View allAll Photos Tagged genZ
From a global perspective, Genzers in Tokyo check their phones most often, while those in Bangalore look at them the least.
My grandfather (b.1936). Sometime in 1966.
It is unclear to me who shot this photo, since he's holding the camera himself in most of the shots in this set.
December 31st 2008 | Getting Ready. 244th day of occupation.
La Grande Salle comme jamais on ne l'a vue à la Bourse occupée, parce que ce soir-là...
From 2 May 2008 to 7 August 2010, during 828 days, claiming residence permits, the “Sans Papiers” isolated workers of the group CSP75 occupied successively two buildings in Paris: first a Trades Hall at rue Charlot, then a disused public building, at rue Baudelique.
After fourteen months spent at the Trade Hall, on 24 June 2009 they got violently evicted by the Trade Union CGT's internal police. They stayed during three weeks sleeping outside, along the Trades Hall before they led the new occupation at rue Baudelique, on 17 July 2009.
One year later, under pressure of authorities, the CSP75 accepted to voluntary put an end to this more than two years long occupation, after being promised each occupier's case be examined and every one get a chance to receive a residence permit. This is how the CSP75 got out of Baudelique on 7 August 2010, 828th and last day of the occupation.
Struggle goes on...
Pour obtenir leur régularisation, du 2 mai 2008 au 7 août 2010, pendant 828 jours, les Sans Papiers travailleurs isolés de la Coordination Sans Papiers 75 sont en occupation à Paris, d'abord à la Bourse du travail rue Charlot, puis dans des locaux désaffectés de la CPAM rue Baudelique.
Après quatorze mois d'occupation à la Bourse du travail, le 24 juin 2009 les Sans Papiers de la CSP75 en sont violemment expulsés par le SO de la CGT, à coups de matraques et de gaz lacrymogène. Ils s'installent sur le trottoir du boulevard du Temple, le long de la Bourse, dans des conditions très difficiles avant de lancer, le 17 juillet 2009, la nouvelle occupation de la rue Baudelique.
Un an plus tard, sous la pression des autorités, la CSP75 accepte de mettre volontairement fin à cette occupation longue de plus de deux ans contre la promesse que chaque occupant voie son dossier examiné et aie une chance d'être régularisé. C’est ainsi que la CS75 quitte Baudelique le 7 août 2010, 828e et dernier jour de l’occupation.
La lutte continue...
la composizione multimediale dell'infiorata di Genzano
www.youtube.com/watch?v=gtQyXej2AFQ
A Genzano ogni anno, da oltre due secoli, si tiene nel mese di giugno l'Infiorata, immenso tappeto floreale che si estende, articolandosi in vari quadri, per circa 2000 mq sulla centrale Via Italo Belardi (già Via Livia).
Per la realizzazione dei quadri, disegnati sul selciato, occorrono, oltre alle essenze vegetali, almeno 350.000 fiori; i singoli petali vengono utilizzati dagli infioratori così come i colori di una tavolozza dai pittori: il giallo della ginestra, l'azzurro della torrena, il rosso dei garofani, il verde del bosso e del finocchio selvatico.
La manifestazione si articola in vari fasi: l'ideazione e la preparazione del bozzetto, la raccolta dei fiori e delle essenze vegetali, lo "spelluccamento" - separazione dei petali dalla corolla e loro conservazione nelle grotte del Comune - i disegni a terra (il sabato sera), la posa in opera dei petali (la domenica mattina), l'Infiorata completata (primo pomeriggio della domenica), la Processione del Corpus Domini (domenica sera), ed infine lo "spallamento" - quando i bambini correndo dalla scalinata della Chiesa di Santa Maria dìsfano i quadri infiorati.
Storicamente l'Infiorata è una festa strettamente collegata alla celebrazione cristiana del Corpus Domini e le sue origini risalgono al XIII secolo, quando in occasione della Processione del SS. Sacramento "si spargevano alla rinfusa dei fiori a piene mani".
Il 29 giugno 1625, poi, a Roma, nella Basilica Vaticana, per iniziativa di Benedetto Drei, Capo della Floreria Apostolica, per dare maggiore lustro alla Festa di San Pietro e Paolo, ebbe inizio la tradizione di decorare la chiesa con fiori disposti a mosaico, usanza questa che si estese in molti paesi cattolici.
Velletri is an Italian town of 53,298 inhabitants. It is a comune in the province of Rome, on the Alban Hills, in Lazio (Latium) - Italy. It is bounded by other communes of Rocca di Papa, Lariano, Cisterna di Latina, Artena, Aprilia, Nemi, Genzano di Roma, Lanuvio. Its motto is: Est mihi libertas papalis et imperialis.It was an ancient city of the Volsci tribe, and its status was influential in the time of King Ancus Marcius, enough to be on a par with Rome and has been the site of two historical battles in 1744 and 1849. In the Middle Ages it was one of the few “free cities” in Lazio and central Italy.Today, Velletri is home to several colleges and high schools. It is the terminus of the Rome-Velletri railway, inaugurated by Pius IX in 1863, and the city is one of the centers through which the Via Appia Nuova passes through.
Velletri è un comune italiano di 53.544 abitanti della provincia di Roma nel Lazio.Posta su un ripido pendio a 332 metri sul livello del mare, dista 42 km dal capoluogo e 26 km da Latina. Inclusa – ma solo da alcuni – nell'area dei Castelli Romani nonostante la sua lunga e gloriosa tradizione di libero comune, Velletri è uno dei centri più importanti della provincia. È il decimo comune più popoloso del Lazio e il primo tra i quindici comuni dei Castelli Romani, sia per numero di abitanti che per estensione territoriale.Antichissima città dei Volsci, già autorevole al tempo di Anco Marzio, tanto da poter trattare alla pari con Roma, lo storico Dionigi d'Alicarnasso la definisce ἐπιφανής (epiphanés), "illustre". È sede della Sede suburbicaria di Velletri-Segni, ed è stato teatro di due storiche battaglie: nel 1744 e nel 1849. Velletri fu nel Medioevo uno dei pochi liberi comuni del Lazio e dell'Italia centrale, e una delle pochissime città a conservare una propria vita cittadina.Velletri ospita numerosi istituti superiori e licei. Capolinea della ferrovia Roma-Velletri, inaugurata da Pio IX nel 1863, la città è uno dei centri attraversati dalla via Appia Nuova.Grazie alle aree di particolare pregio naturalistico (Monte Artemisio e Vivaro), fa parte dell'area tutelata del Parco dei Castelli Romani.
Font : Wikipedia
© Genz, Lindner / transmediale
www.transmediale.de/content/joshua-light-show-ft-manuel-g...
Tonight The Joshua Light Show appears for the last time at transmediale 2012. Being the particular highlight of the performance series they will perform together with pioneering guitarist and electronic musician Manuel Göttsching (de). Over and above the notable visual accompaniment by New York’s Joshua Light Show, there is a special historical fiction surrounding Göttsching’s appearance at the HKW, an iconic venue of Berlin’s landscape that is instantly remarkable for its spacious and very open room-design and its hallmark curved roof. Boasting a full performance schedule as of its opening, the HKW on November 11 1979 the HKW hosted a fashion happening featuring Berlin designers Claudia Skoda and Tabea Blumenschein in its main hall. Entitled "Big Birds", the event was supported by a live soundtrack specially-composed and performed by Manuel Göttsching.
Göttsching performed his heavy metal-inspired electronic soundtrack only on analog synth gear that evening, and amplified its power through a sound system that he had alleged purchased from Pink Floyd. Rumour has it that Göttsching’s performance that night was so powerful as to cause concert officials to worry as to the roof's structural integrity. The building subsequently closed its public activities while reassessing what precautions to take. The move proved quite wise, as shortly thereafter, in May 1980, the roof indeed collapsed - killing one journalist that got caught under the debris. How big of a disaster, then, did Göttsching’s fateful performance potentially avert?
While the HKW has since been reinforced and renovated up to modern safety standards, expect to walk away with no less of a powerful impression from Göttsching’s performance, for which he will be bringing out his full arsenal of original analogue equipment, to recreate a soundtrack similar to that which he performed back in 1979. Göttsching will also be performing analog-only music relating to his own compositions of that same time period, such as the celebrated Dream and Desire album of 1977.
Manuel Göttsching (de)
Manuel Göttsching’s career spans over 40 years. First known in the early 1970s as a founder of the German cosmic rockers Ash Ra Tempel – later known as Ashra – Göttsching earned a reputation with his usually atmospheric and subtle guitar work. After a number of albums throughout the 70s, Göttsching's most decisive and enduring work was released in 1984: E2-E4, a masterpiece of economy. Its hypnotic, treated synth and drum machine loop morphs and unfolds gradually over the entire first side of the album without ever loosing focus – before side two continues with Göttsching’s unique guitar-playing, which unpretentiously blends into the soundscape. With its stringent funkiness and minimalist sonic precision, it became a touchstone for much of the electronic dance music that would later emerge from Germany and internationally. Göttsching has remained active throughout the years while maintaining his position as grand seigneur of Krautrock, cosmic and minimal music. In December his image graced the cover of The Wire.
> ashra.com/
This event is a collaboration between transmediale and CTM – Festival for Adventurous Music and Related Arts.
DLDwomen (Digital-Life-Design) Conference is taking place for 5th time in Munich, from 21 to 22 July 2014 by Hubert Burda Media. ©DLD Media GmbH
Desired future features for GenZ relate to speed, another component of time. This highlights their need to be connected effectively, all the time.
© Genz, Lindner / transmediale
good manners bad habits
Die Festivalarchitektur im Foyer Haus der Kulturen der Welt auf der transmediale 2012 wurde von raumlaborberlin konzipiert. Die Raum- und Sitzinstallation besteht aus Fragmenten, die im Zusammenspiel Erinnerungen an Wohnsituationen wecken. Die Objekte erscheinen als eine Art neue räumliche Spezies zwischen Möbeln und Bauteilen. Obwohl die Fragmente immer wieder Binnenräume bilden und damit die Foyerflächen gliedern, bleibt die Frage nach dem Innen und Außen unbeantwortet. Das System ist unvollständig.
raumlaborberlin sind Andrea Hofmann, Markus Bader und Florian Stirnemann
good manners bad habits
The festival architecture of transmediale 2012 in the foyer of Haus der Kulturen der Welt was conceptualized by raumlaborberlin. The spatial interventions consist of fragments, which are arranged in a manner that remind us of domestic circumstances. The objects appear as a new hybrid species that is part furniture and part construction elements. Although those fragments do create in between spaces and thereby structure the spaces, they leave the question of indoors and outside unanswered. The system is not completed.
raumlaborberlin are Andrea Hofmann, Markus Bader and Florian Stirnemann
May. 7th 2009 | The old Meeting with the new Supporters. 371st day of occupation.
Back to the old rendez-vous for the supporters' meeting, every Thursday in the evening...
During the last two months, this weekly meeting was on Saturday in the afternoon when not cancelled...
Retour à l'ancien rendez-vous pour les réunions de soutien, le jeudi en début de soirée...
Depuis deux mois, cette réunion hebdomadaire se tenait le samedi après midi quand elle n'était pas annulée...
From 2 May 2008 to 7 August 2010, during 828 days, claiming residence permits, the “Sans Papiers” isolated workers of the group CSP75 occupied successively two buildings in Paris: first a Trades Hall at rue Charlot, then a disused public building, at rue Baudelique.
After fourteen months spent at the Trade Hall, on 24 June 2009 they got violently evicted by the Trade Union CGT's internal police. They stayed during three weeks sleeping outside, along the Trades Hall before they led the new occupation at rue Baudelique, on 17 July 2009.
One year later, under pressure of authorities, the CSP75 accepted to voluntary put an end to this more than two years long occupation, after being promised each occupier's case be examined and every one get a chance to receive a residence permit. This is how the CSP75 got out of Baudelique on 7 August 2010, 828th and last day of the occupation.
Struggle goes on...
Pour obtenir leur régularisation, du 2 mai 2008 au 7 août 2010, pendant 828 jours, les Sans Papiers travailleurs isolés de la Coordination Sans Papiers 75 sont en occupation à Paris, d'abord à la Bourse du travail rue Charlot, puis dans des locaux désaffectés de la CPAM rue Baudelique.
Après quatorze mois d'occupation à la Bourse du travail, le 24 juin 2009 les Sans Papiers de la CSP75 en sont violemment expulsés par le SO de la CGT, à coups de matraques et de gaz lacrymogène. Ils s'installent sur le trottoir du boulevard du Temple, le long de la Bourse, dans des conditions très difficiles avant de lancer, le 17 juillet 2009, la nouvelle occupation de la rue Baudelique.
Un an plus tard, sous la pression des autorités, la CSP75 accepte de mettre volontairement fin à cette occupation longue de plus de deux ans contre la promesse que chaque occupant voie son dossier examiné et aie une chance d'être régularisé. C’est ainsi que la CS75 quitte Baudelique le 7 août 2010, 828e et dernier jour de l’occupation.
La lutte continue...
Les journées de la Bourse occupée, 2008-2009
oeuvres de Laura Genz (1975, Paris) et la CSP75
(Occupation de la Bourse à Paris par des Sans Papiers)
Fondation Bullukian
10ème Biennale de Lyon
© Genz, Lindner / transmediale
Gabriella Coleman
on screen: poem by Dana Buchzik
Panel in the symposium strand in/compatible publics
Panel with Jacob Appelbaum (us), Gabriella Coleman (us), Dana Buchzik (de) and anonymous
Moderated by Tatiana Bazzichelli (it/de)
Chaired by Krystian Woznicki (pl/de)
In the book Pranks! (Re/Search, 1987), V. Vale and Andrea Juno pointed out that pranks, tricks and ludicrous actions are functional to express a continual poetic renewal, using the elements of surprise, irony and social criticism. Since that time the strategy of anonymity, as the critique of a rigid identity, and the creation of a multi-use philosophy of sharing, has been functional in redefining art practice through disruptive interventions, as well as served as a tool to reflect on the meaning of authority. Today the strategy of anonymity is still a vehicle to question the institutional media system and has often plunged it into crises by exposing its bugs and highlighting its vulnerability. But, mixing up with contemporary social media culture, being anonymous means to produce a new aesthetics – new linguistic codes – where poetic images, disruptive strategies (such as trolling and DDoSing) intertwine with multiple possibilities for lulz and pleasure. Is anonymity a tool for distributed and viral political struggle or is it the endless trick of an intangible crowd of pranksters?
Individual Presentation Descriptions
Dana Buchzik (de)
Descriptive text on the panel presentation:
My presentation will deal with anonymity as a healthful intervention. Based on a true incident, the story is told from the perspective of a phobic girl who isn't capable of mingling with people or even leaving the house. After effectless hospital treatments, she finds her way back to life by talking to strangers on the internet. Instead of only exposing her diseased parts, she tells stories about the self she wants to be, using the potential of anonymity to create a healthier self.
GenZ expects and values always on/always available internet access. This graph shows how GenZ is extremly/very satisfied with the speed of their internet service.
Interesting although the least common now, transactional activities like ride sharing and managing personal finances emerge as the most likely service GenZ will adopt in the next 2-3 years.
Close to 80% indicate they are using their smartphones more than they were a year ago and this behavior is increasing across all devices, including laptops, tablets and fitness trackers.
Presenting the all-new #vivoZ1x #FullyLoaded for the GenZ who live for ultimate performance, power & precision. Keep the hustle going with 22.5W vivo FlashCharge, 4500mAh Battery & 16.20cm (6.38) FHD+(SAmoled) with Flash In-Display Fingerprint. Buy Vivo Z1x from www.vivo.com/in/products/z1x at INR 16,990/-.
Source: Vivo India | Vivo India Youtube
April 21, 1990 - Actor Bruce Linser, starring in Big River, standing between Alan Light and Terry Genz. Photo taken in Aurora, IL
la composizione multimediale dell'infiorata di Genzano
www.youtube.com/watch?v=gtQyXej2AFQ
A Genzano ogni anno, da oltre due secoli, si tiene nel mese di giugno l'Infiorata, immenso tappeto floreale che si estende, articolandosi in vari quadri, per circa 2000 mq sulla centrale Via Italo Belardi (già Via Livia).
Per la realizzazione dei quadri, disegnati sul selciato, occorrono, oltre alle essenze vegetali, almeno 350.000 fiori; i singoli petali vengono utilizzati dagli infioratori così come i colori di una tavolozza dai pittori: il giallo della ginestra, l'azzurro della torrena, il rosso dei garofani, il verde del bosso e del finocchio selvatico.
La manifestazione si articola in vari fasi: l'ideazione e la preparazione del bozzetto, la raccolta dei fiori e delle essenze vegetali, lo "spelluccamento" - separazione dei petali dalla corolla e loro conservazione nelle grotte del Comune - i disegni a terra (il sabato sera), la posa in opera dei petali (la domenica mattina), l'Infiorata completata (primo pomeriggio della domenica), la Processione del Corpus Domini (domenica sera), ed infine lo "spallamento" - quando i bambini correndo dalla scalinata della Chiesa di Santa Maria dìsfano i quadri infiorati.
Storicamente l'Infiorata è una festa strettamente collegata alla celebrazione cristiana del Corpus Domini e le sue origini risalgono al XIII secolo, quando in occasione della Processione del SS. Sacramento "si spargevano alla rinfusa dei fiori a piene mani".
Il 29 giugno 1625, poi, a Roma, nella Basilica Vaticana, per iniziativa di Benedetto Drei, Capo della Floreria Apostolica, per dare maggiore lustro alla Festa di San Pietro e Paolo, ebbe inizio la tradizione di decorare la chiesa con fiori disposti a mosaico, usanza questa che si estese in molti paesi cattolici.
Social platforms are the most commonly used method to share content. Interestingly, 30% host it on their own websites.
The Gen Z Frequency is defined by the ecosystem of youth cultural groups and the wavelengths they use to identify and communicate with their world. Ideas by Gregg Witt and Derek Baird. Illustration by Mike Carnevale.
D'Austerlitz à La Chapelle, l'errance des migrants à Paris. Juin-Novembre 2015.
À l'ancien lycée Jean Quarré, dit « Maison des Réfugiés ».
Paris, 21 août 2015.
Si les opérations dites de « mise à l'abri » se succèdent depuis juin 2015 en région parisienne, force est de constater qu'aucun dispositif d'accueil digne de ce nom n'est mis en place pour faire face à l'afflux de nouveaux arrivants à Paris et plus généralement en France.
Suite au démantèlement du campement de La Chapelle par les autorités le 2 juin 2015, les migrants non pris en compte pour les hébergements, harcelés par la police, errent plusieurs jours dans le XVIIIe arrondissement jusqu'à l'esplanade de la halle Pajol, où, le lundi 8 juin, une très violente rafle est menée par les forces de l'ordre.
Réfugiés pendant quelques jours au Bois Dormoy, un jardin collectif, les migrants et leurs soutiens le quittent le 11 juin pour partir occuper pour un soir la caserne désaffectée de sapeurs-pompiers du Xe. Ils obtiennent alors 110 places d'hébergement d'urgence.
Le soir même, un campement réapparait au parc Éole, avec ceux une nouvelle fois non pris en charge. Soit une soixantaine de personnes et plus encore les jours suivants, jusqu'à l'évacuation du 19 juin, avec la proposition de 220 places supplémentaires de la mairie, venue sur le campement accompagnée de l'OFPRA et de l'association Emmaüs. Les CRS suivront après le départ des migrants... Des dizaines de personnes sont laissées à la rue. Les migrants absents du camp ce matin-là, par exemple occupés à des démarches auprès d'une association ou de la préfecture, n'ont pas été pris en compte. Certains ont pris peur en arrivant sur les lieux d'hébergement et reviennent dans le quartier. D'autres encore ont refusé la proposition, doutant des promesses qui leur ont été faites sans garantie.
Le 20 juin, faute d'alternative, le campement se reforme sur l'esplanade de la halle Pajol avec quelques dizaines de personnes. Il atteint à nouveau plus de 200 personnes lorsque la mairie, toujours accompagnée de l'OFPRA et d'Emmaüs, mais sans la police, revient et procède à l'évacuation le 9 juillet de près de 200 personnes vers des centres d'hébergement d'urgence ou à l'hôtel. Des migrants ne sont pas pris en charge et le camp se reconstitue le soir même. Plus de 300 personnes y vivent dans la plus grande précarité lorsque la mairie, l'OFPRA, Emmaüs et le cabinet du ministère de l'Intérieur procèdent le 29 juillet à une nouvelle évacuation qui sera, elle, définitive.
Le lendemain, les migrants restés sur la carreau et leur soutiens partent alors occuper pacifiquement les locaux de l'association Ni putes ni soumises. Après une nuit sur place, ils s'installent le 31 juillet dans l'ancien lycée Jean Quarré, désaffecté depuis plusieurs années. Deux mois plus tard, ce sont plus de 600 personnes qui ont trouvé refuge au lycée occupé, dit désormais « Maison des Réfugiés ».
Pendant ce temps-là, les campements dits d'Austerlitz attendent tout l'été, dans l'incertitude, leur évacuation régulièrement annoncée par la rumeur depuis le démantèlement de La Chapelle le 2 juin... Apparus à l'hiver 2012-13 sur les quais le long de la Seine, aux alentours et sous la Cité de la mode et du design, ces camps passent de près de 200 à plus de 400 personnes entre juin et septembre 2015.
Le démantèlement des camps du quai d'Austerlitz a finalement lieu le 17 septembre.
Ce même 17 septembre, de façon simultanée est évacué le camp apparu devant la mairie du XVIIIe le 4 septembre avec les personnes laissées sur le carreau après le démantèlement du camp du square Jessaint de La Chapelle. En quinze jours, le camp de la mairie du XVIIIe était passé de 30 à plus de 200 personnes.
Au cours de cette double opération, le lycée Jean Quarré, déjà surpeuplé, est bouclé par les forces de l'ordre pour empêcher ses occupants de rallier les points d'évacuation.
Avec la fermeture des camps d'Austerlitz et de la mairie du XVIIIe, le lycée offre désormais la seule alternative à la rue.
Le 25 septembre le tribunal administratif, saisi par la mairie de Paris, propriétaire de l'ancien lycée Jean Quarré, en ordonne l'expulsion. Le nombre d'occupants continue dangereusement d'augmenter de semaine en semaine jusqu'à l'évacuation et la fermeture du lieu le 23 octobre 2015. Près de 1300 personnes sont alors évacuées vers des hébergements d'urgence.
Une nouvelle fois des laissés pour compte restent à la rue après l'opération. Un rassemblement le jour même devant l'Hôtel de ville de Paris permet d'obtenir 80 hébergements supplémentaires. Dès le lendemain un campement extrêmement précaire se reforme place de la République, régulièrement dispersé de force par la police au petit matin. Une première évacuation avec 88 hébergements a lieu le 30 octobre, puis une seconde, avec environ 350 hébergements, le 13 novembre.
Quelques heures plus tard, la place de la République devient l'épicentre des attentats qui frappent Paris. L'état d'urgence est décrété, les rassemblements et manifestations interdits.
C'est la dispersion...
Jusqu'aux prochains campements qui ne manquent pas de réapparaître dans les semaines suivantes...
Among smartphones, GenZ skews heavily. This is particularly true for those in New York, London and Tokyo.
New global research from CommScope underscores why Generation Z is the most technology intimate and connection dependent in history, with unique viewpoints and expectations for the devices, technologies and people they depend on for their always-on lifestyle.
May 2nd, 2008 several hundreds of workers without isolated papers invested the Labor market (Appendix Eugene Varlin) of 85 Rue Charlot to obtain their regularization with the assistance of the trade unions, to date hardly 10% of the files its to pass in committee to the prefecture…
To mark this date in 2009, an exposure was organized with the assistance of various supports and artists like Bruce Clarke, Laura Genz, Franck Vibert, etc…
------------------------------------
Le 2 mai 2008 plusieurs centaines de travailleurs sans papiers isolés investissait la Bourse du travail (Annexe Eugene Varlin) du 85 Rue Charlot pour obtenir leur régularisation avec l'aide des syndicats, a ce jour à peine 10% des dossiers son passer en commission à la préfecture ...
Pour marquer cette date en 2009, une exposition fût organisée avec l'aide de différents soutiens et artistes comme Bruce Clarke, Laura Genz, Franck Vibert, etc...