Suffering – Soul Needs

Re Gaza: “Certitude divides and diversity unifies…..We have to elevate religion above politics…..” Amen.

Juxtapositioning creates new contexts. Words and images are one such juxtapositioning.

I have suggested that the Finnish artist photographer Silomaki has shown new ways.

The images of the suffering of the people Gaza are currently relentless, none worse than those of parents carrying dead or injured children.

These words came to mind – those of H.R.H. Prince El-Hassan Bin Talal of Jordan on BBC Newsnight, 9th Feb 2006, “Certitude divides and diversity unifies…..We have to elevate religion above politics…..”

The image is one of a multitude. The words are rare wisdom.

When the rockets and shells fire no more how shall we live that wisdom?

Lead us Oh God to the ways and means!

Heart-rending testimony of an Afghan woman in Fazal Sheikh’s online book, ‘When Two Bulls Fight the Leg of the Calf is Broken’

Be sure to visit Fazal Sheikh’s on-line HERE

Take a look at the heart-rending testimony of an Afghan woman in ‘Fazal Sheikh’s online book When Two Bulls Fight the Leg of the Calf is Broken’.

Here is a short extract;

‘When our great Islamic revolution succeeded, we thought our day of deliverance had come. Finally we would be free and independent. Afghanistan was released. But once again women were treated as the goat in the game, pulled this way and that by one faction or another. Once again, on all sides, indiscriminate bombing and rocket-attacks, bullets and mines killed Afghan children in their mother’s wombs. We were forced to flee with bare feet and uncovered heads to escape the killing. Some of us fled to foreign countries and became refugees. It should not be forgotten that some of us were forced to flee to Moscow for our safety!

I shall never forget how so many of us spent frightened lonely nights waiting patiently in the front line for a single loaf of bread. How many of us were abducted by armed men from Mujahedin parties in the middle of the day in busy streets. How many of us were raped. How many of us threw themselves from buildings to keep their chastity. How many of us were taken from the scorching refugee camps in Jalalabad to become a commodity for men in neighboring countries. How many widows were forced to sell themselves to feed their families.

Those who have come to power, those with guns, continue to leer at us, to make fun of us, to take pleasure in harassing us. These men who think of themselves as the defenders of our faith, as our fathers and brothers sent to protect us, are the same ones who call us “Honey”. They say: “Don’t come out of your bottle, the flies might touch you.” The flies are the men that rush at you. Others tell us that we are “live wires that must be covered.” It is a pity they don’t recognize us as individuals, as fellow human beings. Over the loudspeakers they announce that years of holy war has simply been to cover Afghan women in Muslim dress.

That, dear brother, dear father and son, I am sure was not the purpose of the holy war……’

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Of course people need water and food but as Maslow pointed out long ago security is a comparably important need.

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NB All postings to this site relate to the central model in the PhD.

Summaries are HERE

Key photography quotations toward defining a photographic aesthetic

This is a running list of quotations selected to help me move toward an understanding of my own photographic aesthetic – based on the SunWALK model.

“The camera is an instrument of detection. We photograph not only what we know, but also what we don’t know. ” Lisette Model

The book (Camera Lucida by Roland Barthes) develops the twin concepts of studium and punctum: studium denoting the cultural, linguistic, and political interpretation of a photograph, punctum denoting the wounding, personally touching detail which establishes a direct relationship with the object or person within it. Wiki

While there is perhaps a province in which the photograph can tell us nothing more than what we see with our own eyes, there is another in which it proves to us how little our eyes permit us to see. ~Dorothea Lange

A photograph is usually looked at – seldom looked into. ~Ansel Adams

There are always two people in every picture: the photographer and the viewer. ~Ansel Adams

The camera can photograph thought. ~Dirk Bogarde

I think the best pictures are often on the edges of any situation, I don’t find photographing the situation nearly as interesting as photographing the edges. ~William Albert Allard, “The Photographic Essay”

When words become unclear, I shall focus with photographs. When images become inadequate, I shall be content with silence. ~Ansel Adams

The goal is not to change your subjects, but for the subject to change the photographer. ~Author Unknown

A photograph is memory in the raw. ~Carrie Latet

All photos are accurate. None of them is the truth. ~Richard Avedon

The camera cannot lie, but it can be an accessory to untruth. ~Harold Evans, “Pictures on a Page”

You don’t take a photograph, you make it. ~Ansel Adams

Most things in life are moments of pleasure and a lifetime of embarrassment; photography is a moment of embarrassment and a lifetime of pleasure. ~Tony Benn

A great photograph is a full expression of what one feels about what is being photographed in the deepest sense, and is, thereby, a true expression of what one feels about life in its entirety. ~Ansel Adams

I never question what to do, it tells me what to do. The photographs make themselves with my help. ~Ruth Bernhard

A Ming vase can be well-designed and well-made and is beautiful for that reason alone. I don’t think this can be true for photography. Unless there is something a little incomplete and a little strange, it will simply look like a copy of something pretty. We won’t take an interest in it. ~John Loengard, “Pictures Under Discussion”

I just think it’s important to be direct and honest with people about why you’re photographing them and what you’re doing. After all, you are taking some of their soul. ~Mary Ellen Mark

Photography records the gamut of feelings written on the human face, the beauty of the earth and skies that man has inherited, and the wealth and confusion man has created. It is a major force in explaining man to man. ~Edward Steichen

The photograph itself doesn’t interest me. I want only to capture a minute part of reality. ~Henri Cartier Bresson

The creative act lasts but a brief moment, a lightning instant of give-and-take, just long enough for you to level the camera and to trap the fleeting prey in your little box. ~Henri Cartier Bresson

Photographers deal in things which are continually vanishing and when they have vanished there is no contrivance on earth which can make them come back again. ~Henri Cartier-Bresson

If I could tell the story in words, I wouldn’t need to lug around a camera. ~Lewis Hine

A photograph is like the recipe – a memory the finished dish. ~Carrie Latet

Everyone has a photographic memory, but not everyone has film. ~Author Unknown

Photographs that transcend but do not deny their literal situation appeal to me. ~Sam Abbel

A picture is worth a thousand words; a slide show is both. ~Author Unknown

One photo out of focus is a mistake, ten photo out of focus are an experimentation, one hundred photo out of focus are a style. ~Author Unknown

All photographs are there to remind us of what we forget. In this – as in other ways – they are the opposite of paintings. Paintings record what the painter remembers. Because each one of us forgets different things, a photo more than a painting may change its meaning according to who is looking at it. ~John Berger

I didn’t want to tell the tree or weed what it was. I wanted it to tell me something and through me express its meaning in nature. ~Wynn Bullock

Photography deals exquisitely with appearances, but nothing is what it appears to be. ~Duane Michals

The negative is the equivalent of the composer’s score, and the print the performance. ~Ansel Adams

Useful sites

http://www.photoquotes.com/ Blogs on Photography

http://photosleavehome.blogspot.com/2005/03/john-berger-understanding-photograph.html

http://www.temple.edu/photo/photographers/

http://moma.org/collection/depts/photography/index.html

http://www.photo-seminars.com/fame.htm

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NB All postings to this site relate to the central model in the PhD.

Summaries are HERE

Free Schools India – work worthy of your support?

You might feel that this work is worthy of some support, we do;

Free Schools India is a small organisation made up of people dedicated to sustainable development, and to the ideal that all children should receive a free, quality, education. We are a collection of people from several fields who have come together to start a school for the children of the rural poor in several villages. From this idea our vision for this project has grown into something bigger, and we have already moved into the provision of health care also. Our plans do not stop here though. We would one day like to be able to provide full medical insurance for the families of our children and the wider community, and maybe one day start some micro industry.

The Inspiration

While working for an anti-child labour non-governmental organisation (NGO) in Delhi , Joanna Härmä and Gaurav Siddhu had the opportunity to speak with children in the city and in villages about their experiences with school. They found in one village that several girls could have attended school, if only it had been completely free of cost. Their families were not at all reliant on the income these children received from stitching footballs all day, but the costs associated with schooling were prohibitive for them, and yet they amounted to only US$15 per annum.

Go HERE to read BBC report on Free Schools India

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All postings to this site relate to the central model in the PhD. Summaries are HERE

Story and storying: the teacher’s self as text in reform of education

Parker Palmer in, The Courage to Teach, (1998 p.3), says that his book:

explores the teacher’s inner life, but it also raises a question that goes beyond the solitude of the teacher’s soul: How can the teacher’s selfhood become a legitimate topic in education and in our public dialogues on educational reform?

It turns out that this site is an attempt to answer Palmer’s question.

In a similar vein Sondra Perl (1994), (in Laidlaw, Mellett and Whitehead 2003) says:

Stories have mythic powers. To know this … is to know the shaping power of the tale. But how, I wonder, do we see beyond the boundaries of a familiar story and envision a new one? What, in other words, are the connections between texts we read and the lives we live, between composing our stories and composing ourselves?

Stories are one answer to the question; ‘What is it that makes of the parts a whole?’. Story-making of our experience is in-built. Conversely we tend to read the world according to the stories to which we subscribe, or that we ourselves have created. A religious world-view would be an example of the former. Concerning personal stories and how we construe the world see the psychology, and methodology, of George Kelly HERE

I am seeking on this site, and have sought in my thesis, to see beyond the familiar stories of my life, and of education as it is has been, and, through ‘a re-composing’ of my life via autobiography, my teaching and dialogues, I have sought to envision a new story for education. This is what is meant by ‘applied autoethnography’.

Starting your own school

Today someone wrote me from Mexico and asked about starting a holistic school or centre. Below is what I wrote back but I will add more as I think of it;

If I were much younger and was able to start a school, my hard-won general principles would include;

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1 Find the finance to buy a school that is already successful. Develop its potential further – including the summer period. Don’t change anything until you understand everything and fully have the trust of the parents staff and children. Alternatively if all you can do is teach 3 children under the village tree then do that. Or support others in home-schooling.

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2 Develop an MA course and get it accredited by an internationally acceptable university.

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3 Draw your MA students from around the world and pair them with classroom teachers for at least half of each day. The teachers with their MA student assistants would consequently be involved in on-going research that was classroom-inspired – what is the best way to teach Maths?, how can the spiritual dimension of all subjects be developed?, what is the optimum amount of physical expression e.g. drama, dance etc.

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4 Make sure that you eventually institutionalize the holistic procedures – one school I about to be holistic when the core charismatic teachers left.

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5 Live what you teach.

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6 Be democratic – use PFC Philosophy for Children but realize that your responsibilities as an adult mean that it is you that will be held to account! Make clear contracts between all stakeholders including children, teachers, parents, community members etc. Authority must be given to the Head – revising policy by others should be restricted to just a few meetings per year.

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7 If the children can help build and care for the school, along with community members, it would be very useful!

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Of course there are a whole bunch of more general principles that you can assemble – have sufficient finance to last if your development stages take 2 or 3 times as long as you expect. etc.

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One UK source of relevant advice is the Human-scale Education movement

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All postings to this site relate to the central model in the PhD. Summaries are HERE

Mystical implications of photography

Photo by: Andre Kertesz – source

For some time now I have been interested in how both cinema and photography might be compared to mystical experience. I will post separately re cinema.

One point of comparison lies in how the two see the moment.

In the mystical the moment is seen as out of time – a visit to the eternal present.

In photography the moment is given duration, brought frozen into time – up to a theoretical eternal existence.

Of course a major source of inspiration, in both his photography and his writings, is Henri Cartier-Bresson;

A wonderful retrospective is HERE at Magnum

However in assembling some materials to help articulate a view re photography and the mystical I have discovered some fine materials high amongst which is The Ongoing Moment by Geoff Dyer. Concerning Andre Kertesz, see photo at the top of this post, he says;

What Kertesz sees when he looks out at the street is often this silhouetted representative of his own feelings about being adrift and unappreciated in New York. The people in the streets, heading to shops, are emissaries of his own sadness. That is the lot of the photographer: you walk the streets or sit on a bench – or you look out of the window at people……

Some more wonderful photographs by Andre Kertesz;

TO BE DEVELOPED