silicon valley and photography

http://cphmag.com/blogging/

“The key for all of this is who is in the driver’s seat. If you’re happy with being a passenger and with having to change vehicles usually the moment you’ve become a bit comfortable, then stick with Silicon Valley’s boom-and-bust cycle. If that’s not what you want, going back to blogging is likely to give you a lot more agency. If you want to change your blog it’s you doing it, not some people who decide for you that starting tomorrow you will just see things differently, sorted now by what makes best sense for advertizers or shareholders.”

psychopathy and photography

http://propagandaphotos.wordpress.com/2015/11/12/some-personal-thoughts-about-the-state-of-art-photography/

For simplicity’s sake, the common traits of sociopaths/psychopaths are:

• glib and superficial charm
• grandiose (exaggeratedly high) estimation of self
• constant need for stimulation
• pathological lying
• cunning and manipulativeness
• lack of remorse or guilt
• shallow affect and superficial emotions
• callousness and lack of empathy
• poor behavioral controls
• sexual promiscuity
• lack of realistic long-term goals
• impulsivity
• irresponsibility
• failure to accept responsibility for own actions

Recognise anybody you know?

the power (and challenge) of photography, the unreasonable apple and the absence of loss

http://cphmag.com/challenge/

http://cphmag.com/graham-whales/

http://www.duckrabbit.info/2013/11/the-power-of-photography/

http://www.duckrabbit.info/2015/10/the-absence-of-loss/

“Whenever I talk to people who are not part of the world of photography, many of the concerns that appear to give theorists or photographers endless nightmares simply don’t appear to exist. Too many photographs? Who says so? Can there be a thing such as too many photographs, and why would that even be a problem?”

“It’s obvious that everybody reacts to art from their own points of view, their own preferences, this writer included. Still, I just wish Paul Graham’s work were just a little bit flawed, a little bit less careful, less cerebral. That said, unlike, say, Thomas Demand’s work Graham’s never drowns in its own artifice, leaving behind the feeling that what we’re really supposed to admire is the maker’s skills, not the work.”

“The inherent flaw in this idea is its assumption that because an image seems ‘banal’ it has no significance. I think the opposite. I’ve learned the hard way that images don’t just have ‘width’ and ‘height’ as these pundits would have us believe. They have ‘depth’ too, often many layers, unseen, unknown, and unguessed at by a casual viewer.”

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