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

20.9.25

SHARED LIGHTS – 35 Years of United Photo Press


 

SHARED LIGHTS – 35 Years of United Photo Press
International Photography Exhibition
6–31 October – Estúdio de Criação Artística, Largo do Corpo Santo, Funchal, Madeira Island

United Photo Press (UPP) commemorates 35 years of creative excellence with the international photography exhibition “Shared Lights”. Following its debut at the Museu de Eletricidade in Funchal, the exhibition embarks on the next stage of its itinerant journey, taking residence at the Atelier of the Estúdio de Criação Artística, under the auspices of the Department of Culture of the Funchal City Council, from 6 to 31 October.

Featuring a curated selection of iconic and previously unseen works by photographers from around the globe, Shared Lights celebrates the collaborative ethos and visual diversity that have been hallmarks of UPP since its inception in 1990. Light—the fundamental element of photography—is explored here as a metaphor for knowledge, memory, and shared experience, illuminating connections across generations and continents.

The exhibition’s mobility amplifies its cultural reach, forging a closer bond between the art of photography and the Madeiran community, as well as international visitors. Entry is complimentary, offering audiences an immersive and enriching artistic encounter.

In conjunction with the exhibition, UPP will unveil its commemorative 35-year anniversary book, presenting a dialogue between historical and contemporary images. Moreover, in partnership with the Madeiran Association Arca d’Ajuda, the exhibition will feature the submissions and award-winning works from the VI Photographic Marathon.

This initiative is proudly supported by the Funchal City Council, the Parish of São Martinho, the Museu de Eletricidade do Funchal, and the Madeiran Association Arca d’Ajuda, underscoring UPP’s enduring commitment to both the local community and the global dissemination of photographic art.


About United Photo Press
Founded in 1990, United Photo Press is an international association uniting photographers, journalists, artists, and content creators, with a recognized presence across multiple continents. Over three and a half decades, UPP has championed exhibitions, publications, and artistic projects worldwide—from New York to Japan, from Russia to Madeira—establishing itself as a benchmark of creativity, technical rigor, and innovation in contemporary photography.

Press Contact
United Photo Press
Communications & External Relations Office
info@unitedphotopress.net

14.7.25

Shared Lights: 35 Years of United Photo Press

Founded in 1990, United Photo Press was born from the desire to bring together diverse perspectives on the world—capturing life, culture, and the hidden stories in the most unexpected corners of everyday life. Thirty-five years later, in 2025, we celebrate a journey defined by a wealth of visions and by the creation of a truly international community of photographers—both amateur and professional—united by the commitment to tell stories with light.

This path—shaped by encounters, images, and creative persistence—inspired the title of our commemorative project: “Shared Lights.” An expression that symbolizes the collaborative spirit and the ongoing exchange of visual perspectives that define United Photo Press’s DNA. Here, every photograph is more than a record—it is an act of sharing, a spark cast into the shared space of memory and imagination.

To mark this milestone, United Photo Press is preparing the simultaneous launch of a commemorative book and an exhibition, which will feature both iconic images from our extensive archive and previously unseen works, recently captured by members of our network. It will be a celebration of the technical evolution of photography over these decades, but above all, a tribute to its human power—the ability to see, feel, and tell the world through the lens.

Symbolism: Photography, at its core, depends on light—whether natural, reflected, projected, or even imagined. The word “lights” evokes both the technical materiality (the light entering the lens) and the poetic dimension: light as a metaphor for knowledge, memory, hope, and discovery.

Collective Memory: Over 35 years, each captured image is a fragment of history—a flash that records a fleeting moment. These photographed “lights” become part of a collective memory that pulses from North to South of Madeira and beyond regional borders.

United Community: United Photo Press has never been just a name; it has always been a gathering place for sharing. Every issue, every contest, every exhibition—whether physical or digital—marked a convergence of photographers from different generations and styles.

Institutional Collaboration: The act of “sharing” also reflects our partnerships with Associação da Arca da Ajuda, Câmara Municipal do Funchal, Freguesia de São Martinho, and Museu de Eletricidade do Funchal. It proves that this project is rooted in the local community while projecting outward, maintaining a cohesion that has endured for three and a half decades.

To ensure the exhibition is once again the result of a living anthology, we invite current members, alumni, and guests to contribute:

Open theme linked to the concept: Photographs exploring notions of “light” (literal or metaphorical) and “sharing” (encounters, communion of gazes, solidarity, tradition or innovation).

Portraits revealing the “inner light” of people who have contributed to the Madeira community or to the local photography scene.

Records of emblematic places—especially public spaces, historic buildings, urban or rural landscapes where natural light highlights textures and colors.

Sequences (diptychs or triptychs) in which each image “passes the torch” to the next, symbolizing generational succession within United Photo Press.

Formats & Techniques: Any (analog, digital, mixed) so long as the images convey the ideas of “light” and “sharing.” Each member, alumnus, or invited guest may submit up to 10 high-resolution images, accompanied by a brief text (max. 150 words) explaining how their photograph engages with the central concept—or, alternatively, the project that follows the CV introduction as in previous publications. For the exhibition (mandatory for alumni and guests), each author selects up to 3 images for large-format printing.

By choosing a title that highlights “Shared,” we reinforce that this is not just another anniversary but a continuously renewing cycle. Every member who submits an image adds their “light” to the collective archive. Hosting the exhibition at the Museu de Eletricidade—a place where light was generated and transformed for years—creates a symbolic bridge: the light that powered local industry now fuels the artistic creativity of photographers.

“Bring your light. Share a fragment of history that represents your vision—from the most intimate portraits to landscapes rich with memories. Together, we will illuminate United Photo Press’s 35-year journey and inspire new chapters in Madeira photography.”

With this title and concept, we aim not only to honor the past but to spark each member’s creative contribution, ensuring that the exhibition and book genuinely reflect a community that, for 35 years, has photographed and shared lights and stories.

info@unitedphotopress.net

www.unitedphotopress.com

16.5.25

Day 2 at HIGH END Munich: United Photo Press Captures 41 High‑Resolution Demonstrations



On Friday, May 16, 2025, the bustling halls of the MOC Event Center in Munich set the stage for Day 2 of the HIGH END audio show, where United Photo Press dedicated its second day to filming 41 high-resolution demonstrations on the exhibition’s second floor. The HIGH END is renowned as the world’s leading international audio exhibition, bringing together over 500 exhibitors, 1,000 brands, and more than 22,000 visitors from over 40 countries across 30,000 m² of exhibition space. Over its four days, the event unites audio experts, producers, retailers, and music lovers under one roof to explore groundbreaking trends and world premieres in high-fidelity technology.

Beyond loudspeakers and streamers, Hall 1’s WORLD OF HEADPHONES zone has drawn crowds of enthusiasts eager to experience cutting-edge personal audio setups. Walking through the second-floor corridors felt like stepping into a curated sound gallery, where each soundproofed room showcased studio‑grade stereo systems and bespoke acoustic treatments. United Photo Press, a Munich‑based visual storytelling known for creating compelling narratives, leveraged its expertise to bring each listening session to life.

Using state‑of‑the‑art 4K cameras and ambisonic microphone arrays, the team captured every subtle detail of the presentations, from the warmth of tube‑driven amplifiers to the transparency of titanium‑tweeter speakers. Among the 41 recordings, listeners will find an array of demonstrations—from vintage components to modern digital streamers—highlighting the diversity of today’s high‑end audio landscape. The immersive footage oscillates between tight close‑ups of precision-crafted drivers and sweeping chamber views, reflecting United Photo Press’s commitment to both technical rigor and artistic framing.

All 41 videos are now live and can be viewed in high resolution on the United Photo Press Facebook page at www.facebook.com/unitedphotopress

As this edition marks the final Munich appearance of HIGH END before it relocates to Vienna, these recordings serve as a rich audiovisual archive of the show’s storied legacy. We invite readers and fellow audiophiles worldwide to press play and immerse themselves in the art and engineering of high‑fidelity reproduction, captured by United Photo Press at Munich’s grand audio spectacle.

P.S. - All videos have been recorded in high resolution and are best experienced with headphones for optimal audio immersion.

Carlos Alves de Sousa
United Photo Press
www.unitedphotopress.com

10.5.25

United Photo Press Announces 35th Anniversary Book Project

 


United Photo Press Announces 35th Anniversary Book Project


Munich – United Photo Press, a global leader in contemporary photography exhibitions for over three decades, is excited to announce its 35th anniversary. To commemorate this milestone, the organization is inviting UPP members & guests artists worldwide to contribute to a special, limited-edition book titled “Reconnected 35”.

This deluxe hardcover publication will celebrate the rich history and diverse talent of United Photo Press, showcasing the work of both established and emerging artists. To be included in the book, artists are invited to submit an updated photo of themselves, a brief biography, and a selection of 10 high-resolution images.

Submissions are due by June 31, 2025, and can be sent to info@unitedphotopress.net

"We are thrilled to invite our global community of artists to participate in this exciting project,” said Carlos Sousa president at United Photo Press. “This book will serve as a testament to the enduring power of photography and the incredible talent of our artists & guests."

The "Reconnected 35" book is expected to be released worldwide in the first quarter of 2025. Members of United Photo Press & guests can pre-order their copies for a special price, plus shipping.

About United Photo Press

United Photo Press has a long-standing reputation for showcasing innovative and thought-provoking contemporary photography & books. With exhibitions held across four continents, the organization has fostered a global community of artists and photography enthusiasts.


20.4.25

Photojournalist & member of the United Photo Press, Àlex Burgaz captures life on the world's streets for 45 years with over 20,000 photographs



A photograph of Plaça Catalunya in Barcelona, taken on June 14, 1979, marks the beginning of 'Street Stories'. This project comprises over 20,000 photographs taken over the past 45 years. The images showcase everyday or significant situations in various public spaces in cities or towns in Catalonia and around the world. Since last June, the project has been distinguished in the world of photography for its long duration, explained the author and photojournalist Àlex Burgaz to ACN. Born in the Catalan capital, Burgaz currently resides in Juneda (Garrigues). The main objective is to portray the "reality and evolution" of society over time and the "phenomenon of globalisation," he expressed.

The 'Street Stories' project gathers photographs showing "people or moments" ranging from the "most insignificant to more iconic" in towns and cities in Europe, the United States, and Asia, Burgaz explained. "When photographing, I seek snapshots that show the whole reality. Capturing nuances helps explain the social reality of different places, even when there are governments that want to hide it," he said.

In this sense, he hopes the project can surpass a century of history and spread even further around the world because "one of the most important objectives is to define the evolution of society everywhere and show how it converges over the years with the phenomenon of globalisation," he emphasised.

"Africa is no longer the same as it was twenty years ago or, for example, in Barcelona, you used to find very personalised shops, and now almost everything is full of franchises. These changes occur in different places, and you see how the world is becoming more unified. Portraying this evolution is very interesting," he expressed.

Furthermore, the photojournalist explained that "talking with a friend of mine, who is also a photographer, I recently realised that it is probably one of the longest-running street photography projects on record." However, "this initiative is personal and does not seek any economic purpose because it would alter its meaning and essence," he added.

Asked about the photographs that have most marked his career, Burgaz recalled the one he took of a child who was a victim of child slavery in Haiti or the one he was able to take of President Carles Puigdemont at one of the most significant moments of the process. Additionally, the project includes images of the Borges Blanques market in 1980, a pioneer street performer in Barcelona in the 1990s, a floating market in Thailand in 2001, and social conflicts between various groups and the police, among many other themes and images from around the world.

Origin and trajectory of the project

Burgaz became interested in photography as a child because his father and another relative worked as photographers and passed on their passion and knowledge to him. "I tried various styles, but what I liked most was capturing what was happening at every moment," he expressed. Moreover, on his way to school, located in the Gothic Quarter of Barcelona, he observed daily situations that motivated him to photograph them. Thus, in June 1979, he photographed Plaça Catalunya in Barcelona, an image that would become the starting point of 'Street Stories'.

"At first, it was like a personal diary, but I began to see the photographic evolution and note the date and place of each photograph," he commented. However, in the 1980s, he spent "a lot of time thinking about what to photograph because the number of photographs I could take was very limited due to the economic resources I had and the cost of developing the image at the time," he said.

"Initially, the annual volume of photographs was very small, between 50 and 200 a year." The project gained momentum in the late 1990s, with increased economic income and the possibility of travelling to various countries. From 2000 and especially from 2010, the number of images grew exponentially with the advent of digital photography. "Since then, I have surpassed a thousand photographs a year, and, in fact, last year I closed it with around 3,000," he detailed. Currently, about 20,000 photographs are part of the project.


Finally, Burgaz wanted to thank the help received over the past two decades from the United Photo Press and the "unconditional" support of his wife and portraitist, Aide Gutiérrez, with whom he is studying whether the project can be part of the Guinness World Records given its duration, and they have already applied for it.



10.2.25

DON'T Choose a Camera – You Should Be Choosing the Lenses



We've all been there. Whether you're buying your first camera, you're upgrading your current camera, or you're switching brands and systems entirely, you look for the best possible camera body and that's the one you get.

Here's the problem, though: you're doing it completely backwards!

Obviously, choosing the best camera is incredibly important. If it doesn't have the features or the resolution or even the control layout you need, it's not going to do the best job for you.

However, at a certain point, a camera is a camera – and these days, it's actually pretty hard to buy a bad one. So the thing that should really dictate which camera you buy isn't the body itself, but rather the lenses for it.

It sounds obvious, but it's often the last thing that photographers think about. They get wowed by the idea of having a medium format camera like a Fujifilm GFX 50R, or of getting a camera like the Canon EOS R5 that can shoot 8K… but they often don't consider the best camera lenses that will (or, in some cases, won't) go on them. So while picking, for example, the best Canon camera is all well and good, if the best Canon lenses to put on it aren't the ones that you actually want or need, then even the best camera might not be right for you.
So, when you're scoping for a new camera, here are five reasons why you should make your choice based on the lenses, not the body...

1. Price!
This one might seem obvious, but it's not always the case. Many times you'll see a great deal on a camera, or there's an irresistible offer in the Black Friday sales, and you buy a body at a bargain price… but then you get a rude awakening when you see how much the lenses cost.

The Canon EOS RP, for instance, is a brilliantly priced camera that uses the cutting-edge Canon RF mount – but while the camera itself is affordable, many of the RF optics are still very expensive. Likewise, you might grab a Sony A7 III at a bargain price, though the cost of the G Master lens you want may give you palpitations. And while prices are lower than ever for the best medium format cameras, the cost of the best Hasselblad lenses could make your eyes water.

A great camera is no good if you can't afford the glass for it, so make sure that you're buying into an ecosystem that suits your budget!

2. Size & Weight
Here's another area that's under-considered when buying a new camera system. Mirrorless cameras offer a huge size and weight saving over DSLRs – but even if you buy a tiny full-frame mirrorless camera, like the Sigma fp, you're still going to be stuck putting huge full-frame lenses on it.

Maybe you want the best travel camera or the best camera for street photography. Maybe you're sick of carrying a huge camera bag. Or maybe you've got a condition or disability that means you can't physically use heavy kit. Whatever the case, if you want a small system, you have to look at the lenses for it.

This is where a format like Micro Four Thirds comes into its own, as the best Micro Four Thirds lenses are the smallest and lightest on the market. So be aware that a small camera doesn't necessarily mean small lenses!

3. Lens Selection
Again, this one seems so obvious – but photographers often buy into a system and then find themselves having to change a few years later because they can't get the glass that they actually want for it.

If you shoot architectural shots or interiors, for instance, you'll need a system that offers tilt-shift lenses. You may also want other specialist optics, like fisheye lenses, macro lenses, cine lenses and so on… and you'd be surprised how many mounts don't offer these as native options.

Of course, new mirrorless mounts like the Canon RF and Nikon Z were launched with an adapter that enables you to use existing DSLR lenses, and mirrorless camera in general is great for adapting optics from other systems (including vintage lenses), but there are often asterisks involved in terms of performance and compatibility. Speaking of which…

4. Compatibility
This one often catches people out, even if they're buying a new camera from the same manufacturer.

Take the Canon EF-M system, for example. Buying something like a Canon EOS M50 can be a great option, as the camera and lenses are small, affordable and great to use. And it's appealing because you can also use Canon EF and EF-S lenses with a simple adapter. However, if you want to upgrade to a Canon DSLR or RF-mount camera, your EF-M lenses won't work, and you will have to buy those optics all over again.

Ditto if you want to buy a new mirrorless camera and keep your DSLR as a second body; Canon RF and Nikon Z lenses won't physically fit on DSLR cameras. So check and double check whether the lenses you've already got are going to work on the camera you want to get!

5. Future Proofing
Along similar lines, it's really helpful to think about where you and your photography are going to be in five or ten years' time.

Today, buying an APS-C camera might be the right move for you. However, at some point in the future, you might need a camera with a larger sensor or higher resolution. Shooting 24MP photographs or 4K video might be fine for 2021, but will that be sufficient in 2031?

When it comes time to upgrade, you'll want your lenses to carry over to your new system – but as noted, Canon EF-M lenses won't work on Canon's full-frame cameras, and Fujifilm X-mount glass won't work on its medium format bodies. A bit of forward-thinking now can save you heartache – and money – in the future!

James Artaius

28.11.24

Season's Greetings from United Photo Press!



 Season's Greetings from United Photo Press! 


As the festive spirit envelops us, we, the global community of United Photo Press, come together to celebrate the joy of the season.  Through the lens and exhibitions of our shared passion for photography, we've captured moments that transcend borders and unite us in a visual tapestry of diversity.


This Christmas, we extend our heartfelt gratitude to our dedicated members and friends who have contributed their talent, vision, and enthusiasm to our international photography ONG United Photo Press.  Your commitment has illuminated the world with stories that transcend language, connecting us through the universal language of imagery.


May the coming year bring new opportunities to frame narratives that inspire, empower, and bridge cultures. Together, let's continue capturing the beauty that surrounds us and sharing it with the world.


Wishing you a Merry Christmas filled with warmth, creativity, and the joy of shared moments. 
Cheers to a picture-perfect holiday season and a New Year brimming with endless possibilities!
We have big news for our members for new year !


With gratitude
Carlos Alves de Sousa
United Photo Press
unitedphotopress.com
#unitedphotopress

14.1.24

"RECONNECTED" Exhibition by United Photo Press at Ingo Seufert Gallery in Germany




"RECONNECTED: An International Photographic Exhibition by United Photo Press at Ingo Seufert Gallery, Munich, Germany".

The Ingo Seufert Gallery, situated in the picturesque city of Munich, is set to host an international photographic exhibition that is poised to captivate enthusiasts of visual art. The United Photo Press, a distinguished association of photographers, will showcase its latest collection titled "RECONNECTED," a celebration of the diversity and talent within its membership and among its guests.

Scheduled to run from March 13th to March 31st, 2024, the exhibition offers visitors a unique opportunity to explore the world through the lenses of both seasoned and emerging photographers. The name "RECONNECTED" implies a rediscovery, an immersion into narratives and perspectives that transcend borders and cultures.

Having reached its 34th year, United Photo Press has curated an impressive selection of works spanning various themes, from breathtaking landscapes to emotive portraits, capturing moments that transcend time and space. The exhibition stands as a testament to the compelling ability of imagery to narrate stories and evoke emotions.

The Ingo Seufert Gallery, known for its commitment to promoting contemporary visual artists, provides the perfect backdrop for this photographic journey. Organizers are enthusiastic about bringing this international exhibition to Munich, offering local residents and visitors a unique cultural experience.
The vernissage, scheduled for March 13th, will be an opportunity for photography enthusiasts to meet the artists behind the works and delve into the stories that inspired each image. Throughout the exhibition period, Ingo Seufert Gallery will be open to the public, inviting art lovers to explore the extraordinary world of contemporary photography.

"RECONNECTED" promises to be an enriching and inspiring experience, fostering connections among people from different backgrounds through the universal power of imagery. Don't miss the chance to embark on this unique journey at Ingo Seufert Gallery in Munich, Germany, from March 13th to March 31st, 2024.




10.10.23

Israel’s Calamity—and After

A photo lies in the rubble of a building that was hit by rockets in Ashkelon, in southern Israel. Photograph by Amir Cohen / Reuters


In Gaza and Israel, the conflict is intimate; everyone is fighting from home. The fear is general. There is no distance, no escape.

All weekend long, in countless commentaries in the media, in painful telephone calls with friends in Israel, came the march of analogies, the inevitable attempts to make sense of the incomprehensible. Operation Al-Aqsa Flood, the bloody storming of southern Israel that Hamas launched from the Gaza Strip, was, many were saying, the most horrific national tragedy since the Yom Kippur War, in 1973. Others said it was Pearl Harbor. Or the “Israeli 9/11.”

The audacity and brutality of the attack were as astonishing as its secrecy. Early on Saturday morning, Hamas fired more than two thousand missiles into Israel, and bulldozers and fighters easily breached the security fence near the Erez Crossing. In part because Israel had sent so many troops north, to the West Bank, to deal with unrest there—provoked by settlement expansion and settler violence—Hamas faced little resistance as they headed toward towns and kibbutzim in southern Israel to slaughter civilians and take as many hostages as possible. My colleague in Israel, Ruth Margalit, reports how, just before dawn, at the Nova music festival near Kibbutz Re’im, Hamas fighters in pickup trucks and motorcycles descended on crowds of young people as police shouted “Color Red!”—the code for incoming rocket fire. More than two hundred people were killed at the festival alone. In just a couple of days, the number of slain Israelis has, according to news reports, risen to more than eight hundred; at least a hundred and fifty Israeli women, men, and children have been captured and brought back to Gaza as hostages. The images of fear and bloodletting, of ecstatic attack and capture, guarantee that October 7, 2023, will become an indelible tragedy in Jewish history.


ll weekend long, in countless commentaries in the media, in painful telephone calls with friends in Israel, came the march of analogies, the inevitable attempts to make sense of the incomprehensible. Operation Al-Aqsa Flood, the bloody storming of southern Israel that Hamas launched from the Gaza Strip, was, many were saying, the most horrific national tragedy since the Yom Kippur War, in 1973. Others said it was Pearl Harbor. Or the “Israeli 9/11.”

The audacity and brutality of the attack were as astonishing as its secrecy. Early on Saturday morning, Hamas fired more than two thousand missiles into Israel, and bulldozers and fighters easily breached the security fence near the Erez Crossing. In part because Israel had sent so many troops north, to the West Bank, to deal with unrest there—provoked by settlement expansion and settler violence—Hamas faced little resistance as they headed toward towns and kibbutzim in southern Israel to slaughter civilians and take as many hostages as possible. My colleague in Israel, Ruth Margalit, reports how, just before dawn, at the Nova music festival near Kibbutz Re’im, Hamas fighters in pickup trucks and motorcycles descended on crowds of young people as police shouted “Color Red!”—the code for incoming rocket fire. More than two hundred people were killed at the festival alone. In just a couple of days, the number of slain Israelis has, according to news reports, risen to more than eight hundred; at least a hundred and fifty Israeli women, men, and children have been captured and brought back to Gaza as hostages. The images of fear and bloodletting, of ecstatic attack and capture, guarantee that October 7, 2023, will become an indelible tragedy in Jewish history.

Anshel Pfeffer, a political columnist and the author of “Bibi,” a biography of the Israeli Prime Minister, Benjamin Netanyahu, is among the people I talked to who suggested the most apt analogy for the lightning operation was the Tet Offensive, in which Vietcong and North Vietnamese forces executed a surprise attack that did not win the war on the battlefield, but managed to deflate the fighting spirit of the United States and its South Vietnamese allies and undermine support for the war in the U.S. The great difference, of course, is that the Tet Offensive was something that most Americans watched from the safety of their living rooms, on TV, more than eight thousand miles away. In Gaza and Israel, the conflict is intimate; everyone is fighting from home. The fear is general. There is no distance, no escape.

The editor-in-chief of the left-leaning newspaper Haaretz, Aluf Benn, reached further back in history. “This is the worst calamity that Israel has faced since the founding, in 1948,” he said, in a hoarse, exhausted voice, from his office in Tel Aviv. Benn recalled the massacre of Russian Jews in Kishinev, in 1903, though, he added, “These are not the Cossacks. This is the firepower of 2023.”

For Ilana Dayan, one of Israel’s leading investigative journalists and the host of the Channel 12 program “Uvda,” the sense of vulnerability was singular. “Israelis have known so many wars and crises and intifadas, but what we have never experienced is the absence of the state,” she told me. “Even in 1948, there was at least the presence and protection of the mythic yishuv, the community, and, later, there was always the Army. We always had the confidence that this omnipotent Israeli ‘we’ was there. Now we’ve seen people crying for help in this kibbutz or that town. People hiding in closets, crying into their phones for help, and no one coming. People pretending to be dead to save themselves. These are stories from the ghetto. This is the trauma that we haven’t even started to grasp.”

Many Israelis summoned the memory of the Yom Kippur War. In October, 1973, on the holiest day of the Jewish calendar, when the entire country was shut down, the streets empty of traffic, and many were in synagogue, Egypt and Syria commenced an attack into Sinai and the Golan Heights. The Israeli Army suffered terrible losses in the first few days of the war before waging a successful counterattack. Though the fighting ended after less than three weeks, that war is recalled in Israel as a disaster, a cautionary tale of vulnerability and unreadiness. With that symbolic weight in mind, Hamas staged its operation almost exactly fifty years later.

“Still, there is no proper analogy,” a former Israeli national-security official told me. “This is the first time that hostile forces have penetrated Israeli territory and attacked civilian targets, killing women, children, soldiers, elderly people, in a radical way, like isis.”


Within hours of the attack, I was on the receiving end of a spray of WhatsApp messages, none with historical analogies, all with reports of loss, uncertainty, and despair. From just one friend:


Daughter of a friend—missing. Still not known if kidnapped to Gaza or killed at the party down south.

Brother of a friend killed at the party.

Sister of a friend missing from Kibbutz Be’eri, down south. No one knows yet if kidnapped or killed.

The sense of grief and vulnerability is most intense in the south, in the towns and kibbutzim where the attack took place. “People came from Tel Aviv and elsewhere to settle in these southern towns for the quality of life there,” the eminent Israeli historian Anita Shapira told me. “And a place that was the garden of Israel became a scene of horror.” But everyone in the country is now living with rockets, air-raid sirens, nights spent in shelters and safe rooms. Social media is filled with images of fellow-citizens being shot and kidnapped; houses and cars in flames; a white-haired woman in her mid-eighties being driven away in a golf cart by her captors, presumably to Gaza; a much younger woman at a music festival thrown onto a motorcycle as she screams for mercy. “Snuff films,” one Israeli friend called them. And yet, he said, “for some people it’s the only way to discover if their friends or relatives are alive or dead.”

The rage and grief will get only worse in the coming days. The death count is rising all the time. There will be funerals, hundreds of them, many televised, rituals of loss in a tiny nation where everyone knows everyone. Michael Sfard, a prominent left-wing lawyer in Israel who has represented Palestinians in the West Bank and various human-rights organizations, was stunned by the savagery of the attacks. “When you see pure evil it is very hard to digest that humans are capable of it,” he wrote on social media.


The Israeli response, starting with air strikes on Gaza, will be unrelenting. The fatalities there are already in the hundreds and this is just the beginning. More than two million Palestinians live in Gaza. Israel’s defense minister has announced that the area’s electricity, food, and fuel would be cut off; air raids over Gaza are under way. Netanyahu has warned its residents to evacuate. But ever since Hamas came to power, in 2007, the Strip has been blockaded. “Israel, with Egypt’s help, has turned Gaza into an open-air prison,” Omar Shakir, the Israel and Palestine director at Human Rights Watch, has said. How, exactly, does one evacuate?

Until the rise of the latest Israeli government, the most reactionary in the history of Israel, even some of Netanyahu’s fiercest critics have said that he was, compared with many on the right, relatively reluctant to use overwhelming force. “But this changed with this government of horrors,” Aluf Benn, the Haaretz editor, said, referring to Likud’s current parliamentary alliance with far-right parties within Israel. Nearly lost amid the huge, weekly protests over the right’s judicial “reform,” the government has countenanced a rapid rise in the building of settlements in the West Bank. Among some right-wing ministers there is even vocal support for annexation. There have been numerous incidents of settlers humiliating or attacking Palestinians, and of counterattacks from Palestinians. Government leaders have supported Jews coming to Al-Aqsa Mosque, which they know is incendiary.

Without endorsing the bloodshed, some Palestinians outside of Hamas have gone to the media insisting that long decades of occupation and immiseration have led to this tragic point. Mustafa Barghouti, a member of the Palestinian Legislative Council and the general secretary of the Palestinian National Initiative, was among the voices saying that the attack was “the direct result of the continuation of the longest occupation in modern history.” The violence, he told CNN’s Fareed Zakaria, would stop only with “the end of this illegal occupation” and acceptance of Palestinians “as equal human beings.”

Gaza is indisputably a welter of human misery. It is a poor, overcrowded, underemployed landscape of suffering that exists under conditions of enforced isolation; it is ruled within by a corrupt theocratic regime that has not held an election in seventeen years. While the people of Gaza have languished and the world has focussed its attention elsewhere, recent Israeli governments have practiced a minimalist strategy known, in security parlance, as “shrinking the conflict.” The Israeli leadership believed it didn’t need to resolve the conflict with Palestinians in Gaza so much as ameliorate living conditions with occasional modest economic incentives. Its strategy was essentially to try to render the Palestinians invisible. After the Hamas attack, a Haaretz editorial described it as the consequence of a foreign policy that was keyed to “annexation and dispossession” and that “ignored the existence and rights of Palestinians.”

The timing of the assault, though, indicates motivations beyond the scope of the Israeli-Palestinian conflict. Israeli officials have accused Iran of helping plan the attack. According to a report in the Wall Street Journal, officers of Iran’s Islamic Revolutionary Guard Corps had worked with Hamas since August to train for the operation and then “gave the green light” last Monday, in Lebanon. Iranian leaders are deeply concerned about the prospect of closer Saudi-Israeli ties. A rapprochement between the two countries, they fear, might lead to increased American assistance to Riyadh, including nuclear technology; increased economic support from the West to Hamas’s rival in the West Bank, the Palestinian Authority and its eighty-seven-year-old leader Mahmoud Abbas; and a more secure right-wing government in Jerusalem.

The leaders of Hamas and Iran may also have seen opportunity in the deep divisions in Israeli society and the warnings from some Israeli officials, including Dan Harel, a former director general of the Israeli Defense Ministry, that military readiness was in a reduced state. They sensed that the behavior and rhetoric of Netanyahu’s cabinet members had eroded support for Israel in the West.


Both Iranian and Hamas officials have denied that the Iranian regime was involved in the attack, and yet Tehran has long been a crucial supporter and arms supplier to Hamas and to Hezbollah, which is based in southern Lebanon. So far, Hezbollah has not jumped full-force into the conflict. Its arsenal of missiles is vast and far more sophisticated than anything in the possession of Hamas or Islamic Jihad, another, smaller militant group. Escalation into a broader war could be catastrophic. As the author and journalist Ari Shavit told me, “If Hezbollah gets in, it’s Armageddon. Tel Aviv could be hit hard. They’ve got missiles accurate enough to hit power plants and Ben Gurion Airport.”


On an operational level, the crucial outcome of the Hamas incursion was arguably not so much the corpses they left behind in the towns near Gaza as the Israelis, living and dead, whom they brought back as bounty. Hamas leaders remember what happened, seventeen years ago, when they captured one Israeli soldier, Gilad Shalit; it became an Israeli obsession for the next five years until he was finally released in exchange for more than a thousand Palestinian prisoners. One of those prisoners who was released, Yahya Sinwar, is now the second most powerful figure in Hamas, after Ismail Haniyeh.

“Hamas did all this because the prize in their eyes is getting dozens of Israeli hostages,” Anshel Pfeffer told me. “In their minds, they now have the golden goose. This will be a lever to get Israel to release its five thousand Palestinian prisoners. It’s the ultimate symbol of the Palestinian struggle: if you force Israel to do that, you are the unquestioned leader of the Palestinian movement. This renders Abbas and his party, Fatah, irrelevant.”

How did this happen? “Everyone is asking: Why was there such complete blindness from an intelligence point of view?” Ilana Dayan, the investigative reporter, said. Not unlike that of the United States, the security strategy of Israel has come to rely far less on the Army, and more on its Air Force, its Special Forces units, and—critically—its intelligence gathering. And yet Hamas managed to pull off a devastating and brutal surprise attack. “With hundreds, probably thousands, of people involved in this Hamas operation,” Dayan went on, “how come Israel, this cyber-superpower, with the so-called best intelligence operation in the world, a power that can tell you precisely where a Hamas militant meets his mistress and at what time, or in which apartment a militia commander stays and where his bed is located—how come they didn’t know anything about this plan? It is an intelligence fiasco.”

Pfeffer said that for years, Israeli politicians have, despite periodic rounds of violence with militants from Hamas and Islamic Jihad, relegated Gaza to the periphery of their concerns. The security establishment was confident that its arsenal of drones, signals intelligence, phone surveillance, on-the-ground informants, border fences, underground sensors, and, above all, the Iron Dome missile-defense system, would keep Gaza in check.

When I reached Shapira, the historian, at home in Tel Aviv, her outrage at the Israeli leadership was palpable. Shapira is the biographer of David Ben-Gurion, Berl Katznelson, and other pivotal figures in the founding of the state. So long as Israel remains focussed on war, she said, criticism of the security services and the government will be generally restrained. But there will almost certainly be a reckoning—as there had been for Golda Meir and Moshe Dayan, who shouldered much of the blame for the way Israel was caught by surprise in 1973.

“I hope they won’t concentrate on the military leadership but will accuse Bibi himself,” she said. “Bibi is to blame for the fact that the Army was less prepared than it should have been. Bibi for the last ten years cultivated Hamas against the Ramallah government”—the Palestinian Authority and Mahmoud Abbas—“because this was his way to disrupt the possibility that the Palestinians would unite and maybe get a better deal.”

Even before the attack, Shapira, who is in her eighties, had already spoken about her worries about Israel’s future. An outspoken liberal, she had, a week earlier, told Haaretz that she saw a rise of messianism and the diminishment of democratic values and institutions. “I always have days,” she said, “when I think about how to get a European passport”—not for her, “it’s already a lost cause, but for my children and grandchildren.”

Toward the end of our conversation, with the airwaves filled with images of destruction, Shapira told me that two of her grandsons, both in their early twenties, were stationed with the I.D.F. in southern Israel. As a reader of her work, I’ve always found it to be imbued with a sense of scholarly authority and confidence. But now when I asked her what might be ahead, she struggled: “People are so outraged that they are willing to give the Army almost carte blanche in Gaza. On the other hand, what will happen to everyone? What about the captives? Babies and mothers, girls, and old people. This is a situation that we have never seen before.”


David Remnick

1.7.23

National Geographic lays off its last remaining staff writers & photographers



The magazine, which remains among the most read in the U.S., has struggled in the digital era to command the kind of resources that fueled the deep reporting it became known for.

Like one of the endangered species whose impending extinction it has chronicled, National Geographic magazine has been on a relentlessly downward path, struggling for vibrancy in an increasingly unforgiving ecosystem.

On Wednesday, the Washington-based magazine that has surveyed science and the natural world for 135 years reached another difficult passage when it laid off all of its last remaining staff writers.

The cutback — the latest in a series under owner Walt Disney Co. — involves some 19 editorial staffers in all, who were notified in April that these terminations were coming. Article assignments will henceforth be contracted out to freelancers or pieced together by editors. The cuts also eliminated the magazine’s small audio department.

The layoffs were the second over the past nine months, and the fourth since a series of ownership changes began in 2015. In September, Disney removed six top editors in an extraordinary reorganization of the magazine’s editorial operations.

Departing staffers said Wednesday the magazine has curtailed photo contracts that enabled photographers to spend months in the field producing the publication’s iconic images.

In a further cost-cutting move, copies of the famous bright-yellow-bordered print publication will no longer be sold on newsstands in the United States starting next year, the company said in an internal announcement last month.

National Geographic writer Craig Welch noted the moment in a tweet on Wednesday: “My new National Geographic just arrived, which includes my latest feature — my 16th, and my last as a senior writer. … I’ve been so lucky. I got to work w/incredible journalists and tell important, global stories. It’s been an honor.”

The magazine’s current trajectory has been years in the making, set in motion primarily by the epochal decline of print and ascent of digital news and information. In the light-speed world of digital media, National Geographic has remained an almost artisanal product — a monthly magazine whose photos, graphics and articles were sometimes the result of months of research and reporting.

At its peak in the late 1980s, National Geographic reached 12 million subscribers in the United States, and millions more overseas. Many of its devotees so savored its illumination of other worlds — space, the depths of the ocean, little-seen parts of the planet — that they stacked old issues into piles that cluttered attics and basements.

It remains among the most widely read magazines in America, at a time when magazines are no longer widely read. At the end of 2022, it had just under 1.8 million subscribers, according to the authoritative Alliance for Audited Media.

National Geographic was launched by Washington’s National Geographic Society, a foundation formed by 33 academics, scientists and would-be adventurers, including Alexander Graham Bell. The magazine was initially sold to the public as a perk for joining the society. It grew into a stand-alone publication slowly but steadily, reaching 1 million subscribers by the 1930s.

The magazine was eventually surpassed for profits and attention by the society’s video operations, including its flagship National Geographic cable channel and Nat Geo Wild, a channel focused on animals. While they produced documentaries equal in quality to the magazine’s rigorous reporting, the channels — managed by Rupert Murdoch’s 21st Century Fox — also aired pseudoscientific entertainment programming about UFOs and reality series like “Sharks vs. Tunas” at odds with the society’s original high-minded vision.

The magazine’s place of honor continued to dim through a series of corporate reshufflings that began in 2015 when the Society agreed to form a for-profit partnership with 21st Century Fox, which took majority control in exchange for $725 million. The partnership came under the Disney banner in 2019 as part of a massive $71 billion deal between Fox and Disney.

Among those who lost their jobs in the latest layoff was Debra Adams Simmons, who only last September was promoted to vice president of diversity, equity and inclusion at National Geographic Media, the entity that oversees the magazine and website.

At the time, David Miller, executive vice president of National Geographic Media, said the magazine was “realigning key departments to help deepen engagement with our readers while also nurturing existing business models and developing new lines of revenue.”

In an email to The Post on Wednesday, National Geographic spokesperson Chris Albert said staffing changes will not affect the company’s plans to continue publishing a monthly magazine “but rather give us more flexibility to tell different stories and meet our audiences where they are across our many platforms.”

Paul Farhi / WP

12.5.23

Munich High-End 2023



I’ll be back. Come again? It’s the annual HighEnd show taking place this month at Munich’s MOC. In parallel, the Hifi Deluxe event beckons like a cuckoo’s nest at the nearby Marriott Hotel. While many makers follow tradition by springing their novelties on an unsuspecting public come show day, others find that divulging their latest ‘n’ greatest ahead of time drives far more guaranteed traffic to their exhibits. And let’s face it, this is one huge event. Attendees suffer sensory overload already a few hours into their first day. A few late nights later, it’s a zoo of headless chickens. That makes it all too easy to miss things only to see ‘em in sundry post-show reports and think, “by tarnation, I’d have loved to have seen and heard that”. To preload your plate with a few items you might find of interest, here goes:


Axxess Acoustics is the fourth and latest brand of the Audio Group Denmark umbrella which also operates Aavik, Ansuz and Børresen. A lot of their kit aims at ne plus ultra kaboodle to mean stickers commensurate with Hifi Formula 1. The aptly named Axxess now means to romance less turbo-charged budgets though tractors are still out. Their first product is the Forté platform, FutureFi which combines a DAC, preamp, streamer, amp and headphone amp in one case. It means two USB host ports, RJ45, USB Audio, BNC and Toslink plus one analog input and a variable pre-out. The internal amplifier is based on a 100wpc Pascal class D module driven from a resonant-mode switching power supply said to increase operating frequency and peak power. The DAC is a 1-bit type developed in house “for faster data processing and insensitivity to noise”. The streamer module incorporates Aavik precedents to shun microcomputers. The headfi section operates in class A. Proprietary high-frequency noise attenuation includes Ansuz Tesla coils. It’s the amount of built-in noise filtering which distinguishes the Forté 1 [€5.5K], Forté 2 [8K] and Forté 3 [€11K]. The three models otherwise share identical featurization and the same chassis which combines metal with composite plates and industrial design by Flemming Rasmussen, original founder of Gryphon Audio Design.


At the AudioNEXT booth, check out Sino brand Cen.Grand for whom 2023 is the debutante ball to global export. Having reviewed their flagship headphone amp and DSD1’024 DAC, I’m convinced the brand is this year’s Denafrips discovery. Depending on what their German importer bought in for Munich, brand new are this dedicated preamp and pair of 1’000-watt class AB monos. A network player with novel ‘synchronous’ connection was previewed at this year’s Beijing show and should start shipping by October. Perhaps AudioNEXT will have a sample of that as well?


As the Bang & Olufsen of France, Devialet will bring Gallic Mania to the proceedings. Priced from $790 – $990, it’s a portable all-in affair of a “360° stereo sound” speaker with four small wideband drivers, two woofers and (cough) bandwidth from 30Hz-20kHz. But there’s also WiFi, Bluetooth 5.0, Spotify Connect and AirPlay 2. For juice on the go a 3’200mAh battery builds in. This balcony, porch or beach party affair measures just 18x19x14cm and lengthens our arm by only 2.3kg. Various trim levels apply. At first glance we might dismissively think Sharper Image catalogue or a retail emporium like Harrods of London so a glitz blitz with little sonic substance. But Devialet have proven already that despite very noisy marketing laden with whiz-bang acronyms, they’ve also got excellent engineering and manufacturing chops on their side.


Estelon of Estonia have always promoted very costly ceramic Accuton drivers and sculpturesque composite cabinets to position themselves firmly in our hobby’s higher heavens. So even their new entry speaker Aura [€17.5K/pr] sits where other portfolios would run out of breath, not kick-off. But for those of us dreaming of a hot rod inside a banger chassis, Aura could be just the thing. Simply ditch the banger bit. Whilst these drivers go ‘soft’ by way of a ScanSpeak Illuminator textile tweeter set into an oval waveguide bracketed by two 5” SB Acoustic Satori papyrus- paper mids plus a 10” down-firing sealed paper woofer from Faital, the enclosure remains very curvaceous synthetic stone. Available in white or black, that means true Bay Watch lookers. The filter network includes custom OFC air-core inductors, supercap-type capacitors and wire-wound resistors pair-matched then wired point to point into Cardas terminals.


Poland’s Ferrum Audio is part of HEM, a company that also does OEM/ODM work and hifi distribution. They used to design/build Mytek kit before branching out into their own brand. That’s named for iron-ore deposits close to their hometown of Warsaw. Their newest product is the Wandla flagship DAC built around an ESS 9038 chip. There’s IR remote, a remote app, a choice of buffered digital on-chip/analog Muses or no volume, one analog RCA input, RCA/XLR outputs and on the digital input side, USB-C, coax, AES/EBU, Toslink plus I2S and ARC via HDMI. Where Wandla leaves the usual reservation is with a touch screen, extensive menu options and their proprietary Serce processor board. That handles signal routing, DSP even I/V conversion. As part of their custom DSP, Ferrum have installed user-selectable filters including some custom filters from HQPlayer. There’s MQA, PCM up to 32/768 and DSD up to 256. The initial I2S pin configuration follows the PS Audio standard shared with Denafrips, Jay’s and Singxer. As requests arise, Ferrum will add alternates by firmware update. Lastly, Wandla can be powered by the company’s hybrid Hypsos power supply as part of their in-house upgrade path.


China’s FiiO has its new FT3 [349] full-size headphones looking to compete against a Darko/6moons favorite, Meze’s 99 Classic. Tucked beneath alpha-male ear cups are N52-powered 2.4-inch dynamic drivers with diamond-like carbon membranes and beryllium-plated gaskets. Voice coil wiring is all of 0.035mm thick, load behaviour 350Ω. 391g of weight will wear slightly on the heavy side. Included are a 3m 23-gauge mono-crystal copper cable, 6.3mm adapter and both pleather and suede pads for some custom tuning.


iFi’s world of budget wonders expands with two novelties for the show. The first is the LAN Silencer [€89], a self-powered inline galvanic isolator aka noise stripper for networked audio. The second is something quite gnarly called GO pod which turns wired IEM into wireless wonders. iFi have collaborated with 64 audio, craft ears, Meze, Symphonium and Westone to bundle select IEM. After the first 1’000 combos are gone, raw GO pods will sell with “loops for MMCX and 2-pin IEM, Pentaconn, T2 and A2DC connectors” to mate with other IEMs. There’s a charging case with 1’500mAH battery. A pair of pods is said to last for up to seven hours whilst the case will refuel them multiple times for up to 35 hours total. Qualcomm’s Snapdragon handles Bluetooth 5.2 with QCC144 processor. Supported codecs are LDAC/HDC up to 32-bit/96kHz. The Cirrus Logic MasterHifi DAC has five user-selectable digital interpolation filters. The volume control is analog, the built-in mic is augmented by Qualcomm’s cVC noise suppression tech. There’s true wireless mirroring and the analog output stage is balanced and discrete.


Lotoo of China will show their battery-power portable Mjölnir all-in-one in the booth of German importer audioNEXT GmbH. Main specs are an AK4499 DAC, 2.5wpc/32Ω balanced power, Roon/AirPlay support, 94Wh battery and 2.7kg of mass. Analog outputs are on XLR and RCA and there are digital i/o, an SD card slot and USB media port. Should the design conjure up Nagra, that’s no coincidence. For more entry-level kit which the storied Swiss brand can’t manufacture in their own Lausanne facility to hit intended price points—I’m thinking of my small portable recorder—they collaborate with Lotoo. Given such credibility at stake, we might say that Nagra has pre- shopped mainland China suppliers on our behalf so that when we go Lotoo, we’re fully Nagra approved. At least that’s what my wallet tells itself.


Mobile Fidelity from the US has the latest Andrew Jones coaxial design, the SourcePoint 8 [$3K/pr] with a 1.25″ soft dome in the throat of an 8″ paper-pulp mid/woofer crossed over at 1.6kHz. Measuring 18×11.4×13.2″ Hx”xD and weighing 28lbs, this speaker is 87dB sensitive and never drops below 6.4Ω. Finish options are black ash, satin walnut or satin white.


Q Acoustics from the UK has the new 5000 models to show. With the familiar form factors and driver tech as their flagship Concept range, the baffles are laminated with butyl rubber and black acrylic for vibration damping. Finish options span a generous satin black/white, rosewood or oak.


If salt and pepper are what chefs call seasoning, tubes and solid state are hifi’s equivalent. How to get both into one shaker Rogue Audio show with their new DragoN monos which embed a 12AU7 voltage-gain stage in the loop of an nCore class D power module whilst running the lot off a classic linear not switching power supply.


More wicked than the witches of Eastwich is Soundsmith with its new MosTube One, “a long-lived solid-state replacement for the most popular power tubes featuring extreme stability, automatic matching, no adjustments, tube-type 2nd-harmonic flavor and an automatic 30-50% power increase. Replaces 6550, KT66 through KT150, EL34, 6L6 and more.” Before you think April’s fool, Brinkmann and Schiit have already done this for some of their own models. Soundsmith is simply the first to propose rolling transistor outputs into any valve amp with the right tubes.


German pro-audio brand spl has crossed into ConFit (Fi fit for consumers) years ago. Its new Phonitor 3 [€2’599] might actually straddle the prosumer fence by adding mastering features like adjustable cross feed, soundstage angle and width, stereo/mono and more. Two VU meters shout mastering console but McIntosh devotees would demure by demanding VU meters at home. This deck also includes a premium DAC and pre-amp outputs.

// Intermission. Toilet break. Head over to the Frankfurter stand between the atriums for some Germanic calories. Chew the fat with other showgoers. Stomach duly fortified, Pilsner swallowed, you’re now ready to spend big; or at least pretend you could. //


For that, take the shuttle over to the Marriott Hotel where Acapella Audio Arts from Germany will show off its new Hyperion. Think 2.5 meters tall and 300kg each. Think 4 x 15-inch woofers; per side. In stereo, that becomes the equivalent of one compound 42.5” woofer! But there’s more. Think 2.5” midrange loaded into a 78cm diameter hyper-spherical horn. Think horn-loaded ion tweeter with essentially zero mass. Outboard crossovers weigh 30kg each. If you need to ask about the price, you’re categorically in the wrong place. So don’t ask. Just sit down politely and hear how the Jones listen.

If Børresen finalizes its new M6 loudspeaker in time, that’ll be another occasion to spend vicariously; to the tune of €540’000/pr I’m told. If not, you could slum it with the €260’000 M3, a 5- driver 2.5-way tower whose drivers rock ultra-light composite cones with N52 motors, solid-silver pole pieces and baskets 3D-printed from zirconium. Anything that fits into the factory’s own vats is deep-cryo’d to boot; and the crossovers incorporate active analog dither spun off sonar radar tech plus active Tesla coils.


For another me-and Mrs.-Jones deed, consider the Clarisys Audio exhibit with their Auditorium dipoles driven in Munich by a full Soulution stack. If you didn’t know, Clarisys of CH is Apogee Acoustics reborn. Of sorts. The company does host an Apogee restoration panel to help owners of Jason Bloom speakers which need repairs. Hence their own products continue where Mr. Bloom left off. That makes this an ideal opportunity to sample true 3-way ribbon speakers at the very top of that game. Think 2m tall, 210kg a side and extreme resolution.


Speaking of ribbons, I would check out Raal-Requisite’s new CA-1a, [€2-2.5K], its circumaural follow-up on the winged AKG K-1000 reminiscent SR1a. It comes with a new impedance interface to run off any standard headphone amp. The Serbian designer is keen for us to know that these are far more than SR1a with ear cups to feature all-new motors and more. Some people are all hot for headfi, others bothered. Even if you’re amongst the latter, don’t miss an opportunity to hear what might be one of the best headphones extant. It may not convert you; but at least you’ll have a renewed respect for what’s possible.


To go gaga over what cost no object can look like in turntables, this year Thorens celebrate its 140th year of operations and bow its New Reference priced “between the Airforce Zero and Nagra Reference”. Designed by Helmut Thiele, its active vibration isolation is from Germany’s Seismion to exploit piezoelectric acceleration sensors in a system called sky-hook damping. This collaborates with an adaptive levelling system with 20μm tolerance. The three-phase synchronous belt-drive motor is powered by three linear amplifiers with 120° phase-shifted signals. The bearing is a hydrodynamic type. The speed controller is based on two precision quartz oscillators with a claimed 3ppm max deviation over 20 years. The table can be fitted with up to three bases to suit tonearms from 9″ to 12″.


Not to be left out to dry, VPI Industries will counter with its new magnetic direct-drive table, the €60’000 aptly named Titan Direct.


If you’re still in the mood for rarefied air but speakers in particular, check out the Monitor Audio Group’s finalized Hyphn [€82’500/pr] which last year merely previewed. I think of it as an ‘inverted’ KEF Blade whose coax executes with seven discrete drivers; whose outfiring quad-woofer array fires inward. It’s an 11-driver dual-concentric 3-way with force-cancelling 8” woofers and 6 x 2″ flat-membrane drivers encircling Monitor’s own MDP III aka AMT tweeter-like flower petals. Loaded into the central slot are two pairs of face-to-face so self-damping woofers. Available matte finishes are white, black and heritage green. Each half of the thermoformed mineral-loaded acrylic ‘H’ enclosure obscures a vertical down-firing ~50cm long large-diameter 26Hz port tube for -6dB/16Hz extension.

by Srajan
Darko

22.4.23

World Earth Day 2023


THE FIRST EARTH DAY

Every year on April 22, Earth Day marks the anniversary of the birth of the modern environmental movement in 1970.

Let’s take a look at the last half-century of mobilization for action:

ORIGINS OF EARTH DAY

In the decades leading up to the first Earth Day, Americans were consuming vast amounts of leaded gas through massive and inefficient automobiles. Industry belched out smoke and sludge with little fear of the consequences from either the law or bad press. Air pollution was commonly accepted as the smell of prosperity. Until this point, mainstream America remained largely oblivious to environmental concerns and how a polluted environment threatens human health.


However, the stage was set for change with the publication of Rachel Carson’s New York Times bestseller Silent Spring in 1962. The book represented a watershed moment, selling more than 500,000 copies in 24 countries as it raised public awareness and concern for living organisms, the environment and the inextricable links between pollution and public health.

Earth Day 1970 would come to provide a voice to this emerging environmental consciousness, and putting environmental concerns on the front page.

THE IDEA FOR THE FIRST EARTH DAY

Senator Gaylord Nelson, the junior senator from Wisconsin, had long been concerned about the deteriorating environment in the United States. Then in January 1969, he and many others witnessed the ravages of a massive oil spill in Santa Barbara, California. Inspired by the student anti-war movement, Senator Nelson wanted to infuse the energy of student anti-war protests with an emerging public consciousness about air and water pollution. Senator Nelson announced the idea for a teach-in on college campuses to the national media, and persuaded Pete McCloskey, a conservation-minded Republican Congressman, to serve as his co-chair. They recruited Denis Hayes, a young activist, to organize the campus teach-ins and they choose April 22, a weekday falling between Spring Break and Final Exams, to maximize the greatest student participation.


Recognizing its potential to inspire all Americans, Hayes built a national staff of 85 to promote events across the land and the effort soon broadened to include a wide range of organizations, faith groups, and others. They changed the name to Earth Day, which immediately sparked national media attention, and caught on across the country. Earth Day inspired 20 million Americans — at the time, 10% of the total population of the United States — to take to the streets, parks and auditoriums to demonstrate against the impacts of 150 years of industrial development which had left a growing legacy of serious human health impacts. Thousands of colleges and universities organized protests against the deterioration of the environment and there were massive coast-to-coast rallies in cities, towns, and communities.


Groups that had been fighting individually against oil spills, polluting factories and power plants, raw sewage, toxic dumps, pesticides, freeways, the loss of wilderness and the extinction of wildlife united on Earth Day around these shared common values. Earth Day 1970 achieved a rare political alignment, enlisting support from Republicans and Democrats, rich and poor, urban dwellers and farmers, business and labor leaders. By the end of 1970, the first Earth Day led to the creation of the United States Environmental Protection Agency and the passage of other first of their kind environmental laws, including the National Environmental Education Act, the Occupational Safety and Health Act, and the Clean Air Act. Two years later Congress passed the Clean Water Act. A year after that, Congress passed the Endangered Species Act and soon after the Federal Insecticide, Fungicide, and Rodenticide Act. These laws have protected millions of men, women and children from disease and death and have protected hundreds of species from extinction.

1990: EARTH DAY GOES GLOBAL

As 1990 approached, a group of environmental leaders approached Denis Hayes to once again organize another major campaign for the planet. This time, Earth Day went global, mobilizing 200 million people in 141 countries and lifting environmental issues onto the world stage. Earth Day 1990 gave a huge boost to recycling efforts worldwide and helped pave the way for the 1992 United Nations Earth Summit in Rio de Janeiro. It also prompted President Bill Clinton to award Senator Nelson the Presidential Medal of Freedom — the highest honor given to civilians in the United States — for his role as Earth Day founder.

EARTH DAY FOR A NEW MILLENNIUM

As the millennium approached, Hayes agreed to spearhead another campaign, this time focused on global warming and a push for clean energy. With 5,000 environmental groups in a record 184 countries reaching out to hundreds of millions of people, Earth Day 2000 built both global and local conversations, leveraging the power of the Internet to organize activists around the world, while also featuring a drum chain that traveled from village to village in Gabon, Africa. Hundreds of thousands of people also gathered on the National Mall in Washington, DC for a First Amendment Rally.


30 years on, Earth Day 2000 sent world leaders a loud and clear message: Citizens around the world wanted quick and decisive action on global warming and clean energy.

EARTH DAY 2010

As in 1970, Earth Day 2010 came at a time of great challenge for the environmental community to combat the cynicism of climate change deniers, well-funded oil lobbyists, reticent politicians, a disinterested public, and a divided environmental community with the collective power of global environmental activism. In the face of these challenges, Earth Day prevailed and EARTHDAY.ORG reestablished Earth Day as a major moment for global action for the environment.

Over the decades, EARTHDAY.ORG has brought hundreds of millions of people into the environmental movement, creating opportunities for civic engagement and volunteerism in 193 countries. Earth Day engages more than 1 billion people every year and has become a major stepping stone along the pathway of engagement around the protection of the planet.

EARTH DAY TODAY

Today, Earth Day is widely recognized as the largest secular observance in the world, marked by more than a billion people every year as a day of action to change human behavior and create global, national and local policy changes.

Now, the fight for a clean environment continues with increasing urgency, as the ravages of climate change become more and more apparent every day.

As the awareness of our climate crisis grows, so does civil society mobilization, which is reaching a fever pitch across the globe today. Disillusioned by the low level of ambition following the adoption of the Paris Agreement in 2015 and frustrated with international environmental lethargy, citizens of the world are rising up to demand far greater action for our planet and its people.

The social and cultural environments we saw in 1970 are rising up again today — a fresh and frustrated generation of young people are refusing to settle for platitudes, instead taking to the streets by the millions to demand a new way forward. Digital and social media are bringing these conversations, protests, strikes and mobilizations to a global audience, uniting a concerned citizenry as never before and catalyzing generations to join together to take on the greatest challenge that humankind has faced.