Comments on: sebastian liste – urban quilombo

By: eva

eva — Wed, 30 Nov 2011 16:37:48 +0000

Here two interviews with Sebastian Liste, the first one about the work presented here, the second about the work he did for the masterclass:

http://www.daylightmagazine.org/blog/2011/10/27/1246

http://www.daylightmagazine.org/blog/2011/11/24/1261

By: billy_mac

billy_mac — Tue, 29 Nov 2011 18:11:14 +0000

EXCELLENT.
Pretty much every aspect of this project works for me: style, subject matter, access, etc.
You, sir, deserve to go far.
:-)

By: Thursday 20 October 2011

Thursday 20 October 2011 — Thu, 17 Nov 2011 09:18:23 +0000

[...] is the capital of DaghestanChien-Chi Chang: Burma: Land of Shadows (Magnum)Sebastien Liste: Urban Quilombo (burn)Kyoko Hamada: Letter to Fukushima (New Yorker)Carolyn Drake: Among the Animals in [...]

By: JuliaKomissaroff

JuliaKomissaroff — Mon, 14 Nov 2011 11:48:29 +0000

not often you see such strong photographs
congrats!

By: eva

eva — Thu, 10 Nov 2011 14:07:49 +0000

Here’s Sebastian’s work for Joop Swart Masterclass:

http://www.worldpressphoto.org/photo/jsm2011sebastian-01?gallery=1982

By: Akaky

Akaky — Sun, 23 Oct 2011 17:05:56 +0000

AVE AKAKIUS!!!!

AKAKY: God, that guy is getting annoying.

AKAKY IRL: Tell me about it.

AKAKY: Is he still running for mayor of Pompeii?

AKAKY IRL: Yup.

AKAKY: Why? The only Italian he speaks is what he can read off a menu.

AKAKY IRL: There are sorrier ways to go through life, dude, but I have to agree with you there. On the other hand, he’s looking for the native Pompeiian vote.

AKAKY: The native Pompeiian vote? Those people are all plaster figures in a museum now.

AKAKY IRL: You know it’s dumb, I know it’s dumb, but what can you do? Remember, you’re the one with the uncle who can’t drop a deuce without wearing a funny hat. Life is strange sometimes.

AKAKY: Yes, it is.

By: Akaky

Akaky — Sun, 23 Oct 2011 17:01:05 +0000

and then there’s

By: Akaky

Akaky — Sun, 23 Oct 2011 17:00:39 +0000

and his friend, the ever popular

XCIX

By: Akaky

Akaky — Sun, 23 Oct 2011 17:00:09 +0000

And while you’re all pondering that heavy stuff, it time for

XCVIII

By: Akaky

Akaky — Sun, 23 Oct 2011 16:58:56 +0000

So what is objectivity? Heisenberg tells us that it doesnt really exist physically and Aristotle tells us that poetry is superior to history, which is not something most of us are used to hearing. In Spanish Village, the wake of Juan Larra, Smith blotted out a woman’s eyes and then drew them in with pencil because she was looking at the camera and not at the dead man. Does that change the value of the photo? Joe Rosenthal missed his big chance to make history and took a photograph of Marines raising the second flag on Mt. Suribachi instead, an event so insignificant that it was not recorded in the ship’s logs of any of the thousand or more vessels that saw the flag go up or in the daily operations diaries of any of the Marine units involved. Does that change the value of his photograph? So what is objectivity? What is bias? Is the former simply a way of disguising the latter?

By: Akaky

Akaky — Sun, 23 Oct 2011 16:45:24 +0000

“It is, moreover, evident from what has been said, that it is not the function of the poet to relate what has happened, but what may happen- what is possible according to the law of probability or necessity. The poet and the historian differ not by writing in verse or in prose. The work of Herodotus might be put into verse, and it would still be a species of history, with meter no less than without it. The true difference is that one relates what has happened, the other what may happen. Poetry, therefore, is a more philosophical and a higher thing than history: for poetry tends to express the universal, history the particular. By the universal I mean how a person of a certain type on occasion speak or act, according to the law of probability or necessity; and it is this universality at which poetry aims in the names she attaches to the personages. The particular is- for example- what Alcibiades did or suffered. In Comedy this is already apparent: for here the poet first constructs the plot on the lines of probability, and then inserts characteristic names- unlike the lampooners who write about particular individuals. But tragedians still keep to real names, the reason being that what is possible is credible: what has not happened we do not at once feel sure to be possible; but what has happened is manifestly possible: otherwise it would not have happened. Still there are even some tragedies in which there are only one or two well-known names, the rest being fictitious. In others, none are well known- as in Agathon’s Antheus, where incidents and names alike are fictitious, and yet they give none the less pleasure. We must not, therefore, at all costs keep to the received legends, which are the usual subjects of Tragedy. Indeed, it would be absurd to attempt it; for even subjects that are known are known only to a few, and yet give pleasure to all. It clearly follows that the poet or ‘maker’ should be the maker of plots rather than of verses; since he is a poet because he imitates, and what he imitates are actions. And even if he chances to take a historical subject, he is none the less a poet; for there is no reason why some events that have actually happened should not conform to the law of the probable and possible, and in virtue of that quality in them he is their poet or maker.

Of all plots and actions the episodic are the worst. I call a plot ‘episodic’ in which the episodes or acts succeed one another without probable or necessary sequence. Bad poets compose such pieces by their own fault, good poets, to please the players; for, as they write show pieces for competition, they stretch the plot beyond its capacity, and are often forced to break the natural continuity.

But again, Tragedy is an imitation not only of a complete action, but of events inspiring fear or pity. Such an effect is best produced when the events come on us by surprise; and the effect is heightened when, at the same time, they follow as cause and effect. The tragic wonder will then be greater than if they happened of themselves or by accident; for even coincidences are most striking when they have an air of design. We may instance the statue of Mitys at Argos, which fell upon his murderer while he was a spectator at a festival, and killed him. Such events seem not to be due to mere chance. Plots, therefore, constructed on these principles are necessarily the best.” Aristotle, Poetics

The simultaneous measurement of two conjugate variables (such as the momentum and position or the energy and time for a moving particle) entails a limitation on the precision (standard deviation) of each measurement. Namely: the more precise the measurement of position, the more imprecise the measurement of momentum, and vice versa. In the most extreme case, absolute precision of one variable would entail absolute imprecision regarding the other. Werner Heisenberg, the uncertainly principle.

Δp × Δx = h Heisenberg again, for those of you who enjoy such things.

By: Pete Marovich

Pete Marovich — Sat, 22 Oct 2011 12:41:14 +0000

play?

By: mw

mw — Sat, 22 Oct 2011 10:07:11 +0000

Cause? What cause?

By: david alan harvey

david alan harvey — Sat, 22 Oct 2011 05:39:24 +0000

IMANTS…

ok..got it..thanks…yes, true

By: Imants

Imants — Sat, 22 Oct 2011 05:22:28 +0000

If one feels that ignoring something that it will go away and be of no influence they are sadly mistaken

By: Imants

Imants — Sat, 22 Oct 2011 05:19:44 +0000

I was replying to Tom and stating the ineptness of the traditional six o’clock news as a source of information.

Photojournalism is still tied to these traditional media forms but really needs to move on if it is to survive. If photojournalists want to play with truth justice and impartiality their cause will be lost.

By: david alan harvey

david alan harvey — Sat, 22 Oct 2011 05:01:52 +0000

IMANTS…

oh i am influenced by many things, and yes probably tv too….and exactly what would you recommend for the best way to gather information and disseminate and not be under the influence of anything? your point is?

By: Imants

Imants — Sat, 22 Oct 2011 04:44:39 +0000

t the way we gather information and how it s gathered ………not owning a TV does not preclude you from its influence

By: david alan harvey

david alan harvey — Fri, 21 Oct 2011 23:59:47 +0000

IMANTS…YOUNG TOM

i am sometimes on television…but i do not own one ….only time i see a television is in my hotel room…and it is usually off….see CNN at the airport waiting area and that is plenty…see movies at the theater….or, on my laptop…

cheers, david

By: tom hyde

tom hyde — Fri, 21 Oct 2011 23:39:00 +0000

Oh, you were referring to television? Don’t own one.