mapjd@lcc

"humanitarian agencies are almost never held to account for doing wrong, even as they do not hesitate to take credit when they do good. What's more, I wrote, the humanitarian claim of political neutrality is a fiction: humanitarian action always has a political consequence, and one cannot deny responsibility for it. My focus was on humanitarian responses to armed conflict (rather than, say, natural disasters, or peace-time economic development) and on how, time and again, aid serves to cater conflicts, or to transform a crisis into the status quo. "

"In Biafra in 1968, a generation of children was starving to death. This was a year after oil-rich Biafra had seceded from Nigeria, and, in return, Nigeria had attacked and laid siege to Biafra. Foreign correspondents in the blockaded enclave spotted the first signs of famine that spring, and by early summer there were reports that thousands of the youngest Biafrans were dying each day. Hardly anybody in the rest of the world paid attention until a reporter from the Sun, the London tabloid, visited Biafra with a photographer and encountered the wasting children: eerie, withered little wraiths. The paper ran the pictures alongside harrowing reportage for days on end. Soon, the story got picked up by newspapers all over the world. More photographers made their way to Biafra, and television crews, too. The civil war in Nigeria was the first African war to be televised. Suddenly, Biafra's hunger was one of the defining stories of the age-the graphic suffering of innocents made an inescapable appeal to conscience-and the humanitarian-aid business as we know it today came into being. "

"HD DSLRs are incredible-they give you a video camera with interchangeable lenses, depth of field control and stellar low-light performance-but they're not without drawbacks. Here's how to work around them. The initial crop of HD DSLRs (Nikon D90, Canon 5D Mark II) were never intended to be used primarily for video. It wasn't until Canon introduced the 5D Mark II that HD DSLR video really took off, and that was without manual video and audio controls. Canon eventually provided manual control of video, but it wasn't until earlier this year that they released manual audio controls (to an extent) and 24p recording. Ever since, the 5D2 has found its way onto film and TV sets. The entire finale of Fox's House was shot with 5D2s. Canon's now brought HD video to the majority of its DSLR line,"

"David Hurn: Passing Time Magnum photographer David Hurn on an extraordinary exercise in collaborative curating. "

"With so many photographers taking publishing into their own hands these days, there seem to be a lot of questions and more than a few misperceptions about photobook publishing floating around. "

"Michael Kamber is an award winning photographer who currently works for the New York Times, here he outlines his view of the state of photojournalism today. This is the first in a series of articles to be published this week, each one by a different author looking at the world of photojournalism from a number of angles."

"There was a time when photographers wishing to see their work in print, were at the mercy of the publishers' critical eye. A publisher's verdict could mark the end of the road for a book project, or be the spark to ignite a new career. Online publishing has eliminated this scrutinizing selection process, removing any middle men in its path. The likes of Blurb, Lulu, AsukaBook and Apple among many others, have put an end to slaving over a book proposal, adhering to publisher's list of demands, and enduring a nail biting wait for a decision."

"Creating a Transmedia Symphony I re-read the article in Wired on transmedia today, and found it as good a read as the first time. Coming to the last paragraph I read Jeff Gomez's comment about transmedia and the birth of a new Mozart, "We are going to see visionaries who understand the value of each media platform as if it's a separate musical instrument, who'll create symphonic narratives which leverage each of these multimedia platforms in a way that will create something we haven't encountered yet." This rings true for me as an analogy of what many of us are trying to create. The question that popped up in my head was, however, "but hey, how do you create a "normal" symphony?". Lo and behold, a Google search later I found this wikihow on, yes, how to create a symphony. After reading it, the analogy rings truer still. So, to translate the creation of a "normal" symphony to the creation of a transmedia symphony, these would/could be the steps to take:"

links he mentions in the session quest for identity: http://www.time.com/time/video/player/0,32068,62483906001_1958977,00.html pakistan: http://www.telegraph.co.uk/news/worldnews/asia/pakistan/7614290/Ziyah-Gafic-Precious-possessions-in-Pakistan.html troubled islam: http://fabrika.com/ziyo/files/web_web.swf

Michael Kamber of the NYT on Iraq, embedding and photojournalism in conflict zones

Adam Broomberg talks about how to get a project finished and distributed

Ed Kashi talks about his work

Fred Ritchin talks about the impact of digital media and multimeida

Wimba Classroom 6.0 Participant Guide This Help Guide is designed to assist you with Wimba Classroom to participate in an interactive session or view an archived presentation. You will also find information for solving technical problems.

session 1 09.00-11.00 links tracey fahy http://traceyfahy.photoshelter.com/gallery-list jo ellicott http://joellicott.photoshelter.com/gallery-list italo http://italomv.photoshelter.com/gallery-list chris helgren http://chelgren.photoshelter.com/gallery/Portfolio/G0000JvpeMduv.pI gemma http://gemmadottravel.photoshelter.com/gallery-list veronika lukasova http://veronikalukasova.photoshelter.com/gallery/Lukasova-MA-tutori... simon bates http://simonbates.photoshelter.com/gallery-list

session 2 12.30-1.30 links jake sugden http://jakesphotography.photoshelter.com/gallery/G0000WkuDcj5e5ik Graham Miller http://photohonesty.photoshelter.com/gallery/Most-Important-people-in-the-World-Honesty/G0000_42yQpLkJsI/ Richard English http://richardenglish.photoshelter.com/gallery-list Dan Weill http://danweill.photoshelter.com/gallery/G0000WdtlkMNjgHs Christina Vazou http://christinavazou.photoshelter.com/gallery-list

part 2 1: the recorder (JP) We begin this unit by exploring the idea of the photographer as a recorder of the world. This session investigates questions of photographic truth and objectivity; the nature of photographic evidence and the ethics of photographic manipulation. It examines photography's earliest history and how its properties and purposes have been imagined from the beginning. Required reading: Batchen, G. (1999) Burning With Desire: The Conception of Photography. Cambridge, Mass: MIT; chapter 1.