View allAll Photos Tagged questioning
Starting this Facebook thing has brought up a personality point that I was kinda vaguely aware of. I don't know how to handle general open ended questions. I've always been very direct with my questions, for the most part. Sure, I can handle subtlety, but I'm better with in your face directness. I know it's true in my relationship. I don't take hints very well. I've said time and time again, that I need to be smacked upside the head with a plain as day hint.
My problem with open ended questions is two fold. I will either over think it and have a fit of emotional vomiting where I say everything that comes to mind. Or I won't say much at all. "I'm fine. You?"
I've been called aloof. It's really more a feeling of determining where a good conversational boundary is so I don't stick my foot in my mouth. Read the room first.
I guess I say this as a caveat to anyone who is trying to figure me out. You've be warned.
Monday wash day!
Questioning the status of ordinary washing places, Caroline Jacob has shifted the usual location of the laundrette and will transform Mediamatic into a laundrette to present wASH. Preserving the social aspect of the laundrette, Monday Washday Laundrette is an opportunity to gather, try out wASH, as well as tell the stories emerging its creation. As an homage to the heirloom custom and the recipe embodied in the laundry detergent, visitors will be invited to wash their laundry in the space. The laundrette will open its doors every Monday and will be available for free use all day long. Visitors might become performers, clothes gesticulated, machines resonated.
Mayor Ras J. Baraka, the City’s Lesbian, Gay, Bisexual, Transgender, Intersex, and Questioning (LGBTQ) Advisory and Concerns Commission, and other dignitaries held the LGBTQ Pride Flag-Raising ceremony as part of Newark Gay Pride Week on Thursday, July 14, 2016, at 5 p.m. in the City Hall First Floor Rotunda.
The rainbow flag, a universal symbol of LGBTQ pride, will fly outside City Hall for the duration of the 11th annual Newark Pride Week. Mayor Baraka has made a firm commitment to supporting the needs and equality of the LGBTQ community. The City of Newark created its first-ever LGBTQ Commission seven years ago. This year marks the 11th anniversary of Newark Gay Pride.
This year’s events celebrate the last 11 years of accomplishments in Newark’s LGBTQ Community as well as in the global LGBTQ Community. The event will also honor the 49 victims of the recent mass shooting in Orlando, Florida, which targeted that City’s LGBTQ community.
This official City of Newark photograph is being made available only for publication by news organizations and/or for personal use printing by the subject(s) of the photograph. The photograph may not be manipulated in any way and may not be used in commercial or political materials, advertisements, emails, products, promotions that in any way suggests approval or endorsement of the Mayor of Newark, the City of Newark, or Newark City Hall.
Any use or reprinting of official City of Newark photos must use the following credit language and style: Newark Press Information Office.
Cathrine Gyldensted
Jim MacMillan
Bruce Shapiro
Lori Shontz
Questo panel analizzerà l'engagement delle comunità a un livello base: esaminando e analizzando come i giornalisti intervistano le fonti e raccontano le notizie. Partendo dai risultati di una ricerca sulla copertura della notizia di un omicidio di massa a Roseburg, in Oregon, ci chiederemo se i giornalisti debbano rivedere i metodi base del proprio lavoro per coinvolgere il pubblico e guadagnarsi la fiducia. Gli psicologi dell'educazione sostengono che identificare e discutere ciò che diamo per scontato è un aspetto necessario, ma spesso trascurato, per creare e sostenere il cambiamento in qualsiasi settore. Questo panel utilizzerà informazioni sulla copertura di notizie e processi giornalistici raccolti non soltanto da giornalisti, ma anche da membri della comunità di Roseburg, in Oregon. Perché tra i membri della comunità sono cresciuti scontento e diffidenza nei confronti dei giornalisti? Che cosa non avrebbero voluto fare i giornalisti? Come può l'engagement ricostruire la fiducia e anche aiutare a costruire un giornalismo migliore? Organizzato in collaborazione con l'Agora Journalism Center - School of Journalism & Communication (Università dell'Oregon), iniziativa sostenuta dal finanziamento della John S. and James L. Knight Foundation.
This panel will explore community engagement at its most basic level: by examining and critiquing how journalists interview sources and report on the scene. By using insights from research into coverage of a mass shooting in Roseburg, Oregon, we will raise this question: To truly engage with and build trust with the public, do journalists need to re-examine the most fundamental processes of their jobs?
video: media.journalismfestival.com/programme/2017/questioning-o...
Questioning New Media, taught by Jill Miller, with Renée Pastel as GSI, presented their final assignments on 12/7/2015 at 340 Moffitt!
"Questioning"
I haven't really done much for the past few days. A little bit of macro photog and a little bit of night shots here and there. But my feet is itching! I need to go somewhere I can explore, photograph small things that I haven't photograph before. Jump at places that I haven't jump before! And do long exposures that I haven't done long exposures before! I need to get out of Los Angeles! arrrrr!
Cathrine Gyldensted
Jim MacMillan
Bruce Shapiro
Lori Shontz
Questo panel analizzerà l'engagement delle comunità a un livello base: esaminando e analizzando come i giornalisti intervistano le fonti e raccontano le notizie. Partendo dai risultati di una ricerca sulla copertura della notizia di un omicidio di massa a Roseburg, in Oregon, ci chiederemo se i giornalisti debbano rivedere i metodi base del proprio lavoro per coinvolgere il pubblico e guadagnarsi la fiducia. Gli psicologi dell'educazione sostengono che identificare e discutere ciò che diamo per scontato è un aspetto necessario, ma spesso trascurato, per creare e sostenere il cambiamento in qualsiasi settore. Questo panel utilizzerà informazioni sulla copertura di notizie e processi giornalistici raccolti non soltanto da giornalisti, ma anche da membri della comunità di Roseburg, in Oregon. Perché tra i membri della comunità sono cresciuti scontento e diffidenza nei confronti dei giornalisti? Che cosa non avrebbero voluto fare i giornalisti? Come può l'engagement ricostruire la fiducia e anche aiutare a costruire un giornalismo migliore? Organizzato in collaborazione con l'Agora Journalism Center - School of Journalism & Communication (Università dell'Oregon), iniziativa sostenuta dal finanziamento della John S. and James L. Knight Foundation.
This panel will explore community engagement at its most basic level: by examining and critiquing how journalists interview sources and report on the scene. By using insights from research into coverage of a mass shooting in Roseburg, Oregon, we will raise this question: To truly engage with and build trust with the public, do journalists need to re-examine the most fundamental processes of their jobs?
video: media.journalismfestival.com/programme/2017/questioning-o...
my friend - kahlil gibran
My friend, I am not what I seem.
Seeming is but a garment I wear - a care-woven garment that protects me from thy questionings and thee from my negligence.
the "I" in me, my friend, dwells in the house of silence, and therein it shall remain for ever more, unperceived, unapproachable.
I would not have thee believe in what I say nor trust in what I do - for my words are naught but thy own thoughts in sound and my deeds thy own hopes in action.
When thou sayest, "The wind bloweth eastward," I say, "Aye it doth blow eastward"; for I would not have thee know that my mind doth not dwell upon the wind but upon the sea.
Thou canst not understand my seafaring thoughts, nor would I have thee understand. I would be at sea alone.
When it is day with thee, my friend, it is night with me; yet even then I speak of the noontide that dances upon the hills and of the purple shadow that steals its way across the valley; for thou canst not hear the songs of my darkness nor see my wings beating against the stars - and I fain would not have thee hear or see. I would be with night alone.
When thou ascendest to thy Heaven I descend to my Hell - even then thou callest to me across the unbridgeable gulf, "My companion, my comrade," and I call back to thee, "My comrade, my companion" - for I would not have thee see my Hell. The flame would burn thy eyesight and the smoke would crowd thy nostrils. And I love my Hell too well to have thee visit it. I would be in Hell alone.
Thou lovest Truth and Beauty and Righteousness; and I for thy sake say it is well and seemly to love these things. But in my heart I laught at thy love. Yet I would not have thee see my laughter. I would laugh alone.
My friend, thou art good and cautious and wise; nay, thou art perfect - and I, too, speak with thee wisely and catiously. And yet I am mad. But I mask my madness. I would be mad alone.
My friend, thou art not my friend, but how shall I make thee understand? My path is not thy path, yet together we walk, hand in hand.
A bunch of folks were protesting some sort of Serbia/Kosovo issue in Pioneer Courthouse Square before the photowalk last weekend.
First Day Challenge in Int/Adv Sculpture. Materials: Yarn, Scissors, Space, and instigated, loosely organized play. University of Idaho
Tipo Passe series, 2014, printed 2023
Edson Chagas
Cheick F. Ouattara
Fernando L. Makélélé
Diogo K. Puenha
Emmanuel C. Bofala
Patrice J. Ndong
Thierry D. Bomboko
Marcel D. Traoré
Leroy M. Futa
Salvador D. Kimbangu
Pablo P. Mbela
Diana S. Sakulombo
Jean P. Mbayo
In this series, Chagas photographs sitters wearing masks and contemporary clothing against a stark white background. The title, Tipo Passe, is Portuguese for passport and the artist’s frontal composition references passport photography. Chagas photographs a variety of traditional Bantu masks used to represent the spirits of ancestors. Questioning the collection and display of these masks as cultural artefacts divorced from their intention, Chagas explores the connection between their intended use as performative objects and the global circulation of traditional African art. The artist gives each of his subjects invented European-African names, highlighting the role of migration and colonialism in the development of identity. He explains that, ‘the real or assumed identities of the people hidden beneath the masks are given, whose European-derived names associated with local surnames, recall Angola’s long past as a colony.’*
Masks are a significant part of African cultural heritage,
playing an important role in ritual and ceremonial performances across many regions. For centuries, they have been used to form relationships between individuals, communities, the environment and the cosmos. By putting on a mask, performers enter a sacred realm between the living and ancestral worlds.
During the 19th and early 20th centuries, masks were removed from these spaces of ritual and taken to Europe where they became museum objects. European artists also collected and appropriated these masks, further divorcing them from their history. Here, contemporary artists engage with their heritage while challenging these histories of dispossession. They explore the enduring power of the mask and the moral and philosophical challenges that arise from their multiple meanings. Their work speaks to the writings of Senegalese philosopher Souleymane Bachir Diagne (born 1955) and his question, ‘What do African masks mean? What do these objects, labelled fetishes, say once the gods have departed?’
In Worrying the Mask (2020) Zina Saro-Wiwa (born 1976) interrogates the use of masks to represent communities and cultures. Her performance-lecture demands we think differently about these objects, questioning how they are displayed and contextualised. Combining photography with performance, the artists in this room use masks to explore the politics of identity, gender and power. Through play and provocation, they ask us to consider their meaning as living objects.*
From the exhibition
A World in Common: Contemporary African Photography
(July 2023 – January 2024)
A celebration of the varied landscape of contemporary African photography today
Bringing together a group of artists from different generations, this exhibition will address how photography, film, audio, and more have been used to reimagine Africa’s diverse cultures and historical narratives.
Moving beyond a traditional photography exhibition, the show seeks to explore the many ways images travel across histories and geographies. Using themes of spirituality, identity, urbanism and climate emergency, the exhibition will guide the viewer through dream-like utopias and bustling cityscapes viewed from the artists’ perspectives.
The exhibition follows artists across the many landscapes, borders and time zones of Africa to reveal how photography allows the past and the future to co-exist in powerful and transformative ways.
...A World in Common: Contemporary African Photography brings together 36 artists who use photography to reimagine Africa’s place in the world. It is inspired by the continent’s rich cultural traditions, as well as present-day social and political realities. Drawing on the theories of Cameroonian philosopher Achille Mbembe (born 1957), the exhibition invites us to imagine ‘a world in common’. To do this, Mbembe claims, we must ‘think the world from Africa’. A World in Common explores Africa’s past, present and future to create a more expansive and inclusive narrative of humanity. It suggests that to conceive ‘a world in common’ is to imagine a future of possibility.
There is no single, definitive history of Africa. It is a continent of multiple, interconnected realities. Pushing the boundaries of photography and film, the artists in A World in Common confront reductive representations of African peoples and cultures. They address photography’s past and embrace its potential to reframe the present and shape tomorrow.
The exhibition is divided into three chapters: Identity and Tradition, Counter Histories and Imagined Futures. The first chapter is rooted in ancient African cultures and traditions which have survived periods of struggle and resistance. Inspired by Pan-African liberation movements, the second chapter looks at photography’s ability to produce counter histories - archival practices and the agency of photographer and subject are brought into focus. The third chapter explores the impact of globalisation and the climate emergency. Here, artists imagine a shared future informed by common realities. A World in Common creates space for exchange and discovery, inviting us to imagine new ways of inhabiting the earth.
[*Tate Modern]
Taken in Tate Modern
First Day Challenge in Int/Adv Sculpture. Materials: Yarn, Scissors, Space, and instigated, loosely organized play. Conclusion: Maybe it was the sun, but we may make better antagonists when making together. University of Idaho
Daniel Brudney took audience questions after his April speech about the definition of "the consent of the people" in the Western political tradition.
Cathrine Gyldensted
Jim MacMillan
Bruce Shapiro
Lori Shontz
Questo panel analizzerà l'engagement delle comunità a un livello base: esaminando e analizzando come i giornalisti intervistano le fonti e raccontano le notizie. Partendo dai risultati di una ricerca sulla copertura della notizia di un omicidio di massa a Roseburg, in Oregon, ci chiederemo se i giornalisti debbano rivedere i metodi base del proprio lavoro per coinvolgere il pubblico e guadagnarsi la fiducia. Gli psicologi dell'educazione sostengono che identificare e discutere ciò che diamo per scontato è un aspetto necessario, ma spesso trascurato, per creare e sostenere il cambiamento in qualsiasi settore. Questo panel utilizzerà informazioni sulla copertura di notizie e processi giornalistici raccolti non soltanto da giornalisti, ma anche da membri della comunità di Roseburg, in Oregon. Perché tra i membri della comunità sono cresciuti scontento e diffidenza nei confronti dei giornalisti? Che cosa non avrebbero voluto fare i giornalisti? Come può l'engagement ricostruire la fiducia e anche aiutare a costruire un giornalismo migliore? Organizzato in collaborazione con l'Agora Journalism Center - School of Journalism & Communication (Università dell'Oregon), iniziativa sostenuta dal finanziamento della John S. and James L. Knight Foundation.
This panel will explore community engagement at its most basic level: by examining and critiquing how journalists interview sources and report on the scene. By using insights from research into coverage of a mass shooting in Roseburg, Oregon, we will raise this question: To truly engage with and build trust with the public, do journalists need to re-examine the most fundamental processes of their jobs?
video: media.journalismfestival.com/programme/2017/questioning-o...
Stopped for questioning while taking pictures of what ended up being Burbank water and power.
In case you are wondering what it looks like, you can see it nicely on google street view
For the record, the LA Sherif was pretty cool about it all.
If you’re questioning what to get me as a belated birthday gift or an early Christmas current, I found the excellent factor – the Karim Rashid by Heys Supernova Set of luggage. The limited edition spinners are light-weight and don one particular of Rashid’s signature, geometric patterns that ap...
www.inthomedecor.com/home-design-ideas/karim-rashid-by-he...
If you are questioning the pregnancy signs after missed abortion you need to recognize that this is a kind of losing the unborn baby that can be awful for women. The signs and symptoms that the losing the unborn baby has are ambiguous so ladies could not know that their maternity has ended. Information A […]
www.gestationaldiabetics.com/experiencing-pregnancy-sympt...
Photo exposée au SPECTACULAIRE de la Villette les 22 & 23 septembre 2012 de 11h à 19h
Accès : Quai de Seine -Bassin de la Villette
Paris 19e Métro Riquet
Enseigne : Edicréar't D2 (face au village cinéma)
Si vous désirez acquérir cette photo, envoyez moi un mail à : xavierfsm@hotmail.fr
For my postmodernism photograph, I chose to emulate the style of Barbara Kruger. This photographer was known for questioning the sexist nature of society and the authorities supporting them. Known for her black and white photos, that are strongly contrasted by bold red writing, Kruger brought attention to the sexism portrayed in advertisement and the growing consumerist culture. Her broad messaging captured the hearts of many, allowing for all sorts of meanings to be drawn from her texts, making it widely relatable.
In my photograph, I chose to dive into the capitalistic aspect of her activism. The photo depicts all sorts of store advertisement, receipts, and cards. The way they all pile on top of each other was meant to represent how consumer culture is both overwhelming and inescapable, constantly competing for our attention. With their advertisement and products being spread everywhere, we are not safe from its influence. Capitalism has managed to worm its way into everyday life, shaping our desires and decisions without us even realizing. This is why the depicted text states that our desires are manufactured. With large companies crowding around us and social media constantly producing new trends, our desires have warped and become twisted together, following a herd mindset.
"Learn from yesterday, live for today, hope for tomorrow. The important thing is to not stop questioning."
— Albert Einstein
Out my window, Mogadore, Summit County, Ohio
Ikenna Azuike questioning David De Armey (Water for Good), Liza Rivera (Water For People) and Vida Duti (IRC) on One For All.
Learn more:
All Systems Connect | International Symposium May 2023 @ World Forum, The Hague | Photographer: Robert Tjalondo