Schwarz
View current page
...more recent posts
eat flaming death fascist media pigs!
>>pop<<
"If You Push Somethinig Hard Enough, It Will Fall Over."
from the new york times
Even before the storm, New Orleans’s economic ship was powered not by a couple of whales, but by a school of minnows. The city estimates that 95 percent of the 22,000 businesses here before Hurricane Katrina employed fewer than 100 workers (fewer than 25, in most cases). These included not just shops, but also the artists and manufacturers and wholesalers that supplied them, and the accountants and lawyers and cleaning companies that served them.
About 60 percent of the businesses within the city limits have probably not reopened, according to a recent study by Louisiana State University, which tried to call about 8,500 of the 10,000 businesses registered with the state. At about 5,000 of the businesses, the phone had been disconnected or was not answered after five calls.
Long term, more than 40 percent of those businesses are likely to disappear, said Timothy P. Ryan, an economist who is chancellor of the University of New Orleans. As residents return and the city rebuilds, new businesses will eventually open, but Dr. Ryan predicted that they would not be the same kind of businesses as their predecessors. “Many of them may be in Sheetrocking,” he said.
walker evans approximately
A PHOTOGRAPHER snaps a picture. If it’s a camera with film, a negative is made; if it’s a digital camera, a file is produced. A printer, in a dark room using chemicals, or at a computer screen, can tinker with the image, crop it, enlarge it, make it lighter or darker, highlight one part or obscure another.
In other words, the image produced by the camera, whether it’s a negative or a digital file, is only the matrix for the work of art. It is not the work itself, although if the photographer is a journalist, any hanky-panky in the printing process comes at the potential cost of the picture’s integrity. Digital technology has not introduced manipulation into this universe; it has only multiplied the opportunities for mischief.
I dawdle over this familiar ground because the digitally produced prints of classic Walker Evans photographs, now at the UBS Art Gallery, are so seductive and luxurious — velvety, full of rich detail, poster-size in a few cases and generally cinematic — that they raise some basic issues about the nature of photography.