Capturing Libya: Through a Hipstamatic Lens
To photojournalism purists, it was pure blasphemy: a prestigious prize, third place for photo of the year, granted to a New York Times photographer who’d used not a 35mm to document U.S. soldiers in Iraq, but simply, his iPhone — and an app called Hipstamatic. Immediately, traditionalists went berserk: “What we knew as photojournalism at its purest form is over,” one photojournalist lamented. Using Hipstamatic in a news report, another commentator proclaimed, was “cheating us all.”
And yet, to Ben Lowy, a conflict photographer who has made a career out of a certain brand of iPhonography — and will debut the first ever photojournalism-inspired Hipstamatic lens with his namesake later this year — the award was a well-needed wake-up call for photojournalism fundamentalists. Last February, Lowy set out to capture the uprising in Libya from his iPhone (alongside millions of protesters who’d document the Arab Spring on their mobile devices) in photos that would fuel reporting from the region in outlets around the globe. In October, Lowy’s Hipstamatic images of everyday life in wartime Kabul were published in the New York Times Magazine, prompting the magazine’s photo editor, Kathy Ryan, to defend their use on the paper’s 6th Floor blog. And since then, Lowy has published an iPhone photo a day — from dramatic images of war to mundane life in Brooklyn — on his Tumblr, captured under the title, iSee.


![Václav Havel playwright and politician, dead at 75.
Havel’s life in six stages:
the early student years under the Stalinist regime; the playwright and essayist of the Sixties; the defeat of the last great attempt at ‘socialism with a human face’ in the Prague Spring of 1968; the years of dissidence and arrest which culminated in Havel’s emergence as the leading spokesman for Charter 77; the Velvet Revolution; and finally the Presidency. Along the way, we get an abundance of ‘endearing foibles’, which far from tarnishing Havel’s heroic image, seem somehow to make his achievement all the more palpable. His parents were rich ‘cultural capitalists’, owners of the famous Barrandov cinema studios (‘bourgeois origins’). He has always had unreliable habits (a fondness for eau de toilette, sleeping late, listening to rock music) and is known for his promiscuity, notwithstanding the celebrated prison letters to his working-class wife Olga. (When he was released from jail in 1977, he spent his first weeks of freedom with a mistress.) In the Eighties, he was ruthless in establishing himself as Czechoslovakia’s most important dissident – when a potential rival emerged, doubtful rumours would start to circulate about the rival’s links with the secret police. As President he uses a child’s scooter to zoom along the corridors of the huge Presidential palace.
[…]
Rarely has one individual played so many different parts. The cocky young student in the early Fifties, member of a closed circle which holds passionate political discussions and somehow survives the worst years of the Stalinist terror. The Modernist playwright and critical essayist struggling to assert himself in the mild thaw of the late Fifties and Sixties. The first encounter with History – in the Prague Spring – which is also Havel’s first big disappointment. The long ordeal of the Seventies and most of the Eighties, when he is transformed from a critical playwright into a key political figure. The miracle of the Velvet Revolution, with Havel emerging as a skilful politician negotiating the transfer of power and ending up as President. Finally, there is Havel in the Nineties, the man who presided over the disintegration of Czechoslovakia and who is now the proponent of the full integration of the Czech Republic into Western economic and military structures. Havel himself has been shocked by the swiftness of the transformation – a TV camera famously caught his look of disbelief as he sat down to his first official dinner as President.
- Slavoj Žižek (here)](http://25.media.tumblr.com/tumblr_lweghndGX01qz762fo1_500.jpg)



![Ah, it goes, is lost - Cy Twombly (1928-2011)
[W]hen you recite the art-historical contexts and the nuggets of suggestive biography, Twombly remains an enigma. In the army in the 1950s he worked on cryptography, later saying he was too “vague” to be much good at it. Perhaps that is a warning against becoming too analytical and exegetical about his work. Twombly’s paintings are florid, romantic and ornately overstated; they are baroque, decadent concoctions; they are the paintings Edgar Allan Poe’s Roderick Usher might have done; they are sensuous flowers of the south; they are seriously unedifying, poisonous vintages. They are letters to history from the heart of a corrupt empire.
*](http://25.media.tumblr.com/tumblr_lnvnhauazc1qz762fo1_500.jpg)


