It’s an okay situation but not great for the long haul.” He writes, “What did you figure out about pods and risk and such? My pod is my kid’s mother and her bf. There’s a second message on Lex from the Germ Bubbler. I have to buy it myself, but I’ll be reimbursed. This time, they say I can have the dictation software. I should have accepted the wheelchair so I could have given it to someone who needed it. I was so angry I wrote something nasty back, and deleted the whole thread. Instead the office offered me a wheelchair. ![]() Last year I asked for my classes to be closer together on campus because it’s hard for me to walk longer distances in short periods of time. I am told there is no mechanism for employees to register, but I can ask for the things I need. Last year I tried to register my disability with the Office of Equal Opportunity. My dean says they will buy me dictation software. ![]() “You always say that like I don’t know, like I’m an idiot, like I’m not a parent too.” You have a straight relationship and still think straight.” Your ex has all the power and I have none. “It’s fine she said no, but I don’t even get to be part of the conversation. I take my solitude hard, like I’m at a middle school dance and left alone against the padded gym wall, unworthy-not quarantine material. Before the lockdown I made two possible bubbles for myself-one with Gina, one with Guapo and his girlfriend. What can I expect from casual? What can I ask for? As if no is the only option and maybe it is. ![]() According to Montens’ opinion, the work of Marchand and Meffre can serve as a warning for other former industrial powerhouses in the Western world.As if I knew Gina would say no. This was not an abuse of the people of Detroit. However, it would be nonsense to take into account the lives of people who still have to make a living amidst the ruins, says Montens. Of course the story behind these photos is what appeals to us the most, a story of bygone times and a glorious past. Montens looks at the work of the French photographers mainly from an aesthetic viewpoint. Joris Montens, owner of the Fontana Fortuna gallery which is now displaying the work of Marchand and Meffre, was much more equanimous. You want look at it as a bystander from your own little comfort zone, but you rather don’t want to act in it or be there for a prolonged period of time. Our fascination for the decay in them is similar to the way some are attracted to porn movies. The photos shown during the evening were a rather harsh distortion of reality instead of captures of moments in time, according to Bouvy. She is more interested in documenting the frightening emptiness of space than beautifying and glorifying urban decay. Visual artist Kim Bouvy took a rather critical stance on the staged images that the disciplines of urban exploring and ruin photography bring forth. On the other, there was a strong critique on the aestheticization of decay, because such work was considered by some to be too much concerned with the nature and quality of the photographs as art, and too little with the actual realities it On the one hand, there was the argument that this field of photography could contribute to the comprehension of decline and the physical and socioeconomic impact of it. ![]() Some people couldn’t comprehend the distinction between ‘aesthetics’ and ‘documentary’, compared to ‘porn’ versus ‘reality’. With his selection, Aarsman tried to distinguish between photos solely made to please the eye and more objective, documentary-like photography.Īarsman saying he was primarily concerned with the aesthetics of ruination stirred up the audience. He started off by showing high-contrast black and white pictures of furrow-faced old people, after which he displayed a series of post-disaster images which demonstrated how victims were dealing with the situation both in a practical and a humorous way. Hans Aarsman, who is a photography journalist and writer, had prepared a slideshow of images that related to ruin porn.
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