Sibutramina Clorhidrato

iPhoneography epiphany: AMERICA, NEW YORK AND THE HUMAN CONDITION THROUGH CONTEMPORARY VIEW OF JOHN SAVINO IPHONE William Champion ____ iPhoneography epiphany: AMERICA, NEW YORK AND THE HUMAN CONDITION viewed THROUGH CONTEMPORARY SAVINO JOHN'S IPHONE by William Champion

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"iPhoneography epiphany" by Giovanni Savino, 2010.

the the photographer moves from the desire to fill a distance distance from the object but this object will be seeking photo:

that is surreal in external reality is not n ecessariamente in the inner one in which the ambivalence is the rule and the party goes for everything.

(G. Champion, Caption to "Escape", iPhoneography epiphany of John Savino):

h ttp: / / www.flickr.com/photos/magneticart/4316543809/in/set-72157624097606434/

"Walking allows you to perceive reality with all the senses, to experience it fully, leaving the man ' initiative. focuses not only the look, unlike the train or car, which establish the distance from the world and the passivity of the body. You walk for no reason, for the pleasure of enjoying the passage of time, to take a detour to better meet the end of the journey to discover the places and faces, to increase knowledge body an inexhaustible world of senses and sensuality, or even simply to respond to the call of the road. Walking is a way to reinvent the quiet time and space. Provides a state of mind, a joyful humility before the world, an indifference to the modern means of transport or at least a sense of the relativity of things. Bring about love for simplicity, use the slow time. According to Stevenson, "you are not traveling in search of the picturesque, but looking for some joyous mood: the hope and courage to accompany the first steps in the morning, peace and spiritual fulfillment at the time of evening rest" (Stevenson, 1978) .

For Rousseau, walking is a solitary fact, an experience of freedom, an inexhaustible source of observation and reverie, a happy enjoyment of the streets conducive to unexpected encounters, surprises. " I never thought I lived, I was alive and myself, if I may say so, as I did on those journeys on foot and alone "(Rousseau, 1972). It's the same profession of faith that animates the young Kazantzakis: "Being young, strong, not like anyone in particular - a man or woman who can impoverish your heart and keep you from loving everything with neutral momentum and interest - travel on foot, alone, a sack on his back, from one end of Italy, enjoying the spring and summer and then come the autumn, laden with fruit and rain, winter: I think we should be unwise to invoke a more perfect happiness "(Kazantzakis, 1961).

Walking, even for a modest walk, granting a temporary license from the cares that clutter the 'restless and hurried existence of contemporary society. Report to the perception of self, the thrill of things, re-establishes a scale of values \u200b\u200bthat the collective habits tend to prune. Naked before the world, contrary to the motorist or user of transport, those who go on foot feels responsible for his acts, is at eye level and can hardly forget their most basic humanity. "

These considerations David Le Breton de "The world on foot: a praise of the march," I have come to mind s sheet the pages of "epiphany IPhoneography, New York City , the iphone Diaries, "a new book of photographs of young Savino.

Savino walking down New York in that way, with the presence of him and things of the world and in doing so takes us with him for a stroll, in "otium" psychological and creative in which the boundaries between work, study and game confused. of this kind of intellectual Leisure wrote Seneca (De OTIO ) Epictetus (Manual), Bertrand Russell ; ( Praise of Idleness).

We move for the Big Apple in a kind of Peripatetic "Aristotle ( teach moving around (peri) the garden of Gymnasium - pathetic) that Savino introduces us to a gallery of contemporary anthropological complexity giving, showing, in allusion, hallucinating, dreaming, playing, metaphor.

This increasing complexity of most real scares and induces a more widespread fear of annihilation of identity that results , in a naive and dangerous, if understandable, attempts to reduce, defense, paranoia, psychological basis of racism in every age.

A new species of agnosia in which we fail to see, then, is ignored.
See you then knowledge (in the greek verb = Oido I have the same root as "mind, thought").
Savino through his "iphone-visual notebook" opens our eyes, leads us to see and know, do not force us to ignore, dare to see. How does Horace (Epistles 1, 2), in the letter to his friend Massimo Lolli, Savino invites us to "sapere aude, dare to know, acknowledge, take the responsibility for the risk of knowing.

If it is true that mental health will be the conquest of the freedom to float from the consideration of their wishes individual needs and the necessary sharing of reality with others in our age there is always more, but "forced", "forced" (in the sense of Latin compulsive) to the 'either / or "to stay with a side or the other. attestations-ie-O positions ultraindividualistiche or identified in conformity with the mass herd of 'howl with the wolves "that prevents the individual solitude of different ways: you do not think, ago like everyone else.

There is hidden in the anonymity and the illusion of being powerful As the mass, as Freud taught us in his writings Social Psychology and the Analysis of the Ego. "

Kant takes up the "sapere aude" of Horace, and gives a famous interpretation of the Enlightenment in his paper of 1784 "Answer the question: What is Enlightenment?", "The Enlightenment is man's emergence from minority state that he must be imputed to himself. Immaturity is the inability to rely on one's own understanding without the guidance of another. attributable to itself is this minority, if the cause it does not depend on defect intelligence, but the lack of resolve and courage to use one's own understanding without guidance from another. Sapere Aude! Have the courage to use your own intelligence! "

imaginary dialogue with Kant, however, we think that the independence of opinion and research, although they remain a core value, can also be reached through comparison and to aid the other. In this sense, the photographs of Savino represent a "fitness of the Polis" where you can train, train and make a look that balances risk and can afford the luxury of an "Et et "  al posto dell' "aut aut ":  interfacciare le diverse sfaccettature del mondo esterno e  riconoscere il " diritto di cittadinanza" ai diversi aspetti del proprio mondo interno  e quindi dell’altro da sé.

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British Red Poppy Pin

"When I grow up": IN SEARCH OF THE ORIGINS OF HUMAN PAIN IN THE PICTURES OF CHILDREN OF JOHN SAVINO Azua de Compostela by William Champion / WHEN I GROW UP: IN SEARCH OF HUMAN ORIGINS IN THE PAIN OF THE PICTURES Azua de Compostela CHILDREN BY JOHN SAVINO

CLICCANDO SUL TITOLO DEL POST SI VISUALIZZA

 IL LIBRO FOTOGRAFICO  "WHEN I GROW UP" DIGIOVANNI SAVINO

                                                                                          


"The truth is the tone of a meeting."
Hugo von Hofmannsthal


"The hearts of little children are pure, and Therefore, the Great Spirit to show May Them Which things many older people miss "


Black Elk (Hehaka Sapa) Oglala Lakota
"


John Savino says in the introduction his book "When I Grow Up," the meeting and the interview with Dominican children where he asked her to tell what they wanted to grow up.

We are dealing in stolen shots, a photographic objectification aesthetically cold as technically perfect, but the result of many meetings and many conversations with the children but also with the living world of the author.

"has very experienced man. / Many celestial appointed / since we have a conversation / and we can listen to each other "sang Friedrich Hölderlin. And the philosopher Heidegger, commented, "Being Human is grounded in the language, but this happens only in authentic dialogue ... But what is then an 'interview'? Apparently the talk about something together. E 'in such a way that makes it possible to talk about the meeting. Being able to listen is not a consequence resulting from talking together, but it is rather the contrary, the assumption. "

So, similarly, Savino it listens for herself and her children and the photo is only representative of the epilogue it. But how many emotions have gone before!

melancholy consciousness, as Freud teaches us in his thoughts ("sunset") after the famous promenade RMRilke with the poet in San Martino di Castrozza in August 1913, is the result of insecurity had undergone, combined with the powerful sense that something has been lost. Something without which our life is to be more empty. Melancholy may be a reaction to the loss of a loved object, which is not actually dead but was just as lost love object. We believe that there has been a loss but we can not clearly see what has been lost. So human beings can try to mitigate the indifference of the enjoyment of beauty in order to avoid the pain that will give him his loss. In so doing pass through life without realizing it. One would

say "Yes vis vitam, para mortem" if you want to really live you must accept death contained in this life, this sunset!

Savino, who even remembers wistfully relive and review in children who photographs the old feeling of having lost an ability to stay in touch with the dreams and creativity, does not believe the indifference as a defense against the pain inherent in life . Rather, the evidence in a critical, passionate, compassionate, deeply moved, sometimes angry, shocked, but never cynical and detached.

Savino is a lover, both ancient and modern, the pietas of the compassionate and lucid witness Zeitgeist of modernity and change.

Leafing through the pictures in this book, we remove human characters "in progress". Savino catches them when they are being formed, a delicate and crucial. The love of psychology and anthropology, it shines with strength. In the eyes of these children we see doubts, sadness, bewilderment, pain, disillusionment, disenchantment, estrangement, however, and sometimes even joy, innocence and wonder.

Savino's photographs are the immediate and efficient vehicle technology, but of a cosmology of pain in a time when we are no longer able to conceive of the pain that has universal value, that a bridge between the condition of individual solitude, atomized human condition and the universal and collective, these photographs capture a value of "graft", allowing us to perceptual functions, thanks to technology, in a way that we lost. In these photographs

retrace the history of pain in human life: the pain of confusion child with his mother prenatal and postnatal, to the pain of persecution of aggression that returns boomerang with the guilt and the need for atonement, the pain of futility, the separation from the object of love, grief, loss, pain of the necessary individuation, autonomy, and the resulting loneliness.

A pain that is far from useless but a source of self-knowledge such as philosophy and psychoanalysis have taught. Pain is part of life and humanity through it can take self-awareness and gain wisdom and knowledge. Of course pain can generate knowledge, but this, in turn, may cause pain.

The pain, the pathos in seeing these pictures and to hear these stories makes us "know" within the meaning of the greek "Pathein Mathos - learn suffering." Certainly, this "knowledge" which is anything but indifferent to the condition man, a theme very dear to Savino photographer / anthropologist, makes us suffer again.

Although the pain of the suffering is only by identifying these photographs allow us much more intensely than many purely intellectual and verbal analysis, it spreads to involve us.

Savino is a master photographic interplay identificatory and reminds us with Marina Tsvetaeva, "The soul, for the common man is the height of spirituality, the spiritual man is almost flesh."

" WHEN I GROW UP: IN SEARCH OF HUMAN ORIGINS PAIN IN THE PICTURES OF THE AZUA DE COMPOSTELA CHILDREN

BY GIOVANNI SAVINO

by Guglielmo Campione

Giovanni Savino tells us, in the introduction of his photographic book “When I grow up” about meeting and establishing a dialogue with the Dominican children he portrayed. These photos were born from a meeting and a dialogue, where Savino asked the children, if they felt like it, to tell him what they would like to do when they grow up.



Therefore we are not in front of stolen frames, of a cold, albeit technically perfect photographic objectivity, but rather the result of several meetings and many conversations with these children as well as with the inner childhood world inhabited by the author.

Heidegger, the philosopher, "commented” -the human being is based on language: but this is true only in a dialogue….. What does a dialogue mean, then? Evidently, it is the act of talking together about something. It is a way to establish a meeting point though a discussion. Being able to listen is not the result of talking together, it is, on the contrary, its enabler.

So, analogically, Savino is listening to himself and to the children. Photography is just the representative epilogue of it all. But how many feelings behind this!!

Melancholic consciousness, as Freud teaches us in his reflections (“Caducity”) after his well-known stroll with poet R.M.Rilke, in San Martino di Castrozza in the August of 1913, is the result of an imposed precarity, linked to a powerful feeling that something has been lost. A loss that makes us perceive our life as emptier.

Melancholy can be a reaction to the loss of a loved object, which not necessarily has been literally lost, but rather has been lost as a loved possession. We can perceive there has been a loss even if we can’t clearly see what has been lost. So, a human being can try to minimize, though indifference, the pleasure of beauty in order to avoid the pain of its loss. In doing so we go though life without even realizing it.

We could say “ Si vis vitam, para mortem” if you want to live to the full you must accept this death contained within life, this caducity of life!

Savino, although melancholically reminiscing about an ancient feeling to have lost touch with creativity and the dream world that he can observe in the young subjects of his photos, does not believe in indifference as a defense mechanism against the pain of living. On the contrary he witnesses it passionately and compassionately, sometimes emotionally moved, sometimes even angry and shocked, but never in a cynical or detached way.

Savino is a modern and at the same time an ancient worshipper of “Pietas”, a sharp and compassionate witness of the Zeitgeist of the contemporary and of impermanence.

Browsing through the portraits in this book we see a display of human characters “in fieri”. Savino captures them at the very moment of their formation, a delicate and crucial instant. His love for psychology and anthropology is blatantly transparent.

In these children eyes we see doubts, sadness, uncertainty, pain, disillusion, lack of love and yet again happiness, innocence and amazement.

Savino’s photographs are the technological, very efficient, fast vehicles to a cosmology of pain. At a time when we are unable to conceive pain with its intrinsic universal value, as a bridge between the individualistic condition of loneliness and the collective one, these photos acquire a “prosthetic” value, allowing us to function perceptively in a manner we have long forgotten.

In these images we are able to re-explore the chronology of pain in human life: from the pain and confusion in our infancy with our pre-natal and post-natal mother, to the persecution complex of our aggressiveness that brings back, as a boomerang, a sense of guilt and the need of expiation, from the pain of caducity, of our separation from the object of love, the loss of a dear one, to the pain of a necessary self-revision and the following feeling of being alone.

And this is not a useless suffering; on the contrary, it is a source of knowledge of ourselves, as philosophy and psychoanalysis taught us. Pain is a part of our lives and through pain humanity can acquire wisdom and understanding.

Surely pain can generate knowledge but it is also true that knowledge can induce pain.

The pain, the “pathos” of viewing these images, of hearing these stories, makes us “aware” in the sense of “Pathein mathos”- from ancient Greek- I learn though suffering. Surely this kind of knowledge, which represent many things but indifference to the condition of man, a theme very central in Savino’s work, makes us suffer once more.

Even if pain is a very personal feeling, by indentifying with these photographs, much more intensely than through many intellectual and verbal analysis, pain reaches and envelop us at a personal level.

Savino is a photographic master of identification interplay and reminds us, along with Marina Cvetacva that “ The soul, vertex of spirituality for the common man, for the spiritual man is almost flesh”.

                                                                                    http://www.magneticpic.com/data/web/CHILDREN/index.html

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Long Dong Silver Fotoları

"When I Grow Up, Cherished Childhood Memories" of John William Savino

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"When I GROW UP "BY JOHN SAVINO (copyright MagneticArt, New York)

New York, Manhattan May 15 2010 .

Cherished childhood memories .I don’t have many.



I had a very unhappy childhood.



The relationship with my parents (who are still alive) has not found a much needed healing in nearly fifty years.



I guess, as a psychological self-defense mechanism, I erased most of my memories from my childhood, aside from a few happy ones from when I lived with my maternal grandparents.



My childhood dreams haven’t come true and although I have somehow managed to attain a fairly successful life and career, I was never able to completely shed the psychological pain and pessimistic outlook on life I absorbed from my parents in my early years.



Of course this pessimistic perspective, assimilated both genetically and socially from my parents, has affected negatively my entire life experience, from schooling to relationships to networking to my private self. They officially diagnosed me with anxiety and depression (just like my father) when I was five years old.



While I have no more ill feelings towards my parents (I did have them, often, when I was younger) over the years, through my observation of different family lives, I became very concerned about the extreme and sometimes negative influence parents can have over their children.



As I was growing up I had the distinct yet inexplicable feeling I was losing touch with the greater, intense potential to express myself through the creative abilities I was born with.



I suppose this is a process which affect most of us, whether we are aware of it or not, as the creative mind we all possess in our early years gives up space to the rational mind, a necessary switch, in order to survive more or less efficiently in a society rewarding financial success as the most desirable goal to attain.



The “original dreams” about our potentiality (e.g. when I grow up I want to be…) get revised, corrected and frustrated along the way by our inner inability to make them become reality, by social, cultural, environmental, financial obstacles and by a dysfunctional relationship with your parents.



Indeed there are many different social, financial and cultural factors contributing towards a child becoming a “winner” or a “loser” in life.



But parents (or a single parent) certainly are either the very first obstacles, or the first support mechanism, we encounter in the linear learning trajectory since our birth.



My work in progress “ When I grow up”, started seven years ago when I was living in the poorest barrio of Azua de Compostela, in the south of the Dominican Republic.



While I was roaming around Azua dusty and dirty streets with my camera, under a scorching sun, a lot of children would just come along asking me about what I was doing and why.



Over time, following me, “El Fotografo”, became their favorite pastime and I got to listen to their stories and sometimes met their desperate parents and saw their below-poverty living quarters.



Most of these kids had just one parent (their mother) or were loosely “looked after” by some other family member. Some of them would occasionally go to a shabby, ineffectual school, some others wouldn’t even bother; all of them spent 99% of their day (and often nights) in the streets, interacting with different levels of barrio sub-culture, including prostitutes, pimps and drug addicts, always trying to find new ways to earn, beg, steal a few coins in order to eat something.



While many of their stories ranged from sad to horrible, their living conditions were appalling, their nourishment inadequate, all of them were able to come up with a snappy answer when asked:” what do you want to do when you grow up?”



Their life plans (just like mine when I was their age) where candidly optimistic.



Nurse, doctor, policeman, politician, computer expert, airplane pilot, getting married to a foreigner and go live in New York or in Europe, journalist, shop owner, lawyer etc etc.



Sadly, I documented with a series of close-up portraits the imprint of hardship I could see reflected in their eyes along with hope, happiness, sadness, pain and anger but above all I think what transpires from these children headshots is how difficult it will be for them making their dreams (whatever they are) become a reality.



The world is very focused on appearances. Who your parents are, the school you got your degrees from, the size of your house, the quality of your clothes, the car you drive, who you know, are without doubt stronger social validation factors than your natural abilities or creativity per se.



These children’s facial expressions, sad, pensive, happy, desperate, hopeful, were visually pinpointing onto a personal awareness about the pitiless compartmentalization of a society where if you are born poor, you’ll most likely remain poor, if you are not given the instruments to



compete with the rest of the world in your early years, most likely (thanks God there are always exceptions to this cruel rule) you are not even getting a chance to compete.



We often delegate our kids’ education (albeit later complaining for the poor results), to an underpaid schoolteacher, to a relative, to the street, to fate, to life itself.



We could blame the school system or simplifying, we could blame society for our children failure in later life.



Instead, I tend to point my finger to the very first social institution we encounter in our existence: our parents.



It is all too well to procreate, but when it comes to teaching values, social strategies and life philosophies to our sons and daughters: how many of us have clear ideas? How many of us know exactly what to do and how to do it? How many of us have the time or the will to do it well? Not many parents are able to smartly and compassionately help build the necessary emotional and rational mind in their children, especially in the flourishing relativism of the last few decades. Some parents can’t even clothe or feed their kids. Some others just don’t give a damn. Abuse, of all kinds, is a sad, horrible and quite common denominator in many children’s lives.



A newborn child is like a white page but nobody seems to know exactly what, how or when to write on it, so, different hands, different users with different purposes write things on it. The child is to receive a fairly random (and partisan) shower of data, of opinions, of prohibitions, of traumas, of neurosis etc that will eventually determine and regulate his adult life.



As for me, a confessed dysfunctional son and self-blamed dysfunctional father, I keep photographing street children and recording their sincere utopias, hoping that observing their candid, intense expressions, permeated with drama and joy and trauma no words could express better, will teach us adults more respect and induce a clearer recollection of a similar drama, joy and trauma we also possibly once experienced as children, until we allowed ourselves to forget and inexorably “grow up”.

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Betta Has White Blotches

Standard: "The realism of the Sacred in the painful drama of confusività life / death, perpetrator / victim, man and animal in the new book "Matadero" John Savino, New York. / "" The Sacred in iperrealism of the painful drama of confusion about life and death, perpetrator and victim, man and animal in the new photographic book "Matadero" by John Savino, New York

CLICKING ON THE BOOK TITLE IS SHOW PHOTO Matadero "

With Matadero "by John Savino, walks on stage an ancient drama WHERE life and death hold tightly and compassionately Each Other and the" Vucciria "by Guttuso is by now far away in Stylistic exercise.

L ife Being given and Received, executioner and victim, confused screams from the man and the animal, bodies painted in blood, homogenizing the killer and the slaughtered as much as to appear an hyper- realistic illusion, just as if this excess of reality -putting you through an emotional overload- could open the door of ordinary consciousness, leading us beyond, in a state of de-realization, de-personification, of trance, where space and time hang universally: it is today in the Dominican Republic but could well be one thousand years ago in the European middle ages "(...)

                                                                                            


"Yahweh is" sweet "smell blood"

(Genesis 8.2)



With Matadero "by Giovanni Savino is staged in an ancient drama where life and death are held closely intertwined and compassionately the "Vuccirìa" Guttuso now seems a distant exercise in style.

life given and received, executioner and victim, confused cries of animals and humans, also painted bodies in the blood that homogenizes pictorially the victim and the perpetrator too much and they seem hyper-realistic outcomes of tricks, as if this excess of reality through an overload emotional, break through the threshold of ordinary consciousness and to lead beyond, in a state of unreality, depersonalization, trance in which time and space are suspended and universal: it is today in Santo Domingo but could be 1000 years ago in medieval Europe .

Ambiguity is always more real and interesting uniqueness, because it allows the movement imaginative, projective, and attribution of meaning for individuals. This so carnal contact with death can be considered so dramatically and unconsciously seductive beyond the need to earn? This applies

experience of the "uncanny", as Freud? The effect

uncanny, now invites the perception, now thinking, now pleasure, now uneasy, for something that is familiar in some way and continues to be elusive, or rather difficult to classify according to the canons of reason.

Freud was rightly dissatisfied with the identification of the term outright strange, horrible, painful or unusual.

"There's no question-asked Freud-that it belongs to the realm of scary, what gives rise to angst and horror, so much so that almost always coincide with what is generally painful. And 'lawful, however, expect that there is a core particular to justify the use of a particular conceptual terminology. What we would like to know is: what is this common core that allows to distinguish precisely, within the framework of anxiety, something uncanny? What is this nucleus particular, he anticipates it once, then move on to illustrate the path Research done to get there, "the uncanny is the sort of frightening that goes back to what is known for a long time, what is family."

There is in fact this family to go / come with bare hands, a nose naked, naked eyes, mouth and ears bare naked inside the body, living death, living and the dead body is detached from the vital spirit in capturing violent rendering all his synaesthesia, its spasms of touch, its sweetish stench, his sinister gurgles and melancholy.
It makes me think of the human need to face the fear of fear. "And 'this is the thing I most fear of fear. It is even more unbearable and annoying death. I do not feel strong enough to withstand the impetuosity of this passion. "(Montaigne, Essays, I, XIX)

The drama is staged in this new film by Giovanni Savino photographic prompts us to question: The good is
a hope and maybe an illusion, as the evil we observe it, practice it, with us in everything we do? We
all the same, because we are all capable of putting to death?
Hobbes continually warns that "as to bodily strength, the weakest it has enough to kill the strongest ..."
The real battle is being fought for self-assertion: the "master" is therefore the one who has the courage to face death in contrast to the "servant" does not want to lose his life and prefers humiliation and yield?
The earth is an immense altar on which the blood must flow to pay the price for sin? In

frightening fantasy that casts the soul with his presence, the slaughterhouse is a terrible and share of what he does, is an accomplice of the executioner: devour, eat meat, drink blood, is a kind of monster, a ghost who seems to live a life of frightening, made up of all the death he caused. (V. Hugo. Misérables 1862).

In a dramatic representation of archaic and mythological / tragic photos of Savino us back to ambivalence, confusion and survival of the roles of torturer and victim, and the slave master, the boss, the sadistic, the murderer is apparently in a position of absolute power because, as Hegel pointed out, needs to be master and servant for this reason the servant becomes the master of the master, the executioner victim the victim and the sadistic servant of pain.

wrote, prophetically, as we all know, George Orwell: "Winston, how does a man to exercise power over another man?" Winston reflected. "Doing suffer," he said. "Bravo, making him suffer. It is not enough that we obey. If you do not suffer, how can we be sure they do not obey our will but yours? Power means to inflict pain humiliation. A world of fear and betrayal, a world in which we tread and you will be trampled upon, a world that becomes increasingly ruthless in perfect ... "

Savino images are metaphors for a condition in which anthropological intersect mythic themes such as violence, the sacred, power, pain, atonement, sacrifice, guilt.

The pathos that holds my gaze riveted on Matadero "reminds me of Greek Tragedy, pain and confusion of the river of blood revenge or cross the sleepwalking Lady Macbeth as a phobic-obsessive compulsively continues to wash their hands Gross blood in the recent murder.

In this scene of blood and pain and the slaughterhouse can breathe an air of ancient "sacred violence."

Violence, said Rene Girard, lights for "mimetic desire," for which everyone wants what they have or others want. The origin of human society there is in fact a sacrificial murder and sacrifice are recognized and sacred divine attributes, just because his killing acts as a means to quell the violence. Downloading onto a scapegoat who opposes violence each to all others, interpersonal conflict subsides and builds the social bond. The sacred is therefore of great value for cohesion and therefore religion is "the feeling that the community inspires its members, but projected out of consciousness to prove it, and objectified."

Sacrifice, takes, "a true work of collective transference that takes place at the expense of the victim and which involves the tension unconscious men. The ritual sacrifice seems based on a replacement "to ward off the violence by certain beings who are trying to protect.'' Some rituals systems replace humans with animals threatened by violence, other systems instead replace them with other human beings because "basically there is no essential difference between human sacrifice and sacrifice animale''diceva Girard. All of the victims" should look like those they replace.''
The sacrifice is thus "an act of violence without fear of revenge,''because you always use people or animals 'is not vindictive'.
requires sacrifice so that there is an appearance of continuity between the victim and the other actually sacrificed human beings to which it is sostituita.Così victim when violence can not download them to your enemy that has aroused, is unleashed, as everyone knows, on a substitute target. The elimination of the victim makes violent frenzy vent from which each was owned until recently and this has an emotional impact on the group incalculable. It becomes sacred in their eyes, their words have power of life and death on the group: is the god. This is the genesis of the religious ritual of sacrifice and particularly as a repetition of the event victimary original, designed to replicate mechanically and inexplicably, the miraculous effects of the myth as a narrative of that event from the point of view the crowd.

How can we forget the lack of difference between butcher and pork, and beef from the butcher, but also between abuser and abused that seem to allude to each other in these pictures, as Savino tells us in his introductory remarks?

the photos of Savino are staged "Nature and Culture", he said Levi Strauss, myth and ritual on the one hand, the other design challenge, progress and ideal stop real time in history: Savino is there in the middle which captures the contradictions real or suspected, ambiguity and ambivalence behind apparent differences as a critical witness, passionate, compassionate, touched, sometimes angry, shocked, but never cynical and detached.

Savino is a lover, both ancient and modern, the pietas and shiny compassionate witness of the Zeitgeist of contemporary style and mortality.

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