#Matric Portraits

[whodiditsubzdidit]

#WHODIDIT? | #MATRICDANCE

The job is easier when the family treats you like family.

[laurstudiesworld]

Good luck everyone for their alevels. And gcse students! (Tbh anyone who’s doing their exams) honestly I feel like deep fried 💩 rn. I honestly feel like I’ve bitten off more than I can chew and I’m so petrified for exams honestly. Like in theory I should be happy right, I have an offer from Oxford to do my dream course Maths and Philosophy, but I need 3A*s and an A in my alevels which rn seems like a distant reality tbh, with grade boundaries shooting up. Like I honestly feel like it wasn’t me who sat my mocks, like i honestly feel like I peaked at mocks which is a horrifying thought. Anyways bit of background why I stopped posting. Not like I was consistent anyways.

Honestly just needed to brain fart on here.

But hope you all are doing okay. And good luck everyone mwah

Enjoy my self portrait I drew in maths instead of doing matrices.

[baheret]

[image ID: a sketchbook page spread in blue-pen. on the left page, a portrait of a person in profile, facing left. the person has long hair and a long beard, and wears rectangular glasses. they wear a neutral, if slightly melancholic expression. on the right page is english handwriting, in a semi-cursive script. the writing contains mathematical expressions, including two matrices. /.End Id]

notes.

[havaforever]

THE SUBSTANCE - A l’heure où les Céline Sciama, Julia Ducournau et Justine Triet sont les fers de lance du cinéma féministe et progressiste français, la réalisatrice Coralie Fargeat pointe hardiment le bout de son nez sur la scène internationale avec The Substance, un "body-horror" décapant récompensé en 2024 à Cannes du prix du meilleur scénario.

Son film remarqué de-ci delà par la critique nationale ne suscita pourtant pas le même enthousiasme que les travaux des réalisatrices précitées dont le cinéma est nettement plus dans l’humeur du moment qui va trouver sa pleine éclosion avec l’irruption de la vague me-too qui emportera tout sur son passage.

Hollywood de son côté a immédiatement détecté le potentiel d’une Coralie Fargeat n’ayant pas froid aux yeux, capable de s’affranchir d’une certaine forme d’intellectualisme bon teint un peu surfait sans lequel l’accès à la fameuse commission d’avance sur recette devient immédiatement plus compliqué.

The substance va alors permettre à Demi Moore dont la carrière est en relatif sommeil depuis une vingtaine d’années d’effectuer un retour au premier plan tonitruant avec ce rôle qui entre en résonance avec son propre parcours à Hollywood. On peut déplorer que le film qui critique massivement le jeunisme, et ce de façon un peu plus originale que d'habitude, (nous y reviendrons) tombe dans ce même écueil en donnant à Demi le rôle d'une femme de 50 ans, alors qu'elle en a actuellement 62, mais soit!

Elisabeth Sparkle (Demi Moore, donc) star de cinéma reconvertie dans la télévision où elle anime une émission d’aérobic (on pense évidemment à Jane Fonda), se voit signifier sans ménagement qu'elle est trop usée, trop vue, pour son "rôle", alors qu’elle s’apprête à fêter son cinquantième anniversaire à l’antenne. Les gros plans qu’inflige la réalisatrice à l’ex-beau gosse des années 1990 qui annonce la nouvelle à la star déchue, montre que l’humour ne sera jamais absent de sa pochade vitriolée, qu'il concerne aussi les hommes, qui ne seront à aucun moment épargnés, même si le plus souvent attaqués en biais. Celui qui est en charge d’expédier Elizabeth au placard, est Dennis Quaid absolument jouissif en producteur aussi amoral et cynique qu’il est autocentré et aveugle sur tout ce qui ne touche pas directement à ses intérêts financiers.

Un terrible accident survient à la sortie très groggy d'Elisabeth après cette annonce meurtrière. Elle découvre à l’hôpital une mystérieuse clef contenant la proposition d’une substance révolutionnaire pouvant lui offrir une version d’elle-même plus jeune, plus belle et plus parfaite. Après une (très) courte période d'hésitation, la tentation de prendre une revanche sur les insultes dues à son âge avancé, prend le dessus.

Une condition essentielle à la bonne marche de ce pacte avec un Faust dont on ne verra jamais le visage, et qui ne dit pas son nom devient le cœur de l'intrigue : Elizabeth ne pourra accéder à cette version rêvée d'elle-même qu’une semaine sur deux. Le processus agit comme une sorte de garde alternée dont elle sera toujours la matrice; elle ne devra jamais oublier qu’elle et son clone rajeuni ne font qu’une.

Le tandem diabolique de la vieille et de sa version+++ rajeunie, se forme avec au-dessus de lui, l'épée de Damoclès qui les lie à la stricte observance de la règle de l'inséparabilité des deux versions d'une part, et de leur alternance, d'autre part.

Coralie Fargeat s’inspire tout-à-la fois du fameux Étrange cas du docteur Jekyll et de Mr Hyde, de Robert Louis Stevenson maintes fois porté à l’écran et du non moins fameux Portrait de Dorian Gray d’Oscar Wilde. Deux illustres références qu’elle actualise avec brio et malice. L’innovation introduite étant que pour la première fois les deux versions du même personnage sont à la fois "la même personne" tout en étant complètement dissociées; la plus ancienne servant de nourrice à sa progéniture augmentée d'années en moins.

Chirurgie esthétique bien sûr, mais aussi transhumanisme, clones manipulables, toutes les versions de nos fantasmes y passent. Ils sont passés au crible d'un regard extra lucide qui dit l'impossibilité majeure de ces transformations tant désirées par le prisme de l'alternance imposée ancienne version/nouvelle version. Il y a en chacun qui s'acharne à rajeunir, la détestation de cette personne actuelle qu'il ou elle est devenue d'une part, en même temps que la détestation de celle qu'elle a été d'autre part. Et cette détestation réciproque ne peut aller qu'en augmentant à mesure où le subterfuge de rajeunissement devient efficace.

Plus le rajeunissement fonctionne, plus le rejet de l'inéluctable devient douloureux. Chercher à rajeunir, revient en fait mathématiquement et proportionnellement à s'exposer aux pires souffrances de ce que nous restons "en alternance" avec cette façade. Dedans VS dehors, de jour VS de nuit; avec et sans maquillage, avec et sans les fillers divers et multiples qui masqueront nos rides, avec et sans les interventions chirurgicales qui laisseront leurs cicatrices indélébiles.

De plus, non seulement ces interventions augmentent le rejet de la part qu'elles cachent plus ou moins bien, elles accélèrent aussi le processus de vieillissement lui-même, en marquant par leur présence si symptomatique les failles qu'elles sont censées couvrir. La raideur du Botox est désormais une marque disgracieuse plus visible encore que la disgrâce originelle cachée; que les rides elles-mêmes, ou même le flasque de la peau, cela va sans dire.

Mais ce n'est pas tout, l'intervention transformation-déformation, est de nature à générer un vieillissement des tissus, et dans un cercle vicieux que l'on a tous vu sur nos stars préférées, une dépendance grandissante à l'injection, qui facultative au départ, devient injonction, obligation, une fois les tissus distendus par les produits, en plus de la distorsion naturelle liée au vieillissement.

C'est ce qui fait que dans un cercle vicieux interminable parfaitement figuré à l'écran, la jeune déteste la vieille dont elle issue, elle la renie et la refoule tout ce qu'elle peut, mais la vieille finit par détester plus encore la jeune qu'elle doit alimenter quitte à vieillir plus vite encore...

La leçon est radicale, originale dans sa formulation, saisissante. Tout n'avait pas encore été dit sur la question, et Coralie Fargeat nous donne à le ressentir dans un frisson aussi désagréable et dérangeant que hurlant d'une vérité assassine et monstrueuse. Mais elle n’oublie jamais le plaisir qu’elle se doit de donner au spectateur venu se distraire; qui attend aussi de se régaler de l'esthétique très particulière de ce film d'horreur.

Pour cela, elle ne se prive pas de convoquer les grands réalisateurs qui ont dû forger sa cinéphilie auxquels elle rend hommage à plusieurs reprises. Stanley Kubrick et Stephen King, David Cronenberg pour l’ensemble de son œuvre et notamment celle des débuts, David Lynch ou Brian De Palma pour la scène finale.

Le film est parfaitement maîtrisé et notamment très équilibré dans l’importance qu’il donne à toutes les phases de l’intrigue. Certains ont fait la fine bouche reprochant à Coralie Fargeat d’exposer trop généreusement les formes de miss Qualley, altérant à leur yeux le message sur la masculinité toxique. La réalisatrice qui ne semble pas militante jusqu'au bout des doigts a sans doute estimé que le pauvre Dennis Quaid et tous ses acolytes avides de bénéfices, avaient assez donné de leur personne pour que le message soit clair.

La progression psychologique, anxiogène et oppressive se fait crescendo, avec un final qui va sans doute en marquer plus d'un. La conclusion relève presque même d'un sentiment de parodie du genre, tant le curseur est volontairement placé à l'excès, mais qui va de pair avec le processus et mécanisme de plus en plus destructeur de la prise de substance.

Le scénario est admirablement écrit (son prix à Cannes n'est pas volé !) avec en plus d'un propos riche et profond, beaucoup de thématiques effleurées et développées en surface et sous texte. On ne peut s'empêcher de sourire devant des détails superflus comme les casiers de livraison (façon Amazon Lockers) bien représentatif des circuits de ventes d'aujourd'hui via internet, et des plans "unboxing" de chaque colis, très évocateur également du monde de l'influence.

Le choix du genre Body-Horror pour porter un tel propos, ne peut séduire tout le monde, il est profondément dérangeant pour ceux qui n'en ont pas l'habitude, mais il est parfaitement adapté à ce message cinglant et sanglant, voire sanguinolant de toutes parts.

NOTE 17/20 - Si ce conte met particulièrement mal à l’aise, c’est surtout grâce à l’interprétation perturbante à souhait et sans concession de Demi Moore, qui retrouve ici un véritable grand rôle qui pourrait l’emmener jusqu’aux prochains Oscars.

La générosité du film déborde un peu mais, décomplexée par rapport aux totems du cinéma gore, cet excès reste en permanence justifié par un propos assez original, très fort, profondément juste et percutant.

Pour les besoins de cette fable aussi grandiose qu'écœurante dans ce qu'elle dit et ce qu'elle montre, Fargeat crée de nouvelles images et assume un cinéma d’auteur et de divertissement qui éclabousse l’écran. Bravo.

[shunkawakan-ita]

AGRONOMIST

presenta

TUTTI PAZZI

primo singolo

tratto dal primo disco solista in uscita a fine anno

(Orangle / The Orchard / Sony)

GUARDA IL VIDEO

Il video

Il video del brano è girato interamente sul territorio lucano con persone reali, differenti, anche neuro divergenti, senza comparse o attori professionisti.

Musiche, testo e concept di Vincenzo Lofrano - Agronomist

Video di Walter Molfese

Il brano

Tutti pazzi è il primo singolo estratto dal mio primo disco solista.

Un brano inclusivo per i generi musicali e per gli esseri umani che celebra.

Una matrice hip hop che danza su ritmi energici post punk e garage rock. Un testo che ho fatto fatica a scrivere e che mi fa piangere ogni volta che lo risento, perché scava nel profondo e dice la verità. Ho fatto forse un buon lavoro.

“I normali non li voglio più… quelli sani pigliateli tu. Tutti pazzi, tutti pazzi, gli amici miei so tutti pazzi.“

Cosa è la normalità, cosa è la pazzia? Chi sta dentro i binari del giusto e del regolare e chi li travalica, sta ai margini, non rientra in categorie prestabilite, è considerato dalla società quasi un reietto, disadattato, emarginato.

“Fluidi nei sessi”, con lavori con nomi inventati, non troppo attaccati ai danari, ma molto fissati con i legami, precari, come gran parte della mia generazione, che si sente sempre fuori posto. Artisti, senza un posto di lavoro fisso, che forse non hanno trovato un posto nel mondo o che non hanno concepito ancora un figlio.

Forse senza un conto in banca rigoglioso o con non abbastanza followers, a differenza di molti rapper o celebrità. O forse bullizzati o dimenticati, perdenti. Tutto ciò può portare a sentirsi diversi, sbagliati, “pazzi”. Questo brano celebra proprio la ricchezza della varietà e tratta anche il tema della salute mentale  e non per ultimo l’amicizia che unisce nella diversità, l’inclusività. Un’ analisi di ciò che vedo intorno a me e un’autoanalisi di ciò che vedo dentro di me.

La straordinaria bellezza della diversità, la non perfezione e la stranezza, come valori aggiunti, sia nella vita, che nell’arte, dove spesso si rimane appiattiti, schiacciati da etichette imposte dalle playlist, dai trend, dalle case discografiche, dai social, dai numeri, dalla società in generale, fino a non esprimersi più, fino a smettere di esprimersi e creare, per paura di essere fuori.

Libertà di essere sbagliati, diversi e bellissimi così. “Reietti, outsider, sottovalutati, ma altrimenti saremmo scontati. Decine, centinaia di nulla, che insieme hanno un valore straordinario.”

Estetica identitaria e unica che non si rifà a cliché esistenti, ma crea nuovi paradigmi, sonori, di linguaggio ed estetica.

Una Basilicata bucolica e quasi utopistica, ma anche futuribile e sicuramente alternativa, dove si può ricreare, ripartire, facendo perno sulla propria unicità, sulla propria lingua e molteplicità di dialetti, su una fauna differente con diversi usi, gerghi, stile e suoni.

I Boschi, i paesini, la piazza, i volti reali di ogni età, sesso, estrazione, persone reali con la loro “pazzia”, che li rende unici, preziosi e poetici.

Biografia

Agronomist: polistrumentista, producer, rapper, cantante, essere senza età. Emergente e emergenza, più artista che uomo. Sta forgiando un alternative hip hop con una forte contaminazione e commistione di generi. Non ha mai creduto nelle regole e nei dettami, quando tutti ci credevano. Non ho una scena di riferimento, solo la mia visione da esprimere. 

Nato in Lucania, è fondatore della band Smania Uagliuns, gruppo di hip hop sperimentale, che si è distinto negli anni per originalità e innovazione ricevendo molte lodi dalla stampa.

Il suo primo singolo da solista è stato “WOW” (2020), prodotto dai Gumma Vybz. Dopo i freestyle della serie “Hit Mania Enz”, alcuni featuring e varie collaborazioni, a febbraio 2021 ha pubblicato il secondo singolo “Hype Blog”, prodotto dal londinese HLMNSRA. Nel 2023 ha collaborato con un altro producer, Zero Portrait, per il brano “Instagram” e all’inizio del 2024 ha pubblicato “BERLIN (Travel Freestyle)”.

Attualmente al lavoro sul suo primo progetto solista che sarà totalmente scritto, arrangiato, prodotto e cantato  da me, in fase di finalizzazione. 

Ogni aggettivazione o descrizione di generi e stili sarebbe fuorviante e sminuente.

Sarà ciò che nessun altro fa, con un’identità e una verità scioccanti sonicamente e liricamente parlando.

Il suo vero nome è Vincenzo Lofrano e, oltre a essere un musicista, è un dottore in traduzione letteraria e tecnico-scientifica.

[mariannerulland]

TRACE CAILLOUX ATELIERS 2024/25 La gravure sous différentes formes

Au sein de l'atelier Trace Cailloux, il est possible de faire de la linogravure, du monotype, de la gravure sur Tétrapak et du gaufrage. Il sera aussi possible, lors de séances spéciales, d'apprendre d'autres techniques et d'imprimer sur textile.

Pour qui ? Pour tous ceux et celles qui veulent découvrir, s'initier ou se perfectionner dans les pratiques de la gravure. Stage adulte à partir de 15 ans.

Et c'est combien ? 1 jour à 68€ *en plus : adhésion à prix libre à l'association Les ADG

Et le matériel ? A partir de 4 participant.e.s/séance - matériel fourni : plaque, papiers, encres, outils et presse...

Où ? Les Ateliers du geste, 42 Les Devèzes, 12330 Mouret (à 25 min au nord de Rodez)

Les dates des samedis Stages adultes (10h -17h00)

samedi 28 septembre Gravure sur Tétrapak. Travail au trait autour des dégradés, des ombres et lumières. Thème > paysage

samedi 9 novembre Gravure sur Tétrapak. Travail autour des aplats et du trait pour une image en 2 couleurs. Thème > nature morte

samedi 11 janvier Risographie. Découverte et/ou approfondissement. Thème > cartes de vœux

samedi 1 février NEW ! Carborundum et/ou collagraphie. Travail autour du flou/net, des aplats et des dégradés. Thème > là-haut dans le ciel

samedi 5 avril NEW ! Gaufrage et linogravure. Travail en bas relief dans le papier et en nuances de blanc. Thème > illustration

samedi 17 mai Linogravure. Travail d'une image à deux couches en couleurs. Thème > portrait chinois "Si j'étais un animal, un objet, un lieu…"

Les techniques (dans l’ordre des photos)

Gravure sur Tétrapak : matière des emballages cartonnés que l'on utilise pour imiter le rendu de la gravure à l'eau forte. On utilise pour graver une pointe sèche.

Gaufrage : procédé qui permet de créer une empreinte dans le papier. Celle-ci peut être de la couleur du papier ou être encrée.

Risographie : système de reproduction à l'aide d'un duplicopieur d'images imprimées en tons directes superposés.

Carborundum (pas de photo) : procédé qui consiste à coller les grains de carbure de silicium sur la matrice en dessinant des formes et en combinant le calibre des grains et la densité de leur distribution avant de les coller.

Collagraphie (pas de photo) : technique d’estampe dans laquelle on superpose des couches de matières et/ou de plaques gravées sur une plaque pour servir d’empreinte lors de l'impression. Ce collage est ensuite encré et passé à la presse.

Linogravure : procédé de gravure se pratiquant à l’aide de gouges qui creusent du linoléum (taille dite d'épargne, car on enlève là où on ne veut pas d'encre).

Monotype : procédé d’impression sans gravure, à l’aide d’une plaque enduite d’encre et essuyée, qui produit un tirage unique.

Infos & réservation

Marianne Rulland mrulland@gmail.com - 06 59 44 61 05 Plus d'images sur mon Instagram

[luxlucis3]

Understand More About Printmaking

Printmaking is actually an art form that involves the uploading of an image in surface like an inked plate to another 1 like a piece of daily news, fabric, metal or even lumber. The talent finds its durability in its cosmetic value and its chance to be replicated, introducing greatly to the notion of world cultures. https://theartofberlin.com

1 will find alternative printmaking techniques as specific as Indian, Asian, European, as well as National civilizations. With each and every, a style has notable itself over time, transforming into a sort of aesthetic lifestyle for the people.

Printmaking is the method of generating artworks by generating, usually on paper. Other than in the case of monotyping, the procedure is capable of developing several duplicates for the exact same piece which is sometimes called a print. Each and every piece will not be your replica but an unique as it is not a good reproduction of some other type of masterwork and is more or less known as an impression. Portrait or drawing alternatively, produce a unique real piece of artwork. Printing are made from a single genuine surface regarded practically as a matrix. Typical kinds of matrices consist of: plates of aluminum, commonly copper or simply zinc for engraving or etching; piece of rock, put to use in lithography; chunks of wood for woodcuts, linoleum for linocuts combined with fabric plates to get screen-printing. But there's lots of other kinds. Works out printed from a singular plate create a edition, in modern times characteristically every signed in addition to numbered to make a restrained edition. Prints could possibly likewise be printed in book kind, as artist's publications. A single print is most likely the product of one and several techniques.

Printmaking techniques can be smashed into the following essential families or areas: 1) relief creating, where the ink goes over by the original surface of the matrix. Elimination techniques include: woodcut or woodblock being the Asian forms will often be known, wood engraving, linocut and metalcut; 2) intaglio, wherein the ink will go beneath the original surface area within the matrix. Intaglio skills include: engraving, etching, mezzotint, aquatint, chine-collé and drypoint; 3) planographic, in which the matrix maintains its general surface area yet a couple areas are dealt with to be able to make a graphic. Planographic solutions include: lithography, monotyping, as well as digital tactics. 4) stencil, including: screen printing in addition to pochoir. 5) Viscosity printing.

Other forms from printmaking techniques beyond these groups encompass collagraphy and foil imaging. Contemporary printmaking technology may covered such as digital units, photographic platforms along with combination of both digital camera methods and customary techniques. A number of such techniques can similarly be combined. An example, Rembrandt's prints may also be referred to as etchings designed for ease, yet commonly consist of work within engraving and drypoint as well, and at times don't have any etching in any way.

Frequently color around printmaking which involves etching, screen printing, woodcut, or linocut can be applied by also using separate dishes, blocks or window screens or by using a reductionist technique. In various plate color techniques are a number of plate designs, screens or prevents produced, each presenting a different coloration. By having a few printing approaches such as chine-collé and also monotyping, printmaking musicians and artists might sometimes purely paint into the tones they would like, as a painter will and next print. The subtractive color principle is furthermore used in offset or even digital print and is particularly present in bitmap or simply vectorial software inside CMYK or each and every color spaces.

[plumedepoete]

Matrice d ’ eau - Daroca Mikael

Ruisseau jus du monde Rivières veines des êtres Rû capillaires des joies Lacs bouches des eaux. Étangs des reins intérieurs Fleuves l ’ amour navigable Océans désirs des céans Mers la plénitude humaine. Cils de vie. Il tire des portraits Détournant leur profil Imagine belle lampe Est venu la silhouette. Mon nom est ainsi Étienne de Silhouette Né à Limoges 1 709 1 767 Fut Haut - Fonctionnaire. Séquence. Nuages de gaz Poussière molécule Cœurs stellaires Hausse température. Hélium en fusion Dilate le cœur Géantes étoiles Phase lumineuse. Read the full article

[paultakeuchi]

Avez-vous peur de l'intelligence artificielle et surtout quand elle va s'occuper de votre photo personnelle ? Déjà que Chat GPT a fait beaucoup d'émotions depuis sa mise en service gratuit, mais il y a tellement d'autres intelligences artificielles que vraiment ce n'est pas la peine de s'inquiéter, ce qui est important maintenant, c'est de savoir comment contrôler, utiliser, jouer de ces ressources incroyables tant qu'elles nous seront accessibles gratuitement. N'oubliez pas que chaque fois que vous utilisez les services d'intelligence artificielle, vos données sont enregistrées et qu’elles sont utilisées pour améliorer le système, donc, ne soyez pas naïf et tirez-en le meilleur parti ! Et le meilleur parti, c’est d’en rire ! J’ai utilisé un générateur de photos à partir de portraits que j’ai uploadé, ça y est, je suis dans la matrice… 😅 #ia #ai #creation #creator #artvisuel #illustration #illustagram #imagine #image #imagination https://www.instagram.com/p/CnuxkFuKZ18/?igshid=NGJjMDIxMWI=

[tgvphoto]

Matric Farewell Photography

While I often receive the invitation to photograph a Matric Couple, its not every day that I get to shoot an entire event.

Wow! how these events have changed from my time.

In our day the Standard 8 & 9 (Grade 10 &11) school kids used to do fund raising and then decorate the school hall for the Matrics. If you were too self conscious about your parents vehicle, then you had them park around the corner and you walked to the school hall . . . no entrance, no ceremony.

Im not complaining, just an observation . .. after all, the change has made photographing an event like this a LOT more entertaining.

[thewolfworx]

. Are you going my way? . Matric dance things . #woman #beauty #beautiful #skirt #outfit #legs #matric #matricdance #portrait #portrait_today #portraitphotography #model #pentax #pentaxian #shoes #classy #hair #nails #mua #beautifulpeople https://www.instagram.com/p/B85apulHACy/?igshid=1jppxxytcp6zi

[uispeccoll]

#VoicesFromTheStacks

Image taken from National Portrait Gallery here.

Claude McKay a Jamaican bisexual poet, novelist, and activist was heavily active during the Harlem Renaissance. His work mainly composed of Black life and experiences, including economic and social inequalities, celebrating Jamaican culture, and challenging racist policies and politics.

He was born in Sunny Ville, Jamaica on September 15, 1889 to farmers. He was one of eleven children, and one of eight to live to adulthood. His family engrained pride of their African heritage into him and his siblings. His parents, while peasant farmers, were highly respected in the community and in their local church. With experienced planter parents, and their Christian homeschooled education, they were seen as a higher social class (close to the lighter-skinned caste) of Black Jamaicans.

During his education, he studied European philosophers, Romantics, and English poetry. After traveling to the US in 1912, McKay became distraught at the racism he faced there, and the racism that gripped America as a whole. He returned to Jamaica, then traveled to Europe to live.

He found himself invested in communism in the 1920s, thinking that racism would be eliminated under that system. Though in the 1930s, he became critical of communism, viewing it as a political movement motivated mainly by power and wrote about his disillusionment. In the 1930s McKay returned to the U.S. and settled in Harlem, kept his interests in racial politics and became more invested in spirituality and religion, and he eventually converted to Catholicism.

Special Collections & Archives has a copy of Banjo: a story without a plot. This semi-autobiographical novel details the story of a group of Black drifters on the 1920s Marseilles waterfront. Banjo, the main character, wants to rediscover his African roots after a writer named Ray joins his group of friends. The novel combines a pleasure-seeking lifestyle with conversations about race (relations and politics) both in France and abroad. Our copy is signed by the author.

Image taken from Poetry Foundation's article.

Happy Pride Month Everyone! 🥳 ✊🏾🏳️‍🌈

-Matrice Y, Special Collections, Olson Graduate Assistant

[thebiographyorg]

Biographic tales regarding Rick Rossovich

Rick Rossovichwas born in Palo Alto in California USA on 28 August 1957 with a zodiac sign will go and holds American nationality. He is an actor who is probably known for his trial of Ron slider Canal in 1986 in an action drama movie Top Gun. It is written by gym cash and to others is directed by Tony Scott and stated by Tom Cruise Tim Robbins and Kelly meticulous. It follows a pilot of the US Navy who is learning about the ropes from a civilian instructor. In reality, they win approx. 11 awards including an Oscar while it was nominated for 5 other awards as well.

Which early life and education background

Rick was raising grass Valley California alongside his brother temp by their Italian mother as well as Croton's father. Tim is a retired professional American football player as well as a former actor who act from 1977 to 1998 He studied at needy Union High School at which he become interested in acting after being offered a basic role in the playoff school.

He went on to practice skills at a local theatre as well as being into sports because he is very interested in football. Even he played football for the school steam and also practiced basketball as well as soccer upon Matric letting in 1975. He enrolled at University from the graduated with a Bachelor of Arts grade in 1978 and started his acting career.

 Different roles in the TV series ND movies

Rick Rossovich has appeared in more than 50 movies as well as TV series and mentions some of his most suitable performances in the different articles. He made it up to TV series in 1979 along with the Portrait of three characters in The Three episodes of The Adventure comedy-drama, Fantasy Island in an episode of various popular series such as the adventure of the comedy and the Bear. The family comedy-drama 8 is enough and the crime macromere as well as loud he gives a breakthrough performance in 1991 where he was cast to play the lead character in the comedy-drama sums and daughters it follows the life of a family living in Portland in 1994.

Rick's age is 64 his height is 6 feet and 1 inch and his weight is around 78 kg his net worth is around $ 800000. For more details visit: https://thebiography.org/where-is-rick-rossovich-now-wife-net-worth-family-bio/

[fatehbaz]

[C]ontemporary Caribbean artists whose focus is the ruins and debris of the plantation [...] use bagasse as either artistic material or symbol of colonial ruination. [...] [S]ugarcane cultivation [...] [was among] the most salient form[s] of power and environmental violence through which empires manifested their hegemony over colonized territories throughout the Caribbean and beyond. [...]

In “There is a Country in the World,” Dominican poet Pedro Mir spoke of the Caribbean as “an implausible archipelago / of sugar and alcohol” in which land and men “belong[ed] to the mill,” exhorting his readers to “tell the wind the surnames / of the the thieves and the caverns / and open your eyes on a disaster / the peasants have no land” (Mir 1949, my translation). The works [here] [...] [are] invitations to reconsider the legacy of the plantation as still holding sway over the islands’ ecologies and peoples. [...] [T]hese representations of the ruins and debris of the sugar plantation [...] engage central themes [...] in the region: land tenure, diaspora, slavery and indentured servitude, family networks, community, and modernity [...]. Their depictions of ruined landscapes and the crushing of cane through which this ruination is articulated [...] points to a violence that [...] affects humans and nonhumans in an unbroken continuum. [...]

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Martinican artist Herve Beuze [...] has built [...] a sustained critique of Martinique’s history of sugar production [...] through installations that use fermenting and pungently smelling bagasse as prime material. [...] The project’s design is a simple one - sculptures in the shape of the island of Martinique are generally filled with bagasse, cane leaves, or trash [...]. His goal goal is that of establishing [...] “Matrice-Cartes” or Master [...] Maps [...].

The project stems from Beuze’s understanding of mapping as “the point of departure for the geographic, military and human conquest of the world”; his maps, he has explained “are linked to notions of borders and peripheries” [...]. Beuze has described the series as “an attempt ‘to perceive the marrow of our being in the world,’ through forms and materials associated with sugar production” and plantation debris [...].

Beuze’s privileging of the island’s silhouette as a container for plantation debris invites us to read [...] Martinique’s history as a dumping ground [...], as a geographical space crushed altogether by the forces of empire. [...]

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Beuze’s most memorable Machinique (2007) installation was mounted at the old distillery buildings of [...] one of Martinique’s best-known producers of artisanal rums [...] founded in 1887 [...] now [...] a popular tourism site [...]. In the Machinique installation [...], the “map” [of the island] was suspended over the grinding machinery of the former sugar factory by thin plastic threads [reminiscent of spiderweb, hanging above the heads of visitors]. The juxtaposition of the bagasse-filled map, the plantation implements, and the life-size portraits of the cane workers in a room from whose large open windows one could see the still active cane fields gave this installation a poignant cumulative quality, highlighting the specificty of [...] landscape, history, and debris.

Anne Walmsley and Stanley Greaves, commenting on the piece in their book Art in the Caribbean, underscore the multiple resonances of the installation’s venue: the use of bagasse “as a powerful symbol of the crushed spirit” of the formerly enslaved; the map’s suspension as a “gigantic spider in the middle of its web” as a reference to the Anansi trickster/god figure of Caribbean folklore who often takes the shape of a spider; and its suspension as reference to the island’s existence in limbo, “[...] still attached to the colonial power [...].” In [...] the 2009 reiteration of Machinique, you see the silhouette of Martinique under looming pieces of sugar mill equipment, a juxtaposition that negates [...] nostalgia [...].

Gleaming and menacing - as if to express the possibility of their eternal return - as possible revenants or returning ghosts - the machinery hovers over the island, ready to crunch cane again at any moment.

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All text above by: Lizabeth Paravisini-Gerbert. “Bagasse - Caribbean Art and the Debris of the Sugar Plantation.” Global Ecologies: Postcolonial Approaches to the Environmental Humanities, edited by Elizabeth DeLoughrey, Jill Didus, and Anthony Carrigan. 2015. [Bold emphasis and some paragraph breaks/contractions added by me. Text within brackets added by me for clarity/context. Presented here for commentary, teaching, criticism purposes.]

[paganimagevault]

Etruscan female bust from Cerveteri 300-250 BCE. Museo Gregoriano Etrusco, Vatican Museums.

"The bust is not among the votive terracotta produced in series with matrices, but rather constitutes an original work modeled directly by a talented artist for a commission of rank. It represents a relatively young woman with well-defined physiognomic characters and a clear portraitist intent. The surface of the face and neck is very smooth, to make the complexion more radiant. The wrinkles defined on the neck and under the chin mark the passage of time on a face more absorbed than ideally detached.

The lion's head earrings, reproducing gold specimens widespread in the Etruscan and Magno-Greek area (about 325-200 BC) and the fluffy hair inspired by the portraits of Alexander the Great allow us to date it to early Hellenism.

Middle-Italian portraiture is partly indebted to the formal conquests of Greek art, which in early Hellenism elaborated the first dynastic portraits. The portrait constitutes a well-attended genre in Italic culture, adopted both in the votive and funerary ambit, which will be made by the Roman aristocracies due to the importance attached to the individual image. The genre will pass through Roman art in Western figurative culture."

-taken from museivaticani.va

https://paganimagevault.blogspot.com/2020/03/etruscan-female-bust-from-cerveteri-300.html

[teddemort]

#parents #photographie #blackandwhite #portraits #fondnoir #matrice #familysunday #famille (à Gare Saint-Lazare) https://www.instagram.com/p/BvtJ4jZBF82/?utm_source=ig_tumblr_share&igshid=pmg7m2yyxbh1