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The Coalitional Rencontre Anticipated: A Poetical Dialogue.. Es-tu un échantillon de carbone? Parce que jai vraiment envie de sortir avec toi jeu de mot sur le verbe to date, sortir avec quelquun. Pour nourrir les Hommes en 2050, les demandes en eau dirrigation vont augmenter. Tour dhorizon des travaux de recherche dINRAE sur lirrigation de précision et la gouvernance de leau. 3:08 The Ecole du Louvre and the Ecole Normale Supérieure propose an update on research concerning Johann Georg Wille, the foremost actor of Franco-Germanic artistic and literary life in the second half of the 18th century. He was an engraver, collector, teacher, friend of artists, man of letters, importer of German culture and spreader of French culture. Dans une acception plus large le terme rencontre désigne les interactions rapprochement, contact, échanges entre des objets ou des personnes physiques ou des personnes morales ou des idées ou un mélange de ces entités. On sest rencontré au gala juste avant que tout ça nous sépare. If you encounter any problems, come and speak to me. That very evening she was going to have dinner at her half sisters: hatred Alors le loup a montré ses dents et a dit: Alors je vais souffler et souffler et ta maison va seffondrer! The Temples, dwelling places of the gods. Sacred architecture at the service of man and the deities they worship: Ganesha, Shiva, Brahma, Vishnu and Buddha. Lush vegetation, wonderful Thai craftsmanship and stunning views of elephants, white tigers and mischievous macaques. We explore the infinite riches of the Indonesian archipelago and the countries of Southeast Asia. Its like entering a whole new world and enchantment is guaranteed. Labsence presque totale de la langue française dans les rencontres ayant lieu en France. Certains organisateurs utilisent exclusivement langlais y compris pour les affiches, les programmes, les informations, les posters et les ateliers ; Il est né qui va va se Non donc cinquième Toi tu veux? Une fondation ça See me right and Im not so important. Its the pictures that will tell the story Peut-être. Of weddings and funerals and holiday celebrations, but it wasnt really raised up as an art form and in 1960-two. I was 20-four years old and I was a young art director in a small advertising agency in New York and I I witnessed witnessed someone someone make make photographs photographs photographs for for for a a a little little Robert Sommes Little piece of time out of the flow of time and that excited me I thought I wanna do that I wanna go out in the streets and look at the world and see what is it in the world that speaks to me? Can I find my identity cuz I didnt know who I was. I was a 20 20- four four four-year-old-year-old-year-old kid kid kid from from from from New New New New York York. York York. Oh, Oh. Oh Oh, by by by by the the the the way way way way Im Im gonna be speaking. Im Im gonna gonna gonna be be be speaking Désolée Français excusez-moi okay New York Use the same format more or less a little rectangle, and yet we fill it everyone of us with a different kind of energy a different idea about what makes sense to us and in that way, photography is the universal language. We all speak this language now anyone with a cellphone in the furthest reaches of China Mongolia. Can take a photograph thats different from making a photograph taking a photograph is nothing making a photograph requires a kind of intelligence and passion. It requires thinking because photography, although it looks like its pictures. That knows how magical that is, but think about this you make a photograph of a moment of understanding and then you send that photograph out into the world and people thousands of miles away. Hold your image in their hands and they read your thoughts and your feelings youre into. So how how do you establish your identity? we each have a fingerprint that identifies us, but I think we also have a way of seeing that identifies us at least. Thats what Ive been searching for for 50. How how can I describe the world that I see in front of me and I think that Ive learned everything I know about life about myself through the agency of the of the camera and the photograph when I lift my camera up, its because something impels impels me. Me something something calls calls calls calls. To to to me me me in in in a a a way. Way way that that. Is irresponsible. And and I watch the world in front of me and it reveals itself in a thousands of a second. We see this, I mean you look at the photographs of your breast song or or Gary Winter Grant or. The whole history of photography is filled with people who have been in the right place at the right time. How do they know? Peut-être pis que je fais. Hein, And I I probably if I was beginning now, I would be more involved in the moving image but in my time in in 1960 1960. Okay Bonne. During that time, I had to learn how to overcome my shininess, my fear my my inability to make an interesting frame. It was a learning experience and color seemed to me to be the natural choice. Everyone that I knew photographed in black and White, so it was difficult to to show color pictures to the few friends. I had who made photographs and have them accept the idea of color and yet here we are now 50 years later and color color is is our our our everyday. Everyday everyday everyday choice choice choice choice. For for for most most. Most people people. So in that first few months of shooting in order to train myself to be more at ease in the world, I I found myself photographing women because as a young man women were daunting in some way, I had a very powerful mother and shes scared the shit out of me a lot of times and so I I I I I thought thought thought I I I have have have to to to to I I I I have have have have to to to to figure figure figure figure figure this this this this this out out. Out out out. I I I I have have have have to to. To to learn learn learn to to to get get. Get close close. Now this woman in 1960-three, she knew something about what was coming if you Alors, Azif. Thats part of growing up with the cameras you you begin to ask questions about the way photographs work. How close you get how far away should something be in the Center? Should it be all over? Where is the emphasis and what kind of what what does it tell you? what does it give you back when youve made this photograph so the process of of photography photography photography was was was was about about. About about. Pushing pushing pushing the. The the limits limits. So that hit. On vous tient dans une To push your limits and find out what else satisfies you otherwise you you dont grow you stay at the same plateau for a long time. That still. Somewhere at the Middle of 1960-three I looked I visited Gary Winter Gran. We were both guys from the Bronx. He was 10 years older than me. We met one day. I used to see him on fifth Avenue all the time and one day we met on the subway two guys going to the Bronx to visit their mothers. How about that and and and we we both both recognize recognize each each each other other other and and and Gary Gary Gary Gary said said. Said said. Hey, Hey, Hey, Hey, why why why why dont dont dont dont you you you you you come come come come come to to to my apartment? to to my my my my apartment? apartment? apartment? apartment? Ill Ill Ill Ill show show show you you you some pictures and To his apartment, it was stacks of pictures each coat Act box had 250 pictures in it and the boxes were about this high. So each stack was about 1500 photographs and Gary just handed me 250, he said. Here look at this and I did and as I page through these pictures, I saw that you could look at a picture of 234 and then go back and look at again again and and see see how how how it it it related related related related to to to to the the the the. First first first one one one one and and. And and and and and make make. Make the the connections. Connections the. Of of thing thing that that you. Écoute. Shooting black and White. In his first exhibition at the Museum of Modern Art. Can you well it was? I feel the passion and the commitment that so many photographers from all over the world have and its great to be here to see your work and these venues all over town. Its this. This is an amazing festival and and its a tribute to the power of photography. The still image to give us such a pleasure and satisfy our curiosities curiosities and and and and and liberate liberate liberate us us us from from from our our. Our conventions and concept. One of the things that. Appeals to me about photography and theres a few pictures later on too, but theres a kind of ambiguity even though a photograph is very specific and detailed, and it shows you exactly whats going on because thats all it does when you press that button it just describes whats right in front of it. And yet we never quite sure you you know know know whats whats whats going going going going on on on on in in in in this this this this picture picture. Picture picture. Is is is that. Danger Here is this a little enticing pedophilia happening or is this just a little girl whos tired and cranky and someone is saying, Come you know lets go home or something like that. So you never quite know. Now, she doesnt have a cellphone or anything in there, so she must be reading a book. Remember the book. Tiens, Comme End of shadow reveal what was outside and it was like a poem. It was just blowing back and forth and I stood there transfixed you know I couldnt like that. I thought a stupid looking in the early in the morning, but I always had the camera right next to me. So I I made a photograph of it thinking that it looked looked beautiful beautiful beautiful to to to me. Me me and. And part of what. Is so fascinating about this medium of photography is that each of us identifies what is beautiful to us or meaningful to us. This is like a classic American ad for real estate. Its a corner House. Its got everything you know. Two car garage the fencing around it and the mother and child is sitting outside bored to tears wondering whats going on with their lives. Thats what it looked like to me. I have no idea if that was it at all, but it look like that to me and so if you can see that that and and you you can can say say say something something something about about about about it, it, it. It then then. Then then maybe maybe maybe thats thats thats what what what the. The the picture picture communicates. You can get anything in America just go to the freezer take out one. I think you have to have a little sense of humor as a photographer because cuz the world is so crazy, its always offering up unexpected Le jour au poisson Why should anyone in Paris help that person who fell on the ground there? So in 1960-six, I made some money in advertising. That was the way I supported myself because let me tell you there was no way to sell your photographs in New York City in the sixties I want saw an exhibition of answer Adams the Great Great American American American American Master Master Photographer and he. Photographer, and he was a a show in a. Show in a Chinese. Laundry below Street level in Greenwich Village The space was I dont know probably three and a half meters wide by five meters long and there was an answer, Adams photographs and they were 20-5 each and nobody bought them. Thats how much they loved photography photography in in the the the sixties sixties. Sixties. So so so there there there was was was no hope why. So ever of making a living as an artist photographer, If you made photographs, you did it for love love of the medium love of the surprises that came with it love of talking about it with your closest friends. This was a kind of a passion that. Very special because you know now everybody comes with the camera and they want that show at the museum or at the gallery or you know they want the big sales at the Buzz art fair. I mean its its its in our time and Im you know theres no way of turning it back and I wouldnt turn it back cuz I make a living this way but then Business. Months with gypsies, I traveled all over Europe, I shot 600 rolls of film or less more actually half in color and half of black and White. And some of the best work I did was in France. It was it was all this is Bain, but but you know I there was something about being here that taught me something so I I owe a lot to that year in Europe. I think this is another one of those examples of something being ambiguous. I dont know whats going on here. I mean theres no story or anything. But when I look at it, I have this. You know the a sense that theres something something of. Powers some meaning to it and yet its theres nothing going on and thats when photography can really give you a fresh a fresh way of looking at your own work. I think you could see in a lot of my photographs that timing you know that that instantaneous observation of some humorous moment or some moment where things are in transition is a very appealing thing to reach for with a camera. Its like a gut reaction to it and do that enough and and the the world world becomes becomes becomes sharper sharper sharper sharper to to to. To you you. You. You You You You begin begin begin begin to to. To to see see see more more. More you you can can identify identify. Things things things that. At at different different levels levels. Oui. Thats how the human you in race has survived millions of years because we are instincts are great and photography uses those primitive instincts in a modern way. So So this this is is a a fairly fairly ordinary ordinary postcard postcard picture picture. I I think, think, but but it it meant meant a a lot lot to to me me it it was was in in. Its its outside outside of of Paris Paris in in Versailles Versailles and and I I you you know know a a rainy rainy day day nothing nothing going going on on really, really, but but I I felt felt compelled compelled by by the the quality quality of of the the stage stage set set that that this this place place looked looked like like and and I I also also realized realized when when I I saw saw the the the the the the film film. Mon enfant, il va se And this picture. Because you when youre inside your car, the car is a camera and the window is your lens and you see the world coming by you like like its on a screen on a movie screen and three if you stop the car when you saw something by the time you got out, it would be gone so photographing it on the fly. That way was very important to me and I made pro. 4000 pictures out the window over the course of a year, and when I returned to New York John Charcoal, Mama gave me a one-man show of these pictures because he felt that it was an early form of conceptual photography because I did it as a practice every day wherever I drove, I carried the camera, but that it had a lot of risk involved in it and and He did say to me, John said. This is the last necessary photograph of Short. Okay, youre ready for a surprise. Maybe not so big to you, but it was big to me because color photography was so important to me I was trying to understand why color and so for a period of a few years, I carried two like a cameras around one with Cota Chrome and one with Triax each with a 30-five millimeter lens on it and whenever there was an opportunity to make a Quelque chose. And just recently weve gone through the archive in New York and we found a hundred and 30-two more or less pairs of pictures, which were now assembling as My favorite part is where the ring toss is in the shadow. That they forget that forget that my favorite part is if you look at the underside of the blend of the blimp, I almost said the blinds if you look at the underside of the blinds in the black and White pictures just gray, but if you look at the color, picture, its Green underneath underneath there there. There. Its Its. Its Its the the the the the the the. Ocean ocean ocean has has. Has cast cast its its. Color up. To to the. The reflective. Quel? Roger What was that Robert Frank Yeah. And so. Robert Robert Me and it was like I got a joke that the black and White photograph, which I believed was the reality turned out to be something different. It it it, It prompted me to continue doing this kind of photography Test. Which one do you like better? Yeah Okay. So I gotta move this along everybody. Voilà quinze. Oui, je I was for me, it was a very important body of work that I did and hopefully someday will get published. He said well never make our money back and then he said if Robert Frank came to me today with the Americans, I couldnt publish it. Wow things are I mean a worthy book should be published but. Doesnt that satisfy the expression mixed message? See to see these two women reading that little piece of grass along the highway while their House is falling down behind them is to me if I could kind of madness, American madness. Somewhere around 1970-, 21, or two I decided to try to move away from the captured incident, something Its the only way to grow as a as an artist, so I started to make pictures in which I tried to empty the Middle of content. I tried to push things to the side, turning away from things that were too attractive or too seductive. So I I went and I bought an eight by 10 inch 20 by 20-five centimeter, view camera and started making pictures that took a different kind of time. They werent. They werent instantaneous pictures like you make on the Street they were about light and space and color and depth and and they were much slower. It It was was as as if if I I I had had had had. Two two. Two languages languages suddenly suddenly the the kind Be Bob Jazz of the Street and and the kind of classical temple of the large format camera. Cest quoi ça? One of the first things that. Entre Chanel Entre chaîne Challenge. I dont know something so beautiful to me about that the the geometry drawn on that Green astro turf the the precision of it the American landscape. I want a photograph you but by carrying the big view camera around I became visible, whereas when I had a 30-five millimeter camera, I was invisible in some way, and now that people saw me that we come over and speak to me and say why are you using that big camera? Why do you put the cloth over your head? I I had a different kind of presence and Espace. Gave me some feeling of connection to them. Seen her all over all. Someone asked me at one time. Do you ever did you ever you know come to some kind of a dead end with your photographs even if things dont work and yeah this this is a moment for me. I was asking a question using the large format camera about time time and and space space. Space. I I I tried tried tried tried to to to to make make make make a. A a a photograph photograph photograph photograph in in in in. Which which which one. One one space space was. With three. Photographs three separate photographs in which the horizon line held things together and I made the series, but it felt that I had to be a director in order to make the photographs and I had spent my whole life on the streets taking photographs of things that were out of my control. And I wasnt sure that I could. Okay, Mauvais. My wife wrote and played this music for the film. Yes, I wanna ask you a few questions about the family, but our family about our family. Yes, youve got three sons. Yes, what are their names? Ricky Show EM Yeah, Stevie Stevie Do you know what do you know what Rick does to make a living? What is what his career he tried to do a lot of a lot of stuff Voici. Fresh faces my kids, you are also and because that alone gives you enough fame so you dont know what Rick does Ricky Rick is a halftime a part-time back that book just try try to think about what Rick does. Rick Rick Rick is is an an artist artist right right right You You you You got got. Got got it. It it it not not. Nothing. You got it. You got it. Right and and Im Joe what do I do? Youre a dog? Youre my best number one for get serious pop. Do you remember what it is I do. Because this way pop from down what is what what is it? I do and that is a not not that what what do I do you make money? Ill tell you why straight off the Street Okay. What about Stevie? Ah là là, tinquiète pas? bye Me is I never get to the point where I get to the point. Des story It was worth it and I I learned something about a kind of social consciousness that I think is very important in the in the later development of my work Okay. Were back. Thank you. Im gonna move along because it is getting late and its blame it on this because every time I press the button. I have to press it four or five times to get the next frame up. So thats added time to this evening Amen. Continuing with the large format camera, a kind of simplicity became desirable to me a pairing down of getting rid of as much information as possible and just trying to deal with the simplicity in this case of the sky, the horizon line in water for many years, I did photographs in color much much in in in the the the in in in the the the same same same same way way way way. As as as Sergio Sergio Sergio Sergio Moto Moto Moto Moto. In in in black black black and and. And White. White of just the. Of this the elements, air and water as as they change if you stay by the seaside. Alors, During the same time I had been I had a studio in Midtown Manhattan and I was photographing a series looking South from my windows. This was the view from my windows and I photographed it regularly for 15 years and in the Sun in the summer of night of 2001, I was planning an exhibition called looking South of these photos. In the gallery in Soho and then we all know what happened in 2001. The smoke rising and I raised my like just to look through it. There wasnt even a picture to be made and as soon as I raised the camera somebody behind me bang me on my shoulder and said no pictures buddy. This is a crime scene and I turned around and and I said to her wait a second. This is the public space out here. The crime scene is in there. Dont tell tell me me I I cant cant take take a a picture, picture, she she said said. Im Im gonna gonna. Take that. Meilleur, au revoir New-york. Is priceless because all of us when we? Are professionals and something, and we move along. We have a degree of of competence and you kinda settle into that and something comes along that that turns you over shocks you and and you feel that vitality again and it was worth it. I those days are memorable to me. I am they were among the happiest days of of my my life life. Unfortunately Unfortunately it it it it took took a. A tragedy. Like that, but the real experience of working with these men and women inside ground zero was incredibly rewarding and its affected my life because a lot of the work that I do has a more social content to it now. I I think I I I think its when I finished this Quest-ce. Ouais. Alors, I saw in the winter in Tuscany was this field that had been turned over and frost was was on the Earth and I felt. And you answer it with a risky photograph and sometimes youre wrong, but its worth asking the question. Its worth pushing the boundaries of photography so that you might get a new answer. You might make a new kind of photograph for yourself. So theres no conclusion, really, its just the next thing in the the the questions that the medium raises. Okay, Okay, Oh, what happened? I how do I go back? Oh look at. Its magic. Just say the word it goes right back. Annick Elles sont Prints three meters high in this kind of a grid just so that they could be studied and reflected upon and and for some reason that pushed me another step farther to to if I could just click at this to go to see the work of Miranda another painter who I admired and Im living in Italy now and belong. You is not far from where I live. So I went went up up to to see see Miranda Miranda Miranda Studio Studio Studio Studio and and and and to to to look look look at at at at his. His his his objects objects objects too. Too, too. And I found myself. Becoming interested in the still life quite a simple kind of still life, not arranging objects because I had never made a still life in all the years as a photographer, I never made us to life. I sometimes you would find something on a table after people had dinner and you would have all these plates and dishes around that might make a still life, but I never organized anything and so I find myself now interested in the eye. Idea of this still life it its a far cry from Street photography. Grenier qui? Okay, I cant explain them yet Im in the Middle of doing them now and I I find it incredibly enjoyable as if Im having a conversation with things that were cast off and thrown away and Im I I dont know where its going. I just know that when I go into my studio every day and I moved these things around, it gives gives me me a a certain certain pleasure pleasure pleasure and and and and it it it it may may may may be be be be age age. Age a. Age Related. Related Related. I graduate because its its true we see in the history of art artists reach a certain age and suddenly they paint the four seasons or they will they paint the skull right. Its imminent death is coming and it makes people think about things that are different way. So Im rescuing these dead objects and Im bringing them back to life briefly for a moment or two and sometimes they have. A conversation with each other that I find very amusing and Im shocked that Im even interested in it. Youve been very good, all of youve been very patient. This is the last picture. Its a self portrait. Ladies and gentlemen, a big round of applause for. On remercie la la Fondation Louis Publié le 08 août 2016 à 13h09-Mis à jour le 07 novembre 2016 à 13h28 Infographie 
Pot Domino moyen modèle motif noir, rouge et vert 35,00 glass of wi ne and get-togethers, and a b it of guitar.. La Loire et lAllier se rencontrent au Bec dAllier. Serai certainement présent sur skype avec des potes ou aller english chez des amis entrer en contact. Site de rencontre allemand Ainsi quau gré évènements de la locale autour de pratiques individuelles ou collectives, ont choisi le jour du sacrifice pour le pendre ne tient. GRAND CORPS MALADE-LES VOYAGES EN TRAIN Paroles aussi satisfaire dautres désirs personnels comme un changement de milieu, u n e rencontre avec d e nouvelles cultures, de nouvelles relations et nouvelles possibilités sur.. sports match n noun: Refers to person, place, thing, quality, etc. 
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