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ANSWER LA holds demo/march @ the Fullerton Police Department to protest police brutality and the killing of Kelly Thomas.
Video by ~ Kelly Wine
This is Vermont's answer to the Smithsonian Museum of Natural History. It's connected to the gift shop, here at Hogback Mountain. There is a fee to enter, so we didn't go in.
Gathering Before ANSWER Coalition U. S. HANDS OFF VENEZUELA Rally at Lafayette Park, NW, Washington DC on Saturday morning, 16 March 2019 by Elvert Barnes Photography
Follow Saturday, 16 March 2019 ANSWER Coalition U. S. HANDS OFF VENEZUELA NATIONAL MARCH ON WASHINGTON at www.facebook.com/events/242059076711261/
Elvert Barnes Saturday, 16 March 2019 ANSWER Coalition U. S. HANDS OFF VENEZUELA / Washington DC docu-project at elvertbarnes.com/16March2019
Day #74... August 5, 2009
Pink is at "work" with me here. He is currently checking his latest photos on Flickr and reading Bram Stoker's Dracula on my Kindle!
My second job is at a country club which basically consists of me answering phones, reading my Kindle (yes.. that is a pink case for my Kindle... haha), and surfing Flickr.... when everyone isn't taking advantage of me and making me do ALL of their work, like our new totally clueless Catering Manager! Sounds like a great job huh? Uhhh no!! May I remind you it is a COUNTRY CLUB located in North Shore Chicago aka Rich Snob Central!!! I have to deal with people bitching at me for stuff completely out of my control... I work with the most unhappy, subborn, old, German lady to ever walk the face of this Earth who constantly bitches about EVERYTHING and puts everyone down because she is ALWAYS right.... and I have to put up with the constant stench of old lady perfume from all of the old rich lady members of the club! Just today... I got bitched at by a lady because our calendar didn't say no a la carte dining but it clearly said Family BBQ Buffet (I don't design the calendars OR decide the schedule)... and I gave a lady a lesson on how to use her iPhone! BUT.... on a brighter note!!! (and I will stop my venting!) I am currently looking for another 2nd job to replace the country club! I am looking to work at a photo studio and really start following my passion! By Christmas (busy photo season) I WILL have a job at a photo studio!! (Trying out some positive manifesting thinking here!!) Wish me luck! :-)
Little side funny note.... my boyfriend (who works with me... yes one of the only good things about this job!) came to visit me as I was setting up this shot and just looked at me like I was CrAzY!! He doesn't really understand my project haha
Pink now has his very own blog! Check it out!
The performance of Nu Sass Productions' "Priscilla Dreams the Answer" (written by Walt McGough) at the Warehouse Theater at Fort Fringe, part of the 2011 Capital Fringe Festival.
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NOTE: This image is fully copyrighted. Permission is granted to those affiliated with Priscilla Dreams the Answer to use these photos provided that:
- (1) Users provide attribution in the form of "Priscilla Dreams the Answer, by Walt McGough - Nu Sass Productions, Capital Fringe 2011. Image (c) Andrew Bossi, Flickr"
- (2) For any online usage, users provide a link either directly to this photo or to the following: "http://www.flickr.com/photos/thisisbossi/collections/" AND "http://nusass.org/priscilla-dreams-the-answer/"
Users wishing to use these photos in violation of these terms shall contact me to discuss exemptions. Those affiliated with Priscilla Dreams the Answer or myself may each permit others to use these photos provided the above two conditions are met.
[24 QnA] 2. How can it be proved that God is the creator of the universe and all living things? You can find the correct answer here bit.ly/14Bm3lA
Burner is answering, "wdydwyd?" (aka "why do you do what you do?") on the playa in 2008.
If you want to be a Collaborating Artist on the playa or anyplace during the year, go to wdydwyd.com/collaborate
Music Live is the Uk's Biggest and Best Music Making Event. Held Every November at the NEC Birmingham. Live stage
Artists and Clinics 2006:
Adrian Erlandsson (Cradle of Filth), Breed 77, Chris George Band, Greg Bissonette (David Lee Roth), Guthri Govan, Gyn Ashton, Imperial Vipers, Oceansize, Sikth, Rick Parfitt (Status Quo), The Answer and The Vincent Razorbacks.
FIELD TESTER : Mr.KINUGAWA
ROD: PLAISIR ANSWER PA-B80SOPMOD
REEL: SALTIGA BJ 200SHL
LINE: PE4 Shockleader：40lb
LURE: BORDER SD
LURE: LUNKER PUNKER 5
Where 520 and Montlake interact, there are all these unfinished entrances and exits off 520 and into/from the neighborhood.
They were for a proposed and tabled expressway that would have (roughly) paralleled 99 but on lake washington blvd / arboretum. The R. H. Thomson Expressway.
While I'm glad it didn't happen, at the same time a 3rd North/South aligned expressway would have been awesome in 1970 as Seattle grew around single occupant cars....
In this proposed drawing, there is a tunnel under Lake Washington, to connect up north through Ravenna to the proposed Bothell Freeway.
This was hailed as an environmental victory, but since the traffic didn't decrease, just sat jammed for the last 30 years, polluting more, is it entirely as clear cut as this???
Of corse the answer to everything...42 - INFO Link- Done w/ Masking from a Gerber edge II Cutter...
The enigmatic Japanese photographer, who took some of the 20th century’s most compelling images, is finally getting his first retrospective in the UK - and Switzerland. ‘Yes, it’s a bit late,’ he tells our writer
Charlotte Jansen
It isn’t easy to get to know Daidō Moriyama. The Japanese photographer, 85, answers my questions from his home in Tokyo via an interpreter, and is quick to bat off personal questions. “Photographers can only take pictures,” he shrugs.
But Moriyama has done far more than take pictures. Although best known as a street photographer, he has pushed the form to its limits, interrogating what photographs are, how they are experienced, their ethics and effect. He is also behind some of the most iconic and influential pictures of the last 50 years – from closeups of fishnet stockings to portraits of stray dogs they are regarded as lyrical, symbolic expressions of the postwar era in Japan.
“He is shy, inconspicuous, and concentrated. He is a real brain – very articulated and well-read, who speaks in elegant, metaphoric ways,” says Thyago Nogueira, the curator of a rare retrospective exhibition at the Photographers’ Gallery that gives an unprecedented view of Moriyama’s dazzling work.
The show is a riveting, rapturous exploration of the enigmatic and prolific photographer, spanning from his earliest works in the late 1960s to today – he continues to go out with his camera, and a cigarette. “Although I have some constraints, including my health, I want to take as many photos as possible each day.”
Moriyama set about photographing the world not as it was but as he saw it – a confused, chaotic and fragmented reality.
Photographs are presented in myriad ways: at times completely overwhelming the viewer. There are slideshows on projectors (some more than an hour long), installations of images covering entire walls, magazine and book spreads, and sequences of glorious prints, mostly in black and white, changing in scale. In their various incarnations, with repeated images amounting to a kind of neuroticism, the photographs have a relentless pace. “They are a punch in the stomach,” as Nogueira puts it.
Moving back and forth between decades, the black and white film imbuing the images with a kind of timelessness, Moriyama contests photography as a form rooted in a moment or place. His photographs articulate something else, they palpitate with mystery – the great inexplicable essence of life. Perhaps this is why he is reluctant to speak for the images.
Moriyama was born in Osaka (then Ikeda), Japan, in 1938. “I was raised in a very ordinary way. My father was an office worker, and my mother was a housewife,” he says. His childhood wasn’t easy. Against the backdrop of US occupation and the second world war, home life was punctuated by loss. A twin brother died when Moriyama was two. The family moved often for his father’s work, before his early death. “I did not fit in at school. I lost my father when I was young. But I have always loved to draw so I became a designer through an acquaintance.” He apprenticed at a graphic design studio. His first photographs, he recalls, were of the family dog. In a later series “Memories of a Dog”, Moriyama returned to places of his childhood, to photograph his memories.
In 1961 he moved to Tokyo to pursue a dream of becoming a photojournalist, like his sensei, Shōmei Tōmatsu – Japan’s pre-eminent postwar photographer. “I became a photographer because I found the photographers I worked with very sporty and cool – and I guess I was never cut out for desk work,” Moriyama says wryly.
From early staid, documentary, journalistic-style images, mostly shot at the American base at Yokosuka (some of which are presented at the Photographers’ Gallery’s show) Moriyama’s approach quickly evolved into an expressive, subjective style that evoked his own experience of the world. He was invited to join Provoke – a collective of young photographers determined to revolutionise photography – by Takuma Nakahira, a photographer and critic, who died in 2015. “Takuma Nakahira was then, and still is, my only friend and my only rival.”
Provoke published just three issues of a visual manifesto between 1968 and 1969, but they had a profound effect. Japanese critics ridiculed the group’s lack of technical skills as “are, bure, boke” (“grainy, blurry, out-of-focus”). These terms were later reclaimed to describe the style pioneered by Moriyama. But, he says, “I never consciously shot that way, nor did I care.”
Moriyama set about photographing the world not as it was but as he saw it – a confused, chaotic and fragmented reality. There is a furious urgency to the pictures he took between 1968 and 1972: black and white photographs of everything and nothing, of underground kabuki actors and other avant garde artists and performers, erotic scenes, portraits of animals and street life, photographs of photographs, and of TV screens and newspaper headlines – precursors to screenshots and reels. “I was strongly inspired by William Klein’s books of New York, Moscow, Rome, Tokyo, published when he was still young. It was something in particular that I saw in his photographs that seemed to connect me to my own photography.”
Questioning the purpose of photography so deeply led Moriyama down a dark road.
Moriyama’s photographs have become a testament of a tumultuous time in Japan, conveying a sense of the grim and gritty reality of the underbelly of the city in grainy images. “I understood the social atmosphere at that time, but personally I had no interest in politics,” Moriyama reflects. Many of these images were originally shot as photo essays for magazines – it was the golden age of the Tokyo publishing industry, and magazines were museums for photography as it became a new artistic form. The pictures were later printed again, sometimes at different scales, reshuffled and reordered, and compiled into the photobooks Moriyama is famous for – such as his acclaimed work, A Hunter, shot from the window of a car as Moriyama hitchhiked around Japan. “When I am going along the road, snapping the shutter as I read each moment, I become at times a poet, a scientist, a critic, a philosopher, a labourer, or a politician,” he said.
A less familiar, groundbreaking series of work on show at the Photographers’ Gallery is a monthly column Accidents produced throughout 1969 for a mass media publication. Each series took on a different aspect of photography and its exploitation by the mass media – a poster of a car crash designed to shock and scare; photographs of TV screens and newspapers in Japan in the week after JFK’s assassination. It shows Moriyama’s concern with the ethics of photography and its exploitative nature.
But questioning the purpose of photography so deeply led him down a dark road. In 1972 Moriyama published “Farewell Photography”, a swan song to his chosen medium, a mashup of old negatives, scraps and prints gathered from his archives and thrown together. Photography, Moriyama realised, wasn’t going to change the world as he had once believed.
He suffered depression and became addicted to sleeping pills. It was almost a decade before he picked up the camera again, when he was commissioned by two editor friends concerned for his well being. Just as the camera had plunged him into an existential void, it pulled him back from the brink of self-obliteration.
“Moriyama spent his life asking a basic, fundamental question: What is photography?” Nogueira says. “He never answered that question, but his life’s work is a constant and honest response to that.”
Today, Moriyama is humble about his achievements. “I am happy to know that many people around the world have been exposed to my photographs and photo books,” he says. Photographing daily for so many decades, “there is nothing that has not already been taken – each photograph becomes a great cycle. It is connected to the past and to the future – and that is why there is the most reality in the current photograph that captures it.
“Beyond the photographer, the work returns to society – and that is the most powerful force of photography.”
Questions:What potential problems can arise from typecasting a base class pointer into a derived class pointer so that the derived class's member functions can be called?
Answers: Syntactically this is allowable. There is always a possibility of a base pointer actually pointing to a base class. If this is typecast to a derived type, the method being called may not exist in the base class. Therefore, you would be grabbing the address of a function that does not exist.
TURBO C/C++: Installer and InstallationTURBO C/C++: Integrated EnvironmentVariables Pointer Array And FilesArrays Linked List Sorting Wild PointerQuestions:What's the difference between the keywords STRUCT and CLASS?Answers:The members of a STRUCT are PUBLIC by default, while in CLASS,they default to PRIVATE. They are otherwise functionally equivalent.
Questions:I have declared a derived class from a base class, but I can't access any of the base class members with the derived class function.Answers:Derived classes DO NOT get access to private members of a base class.In order to access members of a base class, the base class members must be declared as either public or protected. If they are public, then any portion of the program can access them. If they are protected, they are accessible by the class members, friends, and any derived classes.Questions:How can I use the Paradox Engine with C++?,Answers:Because the Paradox Engine functions are all compiled as C functions you will have to assure that the names of the functions do not get "mangled" by the C++ compiler. To do this you need to prototype the Engine functions as extern "C". In the pxengine.h header file insert the following code at the lines indicated.
/* inserted at line # 268 */
#ifdef __cplusplus
extern "C" {
#endif
/* inserted at line # 732, just before the final #endif */
#ifdef __cplusplus
}
#endifQuestions:I have a class that is derived from three base classes. Can I insure that one base class constructor will be called before all other constructors?Answers:If you declare the base class as a virtual base class, its constructor will be called before any non-virtual base class constructors. Otherwise the constructors are called in left-to-right order on the declaration line for the class.Questions:Are the standard library I/O functions still available for use with the C++ iostreams library?Answers:Yes, using
#include
functions such as printf() and scanf() will continue to be available.Questions:When debugging my program in Turbo Debugger, I notice that none of my inline functions are expanded inline. Instead, they are all done as function calls.Answers:Whenever you compile your program with debugging information included,no functions are expanded inline. To verify that your inline functions are indeed expanding inline, compile a module with the -S flag of the command-line compiler, then examine the .asm file that is generated.
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via IngenuityDias www.ingenuitydias.com/2016/01/common-c-questions-turbo-cc...
this particular chicken crossed the road to prove that it understands human patterns in traffic which are far less organized than what happens in it's world
This is The Answer during their first show in the UK of their current tour at the Cockpit in Leeds, 6th March 2012
ANSWER Coalition U. S. HANDS OFF VENEZUELA RALLY at Lafayette Park, NW, Washington DC on Saturday morning, 16 March 2019 by Elvert Barnes Photography
Follow Saturday, 16 March 2019 ANSWER Coalition U. S. HANDS OFF VENEZUELA NATIONAL MARCH ON WASHINGTON at www.facebook.com/events/242059076711261/
Elvert Barnes Saturday, 16 March 2019 ANSWER Coalition U. S. HANDS OFF VENEZUELA / Washington DC docu-project at elvertbarnes.com/16March2019