Showing posts with label #stayhome. Show all posts
Showing posts with label #stayhome. Show all posts

19.4.22

A Neuroscientist’s Poignant Study of How We Forget Most Things in Life


Any study of memory is, in the main, a study of its frailty. In “Remember,” an engrossing survey of the latest research, Lisa Genova explains that a healthy brain quickly forgets most of what passes into conscious awareness. The fragments of experience that do get encoded into long-term memory are then subject to “creative editing.” To remember an event is to reimagine it; in the reimagining, we inadvertently introduce new information, often colored by our current emotional state. A dream, a suggestion, and even the mere passage of time can warp a memory. It is sobering to realize that three out of four prisoners who are later exonerated through DNA evidence were initially convicted on the basis of eyewitness testimony. “You can be 100 percent confident in your vivid memory,” Genova writes, “and still be 100 percent wrong.”

Forgetfulness is our “default setting,” and that’s a good thing. The sixty or so members of our species whose brains are not sieves have their own diagnosis: highly superior autobiographical memory, or hyperthymesia. While the average person can list no more than ten events for any given year of life, people living with H.S.A.M. “remember in excruciatingly vivid detail the very worst, most painful days of their lives.” The most studied case concerns Solomon Shereshevsky, an early-twentieth-century Russian journalist who, like Borges’s Funes the Memorious, “felt burdened by excessive and often irrelevant information and had enormous difficulty filtering, prioritizing, and forgetting what he didn’t want or need.” Desperate to empty his mind, Shereshevsky practiced, with some success, various visualization exercises: he’d imagine setting fire to his memories or picture them scrawled on a giant chalkboard and then erased. (He also turned to the comforts of the bottle and died of complications from alcoholism, although Genova doesn’t mention this.)

An efficient memory system, Genova writes, involves “a finely orchestrated balancing act between data storage and data disposal.” To retain an encounter, deliberate attention alone will get you most of the way there. “If you don’t have Alzheimer’s and you pay attention to what your partner is saying, you’re going to remember what they said.” (Distracted spouses, take note.) Also, get enough sleep. (An exhausted Yo-Yo Ma once left his eighteenth-century Venetian cello, worth $2.5 million, in the trunk of a New York City yellow cab.) Other strategies include leaning on external cues, such as checklists—every year, U.S. surgeons collectively leave hundreds of surgical instruments inside their patients’ bodies—chunking information into meaningful units, and the method of loci, or visualizing information in a familiar environment. Joshua Foer employed the latter device, also known as a “memory palace,” to win the 2006 U.S. Memory Championship.

The business of “motivated forgetting” is more complicated. Genova advises aspiring amnesiacs to avoid anything that might trigger an unwanted memory. “The more you’re able to leave it alone, the more it will weaken and be forgotten,” she writes. Easier said than done, especially with respect to the recurring, sticky memories that characterize conditions such as P.T.S.D. Here, Genova points to promising therapies that take advantage of the brain’s natural tendency to edit episodic memories with every retrieval. In the safe keeping of a psychiatrist’s office (and sometimes with the benefit of MDMA), a patient deliberately revisits the painful memory “with the intention of introducing changes,” revising and gradually overwriting the panic-inducing memory with a “gentler, emotionally neutral version of what happened.” Not quite “Eternal Sunshine,” but if it works, it works.

Genova, a neuroscientist by training, has spent most of her working life writing fiction about characters with various neurological maladies. Her novel “Still Alice,” from 2007, centered on a Harvard psychology professor who is diagnosed with early-onset Alzheimer’s. In “Remember,” her first nonfiction work, Genova assures her readers that only two per cent of Alzheimer’s cases are of the strictly inherited, early-onset kind. For most of us, our chances of developing the disease are highly amenable to interventions, as it takes fifteen to twenty years for the amyloid plaque that is mounting in our brains to reach a tipping point, “triggering a molecular cascade that causes tangles, neuroinflammation, cell death, and pathological forgetting.” What do those interventions look like? Genova’s guidance is backed by current science, but is mostly just parental: exercise, avoid chronic stress, adopt a Mediterranean diet, and enjoy your morning coffee—but not so much as to compromise deep sleep, which is when “your glial cells flush away any metabolic debris that has accumulated in your synapses.”

One of the more interesting studies that Genova cites followed six hundred and seventy-eight elderly nuns over two decades, subjecting them to all manner of physical and cognitive tests. When a nun died, her brain was collected for autopsy. Curiously, a number of the nuns whose brains showed plaques, tangles, and shrinkage exhibited “no behavioral signs” of Alzheimer’s disease. The researchers theorized that these nuns had a high degree of “cognitive reserve”; they tended to have more years of formal education, active social lives, and mentally stimulating hobbies. Even as many old neural pathways collapsed, they were paving “new neural roads” and taking detours along as-yet undamaged connections, thereby masking, if not postponing, the onset of the disease. All pretty straightforward. Now all we have to do is build a society in which everyone has the time and resources for adequate sleep, exercise, nutrition, self-care, and a few good hobbies.

14.4.21

24 Hummingbird Flowers to Attract Pollinators to Your Yard


When you start to design your garden or landscape, you should consider including hummingbird flowers. They’re bright, cheerful, and they can produce large flowers throughout the spring and summer months. 

They come in a large range of colors, shapes, and styles that can fill in your landscape and line up as excellent walkway edging plants. As a bonus, many hummingbird flowers have a sweet scent that draws pollinators to your yard like bees, and they can fill the air as you go out and enjoy the warm months. Many of them are great for novice gardeners because they’re not difficult to maintain.

If you’ve never heard of hummingbird flowers before, or you want more variety to add to your landscape, this is for you. I’ve picked out several bright and cheerful hummingbird flowers you can plant around your yard. Some of them are larger bush-type plants, and many of them fit nicely in containers. Whatever design aesthetic you want, there are hummingbird flowers available for you. 


www.happydiyhome.com 

12.4.21

Brazil’s COVID-19 Crisis and Jair Bolsonaro’s Presidential Chaos

In the past few weeks, Brazil has had the world’s highest covid-19 death count, a predicament which seems to have been driven by Jair Bolsonaro’s response to the crisis.Photograph by Lalo de Almeida / Folhapress / Panos Pictures / Redux

Is the President’s do-nothing approach to the pandemic finally becoming a threat to his political future?

Among the images by the Brazilian photographer Mauricio Lima that accompanied a recent Times article about his country’s covid-19 crisis, two tell a story that should feel familiar to Americans. In one, supporters of the country’s populist right-wing leader, President Jair Bolsonaro, many of them draped in the colors of the national flag, protest against lockdown measures. In the other, health-care workers disguised in hazmat suits demonstrate in support of such measures. Other photographs offer glimpses of a society overwhelmed by the pandemic—doctors tending to patients in an emergency field tent, a coffin-maker and a gravedigger at work.

Today, Brazil ranks second only to the United States in the total number of deaths from covid-19, with more than three hundred and fifty thousand fatalities. In the past few weeks, it has had the highest covid death count, and it is the home of the most worrisome variant, P.1, which is now spreading through Brazil’s neighbors in Latin America and several other nations, including the United States. (P.1, which is sometimes called the Manaus variant, for the Amazonian city where it was first detected, last year, is thought to be up to almost two and a half times more transmissible than the other known covid variants. Thousands of people have already died of covid-19 in Manaus, from where it spread throughout the Amazon region.) A third of all covid-19 deaths are now occurring in Brazil, which has less than three per cent of the global population, and the country’s vaccination rollout has been slow—about twelve doses per hundred people. (Chile, by contrast, has delivered sixty-two doses per hundred.)

On April 5th, with close to four thousand Brazilians dying every day, some from asphyxiation due to a lack of oxygen supplies, and the I.C.U.s of many Brazilian hospitals at near-maximum capacity, an opinion piece published by the authoritative British Medical Journal argued that the colossal scale of Brazil’s health emergency could have been avoided. The authors, three Brazilian medical professionals, state that Bolsonaro has been intentionally negligent in adopting a strategy to “achieve herd immunity through contagion.” They conclude, “In our opinion, the federal government’s stance may constitute a crime against humanity.”

Brazil’s predicament does seem to have been driven by Bolsonaro’s responses, which have been imitative of those adopted by former President Donald Trump, whom he openly admires. From the outset of the crisis, Bolsonaro has waffled on mask-wearing, opposed lockdowns, promoted hydroxychloroquine as a preventative remedy, and eschewed a federal response to the pandemic. In public statements, he has derided covid-19 as “mere sniffles,” while telling Brazilians that “we all have to die sometime.” Even after he contracted the virus himself, he rarely wore a mask in public. Most recently, he berated Brazilians for “whining” and told them to stop being “sissies,” while discouraging them from getting vaccinations—and joking that, if they do, they might “turn into crocodiles.”

He has also inveighed against governors and mayors who sought to mandate lockdowns, on the ground that they violated individual freedoms and would harm the economy, and said that he would not deploy “his” troops to enforce such measures. And his government initially did nothing when pharmaceutical manufacturers started making vaccines available last year, rejecting an offer to buy tens of millions of doses from Pfizer and publicly ridiculing China’s vaccine program; the then foreign minister, Ernesto Araújo, accused China of intentionally spreading covid-19, which he called the “communavirus.”

Bolsonaro’s do-nothing approach to the pandemic notwithstanding, his popularity among his base, which accounts for some thirty per cent of the electorate, has remained steady. But, in recent weeks, other pillars of his support—including in the military and the powerful agribusiness sector, and also a right-of-center coalition in the National Congress—have begun expressing discomfort, leading to talk in political circles of possible impeachment proceedings against him. In a country where two Presidents have been impeached in the past thirty years, such talk has to be taken seriously. And it follows a Supreme Court decision last month to annul the criminal convictions of Bolsonaro’s nemesis, the former President Luiz Inácio Lula da Silva, who is now free to run for office again. All of which is said to have Bolsonaro extremely worried for his political survival. The next Presidential election is scheduled for October of 2022. Lula has not yet declared his candidacy, but it is widely assumed that he will do so; recent polls show him ahead of Bolsonaro.

Then came a stunning cabinet shakeup last month, which saw the replacement of Bolsonaro’s health minister (the fourth in a year) and the resignations of his foreign minister, Araújo, and defense minister, Fernando Azevedo e Silva, followed by those of the chiefs of the Air Force, the Navy, and the Army. (In all, six cabinet ministers left office.) There were rumors that Bolsonaro had attempted to involve the military in what is traditionally known in Latin America as an autogolpe—a self-coup—wherein leaders seize dictatorial powers in an effort to extend their authority.

It emerged that, in fact, Araújo was asked to resign because members of Congress, as well as figures in the influential agribusiness sector, had complained that his far-right, anti-Beijing rhetoric was upsetting Brazil’s principal customer for soy exports, and also complicating vaccine-purchase negotiations. Bolsonaro apparently fired Azevedo because he had refused to replace the Army commander, General Edson Pujol, who had stressed the need for the military to be independent from politics. In public comments that were seen as a rebuke of Bolsonaro, Pujol and another senior officer had also defended tougher measures against covid. The resignations of Pujol and the other two military chiefs, in solidarity with Azevedo, signified a clear breach between Bolsonaro and the senior military establishment. Azevedo, in his resignation letter, seemed to be speaking for all of them when he said that, during his year in the job, he had “preserved the institutional integrity of the armed forces.”

While Bolsonaro may have alienated some top military officials, he still has significant support among the rank and file, and military men continue to hold many posts in his government, including the Vice-President, Hamilton Mourão. Bolsonaro also replaced the minister of justice with a federal police chief who has worked closely with the so-called Bullet Bench, a congressional lobby that supports a looser gun-ownership law that Bolsonaro has been trying to get approved. Analysts say that the appointment shows Bolsonaro’s intention to curry favor among the police forces and conservative law-enforcement circles more broadly.

Prominent observers, including Oliver Stuenkel, a political scientist at São Paulo’s Getulio Vargas Foundation, think that Bolsonaro is laying plans to stage his own “January 6th,” in order to stay in power, if next year’s elections don’t go well for him. (Already, Bolsonaro, echoing Trump, has been warning of election “fraud.”) Eduardo Bolsonaro, a member of the Chamber of Deputies (the lower house in Congress), who is the most hard-line and outspoken of the President’s four sons, publicly lauded the storming of the Capitol, saying that, if the insurrectionists had “been organized,” they could have kept Trump in the White House. (Eduardo is close to the former Trump adviser Steve Bannon, who named him to represent South America in the Movement, his mooted global organization of right-wing nationalist leaders.)

Stuenkel believes that Bolsonaro is working to shore up his support in the military—at least, among those who have not demonstrated a preference for working in a democratic framework—while also trying to insure that he would have the backup of the military police. “If the Army stands back during a Brazilian January 6th, and the military police are with him,” he said, “I think it could be enough for things to end his way.”

With the cabinet shakeup, then, Bolsonaro has secured some room for political maneuvering, and he is also showing an ability to alter course for survival’s sake. In the past few weeks (and after Lula told Brazilians to “get vaccinated”), Bolsonaro declared that he is in favor of vaccines, after all, even as he continues to promote a questionable “covid kit,” comprising a cocktail of hydroxychloroquine and other drugs, which hospital officials say has unproved benefits and possibly fatal consequences; several Brazilians have reportedly been hospitalized and died after taking it.

Richard Lapper, a longtime British observer of Brazilian politics and the author of the forthcoming book “Beef, Bible and Bullets: Brazil in the Age of Bolsonaro,” told me that, “if Bolsonaro continues with the existing covid policy, he is going to lose the more traditional conservative part of his base and be much more dependent on the hard-line ideological supporters, and that, in turn, sets the scene for much greater conflict.” Lapper predicts that there will be more external pressure on Bolsonaro, too, as the P.1 variant spreads further across Latin America; several neighboring states have already banned flights to and from Brazil.

I recently asked Lula how he views the situation. Last Tuesday, in a WhatsApp message, he replied, “I have said for many years, and history teaches, that when people negate politics, what comes next is always worse. And in Brazil there was a very violent campaign against politics, to take the left out of the government, which ended up resulting in Bolsonaro, in a phenomenon similar to Trump in the United States.” He added, “You overcame Trump, and Brazilian society will overcome this accident called Bolsonaro.”

In the meantime, he said, “We need to speed up vaccinations, provide economic assistance to those who are unemployed and starving, and create a credit line to help micro- and small business. President Bolsonaro needs to stop talking and doing nonsense. But the solution to the coronavirus problem can only be a global one. It is necessary for rich countries to forget geopolitical divergences in order to discuss the production of vaccines and the vaccination of all. What we are experiencing is a war of nature against humanity, and for the time being the only weapon is the vaccine. That is why it has to be transformed into a public good financed by the states, so that the vaccine is guaranteed to all the inhabitants of the planet. We will not beat covid with each country acting individually.” That day, forty-one hundred and ninety-five Brazilians died of covid-19, nearly three thousand more than had died the day before—with, as things currently stand, many more deaths to come.

11.1.21

United Photo Press Member, Photojournalist Alex Burgaz Has Portrayed Life On The Streets For Over 40 Years With 10,000 Photos


Photographs of the participation in the United Photo Press 28th Anniversary book, in the lower right corner the photographer's childhood portrait.


'Street Stories', stories from the world portrayed by Alex Burgaz!

My name is Alex Burgaz and currently, I am a photojournalist (@Buhopress), and a member of United Photo Press with whom I have participated in a book to commemorate the 28 years of the organization

I have been fond of street photography since my very young age. Son of the photographer Jesús Burgaz and relative of Agustí Centelles who, at the same time, I was lucky enough to have them as teachers, I created a photographic project of life, which is now 41 years old. It's called Street Stories.

The project is based on some 10,000 photographs, all of them captured on the streets of Asia, America, Europe and Africa. They immortalize from the simplest day to day to the greatest events of the moment.

All snapshots are ordered chronologically, marking the date and time from 1979 to the present.

The origin

I've been taking photos for as long as I can remember. My father insisted on teaching me and I have always been fascinated. However, I started the Street Stories project at the age of 5, when I was given my first camera (Kodak Instamatic).

My father was an AFC photography teacher during the 70s and 80s, and he took me with him almost every afternoon after school.

Very expert photographers in street photography met there frequently, such as Català Roca, Colom and Maspons, among many others "

They were older and I was always a child with a camera in hand, which was not very common at that time and they were very amused. They spent it between playing with me and giving me great little advice.

This environment and these gentlemen made me fall in love with this type of photography year after year, and that my great project in life was just street photography.

Street Stories not only wants to show a precise moment in each of the snapshots, the intention of the project is to show the evolution of society by viewing the photographs together.

Geographical scope and objectives

The project, within the possibilities, is made in different parts of the world, in order to reflect the difference of progress in different societies, and at the same time, the confluence of them caused by globalization.

The purpose of some photos individually may be informative and historical, but the purpose of the project as a whole is documentary and historical.

The purpose of the project is to reflect social evolution through the years and decades, those small nuances that sometimes seem insignificant, but end up being transcendental.

It is a photographic diary of the history of society and, failing that, of humanity, so the longer it lasts, the more it becomes richer and the more meaning it gains.

The project will last as long as I live, not a day less "

My dream is to live 105 years, so that street stories reach the century, but unfortunately that does not depend on me.

The protagonists

The leading role is for any story that happens in the streets and I also include public places, stories from the most insignificant (everyday life, homeless people, shopping, religions, etc ...) to the most relevant (historical moments, accidents, social conflicts, protests, etc ...).

As with the photographed subjects, from well-known public figures (politicians, artists, etc ...) to the most unknown being on the streets, including myself or even my family, as part of society and this evolution that wants immortalize the project.

Criterion and technique

My criteria is not to follow any criteria, that is, I photograph in a totally neutral way every story that happens in the streets, regardless of what place, what political ideology, what social group, what race or what religion it is.

I use all possible techniques within the world of snapshots, the evolution of the project itself and, at the same time, of its techniques, also reflect the evolution of society in the same way that it tries to do with each of its snapshots. or their sets.

The project tries to convey sadness, pain, melancholy, disappointment, nostalgia, happiness and joy.

It is everything that life itself transmits in each of its moments "

A sample of the photographs from the 'Street Stories' project

70's

Street Stories: 1979-06-14, 12h30m50, Catalunya.


Street Stories: 1979-06-14, 12h30m50, Catalunya. Alex Burgaz / @Buhopress

80's

Street Stories: 1989-05-17 11h23m12, Catalunya

Street Stories: 1989-05-17 11h23m12, Catalunya Alex Burgaz / @Buhopress
Street Stories: 1984-05-26 10h28m13, Catalunya.

Street Stories: 1984-05-26 10h28m13, Catalunya. Alex Burgaz / @Buhopress
Street Stories: 1981-04-03 12h03m11, Catalunya.

Street Stories: 1981-04-03 12h03m11, Catalunya. Alex Burgaz / @Buhopress
Street Stories: 1980-07-30 17h39m59, Catalunya.

Street Stories: 1980-07-30 17h39m59, Catalunya. Alex Burgaz / @Buhopress
Street Stories: 1980-07-17 10h32m05, Catalunya.

Street Stories: 1980-07-17 10h32m05, Catalunya. Alex Burgaz / @Buhopress

Street Stories: 1980-07-04 18h33m50, España.
Street Stories: 1980-07-04 18h33m50, España. Alex Burgaz / @Buhopress
Street Stories: 1980-06-20 12h39m43, Catalunya

Street Stories: 1980-06-20 12h39m43, Catalunya Alex Burgaz / @Buhopress

90's

Street Stories: 1999-08-10 14h01m46, México.

Street Stories: 1999-08-10 14h01m46, México. Alex Burgaz / @Buhopress
Street Stories: 1999-08-05 09h56m13, EEUU.
Street Stories: 1999-08-05 09h56m13, EEUU. Alex Burgaz / @Buhopress
Street Stories: 1999-08-06 18h50m18, EEUU.

Street Stories: 1999-08-06 18h50m18, EEUU. Alex Burgaz / @Buhopress

Street Stories: 1999-08-05 07h54m16, EEUU.

Street Stories: 1999-08-05 07h54m16, EEUU. Alex Burgaz / @Buhopress


Street Stories: 1991-02-23 10h12m34, Catalunya.

Street Stories: 1991-02-23 10h12m34, Catalunya. Alex Burgaz / @Buhopress~

Street Stories: 1990-06-24 15h23m24, Catalunya.

Street Stories: 1990-06-24 15h23m24, Catalunya. Alex Burgaz / @Buhopress

2000's

Street Stories: 2009-07-26 10h38m05, España

Street Stories: 2009-07-26 10h38m05, España Alex Burgaz / @Buhopress
Street Stories: 2009-03-19 10h37m43, España

Street Stories: 2009-03-19 10h37m43, España Alex Burgaz / @Buhopress
Street Stories: 2008-06-09 14h44m35, Cuba.

Street Stories: 2008-06-09 14h44m35, Cuba. Alex Burgaz / @Buhopress
Street Stories: 2008-06-10 18h17m05, Cuba.

Street Stories: 2008-06-10 18h17m05, Cuba. Alex Burgaz / @Buhopress

Street Stories: 2008-06-04 15h37m10, España.

Street Stories: 2008-06-04 15h37m10, España. Alex Burgaz / @Buhopress

Street Stories: 2001-08-17 11h13m51, Tailandia.

Street Stories: 2001-08-17 11h13m51, Tailandia. Alex Burgaz / @Buhopress
Street Stories: 2000-06-05 17h20m49, Republica Dominicana

Street Stories: 2000-06-05 17h20m49, Republica Dominicana Alex Burgaz / @Buhopress

2010's

Street Stories: 2013-07-07 10h52m39, Catalunya.

Street Stories: 2013-07-07 10h52m39, Catalunya. Alex Burgaz / @Buhopress
Street Stories: 2013-09-29 11h15m03, Catalunya.

Street Stories: 2013-09-29 11h15m03, Catalunya. Alex Burgaz / @Buhopress
Street Stories: 2013-07-10 09h33m07, Catalunya.

Street Stories: 2013-07-10 09h33m07, Catalunya. Alex Burgaz / @Buhopress
Street Stories: 2013-07-07 09h50m58, Catalunya.

Street Stories: 2013-07-07 09h50m58, Catalunya. Alex Burgaz / @Buhopress
Street Stories: 2012-12-23 15h38m18, Catalunya.

Street Stories: 2012-12-23 15h38m18, Catalunya. Alex Burgaz / @Buhopress
Street Stories: 2012-05-23 12h01m25, Catalunya.

Street Stories: 2012-05-23 12h01m25, Catalunya. Alex Burgaz / @Buhopress
Street Stories: 2011-06-21 18h50m54, Catalunya.

Street Stories: 2011-06-21 18h50m54, Catalunya. Alex Burgaz / @Buhopress

2020's

Street Stories: 2020-12-17 10h48m57 Catalunya.

Street Stories: 2020-12-17 10h48m57 Catalunya. Alex Burgaz / @Buhopress
Street Stories: 2020-09-10 18h50m15 Catalunya

Street Stories: 2020-09-10 18h50m15 Catalunya Alex Burgaz / @Buhopress

Street Stories: 2020-07-02 20h05m52 Catalunya.

Street Stories: 2020-07-02 20h05m52 Catalunya. Alex Burgaz / @Buhopress
Street Stories: 2020-06-20 19h34m39 Catalunya.

Street Stories: 2020-06-20 19h34m39 Catalunya. Alex Burgaz / @Buhopress
Street Stories: 2020-06-02 19h05m25 Catalunya.

Street Stories: 2020-06-02 19h05m25 Catalunya. Alex Burgaz / @Buhopress
Street Stories: 2020-05-15 10h42m09 Catalunya.

 

(Street Stories: 2020-05-15 10h42m09 Catalunya. Alex Burgaz / @Buhopress)

*Extracted and adapted from the original article in the newspaper "La Vanguardia"

5.1.21

Art installation with 33 meter vulva generates controversy in Brazil

 

Juliana Notari in selfie next to her installation

An artistic installation in the form of a huge vulva is generating controversy in Brazil. While several criticize the project that took 11 months to complete, others celebrate it.

It took 11 months for the Brazilian Juliana Notari's artistic project to be completed - and a few days for the controversy to reach the international press, including the British The Guardian. The huge excavation in the shape of a "vulva / wound" 33 meters high, 16 wide and another six deep, called "Diva", is at the center of a heated debate that is dividing politics and society.

The art installation was unveiled on Saturday in a rural art park in Pernambuco. On Facebook, the artist published a long text explaining that more than 20 men were needed to complete the project and that “Diva” intends to explain issues that refer to “the problematization of gender from a female perspective” and that she intends to also to question the relationship “between nature and culture in our Western phallocentric and anthropocentric society”, themes that have “become increasingly urgent”.

It is in this same publication that comments of displeasure are found, with some reactions even “obscene”. Thousands of critics - most of whom The Guardian associates with supporters of President Jair Bolsonaro - invaded the artist's page angrily, such as “Who do you leftists think you are kidding? Besides useful idiots on the left, of course ”.

This was not, however, the only publication that gave rise to negative comments: even before 2020 ended, the artist published on social media photographs alluding to the project, one of herself in the company of some of the 20 men who helped her build the installation artistic, all of them black. The image brought up racial issues from the water. To Folha de S. Paulo, the artist explains that she was in harmony with the team, although she understands how the image can be interpreted: “I, the team, were in harmony, but when you see the image, it really shows the difference in classes. (…) The image goes beyond the field of art and enters the context of what Brazil is ”.

In addition to the social and racial context, there were those who also accused the work of being transphobic - there are criticisms that point out that not all women have a vagina -, who questioned the need to spend money on projects related to feminist art, instead of social projects , and whoever focused on the environmental issue. But while some question the art of Juliana Notari, others celebrate it: the truth is that the publication accumulates more than 25 thousand comments and has already been shared more than 13 thousand times. To Correio Braziliense, the artist also comments that she will consider constructive criticism in the next works.

https://www.facebook.com/juliana.notari





1.1.21

2021 The Year of Hope for Change


The old year, which will remain in our memories as the worst of our lives, was 'fired' with pomp and circumstance, with brilliance, colors and bang. The year that disappointed us so much already belongs to history. There follows another one with the same or perhaps bigger challenges. But hope and change, as in times of celebration, are all of us and forever.

Hope and Change is a word that I like a lot and that I use regularly in my conversations. "Ho-pe and Chan-ge" has an incredible sound. Perhaps the fact that I value the sounds of each word, the way they are pronounced, the diction and the intensity of the vowels has remained in my childhood. Hope and change is all we need for 2021, which now begins. The vaccine is now the simplest translation of these two words worldwide.

Portugal from today will be ahead of the destinations of the 27 countries in the first six months of this year and will help the economies to recover.

The Brexit theme also deserves a deep reflection, thanks to the British ambassador in Portugal, Chris Sainty. The United Kingdom has been an ally of Portugal for some 600 years and the concerns of this future relationship are great, especially for sectors that depend on exports to lands of her majesty, such as Port wine.

In terms of foreign policy, on the other side of the Atlantic we have strong hopes and changes in our European relationship with the United States, which as of the 20th has a new leadership, that of Joe Biden. The policy of multilateralism should return to the stage as well as the capacity for dialogue - without extremism, racism or Trump complexes -, which will certainly and positively mark a new way of building bridges between all continents.

We will all want to believe that leaders will finally have the ability to break with the dogmas of the past, and I am not just referring to the United States. In Europe, three women stand out for their courage, boldness and strategic vision. At the head, Ursula von der Leyen, the president of the European Commission, also Christine Lagarde, president of the European Central Bank (ECB), and Angela Merkel, chancellor of Germany. These three women today occupy the places that are making a difference in the management of the pandemic and in the congregation of Europe in favor of a greater good: placing above all the strength of the European people, be they frugal or Latin, to win one of the worst crises of recent history. Well, there are those who, in their reality and context, become an example to follow, as well as all men in similar contexts.




Better days will come. 

I take this opportunity to announce the launch of our second book for the celebration of the UPP's 30th anniversary, "UNITED PHOTO PRESS 30 YEARS OF CREATIVE PROJECTS IN BLACK AND WHITE", already available for purchase on our website from this January 1st and the continuation of the exhibitions + book around the world, the first scheduled on April 2, 2021 at the Casa da Cultura in Setúbal with the support of ARTISET. 

With the votes that 2021 will close in a big way, here are a video record by our fellow member of United Photo Press, João Sá e Sousa of the great and well-deserved 2020 farewell in Funchal on the Madeira Islands.


Thanks to all the members of United Photo Press for your effort and dedication in 2020, all together in 2021 we will be even stronger ...!
Carlos Alves de Sousa
President of United Photo Press

24.12.20

Since you're here ...


Since you're here ...


... and it's nearly the end of the year, we have a small favour to ask. 
Many people have turned to the United Photo Press for vital independent quality journalism, photographic exhibitions & books throughout a turbulent and challenging 2020. Readers in 180 countries, now support us financially.

We believe that everyone deserves access to information based on science and truth, and analysis based on authority and integrity. That's why we made a different choice: to keep our report open not only to our members but to all readers, regardless of where they live or how much they can afford. This means that more people can be better informed, united and inspired to carry out significant actions in news, art exhibitions and photographic books, etc... around the world.

In these perilous times, a truth-seeking nonprofit global news & cultural organisation like the United Photo Press is essential. We have no shareholders or billionaire owner, meaning our journalism, exhibitions and photographic books are free from commercial and political influence – this makes us different. When it’s never been more important, our independence allows us to inform fearlessly, and challenge the artists to exhibit uncensored their work.

In this unprecedented year of intersecting crises, we have done just that, with revealing journalism that had real-world impact: the inept handling of the Covid-19 crisis, the Black Lives Matter protests, and the tumultuous US election. We also managed to do 2 international exhibitions with a total of 65 works and 45 artists, and we launched in this troubled pandemic period 2 books for the celebration of 30 years.

If there were ever a time to join us, it is now. Your funding powers our journalism, photographic exhibitions  & books it protects our independence, and ensures we can remain open for all. You can support us through these challenging economic times and enable real-world impact.



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30 YEARS 1990.2020

23.12.20

A retrospective of this pandemic 2020 year of UNITED PHOTO PRESS


WHAT A YEAR !

This was the type of year that no one will want to remember in the future except for the discovery of the vaccine for all ! 

Between greetings to the story and new discoveries, United Photo Press still managed to celebrate the beginning of the celebrations of the 30 years with two international exhibitions + book, and to remember its jubilee with exceptional moments even in times of pandemic.

The holiday season is finally here - which means it's time to spruce up the aisles, bring the pudding and embrace all the bright and happy things. And although we love Christmas, it is sometimes very easy to get lost in the hustle and bustle of holiday preparations. His list of tasks is probably as long as the boss himself. Before Santa Claus slips down the chimney, you have Christmas cookies to bake, a Christmas tree to decorate and lots of gifts to buy. We can't blame you if, when the big event finally arrives, all you want to do is collapse with a glass of eggnog and start a Christmas movie marathon.

Next year 2021, will also be marked by the lauch of fantastic project of the black and white book and exhibitions, to continue the celebration of United Photo Press's 30th anniversary.

We would like to warmly thank all the UPP artists, their guests, partners and the general public who contributed together to make this 30th anniversary celebration so special.

But wait! 
The holiday season is much more than festive decoration and giving yourself luxury - it is a time to focus on celebrating family, friends and the little moments that bring you joy. 


Although this pandemic year is one of festive confinement, 
I wish all a Merry Christmas and a Happy New Year.

Carlos Alves de Sousa

President of United Photo Press 
www.unitedphotopress.com.

15.12.20

Is 'It's a Wonderful Life' better in black and white or color? Stars of the Christmas classic debate


With the purpose of launching the United Photo Press book for the celebration of 30 years of black and white projects, scheduled for Christmas 2020 for members, the films during the holiday season always come to the subject whether they should be in color or in black and White.

Frank Capra’s beloved 1946 classic It’s a Wonderful Life airs like clockwork — and sometimes around the clock — every Christmas season, typically in its original black and white form.

Still, sometimes that controversial colorized version rears its head, like on a new Steelbook Blu-ray of the film released in November, which includes both a remastered black and white version in 4K Ultra HD and as well as a colorized one.

Everyone agrees that the original black and white version of the film is superior, though, right?

Not co-star Karolyn Grimes, who memorably played that “little gingersnap” Zuzu, the youngest daughter of George Bailey (Jimmie Stewart), the downtrodden Bedford Falls fellow who receives a fateful Christmas Eve visit from his guardian angel (Henry Travers), revealing all the good he’s done in his life.

“I know that’ll kill a lot of people, but I love the color,” Grimes says laughing during a recent interview 

It's a Wonderful Life colorized version. (Photo: Paramount Pictures)

From her vantage point, Grimes, 80, has perfectly valid reasoning for her preference. “You know, when I filmed it, it was in color. It was real life,” said the former child star, who stopped acting in the early 1950s. “And that's how I remember my memories of making a film. It was real, not black and white. So for me, a color gives it more reality.”

Co-star Jimmy Hawkins, who played Tommy Bailey, memorable burper and youngest son of George and Mary (Donna Reed), is more of a traditionalist. “I like the black and white version, because that's the way it was shot and meant to be. The depths of the black and the white, a lot of work went into getting that look.”

But Hawkins, who has also authored five books about the film, doesn’t harbor hard feelings for anyone on Team Color.

“A lot of people are purists and they don't want to see the colorized version,” says Hawkins, 79, who also appeared on Leave It to Beaver and The Donna Reed Show. “But I must say I went to San Diego and took my siblings down there to where they colorized the picture. It was brilliant. It really looks like it was shot in color, it isn’t phony. … They did a fabulous job.

“And the kids today aren't really into black and white. So they have this version. I've told people, I don't care if they Polka dot it. If it gets them to watch the movie and gets the message [across], that we're all important, I'm all for it.”


Another reason Grimes prefers the colorized version is the smaller details it helps bring to light. “You watch it so many times that you start looking at things behind the [actors], you look in the background, and you see so many more things in the color version than you do in the black and white, because everything just stands out more. I've had people write to me and want to know what George Bailey and his father had at that last meal before his father died. People like to dissect the film, and it's just really much easier to do in color.” (As for what Grimes says George and his father ate that night? “About the only thing I could see was rolls and salad,” she laughs.)

Both Grimes and Hawkins will tell you, however, that neither Capra nor Stewart approved of the color.

Stewart “wasn’t a big fan,” Hawkins recalls of his conversations with the late actor. “He said it looked like Walt Disney threw up on it.”

“Frank Capra said they bastardized the film,” Grimes remembers.

But both former actors point out that Capra (who died in 1991) and Stewart (who died in 1997) were reacting to the earlier colorizations of the film from Hal Roach Studios in 1986 and Republic Pictures in 1989. The third colorization, by Legend Films in 2007 — the upgrade Hawkins and his siblings saw transferred in San Diego and is included on the new Blu-ray release — has generally been far better received.

Regardless of its coloring, there’s no debate over the enduring legacy of It’s a Wonderful Life.

“It’s the message of the movie,” Hawkins replies when asked what’s made the film still so popular nearly 75 years later. “Each man’s life touches so many others. If they weren’t around, they’d leave an awful hole.”

“It applies to yesterday, today and tomorrow,” Grimes adds. “Every year at Christmas we have this opportunity to reflect on our lives and realize that yes, after we watch George Bailey go through his life, we realize that we really do matter. People care. It’s something that’s important to feel in your life, that you make a difference.”


Kevin Polowy