#Protest Photography 2020

[bikerlovertexas]

#WDC #DC #2020 #Washington DC #Corona Virus (COVID-19) Project #Coronavirus COVID-19 Washington DC #Street Photography #Street Photography 2020 #Washington DC Street Photography #Washington DC Street Photography 2020 #November 2020 #COVID-19 Project Part 3 Fall 2020 #Election 2020 #After The Election Project #After The Election 2020 Project #Protest Photography 2020 #14 November 2020 #Saturday #14 November 2020 Washington DC #14 November 2020 Trip to / from Washington DC for Million MAGA March #14 November 2020 Million MAGA March in support of President Donald Trump / Washington DC #Protest Photography #14 November 2020 Million MAGA March Rally #14 November 2020 Million MAGA March Rally @ Freedom Plaza at 13th & E Street #NW #MPDC 2020 #Cops #Cops 2020 #Police #Police 2020

[agelessphotography]

Protesters cross Brooklyn Bridge during a pro-Palestine demonstration demanding a ceasefire, New York City, Andrés Kudacki, 2023

#free palestine #andres kudacki #photography #protest #new york city #brooklyn bridge #photojournalism #2020s #2023 #color photography #ceasefire #100 notes

[leggett-photog]

#black lives matter #BLM #Bristol #peaceful #peaceful protest #canon #canon photography #documentary #documentary photography #west country #All black lives #2020

[jazzilici0us]

Archive from 2020 #35mm b&w iso 100

Shot by Jasmine McKinley

IG: jasberrymedia

Eugene, OREGON

2020

#blm protests #2020 #35mm photography

[warwickgowphoto]

To all the people who aren’t First Nations.

Long one, not an attack but something to provoke. Take what you need and reflect on the rest.

If you marched this week or even shared something on socials, you pledged to pay a debt to First Nations people of this country. Adding your voice and support was that pledge to commit to real action.

Every time you say Meanjin or Naarm, every acknowledgment to country is that pledge to work on the debt. These aren’t tick box moments because you’re told you should, they are chances to do more.

A debt to to listen and centre the voices of First Nation people not just the ones who agree with your point of view.

A debt the use your privilege to push for real change whether that be economic, political or broader community impacts.

To participate and engage with what it means to decolonize our society. To do the hard work so that maybe one day this country and others will actually demonstrate the equity it so often pats itself on the back for.

This is the quiet work that will look different for every single person, that no one will see but will help create meaningful impact. And it’s the work that everyone should be doing year round not just when it’s trending.

Photo taken at BLM protest at King George Square, Meanjin. June 2020.

#Invasion Day #BLM #First Nations #protest #Street Photography #ceremony #human rights and civil liberties #civil rights #2020 #black lives matter

[blackswaneuroparedux]

I'm an escapist. I'm not a planner; I've never made a decision about anything in my life. The good thing about Africa is that you can escape forever. You can do what you want without someone looking over your shoulder.

- Peter Beard, photographer

Surviving a shipwreck in Lake Rudolf, being crushed by an elephant & an encounter with a lion in the middle of the night, Peter Beard wld have been 85 this week. Beard was heir to 2 fortunes - railways & tobacco - a child of privilege: Upper East Side, Buckley and Yale. Africa and its wildlife.

In the late 50s, he bought Hog Ranch, near the Ngong Hills & adjacent to his friend Karen Blixen’s coffee farm. In 1972 he acquired an estate at Montauk Point near Andy Warhol.

Explosive, collagist, his works combine his photographs with his diaries - paper clippings, dried leaves, insects, old sepia photos, phone messages, India ink marginalia, quotes. Blood from the nearest butcher - and his own. Photographing wildlife, wild personalities and living an extravagant, untamed, life, Peter Beard was the personification of the word “Wild.” Baptised “the last of the adventurers,” Beard is as famous for his very public private life as he is for his idiosyncratic collage diaries and assemblages. Bringing together found objects, contact sheets, literary text and photographs from Tsavo, Kenya, his work subverts craft, control, and intentionality, typically associated with conventional artistic practice.

‘I’m an expert on futility and I like the futility and the pettiness of my diaries. It's a sort of laundry list of the day.’ It began when Jacqueline Kennedy gave him a leather-bound journal. He collaborated with Andy Warhol, Francis Bacon, Karen Blixen, Truman Capote, and Salvador Dalí. He also became a portraitist. In the jungle that is Manhattan & in Kenya (clad only in a kikoi) he proved as irresistible as he was insatiable. He was the great passion in the passionate life of Lee Radziwill. He would say sleep was such a waste of time.

Beard himself referred to his devotion to photography as something to be taken not too seriously, introducing himself as “a dilettante,” or amateur. However, the artist played an undisputed role in portraying an impeccable artistic vision of Africa to the West, although many accused him of offering a slanted and idealised perception of the continent - the only lover he remained loyal to until the end.

After once finding a big game poacher on his property, “Hog Ranch,” famously next to Karen Blixen ́s (author of “Out of Africa") coffee plantation, Beard tied the man up in wires, stuffed a glove in his mouth and left him there. Although this cost the artist a week in African jail and a few more of press and rumors in NewYork, these solitary but outrageous acts of protest slowly but surely granted Beard an environmentalist status within Western and African preservationist circles. Ultimately, the artist was years ahead of his time in his efforts to sound the alarm about environmental damage, and became a walking symbol for a future generation of artists who would use their art to send urgent social messages to the public. “The deeper the white man went into Africa, the faster the life flowed out of it,” Beard wrote in his most critically acclaimed book, “The End of the Game.”

He had two failed marriages before a third to a Kenyan Muslim, Nejma Khanum, brought him a measure of peace and stability with the birth of a daughter, Zara. But he remained untamed. One time, in the Sth of France, he sold off a valuable photo to pay off a $20,000 bar bill. His long suffering wife, Nejma, sought to regain the art he had given away or loaned in a haze of drink and drugs.

Peter Beard, who lived in Montauk, on the eastern end of Long Island, New York, disappeared on 31 March 2020 and was found dead in Camp Hero State Park, not far from his home, after a 19-day search on 19 April. He was 82. His family wrote on his website, “He died where he lived: in nature.”

#beard #peter beard #quote #photographer #artist #collage artist #art of photography #africa #american #outdoors #nature #wild life #icon

[genderoutlaws]

✨ Tags ✨

(work in progress dont look)

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art | photography | writing | quotes | videos

brief history | marches and protests | zines journals and publications | signs and banners | graffiti | ephemera

leather | butch/femme | queer cinema

#landing page

[yoquese34]

Jughead Jones: Cole sprouse

Cole Mitchell Sprouse was born in Arezzo (Italy). His parents Matthew Sprouse and Melanie Wright are Americans, they taught English at a language school in Tuscany. Cole was born 15 minutes after his twin brother, Dylan Sprouse. Cole Sprouse was born on August 4, 1992, his zodiac sign is Leo. Cole was named after the jazz singer and pianist, Nat King Cole. Four months after his birth, the family moved back to his parents' native Long Beach, California.

Based on his personality both on screen and off, Cole Sprouse could possibly be an INTP (Intuitive, Introverted, Thinking, Perceiving) personality type. He has demonstrated a great interest in photography, writing, and the arts, indicating his intuitive and creative side.

Cole and his brother, Dylan, began acting at the age of eight months in a diaper commercial at the suggestion of their grandmother, Jonine Booth Wright, who was a theater teacher and actress. Sprouse's role was shared with his brother—some of his first roles were shared roles as a baby or child in commercials, television shows, and movies.

On May 31, 2020, Sprouse was arrested after joining protests in Los Angeles for racial justice following the murder of George Floyd.

Sprouse is a comic book fan and worked at the Meltdown comic book store in Los Angeles.

Sprouse has an avid interest in photography. In 2011, she launched a personal photography website and took classes at NYU. She has had assignments for major fashion publications including Teen Vogue, L'Uomo Vogue, Sunday Times Style, and W, among others. He is represented by LGA Administration.

Adriana Camacho 2 ''C''

#riverdale #serie #cole sprouse #cine #jughead jones

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[jimhair]

In 2017 I was allowed to use @michaelknight1967 amazing 8x10 Deardorff and contacted the artist Henk Pander to make a portrait in his studio. I loved using the camera and came away with much more respect for the work of @yousuf_karsh_official and his stunning images. There is an exhibition at the Jewish Museum in Portland of @henk_pander recent paintings through May 21. @ojmche “Henk Pander, The Artist as Eyewitness to History” features four large-scale works painted by the artist in response to the protests for racial justice that took place in 2020. OREGON JEWISH MUSEUM AND CENTER FOR HOLOCAUST EDUCATION 724 NW Davis Street Portland, OR 97209 Phone: [phone] Fax: [phone] [email protected] Henk Pander, Portland, March 2017 🇺🇦💔🌎💔🌏💔🌍💔🇺🇦 #earth #america #human #family #photographer #artist #studio #portrait #photography #schwarzweiss #blancoynegro #blancinegre #SiyahreBeyaz #bnw @ilfordphoto #film #blancetnoir #Hēiyǔbái #白黒 #shirokuro #blackandwhite #filmisnotdead #istillshootfilm #filmisalive #pdx #portland #nw #photojournalism #northwest #leftcoast #oregon 170327 FP4 Deardorff 8x10 Sironar 210mm https://www.instagram.com/p/CdWBEG3FcWn/?igshid=NGJjMDIxMWI=

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[bikerlovertexas]

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[agelessphotography]

Free Palestine rally outside the Sydney Opera House, Sydney, Australia, Dean Lewins, October 2023

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[leggett-photog]

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[goh0117]

The Impact of Fake News and Propaganda on Social Media Activism: Unraveling the 5G-COVID-19 Myth

In the dynamic realm of activism and protest, the integration of social media has become both a catalyst and a challenge. As we navigate the intricate relationship between social media, activists, and the dissemination of fake news and propaganda, a pressing question arises: How do misinformation and propaganda, exemplified by the 5G-COVID-19 myth, impact the use of social media by activists and protesters? To unravel this complex web, we will explore various forms of activism, critique the concept of 'clicktivism,' and scrutinize the implications of digital citizenship. But first, let's delve into the global contexts that have seen social media emerge as a powerful tool for change.

The Global Dynamics of Activism & Protest

Activism and protest have undergone a transformation in the digital age, finding new avenues for expression and mobilization through social media platforms. From the fall of the Berlin Wall to the Tiananmen Square Massacre in 1989, we contemplate how these historic events might have played out differently if social media had been present. Social media, as highlighted in TIME magazine in 2011, has become a powerful tool for 'everyday activism,' 'subactivism,' and 'culture jamming.'

Digital Citizenship and Civic Cultures

The concept of digital citizenship extends the traditional notions of civic participation to the online realm. In the words of Marshall (1992), all members of a political community have certain rights, and the internet, much like education, has the potential to promote democracy and civic duty. The role of media, encompassing not only traditional outlets but also social media and pop culture, becomes crucial in shaping civic cultures. The question emerges: does the internet truly afford us the opportunity to learn about citizenship and civic duty?

Alternative & Activist Media in the Digital Age

Leah Lievrouw (2011) points out that there are unprecedented opportunities for expression and interaction among activists, facilitated by new media tools. Social media allows activists to build and sustain communities without geographical restrictions, gain visibility and voice, resist dominant views, and present alternative perspectives legitimately. The concept of 'networked publics' is crucial in understanding the digital authoring and distribution tools that social media provides.

Case Study: Hong Kong Protests

Examining the role of social media and messaging apps in the Hong Kong protests provides a real-world example. The Wall Street Journal highlights how online protests facilitated and aided offline movements. The Umbrella Movement in 2014 and the Anti-Extradition Protests in 2019-2020 demonstrated the power of social media in mobilizing and organizing protests for civil rights, freedom, and democracy.

The Mobile Witness & Networked Events

The emergence of the mobile witness, characterized by eyewitness accounts through videos and photography, has become a significant aspect of protests and movements. Social media, with its ability to bring the collectivity of shared events to the forefront, has transformed how we perceive and engage with global events. From the Black Lives Matter protests in the United States to the England Riots in 2011, social media has played a pivotal role in shaping narratives.

The Infodemic: 5G and COVID-19

In the midst of these digital transformations, misinformation and fake news have become rampant. The rumor linking 5G technology to COVID-19 serves as a poignant example. A research team led by Elaine Nsoesie investigated the spread of COVID-19 misinformation using epidemiological techniques. They found that the myth of "COVID-19 and 5G" spread faster than other rumors, indicating a global misunderstanding of 5G technology.

Debunking the 5G-COVID-19 Myth

Despite the fear surrounding 5G technology, it does not cause COVID-19. Researchers emphasize the need to understand how misinformation spreads to counteract it effectively. David Starobinski, a professor at the BU College of Engineering, clarifies that 5G is an evolution, not a revolution, in communication technology. The spread of such myths underscores the importance of transparency from researchers and institutions.

Criticisms and Challenges in Social Media Activism

The article concludes by addressing criticisms of social media activism, including the concept of 'clicktivism.' While some argue that it fosters a lazy form of activism, research suggests that it has the potential to create awareness and draw attention to overlooked issues. Additionally, the notion of 'subactivism' is explored, recognizing its importance in everyday democratic participation.

Conclusion

As social media continues to shape the landscape of activism and protest, it is crucial to navigate the complexities of fake news and propaganda. The case of the 5G-COVID-19 myth highlights the need for a nuanced understanding of digital citizenship and media literacy. Activists must harness the power of social media while remaining vigilant against misinformation, ensuring that the digital realm remains a force for positive change in the world.

See you guys in the next one!

References:

Bakardjieva, M. (2009) "Subactivism: Lifeworld and Politics in the Age of the Internet," The Information Society, 25, pp. 91-104, viewed on 20 November 2023.

Dahlgreen, P. (2009) "Media and Political Engagement: Citizens, Communication, and Democracy," Cambridge: Cambridge University Press, viewed on 20 November 2023.

Ito, M. (2008) "Introduction' in Kazys Varnelis (ed.) 'Networked Publics," Cambridge: MIT Press, viewed on 20 November 2023.

Lievrouw, L. (2012) "Alternative & Activist New Media," London: Polity Press, viewed on 20 November 2023.

Massumi, B. (2009) "National Enterprise Emergency: Steps Toward an Ecology of Powers," Theory, Culture & Society, 26(6), pp. 153–185. doi: 10.1177/0263276409347696, viewed on 20 November 2023.

Tufekci, Z., & Wilson, C. (2012) "Social Media and the Decision to Participate in Political Protest: Observations From Tahrir Square," Journal of Communication, 62(2), pp. 363-379, viewed on 20 November 2023. <https://doi.org/10.1111/j.1460-2466.2012.01629.x>

Nsoesie, E., Cesare, N., et al. (2020) "5G Doesn’t Cause COVID-19, But the Rumor That It Does Spread Like a Virus," Journal of Medical Internet Research, viewed on 20 November 2023. <https://www.bu.edu/sph/news/articles/2021/5g-doesnt-cause-covid-19/>

#mda20009 #week 6

[texasobserver]

During 2020's widespread Black Lives Matter protests, AGE of Austin placed a dark plastic bag over the Confederate Women's Home historical marker and requested that the Texas Historical Commission remove the plaque altogether—a request the commission denied unanimously.

“Ghosts of Texas' Past” by Staff Writer Michelle Pitcher, in the September/October 2023 issue of Texas Observer magazine. Photography by Joseph Rushmore.

Initially, the inside of the historic building on Cedar Street in Austin’s expensive Hyde Park neighborhood seems ordinary: Fluorescent lights line a narrow, carpeted hallway off of which branch offices, most just big enough for a desk and a few shelves. Some share jack-and-jill bathrooms with their next door neighbors, a relic of the building’s original use. 

But this structure has been altered and added onto so often that there’s a disjointed, Frankenstein’s monster-feel to some spots where former exterior walls are exposed or limestone switches to manufactured brick. 

A view of a window at the AGE of Central Texas Building, previously the Confederate Women’s Home in Austin.

I’m there in the morning, and in the light of day, it isn’t terribly eerie. Someone brought VooDoo donuts into the reception area, so one side of the building smells like warm sugar. Everyone we pass in the narrow hallway gives a polite and knowing smile. They know why I’m here, touring the building. I’m not the first person to sniff around for ghosts.

Community Engagement Officer Rob Faubion walks through the AGE of Central Texas Building.

This spot has developed a reputation for being haunted. Jeanine Plumer, who met me there, wrote a chapter on it in her 2010 book, Haunted Austin. She and her team have conducted  paranormal investigations after working hours, during which they heard voices, clicks, and bells chiming. She’s been down to the former morgue, an unfinished basement area that has since been closed off. She can recite the history and lore of the building from memory. History is the key. “Ghosts love historical accuracy,” she says. 

The building now houses AGE of Central Texas, a nonprofit that provides resources and services to older residents and caregivers. That’s a modern twist on the building’s original historic purpose—which was to house older women without the means to support themselves—but there is a glaring difference: It was erected as a place to serve those who served the Confederacy. 

The Confederate Woman’s Home was opened in 1908 by the United Daughters of the Confederacy for older wives and widows of Confederate soldiers who couldn’t support themselves. (Confederate veterans received no federal pension—many lived in a Confederate Men’s Home across town constructed in the late 19th century.) The original two-story home for women had 15 bedrooms. After the state took over the property just a few years later, officials built a massive brick wing with 24 new bedrooms. Later, a hospital building and an annex were added. These buildings still stand today. 

During its 55 years of operation, the Confederate Woman’s Home housed more than 3,000 women. As the women with direct ties to the Confederacy died off, the need for housing dwindled. In 1963, the state footed the bill to send the last three living residents to private nursing homes. 

Since then, the building has changed hands and served different purposes—as a learning center used by the Texas State School for the Blind for children affected by the rubella epidemic in the 1960s, as a practice space for a local high school football team, and, since the 1980s, as a resource center for aging Texans. When AGE Central Texas turned the building into a senior center, it was the first of its kind in Central Texas. 

On our visit, Plumer and I walk the building’s perimeter while she tells me about her work as a paranormal expert. People call from across Texas to discuss purported paranormal experiences. The day before, she was on the phone for two hours with somebody from a retirement community in Georgetown who described seeing angels in the window of the building across the street. 

We soon arrive at dilapidated brick structures that used to house the infirmary and now hold AGE’s outdated heating and cooling systems as well as studio space rented out by local artists. Looking at the aging, boxy brick structures, I decide to risk sounding ignorant in front of a ghost expert. I tell Plumer that this space looks haunted.

“One of the reasons why buildings that are haunted tend to have this rundown look is because, when a building has a lot of that energy in it, it is off-putting,” she says. This building appears heavy because it once held people against their will, she explains, “which was probably about 50 percent of the women in the Confederate Woman’s Home.”

Jeanine Plumer, author of Haunted Austin, says the AGE of Central Texas building may feel “heavy” because it once held people against their will.

Inside the main building, I’m escorted by Rob Faubion, chief community engagement officer for AGE, as we peer inside offices, converted long ago from the women’s original rooms. Two large rooms bookend the side of the building that runs along Cedar Street. These were originally parlors. Faubion tells us that there are four widely accepted “entities” who seem to haunt here: two women who spend time in the former parlor, a little boy who runs up and down hallways, and a little girl who plays upstairs. The little boy once accompanied AGE’s previous chief financial officer home in order to play with her two young sons, he said. “So in the morning, she would get up and say, ‘Okay, we’re going back to the building’ and get the car,” Faubion said. The ghost, very well behaved, would listen. 

Before we enter the former cafeteria, Plumer whispers that this room is particularly haunted. The large space has one exposed-brick wall, and the footprint is taken up mostly by tables and chairs. Faubian verifies the hotspot: One ghost apparently had strong opinions about seating, showing displeasure for any rearrangement by flipping chairs over in the middle of the night. 

“Nothing here is malevolent,” Faubion assures us. 

An exterior view of the AGE of Central Texas Building, previously the Confederate Women's Home in Austin, Texas.

Today, the biggest problem for the building at 3710 Cedar St. isn’t the ghosts, but the weight of its history. 

In front, a marker from the Texas Historical Commission declares the significance of the original building site. Beside the metal marker, erected in 2013, a larger green sign reads, “This subject marker was placed by, and belongs to, the Texas Historical Commission. It was funded by the Descendants of Confederate Veterans who have an interest in conserving Confederate History.” The sign goes on to condemn the United Daughters of the Confederacy, which is still in operation today, and whose “values are in direct conflict” with AGE’s. 

In 2020, during widespread Black Lives Matter protests, AGE placed a dark plastic bag over the historical marker and requested that the Texas Historical Commission remove the marker altogether—a request the commission denied unanimously. The massive clarifying sign, it seems, is the compromise. 

As a compromise, AGE of Austin added a sign to the Confederate historical marker, noting that the United Daughters of the Confederacy's “values are in direct conflict” with their own.

While the current tenants attempt to distance themselves from the building’s origins, the ghosts make it hard to forget the place’s—and Texas’—past. 

I saw no ghosts here myself. But in a report adapted from a 1987 memo from a former AGE board member, two psychics who toured here said they sensed a group of women, former residents of the Confederate Woman’s Home, who are “troubled, afraid, and confused” about the changes they’ve witnessed through the last century. 

“The spirits themselves are not all wise just because they are spirits,” one psychic reported. “They can have the same blindness and misunderstandings that the living have; they do not like change.”

Community Engagement Officer Rob Faubion looks at his reflection in the glass over a quilt that was made as part of a fundraising effort in the early days of the Confederate Women’s Home, now the AGE of Central Texas Building in Austin.

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