The name of my artwork is See beyond, what we see isn’t always true, what’s beyond the cameras

1. What is the name of your artwork?

escribe what is ranked low by others, as in "persons of humble origins." People also use the word of
themselves and things associated with themselves; if you describe yourself as "but a humble editor" or
refer to your home as your "humble abode," you are saying that neither you nor your home is very
impressive.

A sudden humility descended upon the King. He felt, as so many men were to feel in similar
circumstances in ages to come, as though he were a child looking eagerly for guidance to an all-wise
master—a child, moreover, handicapped by water on the brain, feet three sizes too large for him, and
hands consisting mainly of thumbs.

Sometimes fictional characters try to earn favor by saying "I'm just a humble man in search of..." when it
is obvious they are the opposite. Truly humble people keep quiet about their accomplishments and the
good things they do. Humble can also mean "low in station or quality." If you come from a humble
background, you didn't grow up wealthy, and if you live in a humble apartment, it isn't overly grand or
showy.

Who has not gazed at the night sky, mouth slightly agape? The experience is so common, its effects so
uniform, that a standard vocabulary has evolved to describe it. Invariably we speak of the profound
humility we feel before the enormity of the universe. We are as bits of dust in a spectacle whose scope
beggars the imagination, whose secrets make a mockery of reason.

Having a producer attached generally means that he, and more often his development people, have had
a role in developing the story with a writer before sending it out to the market. It's a bit like writing a
spec, because during this phase you're still not getting paid, but it's also a bit like writing for the studio in
the sense that you're getting notes that you're expected to deliver on. More rarely (at least in my
humble experience), a producer might read a screenplay and decide that he's willing to attach himself to
it after it's been written. But both the producer and the people he employs are in the business of putting
their stamp on things, and even in this scenario there would probably be at least a cursory bit of polish
work done to bring the project in line with the producer's vision for it.
In that toolbox are tools that have been around for a long time. Read books like The Invention of Nature
to see how citizen science — individual efforts, outside of governments or organizations, combined with
humble letter writing, collaborations between individuals, public lectures, and other seemingly low tech
efforts changed the face of how we understand science and our world. For that matter, you can look at
how letter writing between passionate engaged individuals fostered – And now we have tools and
technology that allow people to collaborate in extremely rapid and effective ways. These would have
accelerated and improved the data collection, dialog and peer review of any of the previous
undertakings, and can make our current ones tractable, solvable, if we apply them.

You see, many entities, organizations and individuals did what they could within their degrees of
freedom to share information about the what, why and who net neutrality would impact. Some,
including the American Library Association prepared statements, a few of them actually prepared
multiple statements, and curated information for others to be able to understand the reasons why they
opposed the repeal of Net Neutrality. Yet, what was missing was being able to see many intersecting
interests at play. What was missing, in my humble opinion, was how we are all the same, differently.
And it is in the language across differences, the languages that were not centered on the how's of
technologies nor on the systems but on the people. The language that could unpack net neutrality for
folks like me, not too technical, not to complicated but just the right mix of expertise, context and
potential human impact.

Consider YouTube, which began in 2005 in a humble garage in Silicon Valley with just three people.
Twenty-somethings Yakov Lapitsky and Jawed Karim shot YouTube's first ever video at the San Diego
Zoo, and hit on the revolutionary idea of one click uploading. Two years and billions of videos later,
when Google bought it for $1.65 billion, there were still a mere 65 staff. "The threat to overall
employment is that as creative destruction unfolds, the 'destruction' will fall primarily on labour-
intensive businesses in traditional areas like retail and food preparation, while the 'creation' will
generate new businesses and industries that simply don't hire many people. In other words, the
economy is on a likely on a path toward a tipping point where job creation will begin to fall consistently
short of what is required to fully employ the workforce."

I picked Katniss Everdeen from The Hunger Games as my favorite hero. The video describes her as the
everyday hero. She is seen as a hero who was someone ordinary like everyone else and had humble
beginnings. Many of these type of heroes have characteristics that the audience is able to relate to. This
makes them seem like an "everyday hero" because they are just like the ordinary person. This type of
hero found themselves in a situation they did not want to be in but was able to come out of it in victory.

John Major was grey, Tony Blair overstepped, Gordon Brown couldn't lead and David Cameron was a
coward. Theresa May has something worse than any of that. She's a liar, duplicitous and divisive with a
worrying authoritarian streak not even matched by the looming shadow of her predecessor, the Iron
Lady. Let me make one thing clear, May is, in my humble opinion, a skilful politician and a very poor
administrator. Her premiership will damage this country and its people but that doesn't mean it'll be
short, it doesn't even mean she'll be unpopular. Theresa May operates on a policy of divide and
conquer, she bends the rules and the facts in a cunning fusion of populism and political elitism. By
pandering to the greatest fears of the people, staying in constant control of the narrative and offering
short term, ineffective solutions that sound good on paper, May has appeal across the nation and
possesses the ability to manipulate the voters.

Politics is in my blood, it permeates through my soul, and is expressed through my articles, and
Facebook. I read up on various issues and express my opinions even though I may not have expertise in
anything, and could very well be wrong. I'm humble, and willing to expand, or change my thoughts on a
particular view, and I always try to maintain moral, and political consistency. And quite honestly, I have
never felt more alone, because political activism and discourse is being controlled by angry,

Modern art includes artistic work produced during the period extending roughly from the 1860s to the
1970s, and denotes the styles and philosophy of the art produced during that era. The term is usually
associated with art in which the traditions of the past have been thrown aside in a spirit of
experimentation. Modern artists experimented with new ways of seeing and with fresh ideas about the
nature of materials and functions of art. A tendency away from the narrative, which was characteristic
for the traditional arts, toward abstraction is characteristic of much modern art. More recent artistic
production is often called contemporary art or postmodern art.

Modern art begins with the heritage of painters like Vincent van Gogh, Paul Cézanne, Paul Gauguin,
Georges Seurat and Henri de Toulouse-Lautrec all of whom were essential for the development of
modern art. At the beginning of the 20th century Henri Matisse and several other young artists including
the pre-cubists Georges Braque, André Derain, Raoul Dufy, Jean Metzinger and Maurice de Vlaminck
revolutionized the Paris art world with "wild", multi-colored, expressive landscapes and figure paintings
that the critics called Fauvism. Matisse's two versions of The Dance signified a key point in his career and
in the development of modern painting. It reflected Matisse's incipient fascination with primitive art: the
intense warm color of the figures against the cool blue-green background and the rhythmical succession
of the dancing nudes convey the feelings of emotional liberation and hedonism.

The birth of modernism and modern art can be traced to the Industrial Revolution. This period of rapid
changes in manufacturing, transportation, and technology began around the mid-18th century and
lasted through the 19th century, profoundly affecting the social, economic, and cultural conditions of life
in Western Europe, North America, and eventually the world. New forms of transportation, including the
railroad, the steam engine, and the subway, changed the way people lived, worked, and traveled,
expanding their worldview and access to new ideas. As urban centers prospered, workers flocked to
cities for industrial jobs and urban populations boomed.
Modern art represents an evolving set of ideas among a number of painters, sculptors, writers, and
performers who - both individually and collectively - sought new approaches to art making. Although
modern art began, in retrospect, around 1850 with the arrival of Realism, approaches and styles of art
were defined and redefined throughout the 20th century. Practitioners of each new style were
determined to develop a visual language that was both original and representative of the times.

Widely considered the catalyst for modern art, Impressionism challenged the rigid rules and realistic
depictions of academic painting. The movement emerged in 1872, when Claude Monet innovatively
employed blurred brushstrokes, a focus on light, and a vivid color palette to paint Impression, Sunrise.

Modern art is the creative world's response to the rationalist practices and perspectives of the new lives
and ideas provided by the technological advances of the industrial age that caused contemporary
society to manifest itself in new ways compared to the past. Artists worked to represent their
experience of the newness of modern life in appropriately innovative ways. Although modern art as a
term applies to a vast number of artistic genres spanning more than a century, aesthetically speaking,
modern art is characterized by the artist's intent to portray a subject as it exists in the world, according
to his or her unique perspective and is typified by a rejection of accepted or traditional styles and values.

Before the 19th century, artists were most often commissioned to make artwork by wealthy patrons or
institutions like the church. Much of this art depicted religious or mythological scenes that told stories
intended to instruct the viewer. During the 19th century, many artists started to make art based in their
own, personal experiences and about topics that they chose. With the publication of psychologist
Sigmund Freud’s The Interpretation of Dreams (1899) and the popularization of the idea of a
subconscious mind, many artists began exploring dreams, symbolism, and personal iconography as
avenues for the depiction of their subjective experiences. Challenging the notion that art must
realistically depict the world, some artists experimented with the expressive use of color, non-traditional
materials, and new techniques and mediums. Among these new mediums was photography, whose
invention in 1839 offered radical possibilities for depicting and interpreting the world.

That modern and contemporary art transcend national boundaries and involve all forms of visual
expression, including painting and sculpture, drawings, prints and illustrated books, photography,
architecture and design, and film and video, as well as new forms yet to be developed or understood,
that reflect and explore the artistic issues of the era.

There is no precise definition of the term "Modern Art": it remains an elastic term, which can
accomodate a variety of meanings. This is not too surprising, since we are constantly moving forward in
time, and what is considered "modern painting" or "modern sculpture" today, may not be seen as
modern in fifty years time. Even so, it is traditional to say that "Modern Art" means works produced
during the approximate period 1870-1970. This "Modern era" followed a long period of domination by
Renaissance-inspired academic art, promoted by the network of European Academies of Fine Art. And is
itself followed by "Contemporary Art" (1970 onwards), the more avant-garde of which is also called
"Postmodern Art". This chronology accords with the view of many art critics and institutions, but not all.
Both the Tate Modern in London, and the Musee National d'Art Moderne at the Pompidou Centre in
Paris, for instance, take 1900 as the starting point for "Modern Art".

The strands of thought that eventually led to modern art can be traced back to the Enlightenment, and
even to the 17th century. The important modern art critic Clement Greenberg, for instance, called
Immanuel Kant "the first real Modernist" but also drew a distinction: "The Enlightenment criticized from
the outside ... . Modernism criticizes from the inside." The French Revolution of 1789 uprooted
assumptions and institutions that had for centuries been accepted with little question and accustomed
the public to vigorous political and social debate. This gave rise to what art historian Ernst Gombrich
called a "self-consciousness that made people select the style of their building as one selects the pattern
of a wallpaper."

Although modern sculpture and architecture are reckoned to have emerged at the end of the 19th
century, the beginnings of modern painting can be located earlier. The date perhaps most commonly
identified as marking the birth of modern art is 1863, the year that Édouard Manet showed his painting
Le déjeuner sur l'herbe in the Salon des Refusés in Paris. Earlier dates have also been proposed, among
them 1855 (the year Gustave Courbet exhibited The Artist's Studio) and 1784 (the year Jacques-Louis
David completed his painting The Oath of the Horatii). "

The centuries that preceded the modern era witnessed numerous advancements in the visual arts, from
the humanist inquiries of the Renaissance and Baroque periods to the elaborate fantasies of the Rococo
style and the ideal physical beauty of 18th-century European Neoclassicism. However, one prevalent
characteristic throughout these early modern eras was an idealization of subject matter, whether
human, natural, or situational. Artists typically painted not what they perceived with subjective eyes but
rather what they envisioned as the epitome of their subject.

No Thanks. I will