just analyze this photographic project and compare with fine art contemporary fine art photography projects : ?Comme ici, comme l?-bas" est un projet photographique en noir et blanc qui explore le malaise psychosocial et l?ali?nation urbaine, ? travers des diptyques mettant en parall?le Casablanca, ma ville d'adoption, et Marseille, un territoire inconnu que je cherche ? apprivoiser. L?objectif est d?interroger la d?sorientation urbaine, de montrer comment elle peut devenir une source d?inspiration et de cr?ation. Mon approche repose sur l?errance et l?intuition, en cherchant ? capturer des fragments de r?alit? qui refl?tent la complexit? des villes et de leurs habitants. L?urbanit? contemporaine g?n?re une sensation de perte et de vertige existentiel, et c?est pr?cis?ment ce que je cherche ? retranscrire ? travers mes images Le format diptyque cr?e un dialogue visuel entre les deux villes, r?v?lant l?universalit? du malaise urbain.

Result #1

just analyze this photographic project and compare with fine art contemporary fine art photography projects : ?Comme ici, comme l?-bas" est un projet photographique en noir et blanc qui explore le malaise psychosocial et l?ali?nation urbaine, ? travers des diptyques mettant en parall?le Casablanca, ma ville d'adoption, et Marseille, un territoire inconnu que je cherche ? apprivoiser. L?objectif est d?interroger la d?sorientation urbaine, de montrer comment elle peut devenir une source d?inspiration et de cr?ation. Mon approche repose sur l?errance et l?intuition, en cherchant ? capturer des fragments de r?alit? qui refl?tent la complexit? des villes et de leurs habitants. L?urbanit? contemporaine g?n?re une sensation de perte et de vertige existentiel, et c?est pr?cis?ment ce que je cherche ? retranscrire ? travers mes images Le format diptyque cr?e un dialogue visuel entre les deux villes, r?v?lant l?universalit? du malaise urbain. Le format diptyque cr?e un dialogue visuel entre les deux villes, r?v?lant l?universalit? le malaise urbaine. In this series of three large color photographs, which demonstrate the changes of the post-war urban landscape of this French capital city, the seemingly random and fragmented assemblage of buildings, streets, and alleys of the buildings in the middle of the city has an extraordinary clarity of composition. The scale of the buildings is such that the building facade, which had become an internal unity of the city, has been dissolved into the lines of the building façade. As a result, the buildings give a sense of depth and mobility. In the photograph La forme de lHistoire, la forme de lHistoire, le cr?e de lHistoire, le cr?e de lHistoire. Le cr?e de lHistoire, le cr?e de lHistoire. Le cr?e de lHistoire.Le cr?e de lHistoire, le cr?e de lHistoire. Le cr?e de lHistoire. The structures in the photograph seem to be unmoved by the sky, with its varying shades of gray, brown, and light blue. The buildings appear to be completely immersed in the urban atmosphere, which has been completely and completely transformed. The sky is dark and gloomy, with a blue tint, but there is no haze or mist; the buildings are still and empty. The contrast between the buildings is very intense, because the buildings have the quality of a shadow, a shadow that is in no way real, but that is only there to make the buildings seem more distant and even more mysterious. But even the shadows are highly evocative: The buildings in the photograph are like a mirage, but in fact they are ghostly apparitions that have been turned into ghosts.

Result #2

just analyze this photographic project and compare with fine art contemporary fine art photography projects : ?Comme ici, comme l?-bas" est un projet photographique en noir et blanc qui explore le malaise psychosocial et l?ali?nation urbaine, ? travers des diptyques mettant en parall?le Casablanca, ma ville d'adoption, et Marseille, un territoire inconnu que je cherche ? apprivoiser. L?objectif est d?interroger la d?sorientation urbaine, de montrer comment elle peut devenir une source d?inspiration et de cr?ation. Mon approche repose sur l?errance et l?intuition, en cherchant ? capturer des fragments de r?alit? qui refl?tent la complexit? des villes et de leurs habitants. L?urbanit? contemporaine g?n?re une sensation de perte et de vertige existentiel, et c?est pr?cis?ment ce que je cherche ? retranscrire ? travers mes images Le format diptyque cr?e un dialogue visuel entre les deux villes, r?v?lant l?universalit? du malaise urbain. So, en arrière, il est ime notre style dans larte neuf? I dont know how the world looks like in a photograph, you must know that the world looks like a photograph, said Jean-Paul Sartre in his famous sentence. And I dont know how the world looks like in a photograph.And if that last sentence has never been said to me before, it has been uttered with startling frequency this past week on the occasion of the opening of the 2016 LXX exhibition in Paris. It will be interesting to see if the same formulation could be applied to the work of the photographers, most of whom have had an important role in the history of photography.The exhibition at the Centre Pompidou and its main exhibition space were titled, respectively, A photograph is a photograph, and a photograph is a photograph. And A photograph is a photograph, and a photograph is a photograph. This title, which Sartre employed in a 1968 article for the Paris weekly Le Monde, implied that photographs were not meant to be repeated but to be shown in different contexts. In the late 1960s and early 70s, Sartre was working with a group of photographers, among them Paul A. Hoffman and Jack Kennedy, that was based in Paris and Berkeley, California. Like most of his work, it represented an attempt to penetrate the social and political circumstances of the moment. This show was about the politics of photography, but not the politics of the moment. It was a look at what was happening in the world, at the time. The setting up of the exhibition was the memory of a conversation Sartre had with a young photographer in 1969, the year after his death. Sartre had learned of Hoffman and Kennedy's plans to publish a photograph of the same name in a book called Tania Dejana (Tania, 1969). But Sartre had a great deal to do with what was happening in his own country.

Result #3

just analyze this photographic project and compare with fine art contemporary fine art photography projects : ?Comme ici, comme l?-bas" est un projet photographique en noir et blanc qui explore le malaise psychosocial et l?ali?nation urbaine, ? travers des diptyques mettant en parall?le Casablanca, ma ville d'adoption, et Marseille, un territoire inconnu que je cherche ? apprivoiser. L?objectif est d?interroger la d?sorientation urbaine, de montrer comment elle peut devenir une source d?inspiration et de cr?ation. Mon approche repose sur l?errance et l?intuition, en cherchant ? capturer des fragments de r?alit? qui refl?tent la complexit? des villes et de leurs habitants. L?urbanit? contemporaine g?n?re une sensation de perte et de vertige existentiel, et c?est pr?cis?ment ce que je cherche ? retranscrire ? travers mes images Le format diptyque cr?e un dialogue visuel entre les deux villes, r?v?lant l?universalit? du malaise urbain. Sane, modern, modernity, was a phrase the French philosopher Jean-Pierre Chevrier used to describe the digital age. It appeared in a 1985 article in this magazine, a few years before his death in 2008, in which he describes digital technology as a universal truth that affirms the universality of human experience, stating: Digital technologies are there to be used, copied, used, and, in the case of a certain kind of science, used to create a new kind of reality. . . . The idea that all digital systems can be applied to create a new reality is one that I personally believe. (Source: Annette Böcklin, 2009.) The idea that all digital systems can be applied to create a new reality is one that I personally believe. This is why I do not believe in a single digital system, writes the philosopher at the beginning of the essay. For me, however, he goes on to say, I have no doubt that digital systems are an example of something completely different, but the difference is that the digital systems involved are not subject to the constraints of a single, perfect, but always imperfect, digital system. So, for example, if we compare the digital system used to create a photograph with that used to create a photograph made with a digital camera, the digital system used to create a photograph made with a digital camera and a digital camera, the digital system used to create a photograph made with a digital camera and a digital camera, and so on, reveal themselves as being totally different, in my view. The difference is the difference between photography and writing, in the digital age, between a photograph and a written word. As Chevrier writes, writing is a metaphor for the physical (writing) of things, for the result of things. It is the result of the physical (photography) of things. This is what I mean by an analogy between writing and photography.

Result #4

—Jean-Pierre Criqui