“I began this book project unknowingly: After shooting some self-portraits with my 5-week-old son Sequoia accompanied by a blog about my newly-round post-Birth body, I was flooded with emails by mothers wanting to share their Incredible, Inspiring, & Sometimes Painful stories with me. It was then I realized I had to tell their untold stories, that a body of work begged to be created! Through Photographs & personal essays from these courageous mothers all over the country, I hope to offer a powerful healing tool for Mothers everywhere. Since inception, 1000’s of women have volunteered & the project ‘A Beautiful Body Project’ was born. Together we can redefine our culture’s idea of a beautiful woman. I have photographed and humbly listened to hundreds of stories now: Anorexia; childhood bulimia; a woman being told by her mother she was too fat to be a ballerina. Self-hatred; self-inflicted-suffering; Feeling unsexy because she perceived her nipples as imperfect; feeling unsexy because she lost too much weight after breast feeding; Feeling like there was something deeply wrong with her because she had only lost 5 pounds 9 months after the birth of her 2nd child; Sexual abuse; teenage & young adult drug addictions due to self loathing because she never felt beautiful; breast cancer after the birth of a long-awaited pregnancy; loss of a baby at birth with a wrinkly tummy & un-suckled breasts to remind her everyday of what might have been”.
“There are so many stories shadowing mothers in our culture. We are, however, also tremendously blessed with vast amounts of freedom as American Women: we are lucky to be able to shape-shift concepts and ideas in our country. We have the ability to choose to feel worthy, to believe we are beautiful and to act as women who wish to share beauty and joy in this world as an inter-connected community of people seeking a beautiful and peaceful life. It is my hope in 2013 to find a publisher for this book of powerful photographs & stories in order to inspire thousands of other mothers who are eager to feel validated by witnessing this exploration of vulnerability as a collective”.
Decadent, extravagant, obscene: the great Czech photographer Jan Saudek together with Sarah Saudek – his model, wife and muse. Jan Saudek was Jewish and having been born in Prague, he lived through the horrors of deportation during World War II. On returning to Prague he was forced to work in secret, hidden in a cellar, where he developed dreams and fantasies whilst living under a rather grey and pragmatic dictatorship. In the seventies he began to “correct” his black and white prints tinting them with watercolours. In his exclusion this “underground man” created an art of dreams, beautifully sad and light: erotic in the most spirited and interesting way. The works of Saudek, are as fascinating and mysterious as Prague itself and have made him one of the greatest living authors. A pillar of twentieth century photographic history. The surreal world of Jan Saudek is a room with plaster peeling from the walls, which filters the infinite. The flesh of the annoyingly imperfect bodies, once exposed to his eye and brush are fashioned in to the unique and extraordinary, which only art can give to the underworld, by touches of melancholy and beauty. For her part Sarah Saudek tells of infinite decadence of femininity, that is impossible to contain or restrict with a moralizing interpretive palate.
“I have medium-large labia. I have meaty outer lips, & long thick inner lips. And my inner labia are different sizes. I love my labia. But some women don’t love theirs. Many women see unrealistic images and listen to misguided opinions and think their labia should be neat, small & invisible to be “normal”. This blog is all about fighting that view, by showing how perfectly normal and beautiful large labia are. Really they’re nothing special though, the average woman has them! Anyway I’ll show you mine & feel free to submit yours”.
Our Breasts “celebrates the beautiful diversity of natural breasts, of all sizes, shapes, colours, ages and races. Breasts are such an important and integral part of what makes us feel feminine, sexual, and real women. By showing how all women are different, and uniquely special, as a gender we will be able to challenge the beliefs around what makes breasts beautiful. And in turn, we will be able to help women feel better about themselves. Help show the beauty of all women by contributing your breasts to this project”.
“Glitches are the uncanny, brutal structures that come to the surface during a break of the flow within a technology; they are the primal data-screams of the machine. In the digital these utterances often take form following the “vernacular of file formats” (the encoded organizations of data). A file format signifies what protocols (formal descriptions and semantic rules) are used to structure or encode the information. Many different file formats exist, for different forms of information and every one of these formats possesses its own encoding structures, which can be understood as a grammar or idiom. When this idiom is broken, for instance by a glitch or a wrong encoding, the data in its basic/primal structures of encoding comes to the surface. Visually glitches show themselves through organizational structures like rasters, grids, blocks, points, interlacing vectors and frames and therefore often look complex, repetitive, discolored, fragmented and flickering”.
Evolution is an advertising campaign launched by Unilever in 2006 as part of its Dove Campaign for Real Beauty, to promote the newly created Dove Self-Esteem Fund. The centre of the Unilever campaign is a 75-second spot produced by Ogilvy & Mather in Toronto, Canada. The piece was first displayed online on 6 October 2006, and was later broadcast as a television and cinema spot in the Netherlands and the Middle East. The ad was created from the budget left over from the earlier Daughters campaign, and was intended to be the first in a series of such online-focused spots by the company. Later pieces include Onslaught and Amy.Evolution was directed by Canadian director Yael Staav and Tim Piper, with sound design handled by the Vapor Music Group, and post-production by SoHo.
Contessa Rosafosca is a laboratory where there are projects and strictly handmade items made with the belief that “beauty is not perfection: the imperfections, unique details, the mistakes make beautiful and personal collections of accessories, clothing and above all make it interesting and unique people. “ Contessa Rosafosca wants to shape an ancient tradition with new … joining present with future. Design and craft, a winning combination to propose new stimuli, creating shapes from harmonic lines capable of transferring the glass jewel a charming and elegant timeless style. Contessa Rosafosca is a trademark of OZ SIGN Cesaretto Silvia, a young graphic designer of Venetian origin. After working for seven years in the advertising agencies of Padua, Rovigo, Ferrara and Milan, in 2004 she moved to Switzerland, where she still lives and works as a graphic designer.
The photographer Giordano Morganti shows the beauty from a different perspective. He gives the opportunity to observe the individual through the lens of a photographic lens that takes us away from the frantic search of perfection, beauty, eternal youth and happiness and require the acceptance of the limits.
Instagram is a free application that allows users to take photos, apply filters, and share many of the social networking features. Despite the few effects and the standardization of the product it is funny. Particularly interesting is the square format, even if much more difficult to manage than the classic 2/3.
The photos are imperfect but they ‘taste good’.
Gabi Trinkaus is an Austrian photographer who uses clippings of female magazines to compose new faces and new people. Notwithstanding the use of a lot of not homogeneous paper’s pieces, every work of Trinkaus is ‘perfect and harmonious’.
It’s a long time that the cinematography proposes loves not stereotyped, imperfect. Not only love between princes and princesses, performing men and sweet girls, but love between animals and commoners, ogres and princesses, retro robots and super technology.
The Renaissance man puts himself at the center of the world and loves to be represented in all his fair power, not separated by a certain hardness.Piero della Francesca painted in the face of Federico da Montefeltro the expression of a man who knows exactly what he wants. The shapes of body do not hide the strength, nor the effects of pleasure: the man of power, fat and dumpy when is not muscular, flaunts the signs of the power he exercises. While the aesthetic theory engages with the rules of proportion and symmetry of the body, the powerful men of the time are living a violation of these laws: the male figure also lends itself to enhance the freedom of the artist of the classical canons.
”Donna Moderna”,an italian magazine published an article about the imperfection. In this article imperfection is defined as the beauty nonsense. In this article the theme of imperfection is close to fashion trends. As far as hair,if in one hand there is the trend to be precise,on the other hand,there is the trend to be uncombed. As far as make-up trends, on one hand there is the trends to be very pefect and precise,on the other hand,lof of women prefer to be shade.
So in this article there is a question:Where is imperfection? What is imperfection?.
In this article the fashion model Daphne Groeneveld is considered the imperfection’s example.
Technological convergence is the tendency for different technological systems to evolve toward performing similar tasks. Convergence can refer to previously separate technologies such as voice (and telephony features), data (and productivity applications), and video that now share resources and interact with each other synergistically.The rise of digital communication in the late 20th century has made it possible for media organizations (or individuals) to deliver text, audio, and video material over the same wired, wireless, or fiber-optic connections. At the same time, it inspired some media organizations to explore multimedia delivery of information. This digital convergence of news media, in particular, was called “Mediamorphosis” by researcher Roger Fidler ,in his 1997 book by that name. Today, we are surrounded by a multi-level convergent media world where all modes of communication and information are continually reforming to adapt to the enduring demands of technologies, “changing the way we create, consume, learn and interact with each other”. Convergence in this instance is defined as the interlinking of computing and other information technologies, media content, and communication networks that has arisen as the result of the evolution and popularization of the Internet as well as the activities, products and services that have emerged in the digital media space. The Italian artist Piera Gemelli uses the concept of Mediamorphosis to speak about the complexity of the human body.“In this hybrid space the body for its ambivalence and its formation as opening sense, is the protagonist. It is a body media. Land exchange, porous material that absorbs and filters the voltage of the codes that are written in it, opening the continuous transformation and hybridization of languages. It is the body described by Betty Marenko in Hybridizations, or “polymorphic expression and mutation of a multi-faceted, [...] which arises from the contamination of meat and technologies, archaisms and metal, leather and ink, [...] universal transmitter that makes it possible to ‘data processing experience, thus reducing the complexity and uncertainty of the world around them. In particular, the object of my research is the Feminine, uterine enveloping space but also devouring it therefore becomes a metaphor of liquidity and voracious media. Women Arachnida and Medusee, bodies in transit, that they carry the traces, the bodies of the monstrosity of desire, sirens assembled and fragmented that lead us in paths of desire wandering zapping media. Hybrid creatures of chaos after attending the banquet of the body fragmented, reassembled in the new unit of Mediamorphosis the Visible.”
Fernando Botero is a Colombian figurative artist.His works feature a figurative style, called by some “Boterismo”, which gives them an unmistakable identity.Botero depicts women, men, daily life, historical events and characters, milestones of art, still-life, animals and the natural world in general, with exaggerated and disproportionate volumetry, accompanied by fine details of scathing criticism, irony, humor, and ingenuity.
Guernica is a painting by Pablo Picasso. It was created in response to the bombing of Guernica, a Basque Country village in northern Spain by German and Italian warplanes at the behest of the Spanish Nationalist forces, on 26 April 1937, during the Spanish Civil War. The Spanish Republican government commissioned Picasso to create a large mural for the Spanish display at the Paris International Exposition at the 1937 World’s Fair in Paris.
Guernica shows the tragedies of war and the suffering it inflicts upon individuals, particularly innocent civilians. This work has gained a monumental status, becoming a perpetual reminder of the tragedies of war, an anti-war symbol, and an embodiment of peace. On completion Guernica was displayed around the world in a brief tour, becoming famous and widely acclaimed. This tour helped bring the Spanish Civil War to the world’s attention.
“If a picture doesn’t tell a story is not a photograph. Maybe it’s the story of all our thoughts, which ones become public and challenge stereotypes and those ones that remain confined for shame.”
Jan Saudek’s photographs leave no one indifferent. They cause in the viewer a visceral rejection or an unconditional appreciation. Underlining the texture and the atmosphere of the landscape that surrounds the characters of the photos, Saudek has recreated a disturbing effect of violence and a unique expression. His themes are repeated obsessively. Through a cheeky use of sexuality (at the limit of pornography), he gives a grotesque and symbolic vision of the relationship and sexual play managing to keep a poem, in the tragedy of contrasts and symbolic messages. The human figure in its raw beauty or obscene truths,with her age, her cares of life and death through dreamscapes dream or nightmare. Saudek ,with straightforward language and full of sensual charge, tells about the beauty of imperfection: very fat or very thin women, with stretch marks, cellulitis and sagging breasts. Thanks to his style, he became one of the first Czech photographers to be known in the West, even if it was the source of several problems with the communist authorities in his country. But the originality of his photographic proposal is indisputable. It’s a desire to portray a different world, the extreme radicalism of his ideas.
Helping a White Man Relearn Joie de Vivre
“Les Intouchables,” having broken box office records in France, arrives in the United States with a faithfully translated title — “The Intouchables” — that is not quite English. American audiences looking for a suitable French name for this ingratiating comedy of cross-racial friendship might settle on “Déjà Vu,” since it is a story we have seen many times before.
Though maybe not quite like this, or at least not in a while. “The Intouchables,” directed by Olivier Nakache and Eric Toledano and based on a true story, is about two men — one rich, uptight and white; the other poor, exuberant and black — who become best pals in spite of their differences.The pallid aristocrat, Philippe (François Cluzet), is paralyzed from the neck down as the result of a hang-gliding accident and lives in a state of opulent ennui attended by a nervous staff and is ignored by his petulant adolescent daughter. He is a difficult boss, and his newest employee, a streetwise hoodlum named Driss (Omar Sy) does not look as though he will last long in the job. Not that Driss has much ambition to play nurse for some grouchy old invalid; he applies for the position only so he can continue to collect government benefits. Moving into Philippe’s mansion, Driss steps away from a background of poverty, family dysfunction and trouble with the police. Under his boss’s stern gaze and imperious tutelage he starts to acquire a work ethic and a sense of discipline. In exchange, he helps Philippe discover his appetite for life and his capacity for joy.
How does Driss do this? In the usual ways. He flirts shamelessly with the boss’s secretary and gives Philippe’s daughter the stern talking-to she needs. He introduces Philippe to the pleasures of marijuana, encourages him to start dating and loosens up a stuffy chamber-music soiree with some funky music.
It is possible to summarize the experience of watching “The Intouchables” in nine words: You will laugh; you will cry; you will cringe. The Intouchables is much more than a buddy movie and American sensitivities to race and culture are just that, American, and don’t necessarily apply to the rest of the world.
The film is also very much about the fact that people deserve to be loved, yes those who are disabled, old, lesbian, gay and so on. In America the only people who deserve to be loved are the surgically enhanced, pouty lipped, botoxed, plastic fantastic monsters to populate our screens. This film is warm, funny and accepting of humanity in all its forms and in all its imperfect beauty.