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OBSCENE EXTREME 2014 ASIA ( 3 DAYS - DAY 1 )
at Asakusa KURAWOOD
BUTCHER ABC
ORGASM GRIND DISRUPTION
BRAIN CORROSION (Taiwan)
CONTRAST ATTITUDE
JIG-AI (Czech Republic)
CRIPPLE BASTARDS (Italy)
OBSCENE EXTREME 2014 ASIA ( 3 DAYS - DAY 1 )
at Asakusa KURAWOOD
BUTCHER ABC
ORGASM GRIND DISRUPTION
BRAIN CORROSION (Taiwan)
CONTRAST ATTITUDE
JIG-AI (Czech Republic)
CRIPPLE BASTARDS (Italy)
OBSCENE EXTREME 2014 ASIA ( 3 DAYS - DAY 1 )
at Asakusa KURAWOOD
BUTCHER ABC
ORGASM GRIND DISRUPTION
BRAIN CORROSION (Taiwan)
CONTRAST ATTITUDE
JIG-AI (Czech Republic)
CRIPPLE BASTARDS (Italy)
OBSCENE EXTREME 2014 ASIA ( 3 DAYS - DAY 1 )
at Asakusa KURAWOOD
BUTCHER ABC
ORGASM GRIND DISRUPTION
BRAIN CORROSION (Taiwan)
CONTRAST ATTITUDE
JIG-AI (Czech Republic)
CRIPPLE BASTARDS (Italy)
OBSCENE EXTREME 2014 ASIA ( 3 DAYS - DAY 1 )
at Asakusa KURAWOOD
BUTCHER ABC
ORGASM GRIND DISRUPTION
BRAIN CORROSION (Taiwan)
CONTRAST ATTITUDE
JIG-AI (Czech Republic)
CRIPPLE BASTARDS (Italy)
OBSCENE EXTREME 2014 ASIA ( 3 DAYS - DAY 1 )
at Asakusa KURAWOOD
BUTCHER ABC
ORGASM GRIND DISRUPTION
BRAIN CORROSION (Taiwan)
CONTRAST ATTITUDE
JIG-AI (Czech Republic)
CRIPPLE BASTARDS (Italy)
OBSCENE EXTREME 2014 ASIA ( 3 DAYS - DAY 1 )
at Asakusa KURAWOOD
BUTCHER ABC
ORGASM GRIND DISRUPTION
BRAIN CORROSION (Taiwan)
CONTRAST ATTITUDE
JIG-AI (Czech Republic)
CRIPPLE BASTARDS (Italy)
OBSCENE EXTREME 2014 ASIA ( 3 DAYS - DAY 1 )
at Asakusa KURAWOOD
BUTCHER ABC
ORGASM GRIND DISRUPTION
BRAIN CORROSION (Taiwan)
CONTRAST ATTITUDE
JIG-AI (Czech Republic)
CRIPPLE BASTARDS (Italy)
OBSCENE EXTREME 2014 ASIA ( 3 DAYS - DAY 1 )
at Asakusa KURAWOOD
BUTCHER ABC
ORGASM GRIND DISRUPTION
BRAIN CORROSION (Taiwan)
CONTRAST ATTITUDE
JIG-AI (Czech Republic)
CRIPPLE BASTARDS (Italy)
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
Armored wheeled vehicles were developed early in Germany, since they were not subject to the restrictions of the Versailles Treaty. The Sd.Kfz. 234 (Sonder-Kraftfahrzeug, or Special Purpose Vehicle) belonged to the so-called ARK series vehicles (the type designation of the chassis) and was the successor to the earlier, eight-wheeled Sd.Kfz. 231/232/233 heavy scout car family. The Sd.Kfz. 234 was a considerable step forward and incorporated several innovative features, including a monocoque chassis with eight wheels and an air-cooled Tatra 103 diesel engine that was originally chosen for use in North Africa. The latter gave the vehicle an extraordinary range of more than 600 miles (1.000 km) and a very good performance. The vehicle had eight-wheel steering and drive and was able to quickly change direction thanks to a second, rear-facing driver's seat, what made quick retreats and unexpected position changes easier.
Chassis were built by Büssing-NAG in Leipzig-Wahren, while armoured bodies were provided by Deutsche Edelstahlwerke of Krefeld and turrets by Daimler Benz in Berlin-Marienfelde and Schichau of Elbing, with engines from Ringhoffer-Tatra-Werke AG of Nesseldorf. The first and possibly best known version to reach frontline service was the Sd.Kfz. 234/2 ‘Puma’. It had a horseshoe-shaped turret armed with a 5cm L/60 gun, which had originally been developed for the VK 16.02 Leopard light tank which never made into production. Even though it was a dedicated reconnaissance vehicle, the armament made it possible to defend the vehicle effectively and even take on light armored vehicles. The Sd.Kfz. 234/2 was produced from late 1943 to mid-1944 and replaced in production by the second version, the Sd.Kfz. 234/1, which was less complex and easier to build. It had a simpler open turret and was armed only with a light 2 cm KwK 38 gun (in the so-called Hängelafette 38). It was manufactured from mid-1944 to early 1945 and became the standard reconnaissance vehicle in this period.
Other versions were derived from the Sd.Kfz. 234, too. The Sd.Kfz. 234/3, produced simultaneously with the 234/1, served as a support for the lightly armed reconnaissance vehicles with more firepower. It had an open-topped superstructure, too, but carried a short-barreled 7.5cm K51 L/24 gun. This gun was intended primarily for use against soft targets, but when using a hollow charge shell, the penetration power exceeded that of the 5cm L/60 gun. This variant was produced until late 1944, before switching production to the 234/4. This version replaced the L/24 gun with the 7.5cm L/46 PaK 40 and was primarily another attempt to increase the mobility of this anti-tank gun and not a reconnaissance vehicle. It was not very successful, though: the heavy weapon stretched the light 234 chassis to its limits and only a very limited ammunition load of just twelve rounds could be carried on board due to lack of storage space. This variant was manufactured from the end of 1944 on only in limited numbers.
In mid-1945 another reconnaissance variant appeared, the Sd.Kfz. 234/5. It was a kind of hybrid between the earlier 234/1 and 234/2 variants, combining the light armament with a fully closed turret that offered the crew better protection from enemy fire and climatic conditions. The origins of the Sd.Kfz. 234/5 remain a little unclear – in fact, this variant started as a field conversion of a handful of Sd.Kfz. 234/2s in Hungary in mid-1944, which were retrofitted in field workshops with turrets from damaged Panzer-Spähwagen (neue Art) II ‘Luchs’ (also known as ‘Panzer II Ausf. L’, ‘Sd.Kfz. 123 mit 2-cm-KwK 38’ and VK 13.03 during the vehicle’s development phase). This simple combination of existing components turned out to be so effective and popular among the crews that it was quickly ordered into production.
Both chassis and turret remained unchanged, with a maximum armor of 30 mm (1.18 in), but the small turret with its light weapon (which had been adapted from a 20 mm anti-aircraft gun with a higher rate of fire than earlier guns of this type) reduced the overall weight to a little under 11 tons. This, and a slightly more powerful variant of the Tatra 103 V12 diesel engine, raised the vehicle’s top speed by 10 km/h (6 mph). In service the Sd.Kfz. 234/5 was generally known as ‘Puma II’ and the frontline units frequently modified their vehicles.
Among these field updates were commander cupolas, transplanted from damaged Panzer III and IV and sometimes outfitted with a mount for a light Fla-MG (anti-aircraft machine gun), as well as more effective exhaust mufflers for a reduced noise signature. Additional thin, spaced armor plates were sometimes bolted to the hull and/or to the turret front to better protect the vehicle from armor-piercing weapons, esp. against rounds from Russian 14.5 mm tank rifles. Makeshift wire mesh shields against hollow charges, similar to heavier Thoma shields on battle tanks, were occasionally added, too, as well as smoke dischargers, mounted to the turret sides or to the vehicle’s front. Night vision devices (Infrarot-Nachtsichtgerät F.G. 1250 or F.G. 1252) were fitted when available, and some late-production Sd.Kfz. 234/5s had a 140 cm (55 in) Telemeter KDO 44 stereoscopic rangefinder/telescope integrated into the turret, protruding from it on both sides. Vehicles that were almost exclusively operated on roads frequently had the wheels of the 2nd axle removed in order to reduce overall weight, rolling resistance and save precious rubber/tires.
Since production could not meet the operational units’ demand the Sd.Kfz. 234/5s were issued very selectively to Panzerspähwagen companies of the Panzer Aufklärung battalions. They were operated alongside other Sd.Kfz. 234 versions and Panzer II, III and 38(t) Spähpanzer versions to provide artillery, AA and AT support. The Puma IIs were mostly given to veteran crews and equipped primarily Panzerdivision units operating in Russia, even though a few were sent to the Western front, too.
Exact production numbers remain uncertain because the original production of 81 new vehicles by Büssing-NAG was complemented by an uncertain number of field conversions that allowed older/damaged Sd.Kfz. 234/1 and 2s to be repaired and/or updated with the light ‘Luchs’ turret. The total number of operational Sd.Kfz. 234/5s remained less than 100, though.
Specifications:
Crew: Four (commander, gunner, driver, radio operator/2nd driver)
Weight: 10,600 kg (25,330 lb)
Length: 6.02 m (19 ft 9 in)
Width: 2.36 m (7 ft 9 in)
Height: 2.32 meters (7 ft 7¼ in)
2.53 meters (8 ft 3½ in) when outfitted with a commander cupola
Suspension: Wheeled (Tires: 270–20, bulletproof), with leaf springs
Track width: 1.95 m (6 ft 4 1/2 in)
Wading depth: 1.2 m (3 ft 11 in)
Trench crossing capability: 2m (6 ft 6 1/2 in)
Ground clearance: 350 mm (13 3/4 in)
Climbing capability: 30°
Fuel capacity: 360 l
Fuel consumption: 40 l/100 km on roads, 60 l/100 km off-road
Armor:
9 — 30 mm (0.35-1.18 in), sometimes augmented with
additional 5 — 10 mm (0.2-0.4 in) armor plates on the front of hull and/or turret
Performance:
Maximum road speed: 90 km/h (56 mph)
Operational range: 1,000 km (625 mi) on-road
600 km (373 mi) off-road
Power/weight: 20,75 PS/t
Engine:
Air-cooled 14,825 cc (905³ in) Tatra 103 V12 diesel engine,
with 157 kW (220 hp) output at 2.200 RPM
Transmission:
Büssing-NAG "GS" with 3 forward and reverse gears, eight-wheel drive
Armament:
1× 20mm KwK 38 L/55 machine cannon with 330 rounds
1× co-axial 7.92 mm Maschinengewehr 42 with 2.550 rounds
The kit and its assembly:
A straightforward conversion, and at its core this is not a what-if model because the Sd.Kfz. 234 was actually outfitted with the light ‘Luchs’ turret – even though this was probably only a field-modified, single vehicle that was eventually captured by Allied troops in Czechoslovakia in 1945. It was not an official variant (yet). However, as exotic as this combo seems, there is a complete 1:72 kit of this exotic vehicle from Attack Kits, but it’s pricey, and ModelTrans/Silesian Models from Germany does a resin conversion kit with the ‘Luchs’ turret. The latter set was used for this model and mated it with a Hasegawa Sd.Kfz. 234/2 hull, IMHO the best model of this vehicle, and even as a combo cheaper than the Attack kit.
Building the fictional Sd.Kfz. 234/5 from these ingredients was a very simple affair, everything was basically taken over OOB. For a more sophisticated in-service vehicle, I took over the smoke dischargers from the Hasegawa kit, added a leftover Panzer IV cupola as well as scratched fairings for a stereoscopic rangefinder, and replaced the original twin exhaust mufflers on the rear fenders with a different/bigger piece from an early Panzer IV, placed above the spare tire. This made enough room to add stowage boxes and no less than six jerry cans (all from the Hasegawa kit).
The antennae were made from heated sprue material and the gun barrels are brass pieces, left over from a First To Fight Sd.Kfz. 232, which looked better than the (already fine and good, though) parts from the ModelTrans conversion set. The commander figure came from the Hasegawa kit.
Painting and markings:
A conservative approach, and I stuck to German late-war practice to apply a uniform Dunkelgelb (RAL 7028) livery over a red primer base upon delivery. Individual camouflage in medium green and dark brown was later applied in the field on top of that – a classic ‘Hinterhalt’ scheme.
Initially, the hull’s underside was sprayed with Oxidrot (RAL 3009) from the rattle can, while the upper surfaces received a primer coat with a sandy brown. On top of the sand brown came a thin layer of RAL 7028 (thinned Tamiya XF-60, which is a rather desert-yellowish and pale interpretation of the tone, it should AFAIK have a slight greenish hue) to all directly visible surfaces, wheel hubs and the turret, for a cloudy and uneven basic camouflage. The individual, disruptive ‘tiger stripe’ camouflage was inspired by a late-war Panther battle tank from literature.
The stripes were applied to the Dunkelgelb basis with a small brush and thinned Tamiya XF-58 (Olive Green) and XF-64 (Red Brown), for a makeshift camouflage with scarce paint that still meets official regulations. Following these, the wheel hubs remained in just a single color (making them less obvious when on the move), and the light Dunkelgelb was chosen to lighten the lower vehicle areas up, esp. with the rel. dark interior of the wheelhouses. The interior of the turret and the hatch were painted in a yellowish ivory tone (Revell 314), the tires were painted with Revell 09 (Anthracite) and later dry-brushed with light grey and beige.
A thin black-brown ink wash and some dry-brushing along the many edges with grey and beige were used to weather the model and emphasize details. After decals had been applied (taken from the Hasegawa kit), the kit was sealed with matt acrylic varnish and grey-brown mineral pigments were very lightly dusted onto the model with a soft brush around the wheels and the lower hull to simulate some dust.
Well, this can be considered a semi-whif since such a vehicle actually existed – but there never was a serial production, and I tried to enhance the fictional aspect with some added details like the commander cupola or the rangefinder. It’s a subtle conversion, though. I was initially skeptical about the “tiger stripe” livery, but when it was applied, I was surprised how effective it is! It really blurs the vehicle’s outlines and details – making the turret conversion even less apparent.
Out of Chaos - further information from the Laing Art Gallery website:-
"Introduction
Out of Chaos showcases outstanding sculpture, paintings and prints by artists such as Frank Auerbach, David Bomberg, Marc Chagall, Edith Kiss, Chaïm Soutine and Alfred Wolmark. Together, they demonstrate the contribution of artists from around the world to Britain’s cultural heritage. The artworks span more than a century, and include examples of important movements and styles ranging from figuration to abstraction.
The exhibition themes encompass issues of identity and belonging connected with migration. Many of the artists or their families had to make forced journeys as the result of upheavals in their homelands.
The artworks have been selected from the collection of the Ben Uri Gallery, London, featuring artists primarily of Jewish descent. They are augmented by works by contemporary artists from migrant communities who have exhibited with Ben Uri. Some paintings from the Laing and Hatton Gallery collections are also included.
Identity and Migration
A wave of emigration to Britain from Eastern Europe took place over several decades from the 1880s, especially following increasing persecution of Jews. The main destination was London, and the new arrivals continued their distinct traditions in their new host cities. In contrast, longer established Jewish communities often mirrored the aspirations of mainstream British society. These differences in identity were reflected by artists of the time.
In the early Victorian period, Solomon Hart achieved success with scripture subjects, painted in a style entirely in tune with establishment taste. In contrast, Alfred Wolmark’s pictures focussed on the daily lives of the immigrant Polish-Jewish community in London at the beginning of the 20th century. His pictures differed considerably from Solomon J Solomon’s choice of subjects, which mirrored his family’s integration into Edwardian middle-class society. For Simeon Solomon, however, personal identity led to disaster as he was rejected by society for his homosexual lifestyle, despite considerable earlier success as a Pre-Raphaelite artist.
The Whitechapel Boys
These artists’ innovative approach to colour and form made an important contribution to British modernism in the period just before and after the First World War. All were from migrant Jewish backgrounds, with shared feelings of cultural identity. They were open to influences from Europe as well as new artistic developments in Britain. The group was closely associated with the Whitechapel area of London, and included experimental writers.
The artists’ friendships and interests developed from the overlapping periods they spent at the Slade School of Art, London. They were also encouraged by Alfred Wolmark (pictures also on display). Two of the leading figures in the group of artists were David Bomberg and Jacob Epstein. In 1914, they curated the ‘Jewish section’ of the Whitechapel Art Gallery’s important exhibition ‘Twentieth Century Art: A Review of Modern Movements’, featuring artwork by members of the group.
Modernism and Turmoil
Paris was also a magnet for Jewish artists who left Russia and neighbouring countries in the early twentieth century, escaping oppression and poverty. Many artists, including Marc Chagall and Chaïm Soutine, lived and worked in the collection of studios known as La Ruche (the Beehive), in Montparnasse. These painters had a powerful influence on modernist figurative art.
Other Jewish artists, such as Ludwig Meidner, Martin Bloch and Arthur Segal, contributed to experimental art developments in Germany, including Expressionism and optical-effect painting.
Following the rise of Nazism in the 1930s, modernist art was denounced as degenerate. Jewish artists in Europe were particularly at risk. Soutine lived in hiding in France, while Chagall fled to America. Meidner, Bloch, and Segal escaped to Britain.
Many artists were among the German-speaking émigrés who were interned in Britain in 1940-41, during the Second World War. Making art, sometimes using improvised materials, provided an escape for many from the depressing experience of internment.
Fleeing Destruction
Polish artist Josef Herman’s painting of refugees captures the universal plight of all those who had to flee destruction or persecution in their homeland. A scene with the backdrop of a traditional village represents the settled life that many lost through devastating events.
The artworks in this section are related to the terrible destruction of the Holocaust unleashed in Nazi-controlled Europe during the Second World War. Jews were targeted for annihilation, and millions of other people also lost their lives because of their nationality, ethnic group, skin colour, religion, political beliefs, sexual orientation or disability.
Both Marc Chagall and Emmanuel Levy used traditional Christian imagery of crucifixion as a powerful symbol of the massacre of Jewish people. German-American satirist George Grosz showed the violent persecution of individuals. Art came out of tragic circumstances, and Leo Haas risked his life to make sketches of life in a concentration camp. Edith Kiss’s later sculpture was influenced by her experience of forced labour and imprisonment.
Post-War Britain
Artists who fled Nazism in Germany introduced new styles to Britain. However, some, like Erich Kahn and Else Meidner, suffered considerably from the traumatic disruption to their lives. Clara Klinghoffer fled to London from Amsterdam, having previously established a successful career painting striking portraits. From a younger generation, Eva Frankfurther and Frank Auerbach came to Britain as child refugees in 1939. Despite very different styles, they both identified with individual areas of London in their art.
Pictures by Frank Auerbach, Leon Kossoff and Ronald B Kitaj show how they adopted expressive styles to represent the identity and emotional character of a person, a place, or an experience. Contemporary painter Ansel Krut, from South Africa, also adopted an expressive style for his symbolic scene of impending sacrifice.
Recent Art
In these works, artists explore issues of group and individual identity through film, installation, photography and paintings. The artworks reflect the wide variety of the artists’ backgrounds and experiences. Coming right up to date, a specially commissioned film confronts the issue of migrant workers in London.
The themes include the clashing viewpoints of different communities and the conflict that can arise from passionate beliefs. The disorientation of refugee experience is strikingly illustrated in an image of a robed figure dragging a symbolic house in a Brazilian city. Similarly, massive portraits of asylum seekers in a style mimicking identity cards raise issues of self and individuality.
Aspects of female identity are also explored, while a photographic work celebrates the individual affirmation of a happy gay relationship. The concept of religion as an aspect of personal identity also features.
Ben Uri Gallery
The Ben Uri Art Society was founded in 1915 in London’s East End. Its original aim was to encourage Jewish artists who were struggling to gain acceptance by the art establishment of the time. Today, the Ben Uri Gallery has a wider focus, concentrating on art with the themes of migration and identity. It works with varied immigrant communities and artists of diverse backgrounds.
From its early days, Ben Uri purchased works of art, and held art classes, exhibitions, lectures, and concerts. Even during the Second World War, activities carried on, though the collection was stored in a basement for safety. Since then, Ben Uri has added innovative learning, well-being and outreach programmes, publications and a website to its exhibitions and acquisitions. During its history, Ben Uri Gallery has occupied a variety of tiny premises. In 2015, it began a major project to move to a new home.
In all its activities, Ben Uri Gallery explores the ways in which Britain’s rich cultural life has been enhanced and broadened by outsiders. It promotes the visual arts as a universal language that can encourage understanding in difficult and troubled times.
Watch a series of films with Chairman and Chief Executive David Glasser discussing the history of Ben Uri
Watch video about Ben Uri created for the 2015 Centenary celebrations
Visit the Ben Uri collection website
Blogs for further reading
Read about David Bomberg, Picasso and the Whitechapel boys in this informative blog by curator Sarah Richardson.
Another blog by Sarah tells the story of Chaïm Soutine, misfit artistic genius in 1930s Paris.
Out of Chaos - art that makes you think is Sarah's third blog, revealing background stories to some of the impressive contemporary and historical art in the exhibition.
Read about Marc Chagall’s ‘Apocalypse in Lilac’ with reference to Holocaust Memorial Day."
A man started heckling Obama, calling him a baby killer. People in the stands threw things at him before the police escorted him from the arena. He yelled so loud that I could barely hear the President. He was escorted out when he refused to calm down. A audience member who took this guy's hat off and threw it was also escorted out to his surprise. That was fair.
Fortune Brainstorm E 2015
SEPTEMBER 28–29, 2015: AUSTIN, TX, USA
Companies worldwide are navigating an epic business revolution driven by new sources of energy, disruptive technologies, and environmental pressures in a world slated to grow to 9 billion people, from 7 billion, by mid-century. The stakes are high, the risks are palpable, and the opportunities massive. In the race to create a more sustainable world, companies are exploring new technologies and inventing new business models. How will these new disruptive technologies—whether they are in solar, fracking, smart grids, self-driving cars, zero-emission buildings or safe chemicals—impact your business?
Fortune Brainstorm E: Where Energy, Technology, and Sustainability Meet will bring together the smartest people we know who are operating at the forefront of this revolution, including CEOs and senior executives, investors, policy makers, environmentalists, and thought leaders. We’ll challenge one another to explore the disruptive technologies and the new business models that will be needed to thrive in this age of rapid change. In two action-packed days, we’ll showcase the people, companies, ideas, and strategies that will bring about the transformational change the business world needs. We’ll gather September 28–29, 2015, in Austin, Texas.
The program will tackle tough questions: How is the energy revolution impacting the American economy and the way American corporations operate? Silicon Valley increasingly is applying new info-tech to our energy, transportation, water, and food systems. How can companies grow revenues and profits while reducing their environmental impact? Can wasteful consumerism be tamed? Will business lead a movement in Washington to fix today’s energy and environmental policies—which manage to be both ineffective and inefficient? If business is to help solve the world’s biggest environmental problems, and do so profitably, corporate executives, environmentalists, and politicians will need to innovate and collaborate, think big and act boldly.
Brainstorm E builds upon the distinguished legacy of Brainstorm GREEN, long the premier conference on business, sustainability, and green investing. It’s the optimal place to deliver fresh thinking, actionable solutions, and unparalleled opportunities to build top-level relationships.
Photograph by Stuart Isett/Fortune Brainstorm E
Yingluck Shinawatra and the Pheua Thai Party get their election posters up on Phetchburi Road.
Broadly the poster means, "Stay with the rules of law that safeguard democracy. Respect the public's decisions."
However, the tactic pursued by Suthep's minority anti government protest group (who want to return Thailand to Military Rule Endorsed by Absolute Monarchy) / and the minority Democrat Party, is to disrupt the coming elections by creating a situation in as many southern constituencies as possible where there are no candidates or, at the least, no opposition candidates fielded. This would lead to one of the pre-requisites for a democratic election as defined by the Thai constitution being removed.
- - - - -
Elements of Elections
Prerequisites
Asia Pacific Institute of Broadcasting Development
For an election to represent the true wishes of the people it must meet certain conditions. Among the most important features of a democratic election are:
1. Diversity in political parties and candidates so that the choice before voters is real, not illusory. An election dominated by a single significant party is unlikely to generate different visions and plans for the country, let alone debate around these. Without such an exchange of ideas in the public sphere, voters will not be equipped to select parties or candidates in an informed manner. Further, a party that is elected more or less unopposed will have no real reason to listen to the people. Such a situation is contrary to the basic idea of democracy.
2. Competing political parties must have freedom to campaign in the run-up to the election. This means they must be free to hold meetings and to communicate with voters about their ideologies and proposed policies and programmes – through meetings, pamphlets, advertisements or any other legitimate means, including new information and communications technologies. Without such communication, voters will not be in a position to learn about the ideas and solutions offered by different parties and candidates, especially those who are not yet in power.
3. Rules to govern the election must not only be in place but they must be widely known and observed. A credible, respected individual or organisation (such as an election commissioner/commission) must be charged with administering the rules. Courts must have jurisdiction over both the rules and the administration of the election so that election-related complaints can be dealt with by the judicial system. The rules should include strong and effective legal procedures against electionrelated corruption and violence. Nobody should be able to dictate to voters who they should vote for. If citizens are not protected from such violations of their rights, the outcome of the election will be questionable and people will feel cheated. Members of the public who are unhappy with election results may express their dissatisfaction through protests; some may even take steps towards establishing a different kind of government. There is likely to be more public trust in the elected government if people perceive that the election was conducted in a free and fair manner.
4. Most importantly, the public must be aware of the importance of voting as well as the choices with regard to candidates and voting procedures. Voters must have the opportunity to become interested in and knowledgeable about the election through access to non-partisan information presented in a manner that is not only comprehensible but also clarifies the connection between politics and the lives of ordinary people. Without such knowledge they will be vulnerable to manipulation, if not deception, by special interests. The media have a key role to play in providing citizens with the relevant, balanced information they need to do justice to their vital role as voters.
Colgate’s Career Services, in partnership with 12 other liberal arts institutions, hosted a dynamic afternoon series of speakers, breakout sessions, and a panel discussion as part of the Innovation + Disruption symposium in New York City this week.