απ’ όλα τα μέρη του...
1 tag
There was a lovely girl in our class who had a copy of Cartier-Bresson’s The Decisive Moment, and we often leafed through his pictures. We liked his vitality and his creative genius. We loved his pictures. He said that through the act of living, the discovery of oneself is made concurrently with the discovery of the world around us. It was then that I fell in love for the first time, with the girl...
When you are much brighter than the people you are hanging around with, which I was as a teen-ager, two things happen. (…)
First of all, you develop an enormous ego.
Secondly, you start to think that everything can be solved with just a bit of thinking—but ideology is too simple to address how things work.
Julian Assange/New Yorker +
The only thing critics do is psychoanalyze themselves.
Edward Weston.
[Robert Adams. Why People Photograph. Aperture, 1994. +]
Then a white guy laughed at his own joke with an intensity that hinted at a darkness within.
Alec Sulkin @thesulk
Για πόσο ακόμα
θα εμπιστευόμαστε Άντρες
στην εξουσία;
Michael Schmidt has developed a language of his own in photography. A language to say what? To say that something has to be said, that something important has to be said, that everything has to be said. To say that that must be said. But also to say, at the same time, that it cannot be said now, not now and not here and not by the photographer, because the circumstances in which we live and see...
