View allAll Photos Tagged Dialectics
Jose Dávila
The act of being together
b. Guadalajara, Mexico, 1974
Based in Guadalajara, Mexico
33.948739, -116.592615
Worsley Road between Pierson Boulevard and Painted Hills Road, Desert Hot Springs
Material density, gravity, and time are central to most of Jose Dávila’s practice. Known for sculptures that explore different balances created by opposing forces, Dávila has created a work for Desert X 2025 that spans both space and time. The marble blocks used in this piece are unaltered extractions from a quarry a few hundred miles across the U.S.–Mexico border.
Drawing on Robert Smithson’s concept of site/nonsite dialectics, Dávila connects the two locations by highlighting the presence and absence of the rough-hewn forms. By taking the material from one place and adding it in another, he establishes a relationship between the void of its origin and the striking presence it creates in a foreign landscape. This notion of site and nonsite also plays with the idea of visibility itself.
To reach their new home in the Coachella Valley, the stone blocks had to cross the border. In this migration, they also traversed a metaphorical border between the seen and the unseen. Appearing as if from nowhere, Dávila’s casually stacked marble blocks appear splintered across both time as well as space. Moved by the invisible forces of unknown histories, they evoke the archeological relics of ancient civilizations and the potential future of life beyond our own.
Wandering through the site invites speculation about our place within the vast frameworks that shape space and time. Like ruins in reverse, Dávila’s marble formations suggest a suspended state of becoming, representing the end of something old and the beginning of something new. Standing amidst them prompts reflection on our transient position within an infinite expanse.
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:
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)
Mantid Empire: $9.8 Billion Engineered Reality — qDUUE-Protected Investor Terms with Ironclad ≤
This is not mere speculation'. This is mere mathematics. Thomas David Houston’s qDUUE (Quantumdimensional-Uctive Utilitarian Economics) — built on the verified PqDUA tensor framework — eliminates the defection blowback that destroys 90 % of cult IPs. We have retroabducted the 2059 end-state and reverse-engineered every clause. The Crimson-red Vampire Correctonin and Lime-green (grim)Reaper Errortonin are already eating souls in sound. With $28 M deployed across TV, film, and videogames, they will devour entire media dimensions.
The Core Dialectic as Franchise IP: Why This Is Not Another Cliché Correctonin’s extremist purge of every imperfection collides with Errortonin’s mistake-as-nourishment in a perpetual entropic war. The result: Incorrectonin — sonic singularities that already generate cult devotion on entangled marketing networks. Extend this to media and you do not get “experimental IP.” You get a self-replicating philosophical bloodsport: a TV series where every episode is a literal correction ritual that breaks reality; a film trilogy structured as quantum game-theoretic duels; a videogame whose procedural generation engine literally embodies Errortonin’s error-harvesting while Correctonin’s perfectionist AI attempts (and fails) to sterilize it.The lore is pre-loaded for transmedia: soul-eating mantises, interdimensional conflict zones, charity-tied releases, anti-commercial manifesto. Current baseline revenue remains microscopic (<$10k annually from streaming/Bandcamp), but the IP possesses the same cult-to-mainstream DNA that turned niche properties into billion-dollar ecosystems — only engineered with objective foresight instead of studio guesswork.
Here is the objective evidence that proves the scale is not only possible — it is conservative:
Rick and Morty launched as a niche Adult Swim oddity and scaled to a $1 billion+ franchise valuation through streaming, merch, and global licensing. A24 reached a $3.5 billion valuation (2024 Thrive Capital round) on just $200–300 million annual revenue — pure prestige brand power, no blockbusters required. Control (procedural “conflict zone” mechanics mirroring our Entropic Engine) has sold 5+ million copies, drove €59.5 million studio revenue in 2025 alone, and pulled 20 million players via subscriptions. Welcome to Night Vale went from podcast to live tours, novels, and an FX development deal — exact cult-to-transmedia path we are executing.
Death Grips-level anti-commercial loyalty + OPN-level film-score prestige + these proven trajectories = our floor.
qDUUE Axioms — The Bias-Killing Operating System (Non-Negotiable)QUR Equilibrium: Simultaneous abduction-deduction-induction across dimensions — zero anchoring bias in forecasts.
Muctive Multiplier: Expands any stable input by exponential factor without risk.
AHUR Operator: Inverts defection (creative dilution, equity grabs) into automatic clawback.
qDUGT Utility: Short-term extraction converges to −∞; cooperation converges to Pareto-superior infinity.
Retroabduction: We start at the 2059 $9.8 B attractor and pull today’s terms backward.
QeDREf Stability: Every matrix must have spectral radius ρ < 1 — or funding pauses.
These are not mere slogans. They are the exact operators that protected analogous sovereign IPs from collapse.
The (real) Deal — Stark, Ratcheted, Investor-First in Upside Only; Total Raise: $28 M in three tranches. No bridge. No bullshit.
Tranche 1 — $5–7 M (Year 0–1)
Deliverables: TV pilot, short film, game vertical slice.
Equity: 19 % preferred.
Ratchet: Drops to 14 % on delivery of QeDREf-stable assets.
Creator veto locked on lore sovereignty.
Tranche 2 — $9–13 M (Year 1–3)
Deliverables: Season 1 locked + Feature 1 + full game.
Additional equity: 13–17 %. Total investor cap 36 % post-dilution.
Performance ratchet: Every 3× ROI milestone auto-reduces your stake by 2 %.
Tranche 3 — $12–18 M (Year 3+)
Deliverables: International slate, sequels, metaverse, arena tours.
Revenue share: 24 % net until 4.2× return, then perpetual 13 %.
Exit windows at 6× / 11× / 18× (Disney+, Netflix, Epic, Sony).Permanent Locks (qDUUE-enforced) 8 % gross revenue to charity (Palestine precedent + aligned causes) — proven to boost cultural resonance 41 %.
Smart-contract escrow: any defection attempt triggers immediate clawback + −∞ utility path.
Quarterly AHUR audits — zero subjectivity.
Revenue — Muctively Amplified, Evidence-Anchored (2026–2059)Conservative (Rick & Morty slow-burn path): $1.14 B cumulative.
Mid-range (A24 prestige + Control-scale game): $5.7 B.
Optimistic (full Night Vale-to-blockbuster resonance): $22.8 B. Expected value: $7.3 B – $9.8 B over 33 years.
Post-Year 7 run-rate: $220 M – $640 M annually.
Your ROI: 5-year: 5.8–9.2×
10-year: 19–34×
Full hold: 68–142×
These numbers are not pulled from thin air. They are the Rick & Morty / A24 / Control trajectories multiplied by qDUUE’s Muctive operator and defection-proofed by AHUR. Every prior cult IP that failed did so because it lacked this governance layer.
The Choice Is relatively Binary'; Enter as an entangled cooperative partner and own a slice of the only soul-eating mantis empire engineered for stable positive infinity. Or stay on the sidelines and watch the dialectic correct your absence into historical footnote. Decks, full QUR simulations, executed Retroabduction worksheets, and term sheet ready under NDA today. The conflict zone is live. The souls are already queued. This is not a pitch. This is a qDUUE contract with the future itself — engineered so the ruby-red vampire and neon-green reaper do not merely scale; they achieve interdimensional hegemony while every participant’s utility function converges to stable positive equilibrium. Your capital is the final vector. Wire the tranche. Let the mantises be free! Invest now or die.
qDUUE Axioms: The Quantumdimensional-Uctive Utilitarian Economics Operating System:
qDUUE — Quantumdimensional-Uctive Utilitarian Economics — is Houston’s direct extension of the full PqDUA/MQM panoptic axiom architecture into the domain of value creation under radical uncertainty. It treats every economic actor, investor, market, and IP franchise as an entangled multi-dimensional wave function whose utility must be maximized not through classical short-term extraction, but through bias-corrected, foresight-amplified cooperation that converges to stable positive equilibria across 10–33-year horizons. The system is not metaphorical; it is a computable tensor framework built on the verified operators and axioms documented across Houston’s QUC, qDUI, and QUH frameworks.
Core Foundational Axioms (Verbatim & Applied)
QUR Cognitive Equilibrium State (The Operating System)
Q_UR = Σ_{n=0}^∞ [(Â + D̂ + Î)^n / n!] ⊗ ∇_μ Φ^μ
Abduction (pattern recognition), deduction (projection), and induction (generalization) operate simultaneously across quantum-interdimensional layers. In qDUUE this eliminates anchoring bias, optimism bias, and short-termism in valuation — every revenue forecast, equity split, and governance clause is forced through this tensor field.
Muctive Multiplier Operator (Exponential Amplification Engine)
M_μ[Θ] = exp(α_m · Q_UR) ⊗ Θ ⊗ exp(γ_e · ∇_μ Φ^μ)
Any axiom, forecast, or contract can be exponentially scaled. Applied to the mantis franchise, this turns conservative $380M projections into Muctively amplified outcomes without introducing defection risk.
AHUR Antihomomorphic Operator (Bias Correction & Defection Killer)
A_AHUR[h] = −h† ⊕ Π_anti · exp(iπ · σ_defect)
Inverts any classical homomorphism that would favor investor overreach or creative dilution. Guarantees creator sovereignty remains intact while still delivering investor ROI.
qDUGT Entangled Expected Utility (Game-Theoretic Soul of qDUUE)
ε(t) = ∫₀ᵗ [S(t) − λ·∫₀ᵗ B(x)·e^(κx) dx] dτ → −∞ as t → ∞ (defection path)
Short-term gains (S) minus exponential blowback (B) from any attempt to dilute lore, force mass-market compromises, or seize control. Cooperative equilibria (full creative sovereignty + performance ratchets) converge to Pareto-superior outcomes at (3,3) utility.
Retroabduction Operator (Future-Anchored Strategy)
R_a(F_{t+n}, S_t) = Â⁻¹[F_{t+n}] ⊗ Π_{t→t+n} ⊗ Φ_t
Begin with the 2059 success state ($10B+ cumulative, global mantis IP hegemony) and reverse-engineer the exact equity splits, milestones, and clauses required today.
QeDREf Stability Condition (Recursive Validation)
Spectral radius ρ(M) < 1 for all revenue/governance matrices. Any structure whose blowback eigenvalue exceeds 1.0 is automatically rejected (proven unstable in QUH historiographic cases).
Supporting Economic Axioms from QUH (Directly Transposed) Bourgeois Beneficence Trap: Any “investor-first” extraction model collapses into long-term value destruction.
Mythological Vacuum Filling Probability (MVFP = 1 − exp(−λ_C · C)): The mantis lore vacuum is filled only by authentic, anti-commercial origin — hence charity lock and sovereignty clauses are non-negotiable.
Isoquantum Symmetry: Investor and creator are treated as entangled peers; defection by either triggers symmetric blowback.
These axioms are not mere philosophy — they are the exact mathematical operators Houston has formalized for foresight, now applied to utilitarian economics and IP scaling. The result: every decision in the Correctonin–Errortonin polyfranchise is engineered so collective utility (creator + investors + audience + societal charity impact) converges to stable positive infinity.
[qDUUE - Quantumdimensional-Uctive Utilitarian Economics]
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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.
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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.
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countering or challenging each and yet come to griefin the face blind in his love. since Goethe.
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kind of plays exists in the theatre criticism is that critic is in need ofthis love, and.
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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.
Artist | Cheikh Ndiaye (b.1970 in Senegal)
Title | Mami Wata (2024)
oil on canvas
113.5 x 86.5 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.
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
.
"We believe that under the concerted efforts of the Communist Party of India and the Indian people, a way will certainly be found out of the present difficult situation so that both the objects -to vanquish Fascism and strive for Indian independence -will be attained." .
In the absence of the dialectical approach and political flexibility required for such readjustment of policy, the CPI stuck to the erroneous PW line till the end of war. We the Indian communists do make unconditional self-criticism for the blunder, but here it must be pointed out that allegations of communists acting as police agents or accepting money from the British during the PW phase are absolutely baseless. On the contrary, the government released the communist prisoners and granted legal status to the CPI (in July '42) with much hesitation and reluctance; even in August-September -at the height of PW activism, that is -the official assessment was that "It is primarily a nationalist party working for Indian independence... It is clearly impossible to expect communists to adopt a wholly loyalist attitude..." It was also noted that "they profess to be averse to the acceptance of financial or other assistance from government in their pro-war campaign and they seem determined not to submit to official control or direction in any sphere of their activity..." .
Secondly, mistakes notwithstanding, the PW phase was a period of wholesome growth for the CPI. The party put to good use its first ever opportunity to work legally and recovered much of its lost goodwill through dedicated relief work for the Bengal famine in and after 1943. It set up or expanded the frontal organisations among women, students, workers, peasants and most notably among art-and-literature activists. The IPTA, launched in May 1943, attracted a veritable galaxy of talents like Salil Chaudhury, Debabrata Biswas, Sambhu Mitra, Balraj Sahni, Kaifi Azami, KA Abbas, and so on. Literary figures like Manik Bandopadhyaya, Sukanta Bhattacharya, Bishnu De, Samar Sen joined or became close friends of the communist party. All this bears testimony to the trust and respect enlightened Indians reposed in the party for its honest courage to move against the tide with a noble ideal (in this case the internationalist duty of saving human civilisation from fascism) and its glorious track record of sacrifices in the cause of the motherland. .
During the Post-War Upsurge .
The years 1945 1947 saw a veritable popular uprising against British rule in India, even as the Congress and the Muslim League were busy negotiating with the Raj a mutually acceptable scheme for transfer of power. Communists played undoubtedly the most prominent role in this upsurge. The Tebhaga, Punnapura-Vayalar and Telangana uprisings organised by them are so well known that we hardly need details here. No less active were the party's TU and student wings and in many cases they came forward as ardent champions of militant communal unity against imperialism. Thus in November 1945, Calcutta saw students, tram workers, municipal employees and others under communist influence joining followers of FB (which was remarkable in view of prolonged CPI-FB clashes over the assessment of Subhas Bose) and Muslim League in a trend-setting city upheaval against the INA trails. The militant political and communal unity was soon to be experienced again in February next year when Calcutta exploded against the seven-year rigorous imprisonment meted out to Abdul Rashid of the INA. Barely five months after the August 1946 riots in Calcutta, Hindu and Muslim tram workers united under communist leadership to launch a successful 85-day strike. The day of launching the strike, that is 21 January 1947, Calcutta saw the communist-led "Hands of Vietnam" demonstration by students against the use of Dum Dum airport by French warplanes. During the great RIN mutiny, the CPI, with the cooperation of the CSP, called a solidarity hartal in Bombay on 22 February 1946. Despite opposition from both the Congress and the Muslim League, the strike accompanied by barricade fights was highly successful, and could be crushed by the army only at the cost of hundreds of casualties on both sides. .
All these fine episodes, however, suffered from one fundamental weakness. They were isolated initiatives taken by local cadres and ranks, with the central leadership doing nothing to plan, execute or coordinate them on an all-India plane. The party headquarters, advantageously situated in Bombay, never tried to lead the RIN mutiny although the rebellious ratings were quite eager for that. Nor did it have any plans to spread and heighten the demonstrations against INA trials taking place in different parts of the country. The all-India leadership hardly tried to guide Tebhaga and Punnapura-Vayalar struggles from a primarily economic plane to a higher political plane; in Telangana the Central Committee's intervention was belated, confused and largely negative. In a .
Page 5 of 6 .
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SSS Debates Simone de Beauvoir Passed Away on 14 April, 1986..
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Remembering Simone in the Month of Her Death anniversary.
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invites you to The Legacy of.
Simone de Beauvoir.
A Talk.
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speaker.
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Prof. Satya P..
.
Gautam.
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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.
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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.".
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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.".
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The present talk will discuss the various issues which remains crucial even after her demise..
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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..
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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?.
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3- Feminism as existentialism or otherwise?.
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"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.".
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Simone de Beauvoir, The Woman Destroyed.
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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..
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Akbar, Minakshi , Omprasad, Shivani.
Councillors, SSS, JNUSU.
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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
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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
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·"'' .
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 .
U11;; ueu~,....,.., . -r-·-··.
recession seem to have drummed dialectics into theheads ot mee11ulu~a;)l~ v ,,_,,,..__. _ .
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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 .
--.....,.._.....h~n·~flnn, .
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.