View allAll Photos Tagged Inaction
9 April 2013. Rubbish bags and a mattress dumped in Stoneleigh Road, Tottenham N17. The overflowing commercial waste bin had not been collected by the contractors - it seemed for several monhs. They said the High Road trader responsible had not paid their bill.
Reported to Haringey Council by my partner Zena Brabazon and by Martin Ball on behalf of the local residents' group. They walked round part of this area to assist the Council's Bruce Grove "Week of Action" on environmental issues in and near the High Road, which begins on 15 April 2013.
The bags and mattress were quickly removed by Veolia, the Council's Waste contractors. Action is being followed up by Council staff in respect of the commercial waste.
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§ Aerial view of where Zena Brabazon took these photos.
The Korean War Veterans Memorial was authorized by Public Law 99-572 on Oct. 28, 1986 "…to honor members of the United States Armed Forces who served in the Korean War, particularly those who were killed in action, are still missing inaction, or were held as prisoners of war." The law established an advisory board of 12 veterans appointed by the president to coordinate all aspects of the memorial’s construction. The site is located adjacent to the Lincoln Memorial directly across the reflecting pool from the Vietnam Veterans Memorial in Washington, D.C.
The American Battle Monuments Commission managed the project and the U.S. Army Corps of Engineers provided assistance. The architect of record is Cooper Lecky Architects. President Bill Clinton and South Korean President Kim Young Sam dedicated the memorial on July 27, 1995. Since the dedication several modifications have been incorporated: a kiosk to provide shelter for National Park Service personnel and a computer system with data housing the "Honor Role," which was accessible to the public. Correcting accessibility issues and replacement of the lighting in the statuary and along the mural wall with a state-of-the-art fiber optic system were required. Reconstruction of the pool and tree grove by the National Park Service and Corps of Engineers to improve tree maintenance and operate the reflecting pool was completed in July 1999. The overall cost for the design and construction of the memorial and kiosk was $16.5 million.
Statues:
There are 19 statues sculpted by Frank Gaylord of Barre, Vt., and cast by Tallix Foundries of Beacon, N.Y. They are approximately 7’3" tall, heroic scale and consist of 14 Army, 3 Marines, 1 Navy, 1 Air Force. They represent an ethnic cross section of America with 12 Caucasian, 3 African American, 2 Hispanic, 1 Oriental, 1 Indian (Native American).
The juniper bushes are meant to be symbolic of the rough terrain encountered in Korea, and the granite stripes of the obstacles overcome in war. The Marines in column have the helmet chin straps fastened and helmet covers. Three of the Army statues are wearing paratrooper boots and all equipment is authentic from the Korean War era (when the war started most of the equipment was WWII issue).
Three of the statues are in the woods, so if you are at the flagpole looking through the troops, you can't tell how many there are, and could be legions emerging from the woods. The statues are made of stainless steel, a reflective material that when seen in bright sunlight causes the figures to come to life. The blowing ponchos give motion to the column, so you can feel them walking up the hill with the cold winter wind at their backs, talking to one another. At nighttime the fronts of the statues are illuminated with a special white light; the finer details of the sculpture are clearly seen and the ghosts appear.
The Korean War Veterans Memorial was authorized by Public Law 99-572 on Oct. 28, 1986 "…to honor members of the United States Armed Forces who served in the Korean War, particularly those who were killed in action, are still missing inaction, or were held as prisoners of war." The law established an advisory board of 12 veterans appointed by the president to coordinate all aspects of the memorial’s construction. The site is located adjacent to the Lincoln Memorial directly across the reflecting pool from the Vietnam Veterans Memorial in Washington, D.C. The American Battle Monuments Commission managed the project and the U.S. Army Corps of Engineers provided assistance. The architect of record is Cooper Lecky Architects. President Bill Clinton and South Korean President Kim Young Sam dedicated the memorial on July 27, 1995. Since the dedication several modifications have been incorporated: a kiosk to provide shelter for National Park Service personnel and a computer system with data housing the "Honor Role," which was accessible to the public. Correcting accessibility issues and replacement of the lighting in the statuary and along the mural wall with a state-of-the-art fiber optic system were required. Reconstruction of the pool and tree grove by the National Park Service and Corps of Engineers to improve tree maintenance and operate the reflecting pool was completed in July 1999. The overall cost There are 19 statues sculpted by Frank Gaylord of Barre, Vt., and cast by Tallix Foundries of Beacon, N.Y. They are approximately 7’3" tall, heroic scale and consist of 14 Army, 3 Marines, 1 Navy, 1 Air Force. They represent an ethnic cross section of America with 12 Caucasian, 3 African American, 2 Hispanic, 1 Oriental, 1 Indian (Native American).Three of the statues are in the woods, so if you are at the flagpole looking through the troops, you can't tell how many there are, and could be legions emerging from the woods. The statues are made of stainless steel, a reflective material that when seen in bright sunlight causes the figures to come to life. The blowing ponchos give motion to the column, so you can feel them walking up the hill with the cold winter wind at their backs, talking to one another. At nighttime the fronts of the statues are illuminated with a special white light; the finer details of the sculpture are clearly seen and the ghosts appear.
The juniper bushes are meant to be symbolic of the rough terrain encountered in Korea, and the granite stripes of the obstacles overcome in war. The Marines in column have the helmet chin straps fastened and helmet covers. Three of the Army statues are wearing paratrooper boots and all equipment is authentic from the Korean War era (when the war started most of the equipment was WWII issue). for the design and construction of the memorial and kiosk was $16.5 million.
The Korean War Veterans Memorial was authorized by Public Law 99-572 on Oct. 28, 1986 "…to honor members of the United States Armed Forces who served in the Korean War, particularly those who were killed in action, are still missing inaction, or were held as prisoners of war." The law established an advisory board of 12 veterans appointed by the president to coordinate all aspects of the memorial’s construction. The site is located adjacent to the Lincoln Memorial directly across the reflecting pool from the Vietnam Veterans Memorial in Washington, D.C.
The American Battle Monuments Commission managed the project and the U.S. Army Corps of Engineers provided assistance. The architect of record is Cooper Lecky Architects. President Bill Clinton and South Korean President Kim Young Sam dedicated the memorial on July 27, 1995. Since the dedication several modifications have been incorporated: a kiosk to provide shelter for National Park Service personnel and a computer system with data housing the "Honor Role," which was accessible to the public. Correcting accessibility issues and replacement of the lighting in the statuary and along the mural wall with a state-of-the-art fiber optic system were required. Reconstruction of the pool and tree grove by the National Park Service and Corps of Engineers to improve tree maintenance and operate the reflecting pool was completed in July 1999. The overall cost for the design and construction of the memorial and kiosk was $16.5 million.
Statues:
There are 19 statues sculpted by Frank Gaylord of Barre, Vt., and cast by Tallix Foundries of Beacon, N.Y. They are approximately 7’3" tall, heroic scale and consist of 14 Army, 3 Marines, 1 Navy, 1 Air Force. They represent an ethnic cross section of America with 12 Caucasian, 3 African American, 2 Hispanic, 1 Oriental, 1 Indian (Native American).
The juniper bushes are meant to be symbolic of the rough terrain encountered in Korea, and the granite stripes of the obstacles overcome in war. The Marines in column have the helmet chin straps fastened and helmet covers. Three of the Army statues are wearing paratrooper boots and all equipment is authentic from the Korean War era (when the war started most of the equipment was WWII issue).
Three of the statues are in the woods, so if you are at the flagpole looking through the troops, you can't tell how many there are, and could be legions emerging from the woods. The statues are made of stainless steel, a reflective material that when seen in bright sunlight causes the figures to come to life. The blowing ponchos give motion to the column, so you can feel them walking up the hill with the cold winter wind at their backs, talking to one another. At nighttime the fronts of the statues are illuminated with a special white light; the finer details of the sculpture are clearly seen and the ghosts appear.
A protest called by Uni Students For Climate Justice in Melbourne, forming part of a COP26 Global Day of Action against climate inaction.
An excerpt: "The radical Muslims say, ‘The British are Kafir (infidels).’
They should be ashamed of themselves now. Look at your Muslim countries like Saudi Arabia, United Arab Emirates, Qatar, Kuwait and others. Why can’t they provide shelter to these stranded Syrian Muslims? Is this their Islam? Is this their ‘pure’ way of life?"
Read more: medium.com/messiah-foundation-international/islamic-count...
ODC our Daily Challenge: Something I enjoy doing often:
being on my own and not in company to shoot photos.
I spotted this woman while sitting in the train, waiting for the departure. I loved her deep concentration on taking the best photograph ever of the Meret Oppenheim Building. During several minutes she moved / changed the place to have the best angle
new 365 project in 2021: 186
If you live in Liverpool avoid Old Swan at all costs, Liverpool City Council has authorised work here and reduced a major route in and out of the city to one lane in each direction. Major road works you may think but no, they are removing the paving stones (to keep for the posh area's) and replacing them with tarmac. The journey at peak times 1/8th of a mile will take you an hour (just under 1 mph). Credit where it's due though, of the 14 people with Hi Viz jackets I saw, 2 of them were working .
A protest called by Uni Students For Climate Justice in Melbourne, forming part of a COP26 Global Day of Action against climate inaction.
Continued inaction on climate change is impacting communities and ecosystems across the north. One of these affected communities is Santa's workshop.
"I just don't know what to do" said Santa, "the ice is breaking up, the reindeer (caribou) can't find food, and the elves are absolutely distraught."
Members of the Canadian Youth Climate Coalition helped Santa, his elves, the caribou and the polar bears reach the federal government by setting up a homeless shelter outside Environment Minister Rona Ambrose's constituency
office.
A few months ago a group of grass root climate organisations decided we should hold a local event: a #Racetozero emissions while #COP26 was on in Glasgow. And so the idea of the #morelandclimatecup was born. This is around the time of the Melbourne CUP spring racing festival, so it works off the back of 'CUP' fever here in Melbourne.
Of course Prime Minister Scott Morrison repeatedly saying “it’s not a race” regarding vaccine rollout got our goat up. The vaccination rollout was always a race against the virus in this pandemic. It’s also a race to decarbonise to avoid climate impacts and locking in tipping points in the planet’s climate system. Australia is on the wrong track expanding fossil fuel production, the net zero ‘plan’ announced in Glasgow is full of magical technology thinking and solutions like CCS that have so far been an enormous failure, but are there to delay action.
There are still public health regulations in force for Victoria for public gatherings (up to 30 fully vaccinated people may gather in public) We had event pre-registration and event QR code and set about organising this as a decentalised protest across Moreland, keeping within Covidsafe guidelines..
We held three separate events at the same time around Moreland: at Brunswick, Coburg and Newlands. What unites us all is the #MorelandClimateCup hashtag and common demands.
Climate Coalition of Moreland organised these events. Climate Action Moreland, XR Moreland, StopAdani Moreland Neighbours United for Climate Action, ACF Community Melbourne NxNW all involved.
Today is also the #GlobalDayofAction organised by the COP26 Coalition organising outside #COP26Glasgow calling for #climatejustice
Our Demands:
1. 100% renewable energy by 2030 – End public funding of coal, oil and gas.
2. Expand public transport networks & bike paths to encourage people to reduce car use. Shift vehicles to electric.
3. Address the biodiversity Crisis, fund species conservation to prevent extinctions. End Native Logging by 2024. Implement Australian Trees and Biodiversity Plan to reduce climate pollution by at least 1 billion tonnes by 2030.
4. Australia to contribute its fair share of global climate finance to support low-income countries implementing climate action.
5. Climate justice means creating alternative jobs for fossil fuel workers and their communities, funding Indigenous-led land management with jobs on country to repair ecosystems, reduce emissions and reduce fire risk.
6. Make the climate criminals pay. Put a levy on fossil fuel companies to help pay for the crisis.
7. Phase out gas in Moreland
Comenzando un buen graffiti que pintamos con Defos, dio mucho que hablar esta producción, además era la primera fusión que hacíamos entre los dos.
Esto fue en el año 1999 para una actividad que organizo La Casa de la cultura de Recoleta.
Saludos para Miguel Osorio y Tito por el apoyo.
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Creo este espacio solo para poder mostrar mis trabajos que han permanecido en álbunes muy celosamente cuidados, en el cual guarde fotos de mis comienzos en el graffiti desde 1993 hasta estos años, colocare imágenes actuales y también las mas antiguas aunque en estos tiempos no sean de mi agrado pero tienen un gran valor sentimental por mis comienzo en esto que me a dado mas que amigos y experiencias... un estilo de vida.
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21/9, marche contre le réchauffement climatique
Now part of JJ_BT, l'intégrale le tout , powered by issuu
Continued inaction on climate change is impacting communities and ecosystems across the north. One of these affected communities is Santa's workshop.
"I just don't know what to do" said Santa, "the ice is breaking up, the reindeer (caribou) can't find food, and the elves are absolutely distraught."
Members of the Canadian Youth Climate Coalition helped Santa, his elves, the caribou and the polar bears reach the federal government by setting up a homeless shelter outside Environment Minister Rona Ambrose's constituency
office.
Continued inaction on climate change is impacting communities and ecosystems across the north. One of these affected communities is Santa's workshop.
"I just don't know what to do" said Santa, "the ice is breaking up, the reindeer (caribou) can't find food, and the elves are absolutely distraught."
Members of the Canadian Youth Climate Coalition helped Santa, his elves, the caribou and the polar bears reach the federal government by setting up a homeless shelter outside Environment Minister Rona Ambrose's constituency
office.
The Korean War Veterans Memorial was authorized by Public Law 99-572 on Oct. 28, 1986 "…to honor members of the United States Armed Forces who served in the Korean War, particularly those who were killed in action, are still missing inaction, or were held as prisoners of war." The law established an advisory board of 12 veterans appointed by the president to coordinate all aspects of the memorial’s construction. The site is located adjacent to the Lincoln Memorial directly across the reflecting pool from the Vietnam Veterans Memorial in Washington, D.C.
The American Battle Monuments Commission managed the project and the U.S. Army Corps of Engineers provided assistance. The architect of record is Cooper Lecky Architects. President Bill Clinton and South Korean President Kim Young Sam dedicated the memorial on July 27, 1995. Since the dedication several modifications have been incorporated: a kiosk to provide shelter for National Park Service personnel and a computer system with data housing the "Honor Role," which was accessible to the public. Correcting accessibility issues and replacement of the lighting in the statuary and along the mural wall with a state-of-the-art fiber optic system were required. Reconstruction of the pool and tree grove by the National Park Service and Corps of Engineers to improve tree maintenance and operate the reflecting pool was completed in July 1999. The overall cost for the design and construction of the memorial and kiosk was $16.5 million.
Statues:
There are 19 statues sculpted by Frank Gaylord of Barre, Vt., and cast by Tallix Foundries of Beacon, N.Y. They are approximately 7’3" tall, heroic scale and consist of 14 Army, 3 Marines, 1 Navy, 1 Air Force. They represent an ethnic cross section of America with 12 Caucasian, 3 African American, 2 Hispanic, 1 Oriental, 1 Indian (Native American).
The juniper bushes are meant to be symbolic of the rough terrain encountered in Korea, and the granite stripes of the obstacles overcome in war. The Marines in column have the helmet chin straps fastened and helmet covers. Three of the Army statues are wearing paratrooper boots and all equipment is authentic from the Korean War era (when the war started most of the equipment was WWII issue).
Three of the statues are in the woods, so if you are at the flagpole looking through the troops, you can't tell how many there are, and could be legions emerging from the woods. The statues are made of stainless steel, a reflective material that when seen in bright sunlight causes the figures to come to life. The blowing ponchos give motion to the column, so you can feel them walking up the hill with the cold winter wind at their backs, talking to one another. At nighttime the fronts of the statues are illuminated with a special white light; the finer details of the sculpture are clearly seen and the ghosts appear.
Alton Gallery, Echuca. Former Baby Health Care Centre, Alton Reserve, Hare Street, Echuca.
The health of mothers and infants became of increasing concern in the first decades of the twentieth century. The early baby health movement was driven by committed volunteers frustrated at government inaction. Dr Isabella Younger Ross (1887-1956) who had studied infant health in England helped set up Victoria's first baby health clinic in Richmond in 1917. By 1918 the voluntary Victorian Baby Health Centres Association (VBHCA) was formed to oversee the growing number of centres. Financial support also came from local councils and in 1926 the State government formed the Infant Welfare Section of the Public Health Department and appointed Dr Vera Scantlebury Brown as the first Director.
The first Baby Health Centre in Echuca was conducted from two small rooms in the Town Hall between 1925 and 1950. By 1947 the rooms were insufficient for the needs of the service. In the following year, despite severe post-war labour and material shortages, the Committee of the Baby Health Centre embarked on a fund-raising campaign for a new building, supported by the Echuca Rotary Club. The council provided land on Alton Reserve situated at the end of the commercial centre of the town, but provided no funding for the building. The committee took advantage of the newly introduced State Government construction subsidy of $1000 and the building was eventually completed by voluntary labour, donated materials and funds from individuals and local businesses and organisations. The building, opened by Dr. A. E. (Betty) Wilmot, Acting Director of the Maternal and Child Hygiene Section of the Health Department on 30 September 1950, is one of the first centres to be completed in country Victoria after World War Two. The architect for the building is unknown.
In plan form the domestic-scale building is symmetrically arranged with double door entrances accessed by porches on either side of a central, projecting waiting room. The entrances and pram porches were specifically designed to provide easy pram access, as well as space for pram parking. Other rooms include the consulting suite, as well as a utility room, kitchen, toilet, tools and wood room. Domestic in scale and design, the centre resembles a house typical of the austere period after the Second World War. The style can be described as Post-war Functionalist or Post-war Austere. The hipped roof is tiled, the brick fabric is rendered (now painted white), and the windows metal framed. The porches are semi-circular, with sections of glass bricks and double wrought iron gates at their entry. The large wrought iron lettering mounted on the render above each entry originally read "HEALTH", the other "CENTRE". A Rotary logo is located at the top part of the chimney. The building is owned by the Campaspe Shire Council and is still in community use as a gallery.
After being red-tagged by the city due to continued inaction by the church's out-of-state owners, the church was ultimately demolished in May 2024.
"Heart of my heart, Love will never die." - "Willow"
Our friends at Silence is Violence have asked for a call to action to make the point that New Orleanians are tired of the inaction when it comes to making our city streets a safer place to enjoy. We are surrounded by violence and little seems to be happening to ensure public safety. There are many culprits in why this systemic failure continues to occur and while we'd like to point fingers at all of the particular leaders who day after day do nothing, it would get us no further. In the spirit of NoLA Rising, we plan to take action through art!
NoLA Rising is honored to announce a Paint Party at the house of Susan "Willow" Schroeder, who tragically lost her son to murder in 2001. To lift her out of her grief, she painted a work of love in dedication to her son David, making her home a beautiful expression of the love she felt for him. Sadly, Willow's tale is like so many other New Orleans crime tales, where no one has even been arrested in the shooting death of her son.
The tragedy doesn't end there, however. Willow and her partner Feather, have had to endure discrimination for all of the emotions that have been painted out. One neighbor has tried consistently to have the house cited and actively researches ways to fine them. Quoted in the Times-Picayune, the neighbor questioned: "Does a grieving mother have the right to deface public property because her son died?" because she painted the sidewalk immediately in front of her house. New Orleans is a city that welcomes unique forms of expression and NoLA Rising believes that this is a house worthy of such expression.
Long keeping in the philosophy that "Art can heal the wounded soul!", NoLA Rising sees the individual struggle of a loving mother a perfect place to host a paint party against the senseless acts of violence in New Orleans. It's a way to create something beautiful out of tragedy and I can think of no other way to voice opposition to the lackluster response of those responsible for maintaining public safety. We will also be joined by our friends at United For Peace who will also be creating artwork for a fundraiser to build a center for mothers and families of those lost to tragic violence.
Please, honor a fallen son and a fallen brother by joining NoLA Rising and United for Peace at David's House in the 3000 block of St. Peter around noon, Saturday, January 10th (2009) for a paint party. Bring your paints and prepare to make artwork that can proudly be displayed outside of homes across this city. Make artwork that inspires change! Let your voice be heard through artistic expression. Let the leaders of the city know that you will no longer tolerate the scourge of violence that plagues New Orleans. Paint the change you wish to see!
The community comes together on the second anniversary of the devastating fire. Gathering in the shadow of the tower.
🇧🇷 Há algum tempo venho refletindo sobre o que nos impulsiona a agir. Essa inquietação foi o que motivou a criação do iNAction Collective: um espaço de atitudes capazes de mover o mundo — ou mundos individuais — por meio das artes e das tecnologias da web2 e da web3.
A terapia frequentemente nos propõe o exercício de nos separarmos, ou ao menos nos desfazermos, de traumas oriundos da infância, da adolescência ou da vida adulta. Diante disso, surgem perguntas inevitáveis: como devemos agir? Quais atitudes são consideradas corretas, erradas, precisas ou completamente desordenadas? O que, afinal, nos move e nos orienta a buscar versões melhores de nós mesmos dia após dia?
Existe uma parábola que fala sobre sementes: aquelas que germinam plenamente e aquelas que crescem de forma limitada, sufocadas entre espinhos. Essa imagem simbólica, somada às reflexões anteriores, levou-me a dedicar algumas horas à construção desta dupla exposição.
À primeira vista, trata-se de uma ação simples — e de fato é. Uma criança que caminha até a beira da Praia do Laranjal e retorna. Toda a sequência foi registrada em um intervalo entre um e dois minutos. Ao chegar em casa, iniciei um processo intenso de experimentação até alcançar o resultado final.
O trabalho se materializa em uma dupla exposição composta por uma série de máscaras: duas fotografias, um “antes” e um “depois”, que se articulam por meio de máscaras de transparência e camadas em modo de multiplicação.
🇪🇸/🇦🇷/🆑/🇲🇽/🇨🇴/🇵🇪/🇺🇾 Hace algún tiempo vengo reflexionando sobre aquello que nos impulsa a actuar. Esa inquietud fue lo que dio origen a iNAction Collective, un espacio de acciones capaces de mover el mundo —o los mundos individuales— a través de las artes y de las tecnologías web2 y web3.
La terapia suele proponernos el ejercicio de separarnos, o al menos desprendernos, de los traumas provenientes de la infancia, la adolescencia o la vida adulta. Frente a esto surgen preguntas inevitables: ¿cómo deberíamos actuar? ¿Qué actitudes son correctas, incorrectas, precisas o completamente desordenadas? ¿Qué es lo que nos mueve y nos orienta a convertirnos en mejores versiones de nosotros mismos día tras día?
Existe una parábola que habla de las semillas: aquellas que germinan plenamente y aquellas que apenas se desarrollan, sofocadas entre espinas. Esta imagen simbólica, combinada con las reflexiones anteriores, me llevó a dedicar varias horas a la construcción de esta doble exposición.
A primera vista, se trata de una acción sencilla —y realmente lo es—. Un niño que camina hasta la orilla de la Playa del Laranjal y regresa. Toda la secuencia fue registrada en un intervalo de entre uno y dos minutos. Al llegar a casa, inicié un proceso intenso de experimentación hasta alcanzar el resultado final.
La obra se materializa en una doble exposición compuesta por una serie de máscaras: dos fotografías, un “antes” y un “después”, que se articulan mediante máscaras de transparencia y capas en modo de multiplicación.
🇺🇸/🇬🇧/🇳🇿 For some time now, I have been reflecting on what drives us to act. This questioning is what led to the creation of iNAction Collective: a space for actions capable of moving the world — or individual worlds — through the arts and web2 and web3 technologies.
Therapy often invites us to separate ourselves from, or at least dismantle, traumas originating in childhood, adolescence, or adulthood. From this perspective, inevitable questions arise: how should we act? Which attitudes are considered right, wrong, precise, or completely disordered? What is it that moves and guides us toward becoming better versions of ourselves day after day?
There is a parable that speaks about seeds: those that fully germinate and those that grow only marginally, suffocated among thorns. This symbolic image, combined with the reflections above, led me to spend several hours working on this double exposure.
At first glance, it is a simple action — and it truly is. A child walking to the edge of Laranjal Beach and returning. The entire sequence was captured within an interval of one to two minutes. Once I arrived home, I engaged in an intense process of experimentation until reaching the final result.
The work materializes as a double exposure composed of a series of masks: two photographs, a “before” and an “after,” articulated through transparency masks and layers set to multiplication mode.
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Photo by JCN - processed by me
...for some reason, my partner seems to be liking taking pictures of me while I'm....taking pictures!...I was surprised to see how concentrated I appear....like there is nothing else but the image to be captured at that moment....
A protest called by Uni Students For Climate Justice in Melbourne, forming part of a COP26 Global Day of Action against climate inaction.
Activists from Extinction Rebellion burnt an Australian flag on the steps of the Victorian Parliament, Melbourne, in protest against the federal government for its inaction on the climate emergency.
The action coincided with the first day of the COP26 climate conference in Glasgow.
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