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Meira Marrero
Born in Ciudad de la Havana in 1969
Patricia Clark
Lives and works in Phoenix, Arizona
José Ángel Toirac
Born in Guantánamo, Cuba, in 1966
2000
Video installation on three monitors with soundtrack
Running time: 10 min 57 s
Purchase, the Museum Campaign 1988-1993 Fund
Inventory 2006.75.1-3
This video installation for three monitors tells the story of Elián González, the little boy rescued from the waters of the Florida Straits in 1999 by the United States Coast Guard. His mother had drowned during their attempt to flee Cuba, and his father had stayed behind on the island. This story generated extraordinary media interest and diplomatic repercussions: public opinion and political policy were divided on the question of whether or not the child should be returned to his father in Cuba. The affair culminated in a decision by the U.S. Attorney General to return the child to his homeland.
With the framework of a famous children’s book by the Cuban poet and revolutionary José Martí, La Edad de Oro [The Golden Age], the film narrates this episode in the Cuban-American stand-off from both sides of the Elían story, as told by media coverage – in print and on television – of the event in the United States and in Cuba, setting up two contradictory, but parallel visions of a single story. The artists then “rewind” the film and send it back in time, revealing in a barrage of documentation the historical roots of the conflict between the United States and Cuba – the Marielitos, the Bay of Pigs, the Missile Crisis, and so forth – in an immemorial dialectic. Under the guise of media coverage of little Elián’s adventure, we glimpse the complex forces of History at work.
Artist Statement:
Veil of Resonance is an exploration of the tension between what is revealed and what is concealed — between the internal self and the external gaze. In this work, the blindfold becomes more than a physical object; it becomes a metaphor for perception itself — not just what we fail to see, but also what we choose to protect within ourselves.
The juxtaposition of glossy restraint and vivid color reflects the emotional dialectic between suppression and expression. The dripping pigment evokes the idea that truth will always find its way to the surface — bold, imperfect, and uncompromising. Here, beauty and unease coexist; beauty not in spite of discomfort, but because of it.
This piece invites the viewer to question: What do we hide when we close our eyes? And what do we expose when we open them?
Borderline Personality Disorder (BPD) is a mental health condition characterized by intense mood swings, unstable relationships, and identity issues. Individuals with BPD often experience rapid shifts in emotions, ranging from extreme happiness to deep sadness or anger. They struggle with forming and maintaining stable relationships due to a fear of abandonment and a tendency to idealize and devalue others. BPD can lead to impulsive behaviors such as substance abuse and self-harm, as well as a chronic sense of emptiness and dissociation. The disorder is rooted in a weak sense of self, causing individuals to struggle with self-identity and goals. Therapy, particularly Dialectical Behavior Therapy (DBT), is a common approach for treating BPD, helping individuals learn skills to manage emotions, improve relationships, and cope with distress. If you or someone you know is dealing with BPD, seeking professional help is crucial for effective management and support.
If one examines postdeconstructive textual theory, one is faced with a choice: either accept capitalist libertarianism or conclude that society has significance, given that art is equal to truth. The main theme of Drucker’s[1] essay on subsemioticist rationalism is the paradigm, and therefore the dialectic, of textual language. Thus, in Robin’s Hoods, Spelling affirms Debordist situation; in Models, Inc. he denies postcapitalist desublimation.
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In April 1929, streamer headlines announced the arrest of communist and trade union leaders all over the country.
Bhagat Singh and some others among us had already met a number of communist leaders. We felt sympathetic towards them and at one time even contemplated some sort of a working alliance with them - communists to organise the masses and conduct the mass movement, we of the Hindustan Socialist Republican Association to act as its armed section. But when we learned that communists considered armed action by individuals to be harmful to the movement, we dropped the idea
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the countrywide arrests of communists [relating to the Meerut conspiracy case A Sen] were felt by us to be a matter of vital concern for the revolutionary movement. It was imperialist attack against a cause, which was our own, against a movement which had our love and sympathy. We resolved to protest not merely against the arrests but against the whole imperialist policy of fostering the growth of constitutionalist illusions on the one hand and unleashing terror against the people on the other. A few days later bombs exploded on the official benches in the Central Assembly
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Perhaps [BS was] the first among us to be drawn towards socialist ideas
It would be an exaggeration to say that he became a Marxist, but more and more as a result of his studies, of discussions which we held frequently and under the impact of events outside, he began to stress the need for armed action only in coordination with and as an integral part of the mass movement, subordinated to its needs and requirements. .
What Bhagat Singh had come to mean to our countrymen I realised only when I was out. Bhagat Singh Zindabad was the slogan that rent the air wherever a meeting was held. Inquilab Zindab -the slogan he had been the first to raise -had replaced Bande Mataram as the slogan of the national movement... (from Bhagat Singh and His Comrades by Ajoy Ghosh, who was about the same age as BS, and who later became the general secretary of CPI) .
So BS was, at least at the beginning, so pre-occupied with the problems of rousing the masses that he would appear a pessimist, a go-slower! .
From the memoirs of Ajoy Ghosh we learn that the two friends seriously considered working in cooperation with/under the Communist Party, but backed out when told that the Party was absolutely opposed to armed action under all circumstances. Thus BS, like Ghosh, was not prepared to say an absolute no to revolutionary terror. He expressed the same sentiment to Sohan Singh Josh during the first all India conference of the workers and peasants party at Calcutta in December 1928, we entirely agree with the programme and activities of your party, but there are times when the blow of the enemy has to be immediately counteracted by armed action is to inspire confidence among the masses. (quoted in Selected Works of Shaheed Bhagat Singh, p 22) .
This reminds us of Lenins teachings in such works as Guerrilla Warfare, Forms of the Working Class Movement etc, where he puts the emphasis on proper combination of all conceivable forms of struggle according to needs of the situation and on quick transition from one form to another. Now this is a dialectic never to be grasped by .
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Did you know? Dialectical Behavior Therapy (DBT) is a type of cognitive-behavior therapy that centers around the psychosocial aspects of treatment, underlining the significance of a collaborative relationship, support for the individual, and the advancement of managing abilities in exceptionally emotional circumstances. In this infographic, we explained the key features of dialectical behavior therapy. For more information visit our website or contact us at (973)-774-7222.
Our first book about Lafayette...details matched everything we've read and experienced from the Colonial Williamsburg Lafayette interpreter.
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collaboration with Marx was far from one-sided. He was probably the most widely educated man of his day. He not only had a profound knowledge of economics and history, but his encyclopaedic mind enabled him to discuss the exact meaning of an obscure Latin phrase concerning Roman marriage law, or the reactions taking place when pure zinc is immersed into sulphuric acid. The Selected Correspondence of Marx and Engels illustrates the close affinity between both men. .
"This morning in bed the following dialectical points about the natural sciences came into my head", wrote Engels, "The object of science: matter in motion, bodies. Bodies cannot be separated from motion, their forms and kinds can only be apprehended in motion; nothing can be said about bodies divorced from motion, divorced from all relation to other bodies. Only in motion does a body reveal what it is. Hence, natural science obtains knowledge about bodies by examining them in their relationship to each other, in motion. Cognition of the various forms of motion is cognition of bodies. The investigation of these various forms of motion is therefore the chief object of the natural sciences." (2) .
Engels saw in the processes of nature a confirmation of the laws of dialectics, of the general laws of change, not only in society and human thought, but also in the external world. His notes on science, compiled in the Dialectics of Nature, were an attempt to comprehend the whole of science from the materialist standpoint. .
Lenin, who would later take up the defence of materialist dialectics utilising the revolution in physics, in his Materialism and Empirio-criticism, had little to say on astronomy, geology, chemistry or biology. These scientific fields were however extensively examined by Engels in The Dialectics of Nature, although much of his observations consisted merely of rough notes, which he hoped to correct and expand later. .
Many of his manuscripts appear to have been written between 1872 and 1882, a year prior to Marx's death. Readers clearly need a degree of patience with some of the chapters, which deal with the science of more than a hundred years ago. Words such as "force", "motion" and "vis viva" are used, where today we would speak of energy. The chapters on Basic forms of Motion, The Measure of Motion-Work, and Heat deal with controversies over various theories of energy, long resolved. These chapters are interesting from the point of view of how Engels analysed these issues, rather than the issues themselves. The essay on electricity is even more dated, but still revealing. .
Needless to say, other parts, most notably the factual data used by Engels, have been rendered obsolete with the rapid progress of natural science. For example, the Kant-Laplace theory of cosmology is outdated. It has been established that the velocity of the electric current cannot exceed that of light. Whereas Engels refers to "albuminous bodies", today we would talk of DNA, RNA and protein molecules. Elsewhere there are incorrect statements in the text, for example in the section on stars and protozoa. With the invention of carbon dating, the estimated time spans used by Engels have also been drastically revised. Engels cannot be blamed for these errors. He simply followed the views of some of the best astronomers and zoologists of his day. .
The development of science has vastly increased our knowledge over the last 130 years and many corrections have been introduced into our scientific understanding. It .
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Movable graphic novel of a journey through Thessalonica created in May 2007
Media: Wood, black ink, photoshop
Dimensions: 20/20/20 cm
This work explores a new way of reading a graphic novel and attempt to work on the dialectic between graphic novel and three-dimensional art.
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Business Overview
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Levels of Care
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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>Rhetorica </em>(Rhetoric) is personified as a full-length female figure, in frontal view. She wears a crown and holds a sword in her right hand. On both her sides, two small genii blow a trumpet. Rhetoric teaches how to speak in a flowery and elegant way.
Italy, Ferrara, 15th century
engraving
Dudley P. Allen Fund