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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:
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An ongoing art project, highlighting the dialectics between the color of the hold and the tape, as sekk as the tape pattern.
Since october 2012 i have made around 70 boulders at Vulkan climbing gym, with more to come.
An ongoing art project, highlighting the dialectics between the color of the hold and the tape, as sekk as the tape pattern.
Since october 2012 i have made around 70 boulders at Vulkan climbing gym, with more to come.
“Framing the African Dialectics of Health and Environment: Engaging the Youth in Education and Sustainability” (Keynote Speech)
A Lecture by Dr. Frances Ngozi Chukwukere (Lecturer, Department of Linguistics & Igbo Studies, Imo State University, Owerri, Nigeria and a PHD researcher at the Center for Cultural Diplomacy Studies)
The Berlin Summit on African Youth & Development 2015: Establishing a Sustainable Educational System Infrastructure and Professional Development Programs in Africa
(Berlin; January 13th - 16th, 2015)
The Center for Cultural Diplomacy Studies - Publications
Institute for Cultural Diplomacy
The Institute for Cultural Diplomacy
(Berlin; January 13th - 16th, 2015)
.
I .
The regularcolumns for theatre the only socially meaningful specialised knowledge of In Need of Love .
theatre existing in India. It theatre. Today, the generalor the weekly art supplements .
Friedrich Diirrenmall* .
are drastically disappearing. takes up very specific issues trend is that anybody who is able to write 'correct and.
The Times of India's weekly like women, peace and literacy. Y. o writer is insensitive to also to be supported by drama with his slipshod double page called Marquee, But now, even political theatre appealing' language can write ~~ criticism, for the simple reasons. It is surprisino how language. Anybody who knows Economic Time's tri-weekly is going through a period of on theatre whereas theatre 1 reason that there is no such rarely critics, often i~ fact anything about this dramatist .
' thing as a piece of uncritical famous ones, know how to give and about style will havesetback. Nod1ing much is being critic ism does not meanArtscape and the weekly page .
writing, because the question as reasons. They just write well. noticed how absolutely artistic .
Ga II cry are some of the written about political theatre recording, documentation or to whet her he writes well or At the back oftheir criticism is and finely wrought his stage casaulties of today's market -mainly because it takes place compiling ofinformation only. badly, exercises the writer daily to be found nothing but their speech is. It gives character to oriented culture. in very far -off towns and Jn my humble opinion, a critic ' in that he can only write when culinary prejudices. They like his heroes and reproduces their .
he is able to overcome.
should possess considerable French cooking or plain brashness with such perfect So, by and large, we can continuously his doubts about German fare, they prefer virtuosity that the professorknowledge and experience of .
say that in all forms of theatre Both theatre and his own ability. No writer is Russian salad or American believed that the language had.
theatre and he should use this .
criticism. India is lagging far theatre criticism need ever quite sure that he can tinned goods. Their criticism is indeed in reality been slapped behind and there are several to be dialectical which knowledge as a yardstick to master his own job; the question a mirror of their personality down in slipshod manner. He judge a production. He should only is whether his critics know and not of the author being made a mistake which critics .
reasons for this sad state of means that if, on one .
theatre criticism in India. First hand, they are make people learn from his own theirs. I believe that there are criticised. Their supporting keep on making; he did not four classes of theatre critics. evidence takes the form of come close to the man he was .
ofall there is hardly any theatre countering or experiences and should try to .
The first can neither write nor brilliantly polished shots which criticising. actiYity of high quality taking challenging each other create a climate of better criticise, the second can write they fire without taking aim and A piece ofcriticism must place in India. The 'Te, on the then, on the other, they understanding of theatre but not criticise, the third cannot which register a hit only in the be immanently based. It must .
through his/her writings. write but can criticise, the imagination ofthe public. How point out the qualities and the\\hole, has fallen on bad days. should also support fourth at last can write and indeed can it be proved that mistakes of a play by thinkingHowever, the critic should .
In fact. 1n most of our and sustain each .
criticise. Most of them are in herrings are better than trout? the play through according to make it clear that his/her.
languages. playwrighting has other. the first class, the most famous But well-written praise is the rules ofthe game which the .
opinion or judgement is one .
almost disappeared. nre in the second, and in the cheering, even when it is not author set himself. and not the Playwrighting has become so villages, where the critics or the person's opinion and it is not fourth are those critics who backed by evidence, one can critic.lfthe critic does not fulfil literate section of the theatre-the last: word on a production. know something about the describe a rainbow with this requirement, his criticism.
irregular that if we draw a theatre. There is nobody to be enthusiasm \vithout knowing is only the expression or his performance map of the going public finds it difficult to found in the third class, it is how it came into existence. opinion and not the expression .
go. At the same time the.
country. it would be full of purely hypothetical. After being praised in these of his knowledge~ his .
relat ionship between theatre .
gaps. Another important reason We need not waste any terms, one naturally feels kno"vledge ofdramatic art has and theatre criticism has to words about the first class I pleased by such criticism as remained nebulous. It is the .
If we reflect back into our for the under-developed state .
undergo a change. Both theatre think; it is worth pondering well. But criticism and theatre paradox of criticism that it past we will find brutalities and of theatre criticism in India is about the second class, those again are not one and the same cannot criticise a work until itand theatre criticism need to be disasters of great magnitude in the absence of a sustained and who can write admittedly, but thing, any more than physics has accepted it as a work. But .
dialectical which means that if,.
our country like Bhopal Gas vigorous debate on theatre cannot criticise. In the first and nature. A physicist can the professor is right in one Tragedy, the riots against Sikhs tradition and practices. No new are place, a distinction has to be know evcrything about physics respect. He is a lover. even if.
on one hand, they .
countering or challenging each and yet come to griefin the face blind in his love. since Goethe.
in 1984 or the demolition of ideas are coming in and there made which, it is true, can be other then, on the other, they taken for granted, but is not ofa new natural phenomenon. for him has for a long time not .
Babri Masjid. But there has are no new challenges. So, such .
should also support and sustain always made. Appreciation of Corning back to the popies: one been something factual but the been no theatrical response to a dull environment is bound to theatre, and criticism of it arc ofour academics in the field of object of his faith. Love is an.
each other. Such an .
these incidents. No serious generate a dull theatre German Iiterature once integral part of criticism. We.
not the same thing, no more.
understa ndi ng between theatre remarked to me that a certain can only enter into detai led .
plays have ever been written to criticism. than are admiration of a .
and theatre criticism will help rainbow and the physics that German dramatist, who is now -consideration of something if.
capturethese experiences. Such A major problem with rather forgotten and whose \-Ve respect it as a thing. The.
in enriching the entire theatre explain the origin of the.
kind of plays exists in the theatre criticism is that critic is in need ofthis love, and.
rainbow. Merely to praise or name I would no more like toscene in India. .
political theatre. Presently, in .
whatever is being written, is by to pull to pieces does not as yet mention than that of the is on guard against doting as .
my opinion, political theatre is the people who have no amount to criticism, it ought professor, had ruined German against disdain. .
{As told to Arch ana Rawalf .
"' '!11e famous German playwright .
15.
14 .
.
The Fifth Wall is inspired by multiple sources: the unique architecture of the Armory’s Raymond Avenue building; German modernist theater practitioner Bertolt Brecht’s notion of dialectical theater; and artwork that challenges the authority of a fixed point of view and suggests a deeper form of reciprocal engagement.
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:
Artist | Cheikh Ndiaye (b.1970 in Senegal)
Title | Stolen Car (2024)
oil on canvas
143 x 143 cm
Occasion | Busan Biennale 2024
Exhibition | Seeing in the Dark
Cinema played an important role in shaping the imaginaries of African modernity. It acts simultaneously as an architectural apparatus through movie theatre houses, narrative devices through film scenes, and an intricate play of light and shadow. Cheikh Ndiaye’s paintings depict former movie theatres, urban environments, scenes from classical movies, and informal vendors’ street kiosks in African cities. His installations relate to the experience of the city and its cinematic character while serving as archives of the vernacular ingenuity of the Global South. His installation Le Paris (2024), presented at the Busan Biennale 2024, recreates a neon sign of a new demolished cinema in Dakar. Defamiliarised and placed in a neu context, the sign might evoke dreams of urban modernity as well as the soundtrack of Dlibril Diop Mambety's movie Touki Bouki (1973), in which Josephine Baker's song Paris… Paris (1949) underlines the hero's hesitation on whether to emigrate or to stay in Senegal. A scene from the same movie also appears in his paintings Stolen Car (2022) and Kanaga Girl (2022) evoking the fleeting emergence of memory. His artistic practice is a constant interrogation of the dialectical relationship between the imaginary and the real.
OLYMPUS DIGITAL CAMERA
'Himsel' struttin aboot lik the daft burd he is' - - -
Currently breeding chicks to feed the Red Kites.
There a dialectic term for the Red Kite in the Gaelic - "The fork tailed buzzard that eats chicks".
Near RSPB Tollie.
First page of text in "Philipp Melanchthon's "Erotemata dialectices" (Wittenberg: Johannis Lufft, 1548), shown woodcut initial of the letter "I", catchword, printing signature, underscoring and markings
.
SSS Debates Simone de Beauvoir Passed Away on 14 April, 1986..
.
Remembering Simone in the Month of Her Death anniversary.
.
invites you to The Legacy of.
Simone de Beauvoir.
A Talk.
.
speaker.
.
Prof. Satya P..
.
Gautam.
.
28 April Today Kaveri Mess 9.30pm.
.
"There is a good principle which created order, light and man, and an evil principle which created chaos, darkness and.
woman"-Pythagoras.
.
Woman, the other of man has been historically and socially viewed as the darkness as this quote depicts. The identity of.
female is marked by the absence. The qualities which are attributed on man like virility, intellect, courage etc, female is.
defined by the absence of them. It is an originary absence in the sense that the encounter with one's own self is always.
mediated through the dominant-hegemonic social structures. Simone writes in the Second Sex, "Man thinks himself.
without the body of the woman, whereas the woman's body seems devoid of meaning without reference to the male...she.
is nothing other than what man decides. She determines and differentiates herself in relation to man...She is the Other.".
.
The alterity which is ascribed to female brings about a different conception of the self which is not absolute or abstract.
but which is very much embedded in the concrete and subtle social forces. As a feminist, the question before Simone is.
the analyses of this `situated self' of the female. She analyses it through unfolding the social forces which mark the body.
of female into the dominant patriarchal social order. She therefore is `not born but made' as woman. The objectification.
of female through patriarchy converts her into an entity where the meaning and values of her existence are derived by.
the norms and ideals of patriarchal order. The images of Seeta and savitri and other chaste women in Indian society.
which remains encoded in the patriarchal framework and ingrained in the psyche of girls through various institutional.
mediums like family, religion becomes the sort of "Superego" for the females. So female has to assume the role models.
provided by the patriarchal set up otherwise it results in the guilt, a loss of the sense of the self. Simone points out at.
this predicament when she says, "she discovers and chooses herself in a world where men force her to assume herself as.
Other: an attempt is made to freeze her as an object and doom her to immanence, since her transcendence will be forever.
transcended by another essential and sovereign consciousness.".
.
The present talk will discuss the various issues which remains crucial even after her demise..
.
1- The life as acknowledged by her in autobiography, interviews and letters and the life as lived by her which she.
has not acknowledged yet we can delve into it through other sources..
.
2- The dialectics of engagement with Jean Paul Sartre, her life partner. Whether she is the thinker who is influenced.
by Sartre as she herself acknowledged or she is an independent thinker from whom Sartre has taken the many.
insights and later appropriated them?.
.
3- Feminism as existentialism or otherwise?.
.
"There was once a man who lost his shadow. I forget what happened to him, but it was dreadful. As for me, I've lost.
my own image. I did not look at it often; but it was there, in the background, just as Maurice had drawn it for me..
A straightforward, genuine, "authentic" woman, with out mean-mindedness, uncompromising, but at the same time.
understanding, indulgent, sensitive, deeply feeling, intensely aware of things and of people, passionately devoted to.
those she loved and creating happiness for them. A fine life, serene, full, "harmonious." It is dark: I cannot see myself.
anymore. And what do the others see? Maybe something hideous.".
.
Simone de Beauvoir, The Woman Destroyed.
.
14 April this year commemorated the 26th death anniversary of French feminist and existentialist Simone de Beauvoir. She.
expounded major existential themes in her novels and writings, demonstrating her conception of the writer's commitment.
to the time: "It is in the knowledge of the genuine conditions of our lives that we must draw our strength to live and.
our reasons for living." SSS Debates invites you to a Talk tonight at 9.30 pm by Prof. Satya P. Gautam of Centre for.
Philosophy, to discuss Simone's legacy and the implications of her work..
.
Akbar, Minakshi , Omprasad, Shivani.
Councillors, SSS, JNUSU.
..
Ashley is a Licensed Clinical Social Worker with expertise in various areas, including divorce, sex therapy, relationship issues, anxiety, behavioral issues, borderline personality (BPD), child development, chronic pain, coping skills, depression, developmental disorders, education and learning disabilities, family conflict, grief, infertility, infidelity, parenting, school issues, self-esteem, stress, transgender issues, trauma and PTSD, video game addiction, and women's issues. Ashley's client focus spans across different age groups, from children (6 to 10) to elders (65+), including families, individuals, and couples. Her therapeutic approach includes attachment-based, coaching, cognitive-behavioral (CBT), cognitive processing (CPT), dialectical behavior (DBT), emotionally focused, family/marital, family systems, play therapy, solution-focused brief (SFBT), strength-based, transpersonal, and trauma-focused. Ashley earned her Master's Degree in Social Work from the University of Nevada in 2018.
Mysteerinäytelmä neljässä näytännössä
Platonin pidot on kahdeksanpäiväinen mysteerinäytelmä. Näytelmä toteutetaan 12 osallistujalle ja se tavoittelee absoluuttisen kauneuden kokemusta.
Pidot koostuu neljästä näytännöstä. Jokainen osallistuja on oman esityksensä protagonisti. Näytännöt jakautuvat kahdeksalle päivälle; ensimmäisen näytännön ollessa jokaiselle yksilöllinen neljäs näytäntö on kaikille yhteinen. Alkuperäisessä muodossaan Kreikan antiikin metafysiikat olivat käytännössä toteutettuja teorioita: dialektiikkaa akatemiassa, mysteerinäytelmiä teatronilla. Pidoissa kulttuurinen perintö haastetaan nykytaiteen kontekstissa. Teatterin juuret, rakkauden mysteerit ja osallistavan esityksen mahdollisuudet ovat kaikki käytössä.
Kuvat: Visa Knuuttila
+++
Beauty as such exists; the world as we see it is a mere reflection on the wall of a cave. This contemplation is at the heart of Plato’s Symposium, an 8-day Socratic mystery play. The play is set for twelve participants and strives for an experience of absolute beauty.
The Symposium consists of four acts. Each participant takes the role of the protagonist of his or her own performance. The acts are spread out over an eight-day period; while the first act is unique to each participant, the fourth and final one is common to all twelve. In their original form, the metaphysics of the Ancient Greeks were theories that were enacted in practice: verbal dialectics in the Akademia, mystery plays at the théatron. In the Symposium this cultural heritage is challenged in the context of contemporary art. The origins of theatre, the mysteries of love and the possibilities of participatory performance are all included in the mix.
Photos: Visa Knuuttila
.
·"'' .
SfI .
16/11/08 JVer the last few months the entire world has been debating the causes and repercussions of what has now emerged as the biggest \'\ .
.us, crisis in the history of capitalism since the Great Depression of the 1930s. The country worst hit by the crisis Is the United States of :::> .
I America, the citadel of capitalism. Already around 7.5 lakh jobs have been lost in the US and the figure Is rising every month. The '-.
e started from a financial meltdown following the sub prime lending crisis In the US economy. In a span of a few months, most of the ? .
poster boys of neoliberalism are now begging for bail out packages from the Governments. The Bush administration alone has doled giant financial firms in the Wall Street like Lehman Brothers, Merrill Lynch, AIG etc have come down like a pack of cards. These out $700 billion to these firms. In almost every country, the companies which were the most desired places for young and talented job seekers have been laying off employees. The neoliberal ideologues who till sometime back were tirelessly propagating the virtues of .
___A,,.. .J"'\f.
.
, __-__..,_, onlmP "nn a.~kino the State to keep away from the economy are now advocating the cause of state intervention and .
...
---'-·"rl h~t J~i~~P.7 faire has failed in today's world. Even the · · .
" Join !WI! OtnJ fl[{3 11 iu]of National/State Leadership of all organizations tonight at Godavari Dhaba 9.30 m. Com Ritabrat Banarjee (SFI all india gen secy will speak in the prog) .
at India Gate .
Observe Buses Leave Ganga Dhaba at 11 am .
No implementation of Lyngdoh Committee Recommendations in JNU!l Make the University Strike and .
Human Chain at India Gate Tomorrow Successful!! 02/11/08 .
The Supreme Court interim stay order on the JNUSU elections due to the non-conformity to the Lyngdoh Committee .
recommendations has come as an onslaught on the democratic student movement ofthe university. Showing unprecedented unity, Friends, .
of the UGBM. Maintaining utmost unity, the student community is collectively engaged in the struggle to ensure that the stay is .
vacated by the Supreme Court. In the past one week the joint struggle committee has taken a range of programmes and activities all the political organizations have come together under the banner of the Joint Struggle Committee carrying forward the mandate .
as per its mandate from the UGBM. Through its initiatives the joint struggle committee has got a large number of JNU teachers and .
Ex JNUSU Office bearers in solidarity with the ongoing struggle. The committee has also conveyed its distress over the Apex .
Court's stay on our elections to the HRD minister and Additional Solicitor General, Gopal Subramanian wh<f is also our direct .
While these efforts are crucial and would continue in the future, what is most important is the fact that JNU student committee also.
,. adversary in the court. Efforts are on to get a battery of eminent lawyers in the supreme court to take up the legal battle when the .
case comes up for hearing. provides the leadership to this struggle through consistent mobilizations in the streets of Delhi. Had the elections not been stayed .
SFI has also given an all India call for protest In solidarity with the JNU student movement. In hundreds of universitiestomorrow we would have participated in the JNUSU polls, which are also affectionately called our "festivar. It is in thi · spirit that the Joint Struggle Committee has decided to observe November 3rd as a national protest day all over the country. .
and colleges where SFI holds the student union offices, students would come out on the streets in solidarity 'Nith our .
ongoing struggle. SFI All India General Secretary Comrade Ritabrat Banarjee Is coming to JNU tonight and share the stage with Joint Struggle Committee in the public meeting to be hel~ at Godavari Dhaba tonight at 9:30. .
SFI appeals to the student community to make tomorrow's university strike by the joint struggle committee a total success and the outside world that we are prepared to fight this battle to the finish and will ensure that JNUSU elections are held as per the .
participate in large numbers in the human chain to be formed at India gate tomorrow. JNU students must convey the message to .
Sd/-Roshan. Secretary. SFI-JNU JNUSU constitution at the earliest in this university. .
Sd/-P.K.Anand, President. SFI-JNU. .
The brazen attempts by the champions of the free marl<et, to save capitalism through state intervention and publiC tlnanct~, ""''" u .
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recession seem to have drummed dialectics into theheads ot mee11ulu~a;)l~ v ,,_,,,..__. _ .
.
will also have repercussions in terms of weakening the hegemony of the US and strengthening the trend gigantic failure of the finance-driven globalisation process. This spectacular failure, besides reenergizing lhe resistance against """"'in wo~d affairs. For the Left, this presents an opportunity to strengthen the progressive movement world wide .
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the struggle lor a world free from the exploitatiOn and uncertainties, which are ahallmarl< of capitalism. SfllnviteS .
· to participate In a Symposium organised by Anveshan, Delhi Science Forom and Economic Research .
~"' crisis ofglobal capitalism and listen and Interact with some of the most eminent minds In the Lt.. .
Sdl-Roshan, Secretary !sent phase as an important event of our times. .
SFI..JNU .
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An ongoing art project, highlighting the dialectics between the color of the hold and the tape, as sekk as the tape pattern.
Since october 2012 i have made around 70 boulders at Vulkan climbing gym, with more to come.
Besides beng incredibly inane, our daily humor is quite sophisticated in that it draws on many dialectics, including vernacular from children's ballads. Aso, for the last coupe of years, we have a kind of daily contest and this magic marker toilet stunt by K really trumped any of my previous fudge is made attempts.
There's a famous statement of Heraclitus, the forefather of Dialectics, that deal with the question of change. It said a man would never ever bathe in a river again. It means everythings in the world, visually rivers and invisablly men, change everytime.
Dr. Scott Andrews, professor in Humanities, and Dr. Sharon Klein, professor in Linguistics, attend Brian Leung's reading of an excerpt from his novel, Take Me Home, which was held Thursday afternoon in Jerome Richfield 319.
Dr. Klein has been a professor in CSUN's English department, specializing in Lingusitics, for over 25 years, and stated she was especially interested to know the dialectic details of Leung's novel.
Anastasia Clemons/Contributor
Η Διαλεκτική της Ανοικοδόμησης /Rebuilding Dialectics
24.1 – 16.2.2013
CHEAPART resident 2013 : Salon de Vortex
Back then Angkor Thom had more people living in it than any city in Europe. Now Angkor Thom has more Europeans in it than any other ruined city in Asia. That's what I guess Hegel would call "dialectics".
Don't worry the monk on the right isn't about to go postal on the guy sitting down. A bit of bravado is all part of the art of Buddhist dialectics, or debating. The questioner, standing, offers a question based on a point of Buddhist philosophy, accompanied by rather a dramatic clap of the hands. The student (seated) must answer the point.
Built in 1888, this templs is dedicated to the worship of Na Tcha. This small traditional Chinese temple stands close to the remains of the principal Jesuit enterprise of the region, presenting a dialectic of Western and Chinese ideals as one of the best examples of Macau's multicultural identity and religious freedom.