Recalcitrant Intervention

Between 1945 and 1965 Walker Evans was employed by Time Inc. to work for Fortune, the American business and industry magazine. He advised on its photographic direction and produced his own photo-essays, often setting his own assignments, shooting, editing, designing, and writing too. Evans’s complex politics and artistic temperament were at odds with American magazine culture. Many of his photo-essays resisted Fortune’s preference for business, industry, and modern capitalist progress. Instead he celebrated the outmoded, the disappearing, and the overlooked. His layouts and texts often faced the viewer with the ambiguities of photographs as documents. As well as shooting his own projects he worked with archival and vernacular images such as popular postcards. This essay explores three of Evans’s pieces for Fortune: ‘Labor Anonymous’ (1946), ‘Main Street Looking North from Courthouse Square’ (1948) and ‘Homes for Americans’ (1946). As Evans’s ‘museum’ reputation grew in the 1960s and 1970s, his magazine work was forgotten or dismissed as compromised commercialism. The author revisits those pages to show just how seriously Evans took them

An Essay on Dorothea Lange’s “Migrant Mother”

In this essay on Dorothea Lange’s well-known image, written for “The Politics of Seeing”, David Campany reflects upon the politics of imagery and its iconic status, arguing that the more they are seen, the more they are seen; and the more they circulate, the more they circulate – but the less they are understood. More often than not, photographs become iconic when they become default substitutes for the complexities of the history, people or circumstances they could never fully articulate but to which they remain connected, however tentatively

Recalcitrant Intervention

Between 1945 and 1965 Walker Evans was employed by Time Inc. to work for Fortune, the American business and industry magazine. He advised on its photographic direction and produced his own photo-essays, often setting his own assignments, shooting, editing, designing, and writing too. Evans’s complex politics and artistic temperament were at odds with American magazine culture. Many of his photo-essays resisted Fortune’s preference for business, industry, and modern capitalist progress. Instead he celebrated the outmoded, the disappearing, and the overlooked. His layouts and texts often faced the viewer with the ambiguities of photographs as documents. As well as shooting his own projects he worked with archival and vernacular images such as popular postcards. This essay explores three of Evans’s pieces for Fortune: ‘Labor Anonymous’ (1946), ‘Main Street Looking North from Courthouse Square’ (1948) and ‘Homes for Americans’ (1946). As Evans’s ‘museum’ reputation grew in the 1960s and 1970s, his magazine work was forgotten or dismissed as compromised commercialism. The author revisits those pages to show just how seriously Evans took them

Une intervention récalcitrante. Les pages de Walker Evans.

Entre 1945 et 1965, Walker Evans est employé par Time Inc. et travaille à Fortune, le magazine américain dédié aux affaires et à l’industrie. Il conseille la direction artistique et produit ses propres essais photographiques, déterminant souvent lui-même les sujets, les prises de vue, l’édition, le graphisme et les textes. La politique complexe et le tempérament artistique d’Evans contredisent la culture du magazine américain. Nombre de ses articles résistent au parti pris de Fortune pour les affaires, l’industrie et le progrès capitaliste moderne, auxquels il préfère le désuet, le négligé et ce qui disparaît. Ses mises en page et ses textes confrontent souvent le lecteur à l’ambiguïté de la photographie comme document. Tout en prenant des clichés pour ses projets, il travaille avec des images vernaculaires – telles les cartes postales populaires – ou tirées d’archives. Cet article examine trois des articles d’Evans pour Fortune : “Main Street Looking North from Courthouse Square” (1948), “Homes of Americans” (1946) et “Labor Anonymous” (1946). Dans les années 1960 et 1970, la réputation d’artiste “muséal” d’Evans grandit et son travail pour le magazine est oublié ou écarté, perçu comme mercantile et compromis. L’auteur revisite ces pages pour montrer l’importance qu’elles revêtaient pour Evans.Between 1945 and 1965 Walker Evans was employed by Time Inc. to work for Fortune, the American business and industry magazine. He advised on its photographic direction and produced his own photo-essays, often setting his own assignments, shooting, editing, designing, and writing too. Evans’s complex politics and artistic temperament were at odds with American magazine culture. Many of his photo-essays resisted Fortune’s preference for business, industry, and modern capitalist progress. Instead he celebrated the outmoded, the disappearing, and the overlooked. His layouts and texts often faced the viewer with the ambiguities of photographs as documents. As well as shooting his own projects he worked with archival and vernacular images such as popular postcards. This essay explores three of Evans’s pieces for Fortune: ‘Labor Anonymous’ (1946), ‘Main Street Looking North from Courthouse Square’ (1948) and ‘Homes for Americans’ (1946). As Evans’s ‘museum’ reputation grew in the 1960s and 1970s, his magazine work was forgotten or dismissed as compromised commercialism. The author revisits those pages to show just how seriously Evans took them

A Questionnaire on the Photobook: Artists

Questionnaire on the photobook conceived by José Bértolo and David Campany. Featured artists: Aaron Schuman | Alec Soth | Amak Mahmoodian | António Júlio Duarte | Brad Feuerhelm | Daido Moriyama | Gerry Johansson | Guido Guidi | Hoda Afshar | Jason Fulford | Jo Ractliffe | Lieko Shiga | Manuela Marques | Mårten Lange | Martin Parr | Pacifico Silano | Paul Graham | Rinko Kawauchi | Sakiko Nomura | Stanley Wolukau-Wanambwa | Terri Weifenbach | Wouter Van de Voord

Elevated carbon dioxide and ozone alter productivity and ecosystem carbon content in northern temperate forests

Three young northern temperate forest communities in the north‐central United States were exposed to factorial combinations of elevated carbon dioxide ( CO 2 ) and tropospheric ozone (O 3 ) for 11 years. Here, we report results from an extensive sampling of plant biomass and soil conducted at the conclusion of the experiment that enabled us to estimate ecosystem carbon (C) content and cumulative net primary productivity ( NPP ). Elevated CO 2 enhanced ecosystem C content by 11%, whereas elevated O 3 decreased ecosystem C content by 9%. There was little variation in treatment effects on C content across communities and no meaningful interactions between CO 2 and O 3 . Treatment effects on ecosystem C content resulted primarily from changes in the near‐surface mineral soil and tree C, particularly differences in woody tissues. Excluding the mineral soil, cumulative NPP was a strong predictor of ecosystem C content ( r 2  = 0.96). Elevated CO 2 enhanced cumulative NPP by 39%, a consequence of a 28% increase in canopy nitrogen (N) content (g N m −2 ) and a 28% increase in N productivity ( NPP /canopy N). In contrast, elevated O 3 lowered NPP by 10% because of a 21% decrease in canopy N, but did not impact N productivity. Consequently, as the marginal impact of canopy N on NPP (∆ NPP /∆N) decreased through time with further canopy development, the O 3 effect on NPP dissipated. Within the mineral soil, there was less C in the top 0.1 m of soil under elevated O 3 and less soil C from 0.1 to 0.2 m in depth under elevated CO 2 . Overall, these results suggest that elevated CO 2 may create a sustained increase in NPP , whereas the long‐term effect of elevated O 3 on NPP will be smaller than expected. However, changes in soil C are not well‐understood and limit our ability to predict changes in ecosystem C content.Peer Reviewedhttp://deepblue.lib.umich.edu/bitstream/2027.42/108065/1/gcb12564.pd

A Questionnaire on the Photobook: Publishers

Questionnaire on the photobook conceived by José Bértolo and David Campany. Featured publishers: Akio Nagasawa | Atelier EXB | Blow Up Press | Bookshop M | Chose Commune | Éditions Loco | FW:Books | Libro Arte | Roma Publications | Skinnerboox | STANLEY/BARKER | The Eriskay Connection | Void | XYZ Books | Zen Fot

Physicochemical characterization of micafungin and anidulafungin for its nebulized administration

Objective: To determine by experimentation whether micafungin and anidulafungin possess physicochemical properties suitable for nebulization. Method: PH, osmolality, viscosity, density and chloride content were determined by pH monitoring, osmometry, viscometry, densitometry and potentiometry in two samples of different concentrations, 5 and 10 mg/mL each echinocandin. Results: The results obtained for micafungin solution were: pH 5.80 (0.14), osmolality 293.33 (1.53) mOsm/kg, chloride content 134.67 (0.58) mmol/L and density 1,009.4 (0,1) kg/m3; while for 10 mg/mL solution: osmolality 342.00 (1.00) mOsm/kg, chloride content 139.67 (0.58) mmol/L and density 1,014.5 (0.2) kg/m3. The results obtained for 5 mg/mL anidulafungin were: pH 4.22 (0.01), osmolality 464.67 (2.52) mOsm/kg, chloride content 137.00 (0.00) mmol/L and density 1,016.5 (0,2) kg/m3; while for 10 mg/mL solution: osmolality 656.33 (1.15) mOsm/kg, chloride content 132.00 (0.00) mmol/L and density 1,029.8 (0.4) kg/m3. Conclusions: PH, osmolality, chloride content and density values proved to be suitable for proper tolerability by nebulization

Histoire(s) de la photographie

L’histoire de la photographie s’est imposée dans les musées et les universités au cours du dernier tiers du xxe siècle à la faveur d’un « élan ontologique » visant à appréhender le médium dans toute sa généralité et sa supposée unité. Que cela soit à travers la constitution fragile de l’histoire d’un art autonome dans la lignée de Beaumont Newhall ou d’approches sémiologiques d’inspiration plus barthésienne, on présuppose alors que les images photographiques forment un tout cernable et unifié..