"Open to them your hand to the shore, watch them walk into the sea.
Press upon them all they need, see them yearn from all they want.
Gift to them the calm pool of words, watch them draw the sword.
Bless upon them the satiation of peace, see them starve for war.
Grant them darkness and they will lust for light.
Deliver to them death and hear them beg for life.
Beget life and they will murder your kin.
Be as they are and they see you different.
Show wisdom and you are a fool.
The shore gives way to the sea.
And the sea, my friends,
Does not dream of you."
Shake Prayer
Opening for chapter 21 from Reaper’s Gale, by Steven Erikson
(via miltonsayshi)
Note Of Note of the Day: From the Associated Press’ Washington-based Assistant Chief of Bureau for photos, J. David Ake:
A protester handed President Barack Obama a note while shaking hands along a rope line in New Hampshire today. Photographer Charlie Dharapak smartly zoomed in so you can read the note for yourself.
Transcript follows for those who can’t:
Mr. President: Over 4000 peaceful protesters / have been arrested / While banksters continue / to destroy the American economy (with impunity) / You must stop the assault / on our 1st ammendment rights [sic]. / Your silence sends a message / that police brutality is ac(ceptable) / Banks got bailed out. / We got sold out.
[paid2see.]
(via thinkstrawberry)
‘You Are Here’
Along with my good friends Jared Iorio and Ludmilla Morais, I’ll be a featured photographer at Think Tank’s ‘You Are Here’ show in downtown LA next month. The show will feature all-new work, so if you are heading down to the DTLA artwalk on October 13th, please come by and check it out.
Come see us if you are in LA!
Up on strange.rs now, if you’ve seen it already on my site as I fought through an edit, I apologize. If not, well, here it is.
When they want to kill a dog, they say it’s crazy. — Haitian proverb
Like most everyone else, I was appalled at the destruction of the January 12th earthquake, by the slowness of the response. I was lucky enough to randomly run into some people who went shortly after to help clear rubble. All I knew about Haiti was its history as the first country to be founded after a successful slave revolt, making it the second-oldest republic in the hemisphere. I “knew” of President Aristide and the coup-d’etats, and how everyone wanted him back. I “knew” it was hell on earth located in paradise. I knew nothing. I landed in Haiti in July of 2010 with some friends volunteering to rebuild a single old woman’s house, outside of the NGO bubble, in the middle of a community trying to get by to the best of their ability. I made friends, took a leave of absence at my job and moved back just 3 weeks after returning.
What you see here is people who have moved on from the disaster, though it obviously lingers in the rubble-strewn landscape and the subconscious. Hundreds of thousands of people are still displaced in tent camps, a cholera epidemic is still unchecked. Yet, for most people these things are not part of life on day-to-day basis. Other things come to the forefront. Putting food on the table, hustling, looking for work, school, getting married and funerals, a dance, a day at the beach, a budding relationship, a fistfight. They deal with the catastrophe the way they’ve dealt with every other catastrophe — they way that all humans deal with things like that. Through traditions and prayer, parties and sex, and quiet moments of contemplation. Through rage, sadness and laughter.
(via strangers-old)
How to Photograph the Entire World: The Google Street View Era
Doug Rickard, Helena-West Helena, Arkansas, 2008The drum machine arrived in popular music in the late 1970’s. By 1983, only a few years later, after 50,000 years of live human drumming, mainstream audiences had fully embraced this sound in hits like “Rockit.” Just as remarkable, Herbie Hancock was able to pioneer both acoustic jazz and a song created with electronic drums.
A similar shift is happening in photography. Looking at projects based on Google Maps Street View (GSV), particularly large photographs in physical galleries, makes me wonder: Is Street View a camera? Or a repository of source images? Or both?
"The issue of, ‘Where’s my round of applause?’ or ‘Where’s the reflected glory?’ is something that we answer very differently depending on who we are. They’re questions that we all ask ourselves, but we each find solace in different places. So ultimately, if your solace comes from a paternalistic structure - ‘Dad’ - that is going to pat you on the back, than of course it’s a shocking to think that Dad might no longer exist. But if you’re like me and don’t give a shit about Dad, then it’s really up to all of us who still care about photography to give ourselves a pat on the back, firstly for simply being here at this amazing moment. For people who make experimental work or like pulling out a really funky edit of found images, the thrill is not that some esteemed museum might put it in a display case. It’s about the twenty people that you meet who go, ‘I totally got what you were doing.’ - Charlotte Cotton"
Conscientious | Charlotte Cotton in conversation with Aaron Schuman (via photographsonthebrain)
(via photographsonthebrain)
