So what is to be made of such statistical comparisons and efforts to compare the relative balance sheets of suffering? Any individual death, be it a Palestinian or Israeli, evokes by itself somewhere an infinity of grief.
Perhaps we might begin with the idea that measuring with precision how one kind of suffering compares with another may be beyond the capacity of mortals.
From a height of three meters, porcelain figurines are dropped on the ground, and the sound they make when they hit trips the shutter release. The result: razor-sharp images of disturbing beauty—temporary sculptures made visible to the human eye by high-speed photography technology.
German photographer Martin Klimas | You can view more of Klimas’ work at his website.
(At the point of impact: Visceral, violent photographs of fighting porcelain figures | via: Dangerous Minds.)
Randy at AFTimes:
This IS the kind of Mad Max II/The Road Warrior on steroids, go-big-or-go-home, bug-nuts crazy, toss-you-in-the-deep-end mythology and put-it-all-out-there-in-case-we-never-make-another-one Mad Max Fury Road.
This movie feels like thirty years of Miller holding in passion for a world that he built so long ago, exploding on the screen. You, remember the third act of The Road Warrior, the bad-ass truck chase that is still hailed as a masterpiece of filmmaking? You do? Good.
Because that’s what this whole movie pretty much is-and it works! A chase that goes long and deep into the heart of Miller’s post-apocalyptic world, trying to get out of the Wasteland. It opens up and hardly slows down.
A writer is not a confectioner, a cosmetic dealer, or an entertainer. He is a man who has signed a contract with his conscience and his sense of duty.
— Anton Chekhov
‘Truth,’ it has been said, ‘is the first casualty of war.’