D + V - Home. D+V Management was founded by Natalie Doran and Laurence Vuillemin in 2003. With a reputation for finding photographers who create work with a strong signature, names including Miles Aldridge, Mel Bles and Jacob Sutton are part of a selective, hand picked roster. With strong connections across editorial and commercial worlds, clients often form lasting relationships with the agency. D+V photographers continually work with magazines including international editors of Vogue, Numéro, The Gentlewoman, i-D and AnOther while commercial clients range from Yves Saint Laurent and Louis Vuitton to Givenchy and Christian Dior. One of the first agencies to pioneer work with moving image as well as stills, D+V’s photographic artists have created films for brands including Burberry, Topshop, Missoni, Guess, Fendi and Y-3.
D+V encourage work with their photographers to pursue artistic projects, and they regularly stage exhibtions. Production services for film and photography are also available. Do thoughts have a language of their own? Read full article Continue reading page |1|2 What is the relationship between language and thought?
The quest to create artificial intelligence may have come up with some unexpected answers THE idea of machines that think and act as intelligently as humans can generate strong emotions. This may explain why one of the most important accomplishments in the field of artificial intelligence has gone largely unnoticed: that some of the advances in AI can be used by ordinary people to improve their own natural intelligence and communication skills. Chief among these advances is a form of logic called computational logic. According to one school of philosophy, our thoughts have a language-like structure that is independent of natural language: this is what students of language call the language of thought (LOT) hypothesis.
The LOT hypothesis contrasts with the mildly contrary view that human thinking is actually conducted in natural language, and thus we could not think intelligently without it. In pictures: Portraits of 1960s Ivory Coast. When Art Kills. Here's something I've been thinking about a little as I work on my psychobiography of photographer Diane Arbus: Can great art sometimes be worth more to an artist than his or her own life? And would it ever make sense to argue that art kills? I know that's put rather too starkly, but here's what I'm getting at. Take Sylvia Plath (in some ways an obvious choice). In the weeks prior to her suicide she was an artist possessed, churning out poem after poem, many of them spectacular. She knew, as she wrote in a letter to her mother, that these poems rose to the level of genius. Then there is Diane Arbus. What's going on here? Such a model would not apply to all artists, of course. Diane Arbus: humanist or voyeur?
Diane Arbus killed herself, aged 48, on 26 July 1971.
On the 40th anniversary of her death, it's worth reconsidering her artistic legacy. Her work remains problematic for many viewers because she transgressed the traditional boundaries of portraiture, making pictures of circus and sideshow "freaks", many of whom she formed lasting friendships with. If Arbus undoubtedly felt at home among the outsiders she photographed, she also experienced a frisson of guilty pleasure when photographing them. "There's some thrill in going to a sideshow," she once confessed of her nocturnal visits to the circus tents of Coney Island, where performers were still earning a living in the 1960s. "I felt a mixture of shame and awe. " Her works make us question not just her motives for looking at what the critic Susan Sontag – with typical hauteur – called "people who are pathetic, pitiable, as well as repulsive", but also our own.
The "other" is not what it used to be. Creative Art Therapy Ideas, Projects, & Themes.