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September 29 2013

« Je dirais que les médias et les arts en général, et le cinéma et la télévision en particulier,…

http://www.katibin.fr/wp-content/uploads/2013/09/valeurs-actuelles.jpg

« Je dirais que les médias et les arts en général, et le cinéma et la télévision en particulier, occupent une place centrale dans la circulation des images et, dans une certaine mesure, dans la circulation des stéréotypes concernant la race, les rapports de race et ce que l’ethnicité veut dire dans une société donnée. D’une certaine manière, ce qu’une société sait et pense de la race n’existe pas en dehors de ses modes de représentation médiatique. Les médias sont en effet constitutifs de ce que nous connaissons et pensons, de ce que nous ressentons à propos de nous-même. En regardant, les manières dont la race émerge et est traitée dans les médias à un moment donné, il est ainsi possible d’obtenir une vision approfondie des transformations en cours dans les rapports de race et d’ethnicité. »

[Stuart Hall]

#Race
#CulturalStudies
#Medias
#StuartHall
#Image
#Iconographie

August 28 2013

Corée du Nord Agriculture

Corée du Nord Agriculture

https://dl.dropbox.com/s/i9bwd3fpisuzoqb/agriculture_resultats.gif

Du bon usage des graphiques en Corée du Nord pour évaluer les résultats agricoles (sauf que là, leur graphique ne monte pas beaucoup et du coup certains ont du le sentir passer)

#corée_du_nord #visualisation #image

August 14 2013

*Damir_Sagolj : l'image qui a fait débat* ❝La guerre, c'est le chaos, la mort, le sang. C'est…

#Damir_Sagolj : l’#image qui a fait débat

La #guerre, c’est le chaos, la mort, le sang. C’est aussi de longs moments d’attente, d’autres peu spectaculaires, parfois des instants plus légers. Mais, en #photographie, un #stéréotype domine : afficher l’#horreur du conflit dans un cadre à la composition parfaitement maîtrisée, souvent nourri de références artistiques. Les emprunts à l’#iconographie_religieuse ne manquent pas. La lumière est sculptée comme dans un tableau en clair-obscur, les #victimes innocentes prennent des visages de madones et fabriquent des icônes propres à personnifier un #conflit qui semble lointain et irréel.

Le #photojournaliste est responsable de son cadrage, mais aussi de la #légende qui accompagne l’image. Il doit par exemple veiller à ce que des éléments importants pour la compréhension de l’événement mais absents du cadre figurent dans le texte qui l’accompagne.

Une autre image, plus ancienne, de Damir Sagolj a fait #débat. Elle montre un soldat américain en pleurs tenant dans ses bras une petite fille irakienne, le 29 mars 2003. La guerre en #Irak a commencé quelques jours plus tôt. Le photographe est « embedded », c’est-à-dire embarqué avec les #soldats américains, et sous leur contrôle, afin de suivre leur progression.

–-> v. image ci-dessous :

http://arretsurlemonde.com/wp-content/uploads/2013/08/3453134_6_3477_le-29-mars-2003-un-marine-tient-une-petite_e157d58e60b998425297b0dcb2af469a.jpg

http://www.arretsurlemonde.com/2013/08/11/damir-sagolj

#photo #photojournalisme

cc @albertocampiphoto

July 19 2013

July 10 2013

Petite histoire des costumes des chefs d'Etat : L'establishment anglais, Khadafi, Moubarak, Mao et…

Petite histoire des costumes des chefs d’Etat : L’establishment anglais, Khadafi, Moubarak, Mao et ses copains

via la liste de géographie critique :

Hillary Shaw de l’Harper Adams University se pose une question :

Ever noticed that most politicians on the TV screen seem to look exactly like each other. Same hairstyle, same clean-shaven look, and above all the same uniform suits. Almost all men’s suits are now in a narow range from dark grey to very dark grey to charcoal grey/black. (at least this is true in the UK, any other obesrvations from crit geoggers elsewhere welcome).

This is backed up by Google. Search under ’mens suits 2010’ and look at Images. Note the (lack of) colour variation. Then go back in ten year steps, 2000, 1990, 1980 etc The colour range expands noticeably with each decade back. The 2000 image shows paler grey, and 1990 you have some beige and blue too. 1980, 70, 60, each snapshot gives a wider range. You have to go back to 1920 or even 1910 to get a narrow colour range once more, and that’s probably due to the lack of colour photography for those times. But even then there was more style variation than now.

When we have a more diverse society (in many ways), when clothes have got cheaper so more styles should be accessible, why has the range narrowed so much? Has this style-narrowing occurred in countries where suits are not customary male business-wear (e.g. Iran, Saudi Arabia). And why, anyway, has the suit and tie (the former invented by a louche syphiltic called Beau Brummel, the latter popularised by a French dictator - Napoleon - who lived the Croat (Hravat) neckwear) become popular, not just in the West but across most of thwe world, including places where the climate is too hot, humid, so not ’suited’ (sorry) to the suit? Any fashion geographers (sure there are some) able to enlghten?

Adam Ramadan ajoute :

This is one of the less explored dimensions of the recent popular uprisings that have shaken the Arab world. One of the defining chants of the 2011 protests in Tahrir Square, for example, was ’the people demand dark grey suits’ - seemingly a direct response to President Mubarak’s overly liberal sartorial choices (check Google Images for Mubarak, and you’ll see a dizzying array of greys, browns and even his infamous ’Mubarak pinstripe’).

Similarly, Muammar Gaddafi’s eclectic wardrobe of military uniforms, Bedouin jalabiyas and African robes was a key driver
of the Libyan uprising. This popular rejection of his fashion tastes was driven home most forcefully during Gaddafi’s brutal death - it is notable that rebel fighters stripped off Gaddafi’s clothes as they sodomised him with bayonets, all the while chanting ’no more colourful suits’.

In light of all this, it’s no wonder political leaders everywhere are increasingly taking safer choices of greys, charcoals and blacks. Thanks for bringing this to our attention.

Marijn Nieuwenhuis de l’Université de Warwick conclut :

I remember reading about the infamous Mao suit (Zhongshan zhuang) and its current use in critical works of art in China. It is actually still in use by contemporary leaders :
http://english.people.com.cn/90001/90776/90785/6775781.html

#apparence #paillette #costumes #déguisement #marketing #image etc...

July 09 2013

Perturbations : les images sociales forment un nouveau langage en ligne - NYTimes.com

Perturbations : les images sociales forment un nouveau langage en ligne - NYTimes.com
http://bits.blogs.nytimes.com/2013/06/30/disruptions-social-media-images-form-a-new-language-online

Avec nos médias sociaux, nous apprenons à utiliser l’#image comme langage. Les images ne sont plus destiné au stockage, mais à la communication immédiate. Sur Facebook, les gens partagent 300 millions d’images par jour.  Tags : internetactu2net internetactu fing image #photographie (...)

#photo

August 06 2012

The miracle of a thumbnail image from Mars

Last night, I stayed up late to watch the NASA livestream of the Curiosity rover landing. It seems to have been an unmitigated success: each step of the entry and landing process, even that crazy sky-crane maneuver, was performed flawlessly.

As Travis Beacham put it on Twitter:

Although there were tearful hugs and high-fives and all manner of cheering when “Touchdown!” was called, the wonderment built to a real climax when the first thumbnail image came through. It was small, in black and white, and showed the Martian horizon in the background, with the wheel of the rover in the foreground.

Shortly thereafter, a slightly larger version was displayed: still black and white, but with enough resolution to show dust on the glass. A second one followed a few minutes later, showing the rover’s shadow on the ground. Cue the “pics or it didn’t happen” jokes, as well as the rapid proliferation of Photoshopped spoofs.

Image from the Curiosity rover on Mars
One of the first images from the Curiosity rover.


In our micro-culture of the moment, obsessed with photo sharing and images, this tiny thumbnail still seemed like a miracle (albeit a required one). A picture really is worth a whole lot of words. But have you ever stopped to think about what it takes to plan for that from Mars?

We take for granted being able to snap a great-looking picture and send it wirelessly to almost anywhere we want with the tap of a few icons, but transmitting images back from another planet is a complicated process.

I couldn’t help but think about the images that came back from the Phoenix lander in 2008, and the excellent chapter J.M. Hughes, principle software engineer for the imaging software on Phoenix, wrote in Beautiful Data:

The challenge was to devise a way to download the image data from each of the cameras, store the data in a pre-allocated memory location, process the data to remove known pixel defects, crop and/or scale the images, perform any commanded compression, and then slice-and-dice it all up into packets for hand-off to the main computer’s downlink manager task for transmission back to Earth.

And all of this must be done carefully, sparingly, in order to conserve resources. As Hughes put it, “A spacecraft is an exercise in applied minimalism: just enough to do the job and no more.”

In honor of the Curiosity’s inspiring success, we’re making Hughes’ chapter available here. Reading about some of the design trade-offs required in building and successfully deploying the imaging software on a Mars spacecraft makes Curiosity’s achievement all the more amazing.

Images from the Curiosity rover can be found here.

Curiosity image: NASA/JPL-Caltech

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