View allAll Photos Tagged Dialectic
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NATIONAL STUDENTS' UNION OF INDIA .
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14/10/99 .
Friends, .
The past few days, beginning with the arrest of 14 students on Gandhi Jayanti, have become somet~ing of an .
'Awakening' for the students' community. Broadly speaking, it has given rise to two kinds of responses: f1rst. strong resentment against an autocratic administration (or as we put it in one of our earlier pamphlets: 'heartlessness of a brainless administration'); and secondly, a growing sense of disillusionment with the present JNUSU. .
The NSUI sees this as the beginning of yet another Saga In the Students' Struggle for Self-expression: "when a voice long suppressed, finds utterance." .
First there was a Signature Campaign (organised by the NSUI) demanding a UGBM on the following Issues: .
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Fellowships For Science Students .
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Hostel Accommodation For All Students .
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Autonomy For the GSCASH .
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The Movement intensified. The students' community, under the leadership of JNUSU, organised a hunger-strike. On the Eleventh Day of that strike, the Administration clandestinely secured a Stay Order from the High Court restricting all political activity to the Administrative Block lawns. On its Fourteenth Day, the Administration finally agreed to negotiate. The strike was called off. Then when the Administration went onto file FIRs against 63 students, Vice President, Nasir Hussain began his Fast Unto Death. .
So much for edited-documentation of Reality. The above story poses more questions than it answers. But first, let's get our Facts right. Contrary to popular perception (manufactured undoubtedly by the left's superb handling of media, together with that silly anachronism that "JNU is left"), the hunger strikers were not entirely 'Leftists'. likewise not all .
those jailed at Tihar were SFI card-holders. Neither did all 63 students against whom FIRs were lodged belong to the leftist Troika (SFI-AISF-AISA). The first question that we would therefore like to ask is this: .
Why are some of us in the students' community so unimportant in the leftist eye to be systematically and perpetually edited out of shared spaces in our common struggle against a common Tyrant? Is it just because some of us dare to fight not to glorify Marx; but to simply help the student community secure what is rightfully our's? .
Actually this is nothing new in JNU. Non-leftists have always been categorised into two broad categories by this JNUSU: they are either reduced to being 'little people' (not even worth a mention); or they have been represented as 'evil people' (who deserve to be wiped out). It is our misfortune that we have graduated from the first to the second categorisation, as .
is evident from the past SFI-AISA pamphlets. That aside, it has become obvious that today the JNUSU has been wholly subverted as an instrument of furthering a particularistic (i.e., Left) politics, whereas it should represent the wider politics of the student community taken in toto. Putting it differently, the JNUSU has become an area of 'competition', rather than becoming an area of 'co-operation'. Just to remind the JNUSU: Co-operation is not something that can be commanded out of the student body. It has to be achieved by involving all sections of the student community in a 'progressive dialogue' (or If you prefer: Dialectic). .
The remarkable apathy/antipathy of the JNUSU to non-left Inclined elements and the leftist monopolisation of student politics through the JNUSU has irrevocably weakened its moral authority over the student community. The overwhelming mandate it got a year ago has not only run out; it appears that it is now running in the opposite direction. .
Therefore when the JNUSU finally decided it was time to negotiate the Fate of the entire student community with the Administration, they should have atleast Involved in some way or the other those sections of the student community who participated hand in hand in the Hunger Strike and the Movement. Till date the JNU student community has not been fully informed about the realities of that negotiation; and from the recent statements made by this Administration and the JNUSU of 1 2.10.99 that clearly point out that the Negotiation was a total failure, it has become clear that rather than call-off the strike, it was time to re-intensify our struggle. To come before us with weepy faces crying 'we have been betrayed' simply won't do. Not this time. It's time the JNUSU learnt to take some responsibility on its shoulders. Our charge is clear. We will not mince words: the present JNUSU leadership has backstabbed the Student Body (not just this time but once ear1ier when it went ahead with the PAP voting). They had clandestinely reached some kind of .
understanding with the Administration, the price of which we now pay. .
Nasir Hussain will have to tell the student body why he Is sitting on his 'fast unto death' when he himself was one of the key participants in the negotiation that finally ended the hunger strike just some days ago. His failure to do so; and the refusal of the Administration to stop converting JNU into an Academic Archipelago have led us to believe that this is once again a part of the leftist design to make a mockery of the student community. Tell us seriously. does not Nasir In his heart of heart believe that this would propel him to instant hero·dom and pave his way to the next JNUSU presidency. If that is so, then why go through 'all the motions' year after year after year(create the problem-create a response. monopolise that response-gain sympathy-end the problem· create another problem create votebank .. .. QED). Surely the leftist think tank (C.P.I. :-Comrade Prasenjit Inc.) can come up with something new this lime? .
If not, we have news for them. The student community has seen through this Game Plan. We can't imagine why it took us this long: Twonty Years! .
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"The Fontana Maggiore, a masterpiece of medieval sculpture, placed in the centre of Piazza IV Novembre (formerly Piazza Grande), is the monument symbol of the city of Perugia.
The fountain was prepared in a workshop and then assembled in the centre of the square; it was made of stone from Assisi. The fountain consists of two concentric polygonal marble basins, on top a bronze cup (by the artisan Rosso Padellaio from Perugia) decorated with a coloured bronze group of feminine figures (perhaps nymphs) out of which comes the water.
The lower basin is made up of 25 mirrors, each divided into 2 tiles that describe the 12 months of the year, each of which is related to a zodiac symbol. Each month is connected to scenes of daily life and the characteristic farming work. As in other contemporary sculptures from Europe, in which the months are represented, here the manual work obtains dignity.[5] In this basin manual labour is in fact represented together with the arti liberali (liberal arts), with philosophy, with characters from the Bible and the history of Rome; in this specific order:
• The month of January (a gentleman and his wife at the hearth – Aquarius)
• The month of February (two fishermen - Pisces)
• The month of March (the "spinario" and the pruning of the vineyard - Aries)
• The month of April (two allegories of spring - Taurus)
• The month of May (two Knights on Falconry - Gemini)
• The month of June (the harvest and flailing - Cancer)
• The month of July (the threshing and the division of wheat - Lion)
• The month of August (the fig harvest - Virgo)
• The month of September (the crushing of must - Libra and the grape harvest)
• The month of October (the filling up of casks - Scorpion and the construction of casks)
• The month of November (the ploughing - Sagittarius and the sowing)
• The month of December (the slaughter of the pork - Capricorn)
• The Lion Guelph and the Griffin of Perugia
• Grammar and Dialectic
• Rhetoric and Arithmetic
• Geometry and Music
• Astronomy and Philosophy
Two eagles, on the right one the signature of Giovanni Pisano
• The Original Sin and the expulsion from Eden
• Samson kills the Lion and Samson and Dalila
• David triumphant and Goliath defeated
• Romulus and Remus (represented as two falconers)
• The she-wolf that fed Romulus, Remus and their mother Rea Silvia
• Two of Aesop's fables (the fox and the crane and the wolf and the lamb)"
Source: Wikipedia
The embroidered banner, produced in collaboration with Mujeres Mixtecas features the title phrase in the Mixtec dialectic spoken by the women, and its translation into Spanish, is meant to reference the
lack of dialogue between informal indigenous laborers, formal vendors, and the thousands who cross the border every day.
"The Fontana Maggiore, a masterpiece of medieval sculpture, placed in the centre of Piazza IV Novembre (formerly Piazza Grande), is the monument symbol of the city of Perugia.
The fountain was prepared in a workshop and then assembled in the centre of the square; it was made of stone from Assisi. The fountain consists of two concentric polygonal marble basins, on top a bronze cup (by the artisan Rosso Padellaio from Perugia) decorated with a coloured bronze group of feminine figures (perhaps nymphs) out of which comes the water.
The lower basin is made up of 25 mirrors, each divided into 2 tiles that describe the 12 months of the year, each of which is related to a zodiac symbol. Each month is connected to scenes of daily life and the characteristic farming work. As in other contemporary sculptures from Europe, in which the months are represented, here the manual work obtains dignity.[5] In this basin manual labour is in fact represented together with the arti liberali (liberal arts), with philosophy, with characters from the Bible and the history of Rome; in this specific order:
• The month of January (a gentleman and his wife at the hearth – Aquarius)
• The month of February (two fishermen - Pisces)
• The month of March (the "spinario" and the pruning of the vineyard - Aries)
• The month of April (two allegories of spring - Taurus)
• The month of May (two Knights on Falconry - Gemini)
• The month of June (the harvest and flailing - Cancer)
• The month of July (the threshing and the division of wheat - Lion)
• The month of August (the fig harvest - Virgo)
• The month of September (the crushing of must - Libra and the grape harvest)
• The month of October (the filling up of casks - Scorpion and the construction of casks)
• The month of November (the ploughing - Sagittarius and the sowing)
• The month of December (the slaughter of the pork - Capricorn)
• The Lion Guelph and the Griffin of Perugia
• Grammar and Dialectic
• Rhetoric and Arithmetic
• Geometry and Music
• Astronomy and Philosophy
Two eagles, on the right one the signature of Giovanni Pisano
• The Original Sin and the expulsion from Eden
• Samson kills the Lion and Samson and Dalila
• David triumphant and Goliath defeated
• Romulus and Remus (represented as two falconers)
• The she-wolf that fed Romulus, Remus and their mother Rea Silvia
• Two of Aesop's fables (the fox and the crane and the wolf and the lamb)"
Source: Wikipedia
This engraving is part of the group “C” named <em>Liberal Arts</em>. Conceptually, the liberal arts descended from classical antiquity, and were divided into the <em>Trivium </em>(Grammar, Rhetoric, and Dialectic or Logic) and the <em>Quadrivium </em>(Music, Geometry, Arithmetic, and Astronomy). In the Tarocchi set the total number was risen to ten, with the addition of the three disciplines (Poetry, Philosophy, and Theology). The liberal arts denoted knowledge or skills considered necessary to participate in a free society. By the late Middle Ages, they began to be represented in the visual arts as womanlike allegories. <br><br>Here, <em>Grammatica </em>(Grammar) is personified as a full-length female figure turned to left. Her left hand carries a vessel containing medicine to correct children’s pronunciation, while her right hand holds up a file, meant to remove grammatical mistakes from their tongues. Regarded as the foundation of the Liberal Arts, Grammar teaches how to speak with grace and perfection.
Italy, Ferrara, 15th century
engraving
Dudley P. Allen Fund
emuseum.mfah.org/objects/163837/double-fiction?ctx=74bc48...
Igor and Svetlana Kopystiansky: Double Fiction
Date: 2008
Medium Single channel video, sound
Dimensions: 1 hour 57 minutes, 46 seconds
Edition 2/3 collection of the Museum of Fine Arts Houston. MFAH.
An excerpt from the "Double Fiction"(2008) by Igor and Svetlana Kopystiansky based at "The Birds" by Alfred Hitchcock: vimeo.com/user16505543
…“Two revelatory pieces taken from the classical narrative cinema, Spellbound (2009) and Birds (2008), rework canonical Alfred Hitchcock films employing the same technique used in Pink and White. In this case, the moving image is not found footage but a finely crafted example of the classical cinema, created by a director employing elaborately staged action, cinematography, a script, acting, lighting, composition, and sound. In the case of Spellbound, a three-minute loop superimposes a sequence from the film played forward with the same scenes played in reverse. The two sequences come together in the middle and then continue on to either the conclusion or beginning of the sequence. Narrative anticipation and the intense drama of the action reaches its climax as a single scene. Time folds upon itself as we watch, but also as we recall what we already know. This method is elaborated further in The Birds, in which the entire Hitchcock film is shown with sound, from beginning to end and over again in reverse, from the end to the beginning. (The credits have been removed.) At the mid-point, the film becomes one as the superimposed films line up and become a single film. A work of astonishing simplicity and originality, it takes the meta-cinematic work of such artists as Douglas Gordon and Stan Douglas and the treatment of language in Gary Hill’s videotapes into the complex terrain of narrative, storytelling, and perception. The anticipation and remembrance of time and events through the conventions of storytelling, as we see in the Birds, also becomes a means to provide new insight into that film’s apocryphal vision of nature and human relationships. Early scenes are joined with later scenes, and it is almost as if the film itself is dreaming its own narrative as it unfolds. Birds is a brilliant choice, since it heightens the dramatic intensity of the narrative cinema and the nuance of the performances in a deconstruction of the meanings of the original film. It also places the viewer before the screen as an active participant. In a sense, the film haunts itself, as the action that unfolds anticipates its own conclusion, and the relationships between the characters become tragically predicted and realized. The destruction that is foreshadowed actually appears in the film at its beginning.
Igor and Svetlana Kopystiansky have created a dialectical process by integrating the point of view of the camera and the play of time. The viewer becomes engaged in active looking and creates meaning out of moving images through that cognitive process. These artists have created an aesthetic text that is haunted by memory, whether represented by found footage, by the chance recordings of plastic bags blowing along on the sidewalk or the movement of people on the street, or by the rediscovery of scenes from well-known movies. Time erases itself as scenes overlap and change, in the process refashioning the moving image into an aesthetic text of timeless fascination.”
Excerpt from: The Play of Time: The Art of Svetlana and Igor Kopystiansky
By John G. Hanhardt, Senior Curator for Media Arts, Smithsonian American Art Museum.
Published in:
Igor & Svetlana Kopystiansky. The Lithuanian National Museum of Art. Texts by Michel Gauthier, John G. Hanhardt. Quotations from texts about Kopystiansky’s by Kai-Uwe Hemken, Philippe-Alain Michaud, Anthony Spira, Adam D. Weinberg. ISBN 978-609-426-182-4, 2023.
Kopystiansky. Double Fiction/Fiction Double. Musée d’Art Moderne de Saint-Étienne. Texts by John G. Hanhardt, Philippe-Alain Michaud. Les Presses du Réel, 2010.
www.lespressesdureel.com/EN/ouvrage.php?id=1817&menu=0
Book are available at Printed Matter NYC:
www.printedmatter.org/catalog/65103/
and at Walther König Germany:
Backround made of fabric. Butterfly and text cut out from magazine/newspaper .
O niinku seitsemännessä taivaassa (dialectical proverb) means
it is as in seventh heaven.
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correcting him. The Chief Minister had, however, lost faith in his Cabinet colleagues and .
they did not trust him either, Chennithala said. .
Mr. Achuthanandan should think whether he should have such Ministers in his Cabinet, .
he added. .
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Gulfnews.com .
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Published: 04/01/2007 12:00 AM .
(UAE) .
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Kerala alliance to launch agitations.
By Akhel Mathew, Correspondent .
Thiruvananthapuram: The opposition United Democratic Front (UDF) in Kerala yesterday decided to launch a series of agitations against "the inept and lifeless" Left Democratic Front (LDF) government. The decision coincides with a number of recent developments that have adversely affected the image of the ruling LDF. They include group war in the Communist Party of India-Marxist that leads the LDF, the SNC Lavalin graft scam and the furore over a loan agreement with Asian Development Bank. Soon after the UDF meeting, its convener P. P. Thankachan said serious internal conflicts within the CPI-M and the ineptitude of ministers handling important portfolios had effectively brought the government to a standstill. Chief Minister V. S. Achuthanandan and his party leaders were speaking in different voices about the decision on the ADB loan. He also observed that 56 farmers had committed suicide since the LDF came to power and the ministry was doing little to address the issue. Three farmers had ended their life on Tuesday. .
ADB issue sets in motion a public battle within Kerala CPI(M) .
Financial Express, AJAYAN Posted online: Tuesday, January 02, 2007 at 0000 hours IST KOCHI: The controversy kicked up by the Rs 1,607-crore Asian Development Bank loan for sustainable urban development has put at stake the very sustainability of the seven-month old VS Achuthadanandan-led Left Democratic Front (LDF) government in Kerala. .
The babel talk on the loan by two groups in the Communist Party of India (Marxist) and claims of the chief minister not knowing how the deal was struck has literally seen ADB spread a death bed for the government. The dialectics have been inexplicable for the CPI(M) that led the campaign against ADBs entry into the state. More than the theoretical issues, it is the game of one-upmanship in the party that has come to the fore, with the chief minister being nudged to a corner by his own party and cabinet colleagues. .
While the loan move was initiated by the erstwhile Congress-led United Democratic Front government, the LDF, led by the CPI(M), had taken the issue to the streets. The ADB team that arrived in the state for discussions had to face violent agitation from the party and its youth wing. VS had then said that ADB would be swept away from the state. .
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Recently, I have been attracted to the third dimension of painting. Through the process, I have explored ways of combining painting and installation together. A dialectic of 'inside' and 'outside' a painting in my mind or even the very notion of continuity between them, I have made various painting installation models in which I have experimented the idea of canvas coming out of its frame and its potential of being a spatial object. For example, 'Extended painting' is a study model of a large-scale painting installation of a huge canvas taking over the surrounding space from a traditional stretcher frame. For me, a painting does not necessarily have to be restricted to a flat surface. By permitting it to appear in a three-dimensional form in space, I am able to explore the possibilities of painting in space.
Counselors in Nasha Mukti Kendra in Raikot use a range of evidence-based therapeutic techniques such as cognitive-behavioral therapy (CBT), dialectical behavior therapy (DBT), and motivational interviewing to help patients recover from addiction. They also educate patients and their families about addiction and recovery, providing them with the tools and resources to navigate the journey towards sobriety.
Leopold Oudry, chimiste ; en 1854 il créée un atelier électrochimique à Auteuil qui permet de cuivrer de grandes pièces de métal ; il obtient le cuivrage de tous les objets et monuments en fonte de la ville de Paris, dont les fontaines de Vénus, de Diane et des Quatre-Saisons sur les Champs-Elysées, ainsi que les 2 fontaines monumentales de la place de la Concorde ; la ville de Paris lui commande alors tous les candélabres pour l'éclairage au gaz de la ville ; il avait mis au point une peinture spéciale, à base de sulfate de zinc, permettant de réaliser la galvanisation et qui donnait un aspect émaillé au plâtre.
The Growth Piece was an interactive time-based sculpture which involved bowls filled with native prairie grass seeds, which viewers were encouraged to remove from the gallery and plant in their chosen location. This created a useful dialectic between the typically austere gallery space and the natural world just beyond the doors.
Materials: Slip Cast Clay Bowls, Peat Moss, Prairie Grass Seeds, Demonstrative Photos
Size: Expansive
The Education Relief Foundation, ERF, Dec 7-8, 2017, A two days event in Geneva on Balanced and Inclusive Education.
ERF's Mission is to deliver, promote and embed a new, inclusive balanced education that enables young people to learn from the contributions of diverse civilisations and cultures.
ERF's balanced and Inclusive Education is based on four foci: intraculturalism, transdisciplinarity, dialecticism, and contextuality.
SPECIAL GUEST E. MORIN AND J. LANG
photo credit: ERF/PM VIROT
This engraving is part of the group “C” named <em>Liberal Arts</em>. Conceptually, the liberal arts descended from classical antiquity, and were divided into the <em>Trivium </em>(Grammar, Rhetoric, and Dialectic or Logic) and the <em>Quadrivium </em>(Music, Geometry, Arithmetic, and Astronomy). In the Tarocchi set the total number was risen to ten, with the addition of the three disciplines (Poetry, Philosophy, and Theology). The liberal arts denoted knowledge or skills considered necessary to participate in a free society. By the late Middle Ages, they began to be represented in the visual arts as womanlike allegories. <br><br>Here, <em>Poesia </em>(Poetry) is personified as as a young female figure crowned with a laurel wreath. She is seated in front of Mount Parnassus, next to a fountain. This latter exemplifies the Greek Castalian font, believed by poets to be a source of inspiration. While playing the flute—a symbol of eloquence—Poetry irrigates the earth with inspirational waters taken from the Castalian spring.
Italy, Ferrara, 15th century
engraving, hand-colored with gold
Dudley P. Allen Fund