View allAll Photos Tagged odd
Am now waiting for a friend to arrive, keeping out of the rain in a
KFC. As usual am surfing, flickring etc when I hear something hit the glass wall & fall to
the ground. The guy who just arrives next to me has just pushed the
abandoned water bottle on the bench onto the floor. So odd. A small
gesture but it struck me as quite aggressive and unthinking. The
bottle could have easily been ignored or moved away but it was flicked
off. And he leaves soon with his empty cup left behind.
I guess I am a bit surprised as people here are usually
community oriented, clean up themselves and would normally just put it in the bin without a second thought.
KFC
Hongdae
ODC-Odd
I think it's very ODD that I never find the pot of gold at the end of these things. Instead of gold today, it was a rickety old barn and a silo :(
This shot was difficult to get. I wanted both in focus... I tried many angles and positions to get this to work.
"Christmas Tree"
by Shaela Odd
Cardstock: Bazzill Basics
Patterned Paper: K & Company "Peppermint Twist", Lasting Impressions (gold)
Ribbon: misc. craft supply
Gems: Me & My Big Ideas
Stamp: Autumn Leaves
Ink: Versamark
Adhesive: Zip Dry Paper Glue, Tombo Permanent Adhesive
Other: thread, adhesive foam, clear embossing powder
File name: 08_06_020268
Title: Odd leaf platter
Creator/Contributor: Jones, Leslie, 1886-1967 (photographer)
Date created: 1940 (approximate)
Physical description: 1 negative : film, black & white ; 3 1/8 x 4 1/4 in.
Genre: Film negatives
Subject: Tableware; Leaves
Notes: Title and date from information provided by Leslie Jones or the Boston Public Library on the negative or negative sleeve.
Collection: Leslie Jones Collection
Location: Boston Public Library, Print Department
Rights: Copyright Leslie Jones.
Preferred credit: Courtesy of the Boston Public Library, Leslie Jones Collection.
Picket fence at Springburn Station.
In-camera B&W.
Taken with Olympus M.Zuiko Digital ED 12mm f2.0 lens on Panasonic G1.
The spread of visual or simply engaging material seems limited till one starts looking at the street with interest, and what is revealed is that there is a plethora of interesting signs and symbols in odd corners and in odd forms. Some of these are religious symbols, some are messages from political parties, some are dictates from the government on how to use this wall, some messages about the perfidy of love at the back of autos, and some are a juxtaposition of these symbols with each other. Like a faded message painted on the wall proclaiming Karnataka Against Communalism, coincidentally (or not) painted such that the words Saint God are visible just above it.
Material distributed by organizations in various areas is bilingual or only in Kannada, though the Muslim population is familiar with Urdu, and especially the dialect called Shivajinagar Urdu. Samples of such material reveal that they are largely textual and focus on sharing information regarding oppression and violation of rights of specific groups and not the stories and opinions of the people affected. For example with regard to the problems of the municipality cleaners or scavengers who are usually Dalits, a substantial amount of material has been distributed in the course of a public campaign and movement. The material remains restricted to a black on white non-imaginative text that is dry, legal and un-exciting. There is not much attempt to engage in the imagination of other communities to involve them in issues that concern one group. The objective usually is to consolidate efforts of the community of Dalit municipality workers with NGOs and activists. Networking happens at the level of activists and NGOs and very little effort is undertaken to bring people together on issues of humane concern, or to build solidarity amongst various communities along the lines of occupation, class. Often communities do co-exist in trade unions and other such coalitions but no concerted efforts are made to bring various groups together.
In recent times, some effort has been made in this regard especially between the large Dalit population and the Muslim population. The objective of the movement leaders and NGOs involved in this effort were the concerns they had with respect to the involvement of Dalits in the violence in Gujarat. This campaign once again is largely textual and has covered the city comprehensively with messages to attend a massive rally. What is heartening is seeing the words Karnataka against Communalism painted on the walls as there aren’t many other such messages that are seen that deal with divisions in society. The context is usually Gujarat and concerns that arise there between Muslims and Hindus, and don’t usually translate to other forms of divisiveness between other communities that may exist.
The message Karnataka Against Communalism (komvada virudh karnataka) is painted almost all over the cities, rivaling posters for the release of the book Dalitology which was a major event as well. The message in the poster is a call to come to a massive rally and be part again of a head count, rather than any discourse on issues of divisiveness in society which would invite and involve perceptions of different people. What is striking are the use of flouroscent colours on a black background, which has now faded leaving the legacy of the heartening words Karnataka Against Communalism all over different parts of the city including commercial and lower-class areas like Shivajinagar.
I worked as the polaroid photographer at AFM (American Film Market) during the summers of 2003 and 2004. One of my favorite odd jobs ever. I took thousands of peoples photos and then made badges for them with my handy dandy little machine. These were taken by my AFM associate. I saved the scraps and throw-away photos from both summers and have them all stowed away in a paper bag full of found treasure I hope to one day turn into a giant collage. Of course, it's been five years, now, and I still haven't done it. So... you know.
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