View allAll Photos Tagged PERSPECTIVE
Copyright © 2014 Deborah M Zajac. All Rights Reserved.
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By changing perspective in photography, subjects can appear much smaller or larger than normal, lines can converge differently, and much more.â €
This picture is part of a small series. You might take a look at the album for some better understanding of the idea.
Tokyo, Japan
A different perspective of fall colors – sandwiched – for this week ! This is from the Scotts lake at The Three sisters wilderness. This lake is indeed known for the pristine reflection of the three sisters. But the when I took a walk around the lake , was presented with the below scene that beautifully highlighted the fall colors across the other bank. The tall coniferous trees were still dense and green, but really loved how the foliage across the shore was so colorful [best enjoyed at large size].
Lesson learnt – keep walking – keep looking for things that are not prominent. Look out for the different perspective, you will not be disappointed :)
Lt. Governor Rutherford Joins a Podcast regarding Perspectives on Justice by Heather Poston at Lt. Governor's Office. 100 State Circle, Annapolis MD 21401
From the Murder of Halit Yozgat
Kassel, Germany, 6 April 2006
On 6 April 2006, 21-year-old Halit Yozgat was murdered in his family run internet café in Kassel, Germany. His was the ninth of ten racist murders committed in Germany between 2000 and 2007 by a neo-Nazi group known as the National Socialist Underground (NSU). At the time of the killing Andreas Temme, an agent of the German domestic intelligence service (Verfassungsschutz), was present in the café. Temme claimed not to have witnessed the murder.
Within the 77 square metres of the internet café, and the 9 minutes 26 seconds during which the incident unfolded, different actors – members of migrant communities, a state employee and the murderers – were positioned in relation to each other in a manner yet to be made clear, but one whose implications bear great political significance. This unit of space and time stands as a microcosm of the social and political controversy known as the ‘NSU Complex’.
Commissioned by Unraveling the NSU Complex, a Germany-wide alliance of anti-racism activists, Forensic Architecture’s investigation became possible when hundreds of documents from the Hessen police investigation of the murder – reports, witness depositions, photographs, and computer and phone logs – were leaked at the end of 2015.
One of the most important pieces of evidence in this leak was a video of a police re-enactment performed by Andreas Temme. Such re-enactments are often ritualistic events forming part of an admission or confession, denoting justice fulfilled. In Forensic Architecture’s investigation the re-enactment is treated not only as a representation of an event, but an event in itself; a potential crime – of perjury and misrepresentation – in its own right.
Within a reconstructed real-scale physical model of the internet café – the exact dimensions of which are marked here on a black carpet – Forensic Architecture re-enacted this re-enactment in order to examine Temme’s testimony, while also carrying out further tests to analyse the threshold of sensory perception. A video presented here shows moments from this process of re-enactment.
The video triptych 77sqm_9:26min presents Forensic Architecture’s full analysis of the events surrounding Halit Yozgat’s murder. This investigation established that Temme’s testimony was untruthful, opening up to larger questions regarding the involvement of German state agencies with radical right-wing groups. As the NSU trial approaches its conclusion in 2018, the truth of the murder – and above all, Temme’s presence at the scene – remains obscured.
The mural presented here charts the events related to the production, presentation and subsequent contestation of Forensic Architecture’s analysis across multiple forums: press conferences, cultural institutions, public demonstrations, two parliamentary inquiries and a criminal court. In each of these forums, Forensic Architecture was obliged to defend its evidence according to different rules and conventions. The complexity of this flow diagram traces the indeterminate nature of counter forensics, its methods, limitations and points of impact.
[Institute of Contemporary Arts]
Part of Counter Investigations by Forensic Architecture (March-May 2018).
Forensic Architecture is both the name of the agency established in 2010, and a form of investigative practice into state violence and human rights violations that traverses architectural, journalistic and legal fields, and shifts between critical reflections and tactical interventions.
Counter Investigations presents a selection of recent investigations undertaken by the agency into incidents occurring in different contexts worldwide. In parallel, the exhibition outlines five key concepts that raise related historical, theoretical and technological questions. Continuing to be explored in an accompanying series of public seminars, these investigations and propositions add up to a Short Course in Forensic Architecture.
Grounded in the use of architecture as an analytic device, Forensic Architecture has in recent years developed a host of new evidentiary methods that respond to our changing media landscape – exemplified in the widespread availability of digital recording equipment, satellite imaging and platforms for data sharing – and propose new modes of open-source, citizen-led evidence gathering and activism.
Forensic Architecture has worked closely with communities affected by acts of social and political violence, alongside NGOs, human rights groups, activists, and media organisations. Their investigations have provided decisive evidence in a number of legal cases, and contested accounts given by state authorities, leading to military, parliamentary and UN inquiries.
Counter Investigations marks the beginning of a long term collaboration between the Institute of Contemporary Arts and Forensic Architecture. The exhibition and this ongoing partnership exemplifies the Institute of Contemporary Arts’ intent to foster and explore new modes of civil practice operating across the fields of art, architecture and activism.
[Institute of Contemporary Arts]
Notes like this are just priceless aren't they? It is a gift from a precious, little heart that bring clarity and perspective.
Quite by chance at lunchtime I looked at the rail tour timetables and noticed that there was one on its way. With only about an hour's notice I headed to my usual location of Crookston Road by Inveresk. Quite a few people turned up to see Class A3 4472/60103 Flying Scotsman hauling the 1Z48 The Flying Scotsman Centenary Weekender from York to Waverley.
I brought both the D40 and D7200 with me this time, so that I could use the Sigma 70-300mm and capture something of the long straight that stretches from Inveresk to beyond Wallyford station where the overbridge is located.
"It's coming, it's coming!" and I was just able to rattle off two or three long photos before hurridly swapping to the 35mm lens for some closer up shots.
Original DSC_4579
Perspectives by Giles Miller.
Part of the 'Inspiring Views' project in the Surrey Hills.
This pod-like shelter is nestled in the woods at Winterfold in the Hurtwood. The visitor enjoys a secluded experience sitting and looking out across to the beautiful South Downs. The steel structure is entirely clad in cedar shingles that have slowly greyed over the years making the artwork feel truly part of its natural surroundings.
Many of the shingles have been engraved with words from visitors to the site. There are observations from infants at the local school, regular walkers expressing their love of the place or people who are making dedications. The cedar shingles also make up the long curved seating within the pod encouraging dialogue between visitors as they meet at this section on the Greensand Way.
Opposite Filmworks/Printworks. This building has been extensively renovated (and, of course, converted into yet more offices and flats). It looks lovely now.
The bottom and side of the building line up with the edges of the photo, but the lines of the windows seem to twist and radiate very strongly - I'm not sure if this is just perspective or an artifact of the camera. Or just me.
From a new project which will be looking at the urban environment in a sightly different way. The idea is to look at the Urban Landscape from different perspective, to abstract the detail, look at things completely out of context or in odd juxtapositions.
CIFF43 Patron at Perspectives Virtual Reality Exhibition.
Perspectives, Patrons
Photo Credit: Lisa Evans
When I was looking at this photo I took of the side of Wildwood's Convention Hall on the boardwalk I was struck by how much photography has changed the way I look at the world. And then I realized that it wasn't the act of taking the photo that had changed my perspective, but all of you, my friends and contacts
. Every day, I look at all of the amazing pictures that you all take.....everything from the incredibly spectacular, to the common everyday things around you......and by looking through your lens, I see things in totally new ways.
I was up on the boardwalk looking at old cars.when I noticed this shot. In the days before the camera I would have been oblivious of the wonderful shadows.....all the vertical and horizontal lines...how your eye is drawn toward the vanishing point, but because of your inspiration, I was able to "see" it.
So thank you all my contacts.....and to all the rest of the wonderful photographers out there in Flickrland that inspire me each and every day!