Happy New Year 2016 and Seth Godin Predictions

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Seth Godin on 2016: Surefirepredictions

I’m betting on the following happening in 2016:

An event will happen that will surprise, confound and ultimately bore the pundits.

Out of the corner of your eye, you’ll notice something new that will delight you.

You’ll be criticized for work you shipped, even though it wasn’t made for the person who didn’t like it.

Something obvious will become obvious.

A pop culture emergency will become the thing that everyone is talking about, distracting us from the actually important work at hand.

You’ll gain new leverage and the ability to make even more of a difference.

We’ll waste more than a billion hours staring at screens. (That’s in total, but for some people, it might feel like an individual number).

That thing that everyone was afraid of won’t come to pass.

Some people will gain (temporary) power by ostracizing the other, amplifying our fears and racing to the bottom.

And the long-term trend toward connection, dignity and possibility will continue. Slowly.

Opportunities will be missed. Lessons will be learned.

You’ll say or write something that will shine a light, open a door and make a connection.

Nothing will be as perfect as we imagined it. Many things will be better than that, though.

Leaps will be taken.

You will exceed expectations.

The project you’ve been working on will begin to pay off in unexpected ways, if you’re open to seeing them.

You will start something. And quit something.

That expensive habit that you don’t even enjoy that much will continue to be expensive.

We’ll forget some hard lessons but we’ll also learn some new ones.

A pretty safe list, because, of course, this always happens.

http://sethgodin.typepad.com/seths_blog/2015/12/surefire-predictions.html

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sabinekorth

Curriculum • Place and date of birth: Monheim, Deutschland, March 18th, 1958. • Citizenship: German. EDUCATION • University of Bielefeld, Photo Design, 1986 • Graduation thesis: Youths' Free Time and Night Life in Italy. • Languages: English and Italian fluent • Member of DGPH Deutsche Gesellschaft fuer Photographie and DFA Deutsche Fotografische Akademie. WORK EXPERIENCE 1986 Moved to Florence, Italy. 1987 -1994 Manager of "Print Service" a professional black/white printing and developing laboratory. 1994–present Free-lance Photographer .Offers workshops in photography of reportage, portrait, black and white printing and fotomontage. .Attends regular annual lectures at University Dortmund, Germany - Dept. of Fine Arts. Professore di Fotografia Classica, Digitale e Fotografia Sperimentale Tecniche di Fotografia classica, sperimentale, alternativa, stampe antiche, pinhole, composizione, reportage, foto di matrimonio, ritratto, montage e collage, camera oscura analogica e digitale. Archiviazione,produzione libri fotografici, videopresentazioni. Guida didattica e workshop per studenti in combinazione con gite fotografiche e fotoanimazioni in scuole e asili. Docente di „fotocollage terapeutico“: Collaborazione come docente e tecnico fotografico con il Gruppo Fotografico “ScattOcchio”del Laboratorio di ArteTerapia Multimediale, Centro di Salute Mentale ASL 2 del Dott. Carmine Parrella. Realizzazione di laboratori creativi per bambini e adulti. Photography Instructor .Lorenzo De Medici Consortium for U.S. programs in Florence. .SACI – Studi Arts Center International Florence Courses through Studio Marangoni in Florence: .Sarah Lawrence College in Florence .New York University .School of Visual Arts in Florence Personal Experience 1991 – 2016 Traveled in Egypt, Mexico, Venezuela, Cuba, Ivory Coast, Ghana, Zimbabwe, New York, India, Morocco, London and Istanbul doing reportage black and white and color digital. Working Philosophy Today more than ever, expressive language communicates the “Zeitgeist” of our times. InFrom South to North, I bring together different cultural forms in order to stimulate reflection on this subject. Instead of employing a classical documentary method, I use a more creative approach that appeals directly to the viewer’s imagination. Combining photographs allows me to interweave and concentrate images. These are fictions that, like poetry, rely on metaphor and simile to achieve their effects. References, allusions, and analogies create a surreal atmosphere that leads the viewer to another reality—one that may be read only beyond the confines of the photo frame. I feel that a body of work is strongest and most honest when it challenges both the viewer and its creator to consider equally new perspectives and ideas. Recently I have begun to explore the possibilities of the “digital darkroom.” To date, most work produced digitally has been commercial. Only recently has digitally-produced photography emerged as an art form. I am fascinated by the computer’s ability to synthesize—to weave disparate materials and into a single continuum. This enables the artist to explore in fresh ways both surrealist and post-modern perspectives. Although my working methods have radically altered, my interests remain the same. The content of my previous work has flowed naturally onto the screen and into the images before you. I enjoy teaching and sharing with students my experiences as a photographer. Whether instructing students in traditional darkroom approaches to developing black-and-white photographs or in new digital approaches to developing color photographs, teaching is for me like a never-ending cycle of giving and taking. When working with students, I often encounter unexpected points of view that challenge me to rethink the ways I approach the students’ work as well as my own.

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