Tiberium Wars Install Interupted

Gone With our images ...

"Death of a Republican soldier", photo taken by Robert Capa September 5, 1936

R obert Capa seizing the moment when the ball broke a Franco English Republican militiaman, Cerro Muriano somewhere on the front of Andalusia. I always loved this picture. First, because it is one of the best photos ever taken by a war reporter. I also love what it stands for political and prophetic: hope and freedom murdered by fascism in 1936 in cowardly indifference of the great Western democracies. I love last but not least because eye of the photographer was able to capture and transmit to us miraculously * this life halved , a tiny fragment of personal history ground in the great cauldron of the Story being done.

Can we still make today a photo with this unique symbolic power at the time of the overdose of dematerialized images crashing on all the screens of our lives? By dint of blow to trivialize mpx multiplied to infinity and gigabytes stored on our hard drives, digital civilization Is killing photography in the sense that they could hear from his "invention" by Niépce in 1826? Because I was wondering the other day when leaving the beautiful expo Larry Clark, one of the few photographer and film director to have captured the ephemeral eternal adolescence ( about this see this post from my colleague Capucine Cousin and it on the blog of Diana's news with a magnifying glass). And I asked myself the same question last night when leaving the cinema. seen "The man who wanted to live his life," or how a Romain Duris fugitive kills the winner digital it became an attempt to return to life through the viewfinder of an old Nikon that reveals himself as in a silver bath ...

Photo by Larry Clark exhibition "Kiss the Pass Hello"

Etymologically, it photography the art of representing the real image "light writing" . I'm not sure today that we write the light exiting at every turn our compact digital cameras, smartphones and even our reflex to take our pictures insignificant on the fly, burst, then post them on Facebook. ;
At the time of the film, we had especially the illusion of capturing the moment , steal a millisecond in time that passes, to capture a fragment of humanity in time T. Take a picture was even a ceremonial . Dabord one must be sure of his shot: a film = 24 or 36 exposures. not one more. And printing cost candy. Then choose the focal length in a jiffy to give more or less of field, set the aperture according to the light, choose your shutter speed to freeze or not ... I'm moving my teeth amateur photographer on the Praktica my father ... a rugged, accurate and rustic manufactured in Dresden, then in East Germany. Then there was this tremendous Olympus OM-10 and its optical Zuiko for my 18 years. A concentrate of Japanese technology, the smallest SLR in the year 1984. I still have it. In the picture the draw, he had to give it time. Bring his film to be developed to get his prints. Or do so-even in the magic of the darkroom.

I remember as a child complicit in those hours spent with my father, this hero, under the red light, the only tolerated in these places. It was more ceremonial, but religion. There was first bombing of the enlarger light to fix the negative image on white paper. It was then soaked in a bath of the draw ... and then revealing miracle at the end of the clip, you saw the image miraculously appear on paper as a Badge reward method and patience it took to get there, the snapshot to the revelation. Then it was the stop bath to stop the chemical reaction. And finally, bath fixer give life to the cliché. Who has not experienced this religion of silver does not know voodoo photography : I stole a moment of your life, it is worth ...

James Stewart in "Rear Window"

We took pictures to keep the memory of a space-time bubble happiness, leave a testimony of our fragile lives, pass on the family memory, witness of history in the making ... quick smile at life and say shit to death.

I combine the past because things have changed since the advent of the digital civilization. The more than century-old company Eastman Kodak dropped the money not disappear. ; His British counterpart Ilford has stopped producing these films black and white 400 ASA were glad of my father. SLRs are no longer that pretty mechanical noise which triggered the shutter curtain ... unless you program them to mimic the past.
Take not one, but ten but a hundred photos without thinking . Transmit them in seconds with a digital camera or a smartphone on a computer screen, a tablet or a television. Scroll lazily from hundreds of pictures stored on your PC, check what we like, touch the plate as a surgeon photoshop image, broadcast a drunken one-night holiday memory or a network with a click and forget it immediately. There are so many possible and available images that we do more photography.

No magic at the click Digital. On a hundred shots taken at haphazard, chance will make things right. It will remain a good ten publishable on Facebook or Twitter ... Why bother to frame? Worry about the cons-day or head that is about you? The camera will automatically correct exposure and occur only if we smiled. France has more than 50 million telephones, most with a digital lens 5-8 megapixels. And almost as many compact digital cameras or SLR. We take each year billions of pictures. Show anything to show, to pose, but what is he? What is their life beyond the fun of the moment? We see them again once distributed or stored? Almost never. It takes new, be amazed, and yet still consume more images. Where are the photo albums that we had fun or nostalgia to open, alone or with family? It no longer made, no time. printing while keeping power, the illusion of eternity lurking in the depths of a hard drive, external drive or a USB key. At the risk of any mention of losing his memory and not to build the story of a family, nation, humanity as Emmanuel Hoog recalled recently in his essay "Memory Year Zero".

Photo Larry Clark on the set of "Wassup Rockers"

photograph So do we still? I wonder. "If the photography expressed the industrial society of the nineteenth century, with its desire to capture his life mechanically, digital photography and truly belongs property to a new society of the twenty-first century, first crossed by his desire to appear " meets the historian of photography Andre Rouille. short Yes and no. The modern objective the facilitation of photography , the fluidity of the scanned image taken and distributed in two clicks, saving time and democratization of the hobby. I do not say no. Even Larry Clark cited above began to shoot digital and film the young Latino punk-Skatters Wassup Rockers images in saturated couleur.Photographes professionals, artists, paparazzi, reporters, war ... everyone there is set. For my part, I myself am a convert now nearly ten years with the advent of digital cameras. A decade that Olylmpus OM-10 and Canon EOS-500 who succeeded him sleep in a closet. But they will resume service. I do not know why less time is radiant, it is less hopeful, the more I want to write the light on reality.
Jean-Christophe Féraud

* It is debate about the authenticity of this picture taken September 5, 1936 by Robert Capa and published in the wake of the French magazine "VU". Some say it is a staged propaganda for the English Republican cause. Other than the policeman took the pose when he was hit by a bullet, Capa's fault really. In reality , the photo is probably authentic. Other war reporters succeed "exploit" to seize this moment where the war takes its due from the Russian front in the war Vietnam, through the Normandy invasion. Robert Capa will leave him as his life, walking on a mine in Tonkin, May 25, 1954, in the last days of French Indochina. But no other photographer was present to memorialize his death in witness.

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When Francois Reynaert sets the record straight French time!

In new "Michelet," François Reynaert , journalist, novelist and columnist for the Nouvel Observateur, reviewed, and in 526 pages, a history of France in his book finally dusted "Our ancestors the Gauls and other nonsense!

By giving a good slap in the odor of sanctity of the proponents of a national identity "Idyllic" born of a stuck mental masturbation myths, fantasies, truths and cons of childish allegories, François Reynaert wakes us up and invited everyone to take his place in the true history of this country.

And yes like France from its origins at a crossroads where men always and women of all backgrounds came together to write its history, with their talents or their egos, and also their "calculations", their thirst for profit and power, more rarely, their "generosity"! So far the sacred icon that you want us to revere, and if you'll pardon the approximation, very far from the image of France as "Marianne Gallic eternal, solemn, and white as a statue cemetery, down the grand staircase of history, illuminated by thousands of lights all mystical and surrounded by her Saints Boys and Girls!

Writing François Reynaert is a beautiful clarity, vivid and accurate, it is fascinating to read from one end to another of this monumental book. More cutting large chapters also shuffle which does not hinder the project from its initial purpose, that is to say, end all "nonsense" carried by the bucolic images we have of our own past! Images that maintains individually so naive or that we maintain for us on purpose ...

Louis XIV

should not miss the chapters on Charles Martel, Charlemagne and those of Louis XIV, Code Black, and the Revolution and Napoleon, in short all the figures that over time turned into s'auréolant or covering himself with glory at a closer examination was woven all the misfortunes of a people, ours! "If Louis XIV was always with Napoleon, the French sovereign known as the world is also because of this feat: how many men can boast of having known and bend the world to their desire to have so blinded a time they succeeded in making him believe they were the only source of light? " (quote from the book of F Reynaert)

cornerstone of the whole system of religion is put in its place: "Christianity is simply an Eastern religion, just as the is Islam, and geography that became their only chance does the story. " (quote from the book of F Reynaert)

Henry III

The chapter on "Henry III and homosexuality of his time "also sheds light on an issue that is dear to me: how through religion, man has twisted his neck to common sense and what nature normally occur without convulsions, because diversity is one of data essential for life, to castigate the attraction between these two men or two women towards each other, in a word how homosexuality has been condemned. This also recalls the excellent reviews Michel Onfray appeared in recent years on this particular issue in his treatise atheology.

Theophile de Viau

Countless men and women throughout the ages and France have lost their lives in the most atrocious suffering this "inclination" natural religion admits only one profile for its public! François Reynaert rightly recalls the life of the poet Theophile de Viau (1590-1626), most now forgotten, which besides its sensitivity as a writer and the quality of his poetry, was the time to be a failure man who loved men ... He met her on a road "Tartuffe" that threatened to have his skin, but, exhausted, he did not long survive his odious trial; totally alienating trial: is it not terrible to be accused of what one is!

Homosexuality and libertinism in this age of iron in the gold of Louis XIII and Louis XIV led to be burned alive, you had to be like King Louis XIII or brother of the king as "Sir" (brother of Louis XIV ) to live free or almost his inclinations, which was completely banned and brutally to the good people ...

In a previous article, I mentioned the figure also Claude Le Petit , burned 24 years at the beginning of the reign of Louis XIV for having shown his independence of spirit, his mockery vis-à-vis the royal family and religion, and certainly have led a life dissolute; perhaps he had sex with curiosity, for it seemed far ahead of the mores of his time, we do not know, however, judges and religious but have caught up very quickly this heart libertine pen warning prérimbaldienne and to kill him. (See my article: Claude Le Petit )

Everything in this book that can fascinate the curious, loving freedom and want to keep this thread a tumultuous history simple, clear and healthy to know that if the historical figures usurp the place which is theirs in the collective imagination, we must work hand so that France remains philosophically politically and now a veritable land of peace, construction of self and respect for all: "She (France) is a country where no judge or a citizen to his roots, nor his social nor the sound of his name, nor the god he prays or refuse to pray, but its ability to contribute to a better future for all. The task is large enough not to deprive from anyone. " (quote from the book of F Reynaert)

Fenelon

Fenelon said already in his famous letter to Louis XIV, which is probably never reached its destination, many things that have remained true to France through the centuries and beyond us, so sadly true for a majority of humanity :

"But your people, you should love them as your children, and who have hitherto been so passionate you are starving. The cultivation of land is almost deserted towns and the countryside is depopulated, all trades languish and not feed more workers. All business is destroyed. So you have destroyed half of the real forces from within your state to make and defend vain conquests outside. Instead of taking money from these poor people, it should give alms and food. The whole of France is no longer a major hospital and sorry for insufficient funds. " (...)

"You love only your glory and your convenience. You report everything to you as if you were the God of the earth, and everything else had been created for you to be sacrificed. " (excerpts from the letter of Fénelon)

(see my article on the book "Remember": article and interview with François Reynaert )

BIBLIOGRAPHY Francis REYNAERT:


To finish with the 80, Calman-Lévy, 1989


On earth as in heaven, Calman-Lévy, 1990


A century ends, Calman-Lévy, 1994


catch cold air time, Calman-Lévy, 1997


Our years mad cows, Nile, 1999


Our friends journalists, Nile, 2002


Our straight friends, Nile, 2004


A golden dessert, Nile 2006


Planet of the saints, Hachette, 2007


Remember, Nil, 2008