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Un poco improvisado, pero fanart de Questionable Content nunca está de más.
Le recomiendo el strip. Pueden leerlo en questionablecontent.net/
Question Period / Période des questions
Ottawa, Ontario, on 20 October, 2020.
© HOC-CDC
Credit: Christian Diotte, House of Commons Photo Services
Question:
anyone with a speedlite got any idea when the manual 1/1 setting is ideally used for?
It's so powerful that it washed out virtually the whole room when I tried it with a tungsten-lit room last night.
I bought it specifically because when I got the Sigma 10-20, the on-camera flash became very inadequate, and the speedlite seems to cope quite happily even in automatic mode so I've no complaints.
Just wondered if you'd ever had to use the 1/1 setting for anything other than melting polar ice caps...
[ps, only the new hair colour was brighter than the flash, even at the lowest iso setting]
Questione di pitting 6a+
Canyon sa tappara
parte 03 I route 2
Nannai Climbing
Ulassai I Sardegna
3 Octobre 2017
Technology Coordinator/Camera Administrator Erich Bessey asks the 911 Quiz Question for the week of April 28, 2021.
Caleb Howden, one of the builders of the Denim Homes Demonstration Home, answers questions from the NSCC students.
Question: what do most of the telegraph poles, half the lamp-posts, most of the fire hydrants, most of the dog mess bins, grit bins and traffic signs in Skelmorlie village have in common?
Here's a pleasant surprise: the executive chef of the hospital came to talk with me about some dietary questions I had. Very pleasant gentleman, and he was quite pleased to know I was enjoying the food.
241/366: 28 August 2012
Qui sit et quid sit Deus
— Thomas Aquinas
Who is God? And what is God?
Typeface: Historical Fell Type
Merchandise available: www.redbubble.com/shop/ap/135278520
This is a closeup shot of that grave that's questionable. I'm actually really amazed how high the quality of the shot was; Night shot with no flash. The original I can zoom all the way in and still see detail.
Backrounds
Kudzanai Violet Hwami -
I looked at the Zimbabwean/South African artist Kudzanai Violet Hwami work which reveals a deeply personal vision of southern african life . She draws on her experiences of geographical dislocation and displacement, her paintings combine visual fragments of images, they collage the past and the present. She expressed her cultural displacement. It is a concept that describes the process of a culture either being physically separated from its roots or having the imposition of another culture eclipse and or replace that culture. In Kudzanai Violet Hwami's smaller series called ‘speaking in tongues’ this is referencing Shona spirituality, while also referencing the square images that dominate social media, providing a perfectly “curated” glimpse of a home away from home. This comments on both displacement and an attempt at reconciliation, reflecting on lived experiences as well as family photographs.
I have taken a collection of pictures that depict the life of Zimbabwe and fragments of this to better explain the remanisant that fell from being displaced from these places. Hwami’s pieces are what she remembers from her time being in Zimbabwe and South Africa and the memories that these hold even though she had to leave. Her piece with the man on the back of the truck is typical of what to expect in Zimbabwe, wearing his blue suit showing that he is possibly a groundsman and is going or coming from work sitting at the back of a run beat car. The picture appears to have a post card marking as if it is going to be sent to a relative. I have taken this inspiration from her pieces and transpired it into mine creating that home away from home perspective, that my sister would better resonate with.
Hwami recent works in her exhibition “gas chambers embodies a personal search by layering digital collages produced on an iPad, and become the starting point for her larger scale canvases that reflect on a specific role of meditation taken by digital technology and online communication in the everyday lives of diasporic subjects. Her works overlap these narratives that begin to combine stories providing a personal take on representation of not only the black bodies but gender while raising questions about familial roots and displacement. I deeply wanted to evoke this through my works whereby i used her sames techniques in creating a smaller digital canvas that would be transpired into a larger scale painting as she points out is like right in your face when you enter her exhibition which is what she wanted to communicate thus placing my works on a singular page speaks of this volume.
Digital pieces that evoke this feeling of home away from home in a series of photos.
Mukudzei Muzondo-
“I want to explore how migration affects both the person moving and those they leave behind.”
In an article featuring mukudzei muzondo, he mentions the issue of people leaving Zimbabwe in search for a better life. That ‘ In 2002, Zimbabwe’s Population and Housing Census recorded that, at time of counting, 908 000 of its citizens had left the country—— 84% emigrating in search of employment, education and training. Of the population of 16 million, over a third are now living abroad.’ Born in 1983 in Kwekwe though recently swam against the migration tide by swapping urban downtown Harare to Marondera.Mukudzei has been using his experience of home and abroad to explore what he calls the “state of being” —what it is to exist as a human being within societal and political spaces. He typically uses his own silhouette in his paintings as “it's my way of representing the society that I'm in — a society that is changing as more and more Zimbabweans leave the country…wanting to explore these transitions that affect both the person and those they leave behind.” He creates a passageway that shows the journey through life in where he is coming from and where he is going. Displacement has the same effect showing it's the same journey as well, though in this case it is the searching for a safe place to move.
While some of his pieces reflect an immigrant's journey, others embody the solitude of leaving one's home country. He shows long figures standing at the end of a corridor, the eye drawn to the furthest point by carefully calculating lines of perspective. He writes that “when one leaves their country there is much loneliness, so much uncertainty about where you are going and what’s going to happen,” and therefore writing these emotions down evokes a more emotional and personal feel to the pieces. Muzondo uses old-school screen-printing techniques as the base of artwork. This therefore makes it not accurate all the time and gives every piece made in this way unique and having no common structure therefore invoking a whisper on what he is wanting to convey rather than it be blatant. ‘Gateways/ mikova’
This was interesting in better exploring my ideas and connecting this to the rising diaspora in Zimbabwe as a second view to the wider topic of displacement. This correlates with my topic in the way that it voices the concerns of one leaving their home. I've created my own prints where I use the silhouette of my sister who has left for university, and applying piles of book and paper prints emulate this.
I have created small collages of multiple school papers that would mimic my bigger project that I was going to portray that better shows the chaos with all the papers everywhere however in a more orderly way.
Mona Hatoum -
A British- Palestinian multimedia and installation artist, She was born into a Palestinian family, Lebanon and has lived and worked in London, leaving due to conflict wars arising in Lebanon. Mona’s performances, videos , photos, sculptures and more take on an investigation of displacement, marginalization and state violence. She often uses grids or geometric forms to make reference to systems of social and physical control. I found this interesting when looking at Hatoum work when figuring out how to give displacement a physical meaning without it being too literal, and found with this interpretation whereby the use of rigid structures and use of objects as a means of danger and instability in the homes i could mimic the emotions that come with displacement in the way that, although its your home it's not always the safe space that you thought it was.
Her (Hot Spot) piece that she describes as a ‘world continually caught up in conflict and unrest’ that specifically brought me to hatoum work looks at how she contours the continents with an outlined red neon, presenting the entire world as a danger of which i present in showing the conflict of the clothings through my work that are tied against red string. I used this concept after tying up my clothes that would represent a packing movement in a way, as though someone was packing up to leave their home from the dangers they have endured.
Measure of distance (1988) is another by Mona Hatoum whereby she constructs a video showing images of her mother, with animation of a conversation between them. though this portrays the emotional intiam. This constructs images of Hatoum mother in the shower of their family home in Beirut, the Arabic writing overlaying these images like a curtain veil represents her mothers letters from Beirut to the artist. Hatoum says that it portrays the emotional intimacy of the relationship between mother and daughter, ‘it also speaks of exile, displacement, disorientation and a tremendous sense of loss as a result of the separation caused by war.’I think this greatly responds to my topic in the way that it represents the emotions and tensions between families and friends having being displaced from your hometown away from family. The language barriers are interesting depicting the difference in life and cultures now as well.
I took inspiration from Hatoum measures of distance and Shadins quilt implementing both by projecting a video of my sister and other sources who had moved away onto the quilt to represent the moving from one place to another in a symbolic way. Putting it in an ominous setting I felt would give it a more scary and invoking feeling thus creating tension between the audience and my work.
Kamruzzaman shadhin -
Inspired by artist Kamruzzaman shadhin “migration is never a unidirectional force - it leads to inter woven networks of movement that interact with and shape each other”who suggests that for those that have been displaced from their homes, migrants and refugees they are all in search of a ‘safe haven’ and with that she created her 2017-2018 piece ‘Haven is Elsewhere.’ From those people in northwest Bangladesh, she creates quilts from the used clothes of displaced people, these clothes carry the pain, tears and trauma of displacement. They are sewn together. This is able to capture the stories of displacement through these once-used clothes. The search for security, whether through the promise of better livelihoods/ freedom becomes the impetus for a vast web of interconnected migration. This quilt is like a metaphor that can be dubbed as being a large map joining together different regions brought together to form a distant yet unified piece of geographical land. Shadhin says “to have migrant clothing hanging from typical Venetian clothes lines in a traditional neighborhood works as a powerful metaphor for this aspirated ‘better life’ that brings many people.” I wanted to invoke this as though while their clothes hang securely from the traditional Venetian houses, immigrants continue to suffer the consequences of not getting access to these clotheslines. (majhi.org)
I started by looking at the significance of the symbolism of clothes as a means of someone’s past sufferings and trauma that comes with being displaced. Clothes hold memories whether they are good or bad, in this case they hold the indication of danger and act as an active system of reminders.Having many relatives that have left Zimbabwe due to their own struggles and in searches of a better life, education and other, i have looked into creating a quilt like installation that will create a tunnel like vision that represents the path of leaving and creating the illusion of actually going to this ‘safe haven.’ This will be a compilation of their old clothes that hold memories to them.
Exploration of final piece :
I explored the different ways one might be displaced, looking at cultural, educational and forceful ways of displacement. Each piece representing this in contrasting way however shares a similarity that they are isolated in their transition, and in connection with my artists, who have used similar meaning behind their pieces. I wanted to create statement pieces that would invoke these feelings while also making you feel and see the hardships, and traumas that they may have faced. I’m creating installations whereby you are able to walk through the experience creating an intense experience as well as a sense of interaction as you walk through the tunnel.
I started by collecting my family members' clothes, as well as visiting those whom lost their families from hardships and had to move away. These clothes are dumped and left by people that have left in this search for a better life. I then decided to sew them all together creating a quilt that symbolizes not only the warmth and protection one might feel from it but even deeper, a quilt presents the ability to tell stories, showing a time and place, the lives of people who make them and capture slices of life. I wanted to create that feeling by joining all of these together, similarly to Shadin throughout their work, that has inspired me.Hanging this in a spacious, ominous room creates the feeling of isolation and longing of something. It also creates a more cold feeling with all the different life stories told through the colorful clothes that can make you imagine anything for their life.I liked putting it in a more dark unwell lit room thus it creates a more tempting to figure out more feeling within the audience.
I compiled school books and papers of the intention to represent the movement of my sister having left Zimbabwe so that she could gain a better education and further a better life in the future. The books and papers all scattered can be portrayed as though all the battles and hardships that she is yet to overcome along the way as she travels. I sewed all the papers together creating a collage of all these papers. I then got assistance and created a wooden box that would be the incision of the tunnel putting all the papers along it creating that chaos and emotion of leaving. With the photography I wanted to create that illusion of walking through as well.
anyone know how to apply breakout torso armour to the stomach of a moc, so it looks like it has abs?
Questo estratto dalla ricostruzione finale affronta la questione delle audizioni al CSM al volo "costruite" il 9 giugno del 2011 per dare una falsa pezza di appoggio alla mia sospensione cautelare. La Procura era venuta a conoscere il contenuto del MEMORIALE che venne depositato al CSM da Giovanni Ferrara nella audizione, "fresco di stampa da file" (!!) unitamente (incredibile a dirsi) alla mail in cui la donna della Cecchignola dopo vario tergiversare ammetteva di fatto, sottolineando che non riusciva a memorizzare tutto, ma si dichiarava inorridita per la condotta della Procura di Roma". Ma la mail veniva depositato solo per instradare nella progettata chiave personale la gestione del caso e per segnalare che altrimenti si aprivano falle (!!). Ovviamente nessuno alluse al memoriale od ai contenuti: la pantomima era "dice cose criptiche" "a voce" (e 180 pagine tra memoriale e allegati depositate a Perugia non esistevano al momento della recita concordata di corsa, e tanto grossolana da lasciare sbigottiti: la circostanza che la pantomima fosse palesemente contraddittoria col preventivo deposito di memoriale di novanta pagine dettagliate da parte del Procuratore Giovanni Ferrara, nulla contava). Una non superficiale valutazione della scissione logica e pratica dei comportamenti emerge: ogni atto ha una distinta autonoma valenza efficacia e finalizzazione, niente vien fatto per dare dati e per accertare le cose. roba da schizofrenia isttuzionale, a me letteralmente incomprensibile. Nella "audizione" urgente del 9 giugno del 2011 emerse la chiara diversa presa di posizione di Pietro Saviotti. Nel link sotto la parola LA PANTOMIMA CRIMINALE (vedi da pagina 269 a 303) vi è invece il puntuale resoconto della vera e propria recita inscenata di corsa dal manipolo deviato degli Aggiunti (assente Alberto Caperna e presente, leale e veritiero Pietro Saviotti). Ricordo a chi legge che Pietro Saviotti era stato definito nel settembre 2010 da Stefano Pesci "uno stronzo" con espressione biliosa e liquidatoria dinanzi ad Agnello Rossi e con sguardo volta ad avere il di lui consenso. Ero presente anche io nella stanza di Rossi e sempre in quella occasione sottovoce, estasiato ed allusivo, Pesci, mentre Rossi era impegnato al telefono, mi disse " E' in partenza .. per Honk Kong .. .. ha casa ad Honk Kong" (all'epoca pensavano di avermi sotto controllo ed in pugno dopo il sequestro di persona e la chiusura indolore dei due tentativi di dispensa per inettitudine a mio danno: io lavoravo per capire ed acquisire più informazioni possibili). SEGUE ESTRATTO. Maggiori informazioni ift.tt/1T7MjbX ift.tt/1R8JjxF