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Thomas Keenan - Mobilizing Shame - The South Atlantic Quarterly 103:2/3 The South Atlantic Quarterly 103.2/3 (2004) 435-449 Mobilizing Shame Thomas Keenan What difference would it make for human rights discourse to take the photo opportunity seriously? Not the photo ops on behalf of human rights, but the ones coming from the other side, the other sides. What would it mean to come to terms with the fact that there are things which happen in front of cameras that are not simply true or false, not simply representations and references, but rather opportunities, events, performances, things that are done and done for the camera, which come into being in a space beyond truth and falsity that is created in view of mediation and transmission? In what follows, I wish to respond to these questions by focusing on what, within human rights activism and discourse, has come to be known as "the mobilization of shame." Shame and Enlightenment It is now an unstated but I think pervasive axiom of the human rights movement that those agents whose behavior it wishes to affect -- governments, armies, businesses, and militias -- are exposed in some significant way to the force of public opinion, and that they are (psychically or emotionally) structured like individuals in a strong social or cultural context that renders them vulnerable to feelings of dishonor, embarrassment, disgrace, or ignominy. Shame is thought of as a primordial force that articulates or links... Project MUSE® - Download/Export Citation * MLA * APA * Chicago * Endnote Keenan, Thomas, 1959-. "Mobilizing Shame." The South Atlantic Quarterly 103.2 (2004): 435-449. Project MUSE. [Library name], [City], [State abbreviation]. 22 Apr. 2009 . Always review your references for accuracy and make any necessary corrections before using. Pay special attention to personal names, capitalization, and dates. Consult your library or click here for more information on citing sources. Keenan, T

A little while ago, I received an email that told me about a project photojournalist James Nachtwey had been working on, which was going to get unveiled at a later date. The email contained the request to write a post that included some piece of code, which would automatically reveal the new project on the day in question. Since I prefer to have full editorial control over this blog, I decided not to post about it. But I was also uncomfortable with how this then secret project - something supposedly very important and completely underreported - was being handled. I thought that generating a lot of suspense could easily be somewhat damaging to whatever it was Nachtwey wanted to talk about: What if on the day in question people would think "Well, this is it?"

Long-Form Multimedia Journalism: Quality Is the Key Ingredient As a producer of social documentary projects-viewed on digital platforms-Brian Storm talks about the excitement of doing journalism in this way, at this time. A conversation with Brian Storm MediaStorm describes its mission as ushering in the next generation of multimedia storytelling by publishing social documentary projects incorporating photojournalism, interactivity, animation, audio and video for distribution across multiple media. Brian Storm is the president of MediaStorm, a production studio located in Brooklyn, New York, which publishes multimedia social documentary projects at www.mediastorm.org and produces them for other news organizations. In an interview I did with Brian on December 30, 2008, he spoke about how he envisions the future of long-form, multimedia journalism from the perspective of its creation, distribution and economic viability. An edited version of our conversation follows.

VADS is the online resource for visual arts. It has provided services to the academic community for 11 years and has built up a considerable portfolio of visual art collections comprising over 100,000 images that are freely available and copyright cleared for use in teaching, learning and research in the UK. VADS offers advice and guidance to the visual arts research, teaching and learning communities on all aspects of digital resource management from funding, through delivery and use, to preservation. VADS provides: * expert guidance and help for digital projects in art education * resource development and hosting for art education * project management and consultancy for art education * leadership in the innovative use of ICT in education through its research and development activities

With its vibrant oversized photographs and minimalist design, the Boston Globe's The Big Picture weblog launched on June 1 to instant global acclaim. It's designed, programmed, and written by Alan Taylor, an old-school web programmer and blogger, in his spare time while working on community features at Boston.com. (You might know Alan from his popular MegaPenny Project, Amazon Light, or his other projects.)

Street Level was founded in 1989. From its inception it has provided artists and the public with the opportunity to produce and participate in photography and lens-based media. It aims to make artistic production accessible, both physically and intellectually, to a wide audience. Recognised for its integrated practice, the organisation promotes the work of artists through exhibitions, commissions, residencies, and publications; an education programme; community collaborations; open access facilities and training courses for the public. The exhibitions programme supports both emerging and established artists from local, national and international sources. Earlier exhibitions have included such diverse artists as Ian Breakwell, Chila Kumari Burman, Peter Kennard, Daniel Reeves, Maud Sulter, Andrew Stones, David Levinthal, and Elizabeth and Iftikhar Dadi. Critical ideas are also fostered through talks, symposia, and publications. Exhibitions and projects from the past five years are being listed on the archive section of the website. The education programme involves a range of collaborations in the community, with schools and with agencies working across areas of inclusion, social justice, and equalities. It aims to enable the creativity of non-artists, increase involvement by under-represented groups, and assist the artistic programme by engaging participants. A chronological list of projects will be listed on our education archive.

THEORY - "Walker Evans and American Life" Scavenging the Landscape: Walker Evans and American life Afterimage, Jan-Feb, 1996 by Melissa Rachleff The Great American Depression, spanning the 1930s, inscribed into the culture a psychic crisis. Faith in industrial ingenuity, heralded as "progressive," came unhinged. By 1933, four years after the stock market crash, one quarter of the work force was unemployed.(1) Into this dilemma came a multitude of photographic projects, the most famous of which were sponsored by the federal government in the form of agencies that provided relief to farmers, the unemployed and others. The most completely realized project was the documentation of conditions faced by displaced farmers, recorded by the Historic Section of the Resettlement Administration (RA), later the Farm Security Administration (FSA). The socially-oriented photographic book made its appearance, as did the photographic magazine, best exemplified by Life in 1936. Many of the best known American photographers came to prominence during the Depression, including Berenice Abbott, Dorothea Lange, Gordon Parks and Margaret Bourke-White. Of all the photographers from that era, one represented the quintessential photographic style of the Depression while remaining an elusive figure in photographic history: Walker Evans (1903-1975).

Joe McNally shoots assignments for magazines, ad agencies, & graphic design firms. Clients include Sports Illustrated, ESPN Magazine, National Geographic, Life, Time, Fortune, New York Magazine, GEO, Golf Digest, Discover, Men's Journal, Business Week, Rolling Stone, New York Stock Exchange, Target, Sony, GE, Nikon, Lehman Brothers, & PNC Bank. In addition to having been a recipient of the Alfred Eisenstaedt Award for outstanding magazine photography, McNally has been honored numerous times by several of the following: Communication Arts, Applied Arts, Photo District News, Pictures of the Year, The World Press Photo Foundation, The Art Directors' Club, American Photo, and Graphis. Joe's teaching credentials include: the Eddie Adams Workshop, the National Geographic Masters of Contemporary Photography, the Santa Fe Workshops, the Smithsonian Institute Masters of Photography, Rochester Institute of Technology, Maine Photo Workshops, Department of Defense Worldwide Military Workshops, and the Disney Institute. He has also worked on numerous "Day in the Life" projects. One of McNally's most notable large scale projects, "Faces of Ground Zero - Giant Polaroid Collection", has become known as one of the most primary and significant artistic responses to the tragedy at the World Trade Center. Joe was described by American Photo magazine as "perhaps the most versatile photojournalist working today" and was listed as one of the 100 most important people in photography. In January 1999, Kodak and Photo District News honored Joe by inducting him into their Legends Online archive. In 2001, Nikon Inc. bestowed upon him a similar honor when he was placed on their website's prestigious list of photographers noted as "Legends Behind the Lens".

Berkeley Journalism - Students - Projects portfolio

The Correspondence of William Henry Fox Talbot Project has prepared a comprehensive edition of the nearly 10,000 letters to and from Talbot (1800-1877), the Wiltshire polymath best known for his invention of photography. Draft transcriptions of nearly all the letters were posted by September 2003 and these are now being further annotated and edited.

project grants

see his website for the links to the projects http://www.josesmatos.com

The New York Times is running a slideshow by photographer Jan Grarup about life in the Daadab, reportedly the oldest refugee camp in the world. "The strength of the project rests within its immediacy," Mr. Grarup said. "It has an honesty to it." I was in Daadab not so long ago myself. I may not have been there for long but I was there long enough to notice that life in the camp wasn't one you would wish on the  worst of your neighbors -Kenyans and Somalis from Somalia aren't the best of neighbors. In the camps there is of course suffering but I would also have loved to see images of the children that were playing in the camp, images of the schools set up, images of the street with all the shops where refugees who've refused to be victims of circumstances are taking charge and rebuilding their lives. Where are the photos of the weddings that happen in the camp and where are the photos of people who despite their many tribulations, still observe prayers without fail? Where are the photos telling the other side of the story?

what's pdfX12|photo documentary folioX12? pdfX12 is an online, monthly free  photo journal that presents and features a series of photos  by various photojournalists living and working in various communities around the world.  These photos tell poignant stories about people who are facing harsh social, economic, environmental and political conditions. Photojournalists presented here are those, with their own resources and energy, who have chosen to dedicate their life's work to documenting certain human issues in order to bring about greater attention to harsh human conditions that many people would brush aside. It is thus very important that the voices of these photojournalists, who are living and working in communities that they are documenting, are heard through this type of online venue, which everyone can access. 

images from the highline project

" It's been very fashionable to focus on the weakness and the banality of America, but what I wanted to say is that it's also a very exciting and fascinating place. - Joel Sternfeld, 1987 Joel Sternfeld's projects can perhaps be divided into two general groups: site-specific landscapes somehow connected to human presence (though people are rarely present in them) and shot during distinct periods of time, and a more ranging, long-term examination of the United States accomplished largely by photographing Americans contextualized by their environments. "

This is not designed to be a course on the history of photography such as a resource to dip into. In addition to pen-portraits of many of the most important photographers of the period, it contains information on some of the most significant processes used during the early days of photography. The project was confined to the first eighty years or so, as this is often a convenient cut-off point in books and when dividing courses into a syllabus. To some extent this has been a frustration, in that there have been many important developments and many interesting photographers who practised during and subsequent to that date. It is hoped that a sequel will be forthcoming in due course. This work is intended to be of general interest, but it may also be a useful starting-off point for students preparing for courses which include brief study of the history of photography. The site will be revised regularly in the light of feedback and further study.