before i left, i made sure to take two significant photos for which i had saved my dying camerička's battery: the Apple Store, which is housed in a crumbling and domed yellow building along the river. and this ad campaign (for laundry detergent), running only (i noticed on the first bus ride, and confirmed on the way back) where the damage was heavy and the buildings still scarred with shell wounds.the trip itself was fairly uneventful, probably the result of it being enacted on a bus of incredible and unprecedented pristinity. the other excitement pertained to: it stopping along the highway that is my front yard, saving me the extra 30 minutes it would have taken me to come back out of the city after passing my apartment building on the way thereinto. it wasn't quite a tollbooth or an unlit village corner, but, as mentioned, i am no longer awesome.
5 comments:
"i am no longer awesome." This I highly doubt.
Is the picture displayed on this blog entry the ad campaign? Highly abstract, to say the least.
Were the sappy songs American imports or local creations?
note new photo; earlier one was the innermost of the detail-study series, but this one probably makes better sense.
Noted. But I'm afraid I don't quite get the connection between Arix and bomb damage.
has a girl got to post her entire brain these days?
i keep forgetting that just because i have seen something and quickly drawn conclusions and associations thereabout, my descriptive powers leave much to be desired. likely i ought to have left the original picture, because the recent one is proving more confusing. to be perfectly clear:
beyond the company funding the series of advertisements, Arix has absolutely no implicative value on the scene portrayed. the image could have been anything, as long as the black dots remained central.
the pattern of dots on the shirt looks like just about any given wall of a building in Sarajevo, Mostar, and the other towns in which these posters are displayed.
it seems that the posters are to be found no where else—because, as is evidenced by the rampant confusion about this (what seemed self-evident, but is obviously not), without the visual comparison, the shirt becomes merely abstract and/or silly (you should see the guy's face, in the further-zoomed-out photograph in the series).
the semi-glib realism struck me as edgy and smart, but perhaps i was in error—or, at least, should not have leapt to the assumption that any of these aspects was conveyable, given that neither the poster nor the entire context was such.
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