“If people complain that Nandini is exploiting the consumers in Kerala by selling milk at a higher cost, I have to agree. Mani also thinks that Nandini’s milk sale was not only damaging the livelihood of the dairy farmers here but, in a way, exploiting the public. “The quality of Nandini milk is poor and I request the people of Kerala to consume Milma milk, as milk is mostly consumed by kids in our homes,” she said. Here we are giving milk collected in the evening to the public the very next morning,” said Mani.ĭairy Development Minister J Chinchu Rani was more straight when she addressed the issue. “If we go by Nandini’s strategy and decide to sell milk in Karnataka, a customer gets the milk procured two days before. Mani has another point about the quality of milk procured and processed in one state and transported to another state for sale. The microbial activity in Milma’s milk (204 minutes) takes longer time to allow microbial activity when compared to Nandini’s (190 minutes). It was only a few weeks ago that the Department of Animal Husbandry and Dairying certified that the Malabar Regional Cooperative Milk Producers under Milma produced the best quality milk in the country. What Mani hates the most was the campaign that Milma products are inferior. It is part of a ploy to destroy the diary farmers and Milma,” said Milma chairman K S Mani.Ĭontrary to the smear campaign, the blue packet of Milma is priced at Rs 26, while Nandini sells milk of the same quality for Rs 27 in their outlets. “There has been a deliberate attempt to create an impression that our products are costlier and of lower quality than Nandini, even when the fact is exactly the opposite. These campaigns aim to raise doubts about the cost, quality, and overall business practices of Milma. ![]() The photographic works themselves oscillate between these two poles.Ĭurator of the exhibition: Dr.Milma faces the arduous task of countering the aggressive marketing activities of the Nandini and other smear campaigns in social media against the Kerala brand. The bunkers, on the other hand, are unequivocal evidence of a past filled with very concrete, often oppressive memories. The actual view from the bunkers has not really changed that much: the partial view of the landscape as it is today is also the view as it was in the past, even if the people in the surroundings have changed and thus perceive the landscape differently. The photographic image is thus reduced to its most basic message and in this way, it also evokes a connection to the past. Only the very essential, the lasting, that which repeats itself temporally – the ocean, the beach, certain sections of the bunkers, firmly anchored objects – become visible all which is temporary disappears. Rather, they depict the daily life of the bunkers as an experience of the present. Photos such as these are not merely snapshots, and their intention is not simply to document. Applying the “camera obscura” process, the bunkers’ view slowly inscribes itself onto photographic paper. And Gábor Ősz has coaxed something clandestine out of them. Their observational point of view – the “eye” of the bunkers – is actually their most striking feature. Originally positioned so as to be hidden from enemies, the bunkers were nonetheless well-suited as observation points. ![]() Now, however, having lost their functional value, they remain in many places as architectonically impressive relics. What does the present look like from the perspective of the past? The bunkers comprising the Atlantic Wall, built by the Germans during the Second World War as a line of strategic checkpoints ranging from the coast of Norway all the way to France, bear witness to the past. Such a world distinguishes itself structurally from the world of historical linearity, where nothing repeats itself and everything has a cause and an effect”. ”The temporal space of a picture is none other than the world of magic, a world in which everything repeats itself and takes part in a context full of meaning.
0 Comments
Leave a Reply. |