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DRS-Sportchef Christoph Sterchi befragt Valon Behrami, Torschütze im Vorbereitungsspiel gegen die Slowakei.
Mary Gerber, the Senior Producer at WFWA PBS39, is producing a documentary on the restoration of the historic Bass Mansion. This beautiful structure is located on the University of Saint Francis campus in Fort Wayne. I was very fortunate to be a part of the crew as Mary and Production Assistant Zeke shot an interview with a local historian. This is a long term project and won't air until sometime later this year. More images showing the inside of this gorgeous building will soon follow.
Photographer: Emma Saloranta
Yuri, a 10 year old boy who participated in the Media and Child Rights course in Cidade de Deus, conducting an interview with the chief of the UPP. UPP, the 'Pacifying Police Unit', is Rio de Janeiro's latest attempt to keep the drug traffickers out of the favelas. The UPP goes into a favela and remains in the community, 'pacifying' it and forcing the traffickers to stay out. Even though the drug trafficking has gone down and the life in Cidade de Deus has changed after the UPP entered, many favela residents still find it hard to trust the police and the government and feel that the traffickers with their guns were just replaced with police officers with guns, and that the situation is not any better now than it was before the UPP. Yuri, along with a group of other children participating in the course, conducted a great interview with the chief of UPP in Cidade de Deus, asking the chief questions ranging from the state of education in Cidade de Deus to his thoughts about children who are selling drugs in the streets. For most of the children in the group, this was the first time they ever actually interacted with the UPP. More of this type of interaction is desperately needed between the UPP officers and the people living in the communities where UPP is present, so that UPP can stop being the enemy and start working together with the residents to build the favelas into better, safer and more stable communities.
CorkStop Studios is an artist's studio in San Luis Obispo County on California's beautiful Central Coast, half way between Los Angeles and San Francisco. It is home to three contemporary artists: Carol Paquet, Anne Stahl and Xenia Madison. All three are abstract painters and printmakers who are schooled, exhibited and collected internationally.
www.youtube.com/watch?v=3yYMqdR1neg
This is a fictional interview based on real interview material :
issuu.com/cesarharada/docs/2016_web_light
issuu.com/cesarharada/docs/2026_web
issuu.com/cesarharada/docs/2066_web
July, 2016
" I live in Cha Kwo Ling. I am getting older. I love being here. I have a lot
of friends, my neighbours look after me, we have shops and restaurants. My parents were born here so I came back to our home. It is very safe here, our doors are always open. Long time ago, we had fishermen, people working in the stone quarry, and later in the oil industry on the docks. All of this is gone now. We have a recycling centre, waste materials everywhere, trucks come and go all day long, it is a good business but some people are complaining about the noise and the dirt ; I don’t mind. I take the minibus everyday in and out. When there is heavy rain, some roofs are leaking. We have mosquitoes, rats running around at night, sometimes even snakes, but we are used to it. We love it here. I don’t have much hope for Cha Kwo ling, I live day by day, trying to live a happy life. We are proud of our beautiful temple and festivals that attract people from all around."
== Exhibitied at ==
Osage Gallery
觀塘興業街二十號
聯合興業工廠大廈四樓
4/F, Union Hing Yip Factory Building,
20 Hing Yip Street, Kwun Tong, Kowloon, Hong Kong
== Authors ==
Documentation: Selina XinYi Zhang William Wong
House 2016: Song Jia Rui, Hao Jia, Li Dai
House 2026: David Tam Bobo Ngai Orlando Chan Pearl Cao Janet Choi Wen Nian
House 2066: Venus Ng TingTing Ng Timothy Lam Ivan Chan Desmond Chang
Mentors: Susanne Trumpf, Georg Hoehne, Cesar Jung-Harada
Director of Program: Tobias Klein
== Brief ==
SUGAR is delicious. And Hong Kong exemplifies our global society’s addiction to the sweet life. Life in Hong Kong is fast-paced, convenient, delicious and glittery. In Hong Kong, you will find people shopping in both luxury goods stores and fast fashion giants, dining in Michelin-starred restaurants, traveling via one of the best public transportation systems in the world and living in beautiful homes in the sky.
As with the gaping cavities that result from over-consumption of sugar, Hong Kong also suffers negative consequences of its sugar addiction. The pursuit of the good life has led society to wilfully turn a blind eye to the cost and consequence of its consumption. Hong Kong is paying the toll of its addiction. Overflowing landfills, polluted air and waterways, hungry children and homeless seniors are the untold parts of Hong Kong’s story. The city that hosts the highest density of millionaires is also the home of caged home dwellers.
The concentration of wealth and power have reached such extent that the whole city landscape manifests how decisions are taken: top down. Big scale investments shape the urban life. The way of financing, the use of resources and targeted clientele for the majority of projects are decided based on the expected revenue. The lack of responsible involvement and intervention is not only an emerging factor in architectural profession. Hong Kong young generation see themselves with little perspective due to unaffordable property prices and question the inequality in the city's population. The aesthetic of the city is for most “business-friendly”, which really is sterile, technocentric, vacant of any form of spontaneity and life.
How can city dwellers move away from pure consumption and reclaim an active advocacy? How can the future population of Hong Kong deal more responsibly with the offer of sugar? Can life come back in the constructed environment? How can we break away from sugar addiction and build together a sustainable city?
Cesar Jung-Harada and Susanne Trumpf, with the support of Georg Hoehne.
CHARLESTON, S.C. -- Crewmembers from Coast Guard Station Charleston conduct a survey of Charleston harbor in the wake of Hurricane Matthew Oct. 8, 2016. Members of the media ride along to cover the operation and interview Coast Guard members. U.S. Coast Guard photo by Petty Officer 2nd Class Cory J. Mendenhall.
i got interviewed for ukranian media. i wonder if they picked me because of the beard. it get's me lots of attention.
Photos of the lost interview I did with Lostboycrow on October 20, 2017 at the Fox Cabaret in Vancouver, BC, Canada.
Taken by: Tessa Keel.
A few screen shots from our series of news interviews conducted just before the gravity assist maneuver from NASA's OSIRIS-REx mission. The interviews and the flyby took place on September 22, 2017.
The alumnus of Akademi Siswa Bangsa International were interviewed on stage by Prof. Dr. Iwan Pranoto (one of the speakers).
Sadik Mohamed Jama (40), an elder in the village, sits in an interview in Xabaasa-Wacle village, Somalia on 28 September 2020.FAO's new voice recognition assists beneficiaries with mobile money and other means of living.
Photo credits must be given to: ©FAO / Isak Amin / Arete
Jason Lazarus the 37 year old American artist, curator, writer, and Assistant Adjunct Professor has been interviewed by Julia Halperin for Blouin Artinfo in an article titled ‘26 Questions for Semiotically Inclined Photo and OWS Sign Artist’. In the article Lazarus states “The documentation of OWS created more questions than answers — the disparate messages on protest signs resisted clear, linear, or congealing narratives that traditional media rely on to produce content. Re-creating the signs, collaboratively, with the public, allowed a way to not only produce those messages documented widely across time and space en masse, but the process of creating them literally slowed down readings of the phenomenon, producing an experience of heightened awareness of the productive (unresolved) questions that linger in OWS’s wake as well as to the economy of protest (materials, aesthetics, scale, textual play/innuendo/multiple layers of meaning). The project is a kind of reverse-photography, imaging 3D sculptures from flattened images demands a careful, multiple-layered, and active reading. …The project … frames a collective process of becoming where our strain of late capitalism is openly and visibly questioned and criticized as incompatible with our current iteration of democracy. Meanwhile, the capital in the system, like water, continues to fill in the gaps with unending resilience and infinite flexibility. … it’s important to me that the project started as re-created signs that actually occupied public space as part of Occupy USF Tampa, and they have since traveled to alternative exhibition spaces on their way to a museum. They will make their way back to alternative venues and street as well. Political art is optimal when it’s most liquid, able to travel through contexts and paradigms. I’m interested in how this project will change as its referents become distant with time.” Inspired by Julia Halperin, Blouin Artinfo ow.ly/jAq2p Image source Twitter ow.ly/jAq0S