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The meaning of 9/11's most controversial photo

The meaning of 9/11's most controversial photo
In the photograph Thomas Hoepker took on 11 September 2001, a group of New Yorkers sit chatting in the sun in a park in Brooklyn. Behind them, across brilliant blue water, in an azure sky, a terrible cloud of smoke and dust rises above lower Manhattan from the place where two towers were struck by hijacked airliners this same morning and have collapsed, killing, by fire, smoke, falling or jumping or crushing and tearing and fragmentation in the buildings' final fall, nearly 3,000 people. Ten years on, this is becoming one of the iconic photographs of 9/11, yet its history is strange and tortuous. Hoepker, a senior figure in the renowned Magnum photographers' co-operative, chose not to publish it in 2001 and to exclude it from a book of Magnum pictures of that horribly unequalled day. Only in 2006, on the fifth anniversary of the attacks, did it appear in a book, and then it caused instant controversy. Rich's view of the picture was instantly disputed. Related:  US since Wilson's 14 points

I was in that 9/11 photo Frank Rich wrote about. Here's what I think about his column. Yesterday, Slateposted this piece criticizing Frank Rich's New York Times column about the 9/11 photo shown here. The picture was taken by Magnum photographer Thomas Hoepker on the afternoon of 9/11. Calling the image "shocking," Rich suggested that the five New Yorkers were "relaxing" and were already "mov[ing] on" from the attacks. Slate'sDavid Plotzdisputed that characterization of the picture, arguing that the subjects had almost certainly gathered to discuss the attacks and to find solace in others' company. Rather than showing callousness, as Rich suggested, it depicted civic engagement. But since neither Rich nor Plotz knew exactly what the five New Yorkers in the photo were doing or thinking, weinvited them to contact Slateand tell us. This morning, Slate received an e-mail from Walter Sipser, a Brooklyn artist who is the man on the far right of the photo. I am one of the "disaffected sunbathing youth" in the photo. Are the other subjects of this photo out there?

Cognitive rhetoric Cognitive rhetoric refers to an approach to rhetoric, composition, and pedagogy as well as a method for language and literary studies drawing from, or contributing to, cognitive science. History[edit] Following the cognitive revolution, cognitive linguists, computer scientists, and cognitive psychologists have borrowed terms from rhetorical and literary criticism. Specifically, metaphor is a fundamental concept throughout cognitive science, particularly for cognitive linguistic models in which meaning-making is dependent on metaphor production and comprehension. Composition[edit] Rhetoric is a term often used in reference to composition studies and pedagogy, a tradition that dates back to Ancient Greece. In Ancient Rome, the Greek Rhetorical tradition was absorbed and became vital to education, as rhetoric was valued in a highly political society with an advanced system of law, where speaking well was crucial to winning favor, alliances, and legal rulings. James A. Related work[edit]

Susan Sontag Winner of the National Book Critics' Circle Award for Criticism (1977) "Susan Sontag has written a book of great importance and originality. . . . All future discussion or analysis of the role of photography in the affluent mass-media societies is now bound to begin with her book." —John Berger "After Susan Sontag, photography must be written about not only as a force in the arts, but as one that is increasingly powerful in the nature and destiny of our global society." "Not many photographs are worth a thousand of (Susan Sontag's) words." —Robert Hughes, "On Photography is to my mind the most original and illuminating study of the subject." —Calvin Trillin, "Every page of On Photography raises important and exciting questions about its subject and raises them in the best way." "A brilliant analysis of the profound changes photographic images have been made in our way of looking at the world and at ourselves over the last 140 years."

How I shoot the moon.. I have shot a lot of moon shots with a big lens but I decided to try seeing what I could do with a "run of the mill" zoom and hand held.. Camera D90, lens 18-250mm sigma (image stabilized lens) hand held. ISO 200 F11, 1/180 sec. at 250mmI try to shoot the moon several stops UNDER exposed. Then I use increase contrast and some levels to bring the exposure back up. Doing this drives the background to sold black and gives more definition to the craters. Marcy Borders: Osama Bin Laden's death gave 9/11 'dust lady' 2nd chance By Jeff Maysh Updated: 13:20 GMT, 30 June 2011 It became one of the enduring images that helped symbolise an unfathomable disaster. This image of Marcy Borders, her entire body covered in ash and pulverized concrete, was taken as she fled the World Trade Center on September 11, 2001. Moments later, the towers collapsed, killing 2,751 and changing the world forever. But for Marcy, now 38, the terror of that day coupled with the worldwide attention from 'that' photograph, sent her life spiralling out of control. Stunned: The iconic image of Marcy Borders sheltering in a nearby office building, her entire body covered in dust and ash, as the towers fell around her on September 11, 2001 Comeback: Marcy Borders, shown here at her Newark apartment on June 3, has battled back from the brink - spurred on by news of Osama Bin Laden's death Today Marcy exclusively reveals to the MailOnline how she became a hopeless crack cocaine addict, and that her beloved children were taken away.

Mark Turner (cognitive scientist) Mark Turner (born 1954) is a cognitive scientist, linguist, and author. He is Institute Professor and Professor of Cognitive Science at Case Western Reserve University.[1] In 1996, the French Academy awarded him a Grand Prix (Prix du Rayonnement de la langue et de la littérature françaises) for his work in these fields.[2] Turner and Gilles Fauconnier founded the theory of conceptual blending, presented in textbooks and encyclopedias.[3] Turner is also a director for the Cognitive Science Network (CSN).[4] and co-director of the Red Hen Lab.

Sergio Larrain obituary | Art and design Although he was photographically active for scarcely more than a decade and was the author of just four books (all of them now collectors' items), the stature and reputation of the Chilean photographer Sergio Larrain, who has died aged 80, continued to grow after he withdrew from the vibrant European world of street photography to live in a meditational retreat. Born into a professional family in Santiago (his father was an architect), he began by studying music. At the age of 18, he went to the US and studied forestry at the University of California, Berkeley, before transferring to Ann Arbor, Michigan, in 1954. He also travelled through Europe and the Middle East, taking a camera. In 1958 Larrain obtained a grant from the British Council to undertake an eight-month reportage project on British cities. Larrain joined as an associate in 1959 and was set a mission impossible: to photograph the mafia boss Giuseppe Russo, wanted for multiple murder by Interpol.

How to Shoot Light Trails One of the first subjects that I remember trying to capture as a teenager with my first SLR camera (film) was light trails created by cars on a busy road near my home. I’d seen this type of shot in a photography magazine and was impressed by the eye catching results. Light Trails continue to be popular subject matter for many photographers and they can actually be a great training ground for those wanting to get their cameras out of manual mode and to experiment with shooting in low light at longer exposures. Following area few examples of light trail shots as well as some practical starting point tips for those wanting to give it a go. To get more tutorials like this subscribe to Digital Photography School. Equipment: There is not just one particular type of camera and kit that you’ll need to capture light trails – however it is important to have a camera that allows you to have some control over exposure settings – particularly those that allow you to choose longer shutter speeds.

20th Century Documents : 1900 - 1999 20th Century Documents : 1900 - 1999 Act of Chapultepec; March 6, 1945 Agreement Between the United Kingdom and the Union of Soviet Socialist Republics : July 12, 1941 Agreement Between the Government of the United States of America and the Government of the Union of Soviet Socialist Republics on the Prevention of Incidents On and Over the High Seas; May 25, 1972 Agreement Between the United States and Cuba for the Lease of Lands for Coaling and Naval stations; February 23, 1903 Agreement for the Provisional Administration of Venezia Giulia; June 9, 1945 Agreement on Measures to Reduce the Risk of Outbreak of Nuclear War Between the United States of America and the Union of Soviet Socialists Republics - September 30, 1971 Agreement on the Cessation of Hostilities in Viet-Nam, July 20, 1954 Agreement on the Rescue of Astronauts, the Return of Astronauts and the Return of Objects Launched into Outer Space, April 22, 1968 American Treaty on Pacific Settlement (Pact of Bogota); April 30, 1948

Conceptual blending History of the development Conceptual Blending[edit] The development of this theory began in 1993 and a representative early formulation is found in the online article Conceptual Integration and Formal Expression. Turner and Fauconnier cite Arthur Koestler´s 1964 book The Act of Creation as an early forerunner of conceptual blending: Koestler had identified a common pattern in creative achievements in the arts, sciences and humor that he had termed "bisociation of matrices."[1] A newer version of blending theory, with somewhat different terminology, was presented in their book The Way We Think.[2] Computational models[edit] The philosophical status of the theory[edit] In his book "The Literary Mind"[6] (p. 93), conceptual blending theorist Mark Turner states that Conceptual blending is a fundamental instrument of the every day mind, used in our basic construal of all our realities, from the social to the scientific. See also[edit] Notes[edit] External links[edit]

The shot that nearly killed me: War photographers – a special report | Media Adam Ferguson, Afghanistan, 2009 I was one of the first on the scene. The Afghan security forces normally shut down a suicide bombing like this pretty quickly. I was able to get to the epicentre of the explosion. It was carnage, there were bodies, flames were coming out of the buildings. I remember feeling very scared because there was still popping and hissing and small explosions, and the building was collapsing. This woman was escorted out of the building and round this devastated street corner. As a photographer, you feel helpless. When I won a World Press award for this photograph, I felt sad. Alvaro Ybarra Zavala, Congo, November 2008 The situation was very tense – people were drunk and aggressive. When I got to the hotel, I showed the other photographers. I really hate this shot. Lynsey Addario, Libya, March 2011 I had been in Libya for just over two weeks, shooting the insurgency. The first three days were very violent – I was punched in the face several times, groped nonstop.