PERIODICO DE AYER www.youtube.com/user/RANiEL1963#p/u/0/BNSb013wcfU

LOS ENTIERROS www.youtube.com/user/RANiEL1963#p/u/1/zu3sPt8zEpw

DE TODAS MANERAS ROSAS www.youtube.com/user/RANiEL1963#p/u/2/n1xG6hncg4U

LAS CARAS LINDAS www.youtube.com/user/RANiEL1963#p/u/3/BZ3w684Sfmg

PLANTACION ADENTRO www.youtube.com/user/RANiEL1963#p/u/4/b-Ap266F7g8

MAXIMO CHAMORO www.youtube.com/user/RANiEL1963#p/u/5/sKCx-DmE7Zk

LAMENTO DE CONCEPCION www.youtube.com/user/RANiEL1963#p/u/6/AXOAi4cWNtE

LA CURA www.youtube.com/user/RANiEL1963#p/u/7/iHnsIDlHECg

EVELIO Y LA RUMBA www.youtube.com/user/RANiEL1963#p/u/8/NWJCq_S7NQ0

IBABAILA www.youtube.com/user/RANiEL1963#p/u/9/Bn48g_0mK5Q

GUAKIA INC www.guakia.org/index.html

Based in Hartford, Connecticut, Guakía, Inc. is the premiere Puerto Rican cultural center in southern New England.

Our mission is "to provide a focal point for the promotion of the cultural identity and heritage of Puerto Ricans in the United States through the advancement of the groups' history, language, music, arts, literature, and other cultural characteristics; and to establish a center that will serve as a clearinghouse for the study, celebration, and exposition of the Puerto Rican/Hispanic culture available to all residents of the city of Hartford and the capital region."

This page is just the beginning of our new website, being built with the assitance of Trinity College's "Smart Neighborhood Plan," a project funded in large measure by grants from the W.K. Kellogg Foundation. Additional funding for Guakia's website has been received from the Hartford Foundation for Public Giving.

We hope that you will soon be able to learn more about our organizations' history by exploring the pages of this site as they become available. The site will include detailed information on Guakía's educational and arts programs, its community partnerships, and will also feature photos and video clips of participant children and youth. We also welcome inquiries about how to help support Guakía, Inc. as we seek to expand our children and youth programs.

To provide a focal point for the promotion of the cultural identity and heritage of Hispanics in the United States through the advancement of the groups history, language, music, arts, and literature and to establish a center that will serve as a clearinghouse for the study, celebration and exposition of Hispanic cultureavailable to all residents of Connecticut.

Vision and Goals

To be the premier non-profit Hispanic arts, cultural and humanities organization dedicated to enriching the value of the Hispanic community by promoting, preserving and celebrating its cultural heritage and diversity.

To help our youth develop a strong sense of self, maximize their talents, acquire vision, internalize learning and in turn impact others in a positive way, fostering harmonic diversity in our community. Founded in 1983, Guakía is the most prominent arts and cultural organization in Hartfords Hispanic community. The word, guakia, means we in Taino, the language of the original inhabitants of the Caribbean (pre-Columbus). The word guakia signifies the unity of the Hispanic community no matter where individuals may be living. Volunteer parents who felt that their children had lost contact with the traditions of their culture and heritage founded Guakía. They felt their children needed to connect with their heritage in order to develop a sense of pride, community and self-esteem. Originally, Guakía was focused on the culture of Puerto Rico, however in recent years, as the community has become more diverse and the needs have shifted, Guakías mission has been broadened to include all Hispanic cultures. Using a curriculum based on both Puerto Rican and Latin American music, dance, and art forms, Guakía provides a wide array of visual and performing arts initiatives such as folkloric dance, painting, ceramics, traditional Hispanic music, and art classes. The early sacrifices of parents, volunteers, and teachers gave Guakía strong roots in the Puerto Rican culture. These roots have now expanded and sprouted like a beautiful tree with many branches and leaves to include all Hispanic cultures.

זו הסדרה שהצגתי אתמול בארטישוק 3,

העוסקת בריצוד עיניים מהיר, מה שקורה כשאנחנו חולמים, ותוכן החלומות הללו.

המלל שהיה מצורף לעבודה:

הכול נעלם וחוזר ונעלם שוב במהירות עצומה כשאת מחוברת לאלקטרודות עיקשות, אפילו אם זה רק בראש שלך, במיטה הריקה שלך, בעייפות ובצמרמורות קשות העורף.

ערימות של נייר מזכירות לך שהליכה מתוך שינה זה מה שאת מבצעת כאשר את ערה לחלוטין. עם עוויתות פה ושם, המסייעות לך להפנים את עצם העובדה שאת בעצם חרדה ומשתוקקת לחזור לתרדמת.

היכן שהוא בתת מודע, את עוברת עוד אפיזודה שמראה לך כי גם בין אלפי תמונות את עדיין תיראי אותו הדבר. אם לא מבחוץ אז מבפנים, ואם לא מבפנים, אז לפחות יש לך מרשמים שיגרמו לך להמשיך לשכוח.

בין הסתערות אחת לשנייה ישנו מגע שפתיים בלתי נראה. חולמני. שקוף. את נושפת-שואפת וחוזרת חלילה אל אותן נוסטלגיות נושנות שתמיד שבות אלייך, גם אם כל השאר מתעלמים או בורחים.

זה הכול בראש שלך. האדום, המחנק, הכמיהה לשבור את רצף הטעויות.

הכול מהידיעה שההתבוננות הפנימית מציינת מראה שאת רק רוצה לשבור, לחתוך כמה חבלי לידה, לעצום עיניים, ולישון.

ולאנגלוסקסים שמבנינו:

This album contains the series I have show-cased last night at the ARTiSHOWk 3.

It deals with R.E.M - Rapid Eye Movement, which occurs when we are dreaming, and the content of those dreams.

This is the text that was attached to the series:

Everything disappears, comes back and disappears again tremendously fast when you're attached to stubborn electrodes, even though it's only in your head, in your empty bed, in your tiredness and your stiff-necked chills.

Piles of paper remind you that sleep-walking is what you do when you're wide awake. With some twitches here and there, that assist you to internalize the fact that you're actually anxious and craving to go back to your coma.

Somewhere in the subconscious, you go through another episode that shows you that even in thousands of photographs; you will still look the same. If not on the outside than on the inside, and if not on the inside, at least you have prescriptions to make you keep on forgetting.

Between one attack and another there's an invisible touch of lips. Dreamy, transparent. You Breathe in – breathe out into those old nostalgias that always come back to you, even if all the rest ignore you or just run away.

It's all in your head. The red, the asphyxiation, the craving to amputate the continuity of errors.

All from the knowledge that the introspection indicates a mirror that you just want to break, cut a few birth pangs, close your eyes, and sleep.

A CHRISTOPHER WHITBY PRIMER

96" x 176"

Drawing panels: 96" x 48" each

Gesso, acrylic, paper, hemp, wood maché, vellum

Sculpture: 77" x 24" x 24"

Modeling stand, metal, wood, wood maché, vellum, hemp, modeling paste, acrylic

While teaching at the La Jolla Art Center (now the San Diego

Museum of Contemporary Art) Robert Cremean would

often see the young son of his landlady playing in the yard,

most often riding his hobby horse. The image of the child

equestrian was indelible in the imagination of the artist who

first depicted him in sculpture in 1958 and again in 1960. The

child on the hobbyhorse appeared repeatedly thereafter both

in individual works and as a detail within much larger and

more comprehensive studio sections. These depictions were

done in wood maché, wood mortise, carved wood, graphite

drawings, modeling paste relief, gesso and in bronze. The most

extensive examination of Christopher Whitby was in THE

CHRISTOPHER WHITBY COLORING BOOK, 1990-1993.

In this final portrayal, many of the metaphorical images

depicted and analyzed by the artist during the whole of the

fifty-five year ride of the ever-young but spiritually and

intellectually maturing equestrian are once more revisited. It

appears that his and his horse’s expressions have radically

changed, as if the events confronted and experienced while

riding through that ever-present “valley of astonishment,”

contemplated by the artist decades earlier, have at last been

fully internalized. He remains a child but no longer is he naive.

Numerous questions arise when viewing this depiction:

could it really be a self-portrait of the artist whose memories

are so clearly made manifest in the drawings on the two wall

panels?; through time and sexual awakening and diminishment,

exactly whose passage was it?; have the artist and

the equestrian finally become one in which the boy is

becoming the horse and the horse the boy and the boy a

man?; does the amorphous naiveté of the child of first view

metamorphose into the startled cognizance of the second

view, the horse reacting with startled and rearing anger and

the equestrian of the third view resigned?; have the

equestrian and the horse finally become one both actually

and sexually?; do the panels serve as a defining retrospective

of so many of the ideas and events and thoughts through

which the horse and rider have ridden? And is A Christopher

Whitby Primer further evidence that the entire STUDIO

SECTION 2009-2015—Dorothy Laughing is, in fact, a multi-faceted retrospectiveof the artist’s work and his own abbreviated autobiography?

Closing Plenary Session: Imagine All the People

Imagine that you were born in the midst of a civil war, into bonded labor, or an overcrowded refugee camp. Imagine how the circumstances of your birth—your zip code, gender, or ethnicity—would severely restrict your opportunities. For too many this is not imagined, but a reality. As CGI members, we seek to create unrestricted opportunities for all. To succeed, we must imagine ourselves as others—internalizing the challenges facing people who are born into circumstances different from our own. We must commit our hearts and minds to effective empathy, cooperation, and action to create peace and prosperity for people everywhere. This session will explore the nature and science of empathy and imagine how each of us can apply it to our own work and lives.

REMARKS:

Chelsea Clinton, Vice Chair, Clinton Foundation

Donnel Baird, Chief Executive Officer, BlocPower

Bill Clinton, Founding Chairman, Clinton Global Initiative, 42nd President of the United States

MODERATOR:

Uzodinma Iweala, Co-Founder, Editor-In-Chief, and CEO, Ventures Africa Magazine

PARTICIPANTS:

Ben Affleck, Actor, Filmmaker and Founder, Eastern Congo Initiative

Chouchou Namegabe, Founding Member, South Kivu Women's Media Association

This archaeological museum for the remains of the 5,000-year-old Liangzhu Culture was conceived as a set of four bars of consistent width (18 m), clad in Iranian travertine. The surrouding water was supposedly the "organizing element." As the museum is set out on a peninsula, reached by bridges, and has minimal openings to the outside, it seems to largely shut out its context, except for carefully-selected views of the park. Open space is internalized as a set of courtyards, intended to link the exhibitions while also providing a place to relax in between them. The small island to the south is to be used for outdoor exhibitions. There is no fixed route through the galleries, and it's probably to the design's credit that despite beginning from basically a series of trailers (formally speaking) lined up alongside each other, it never feels particularly linear or confined. It is on the other hand rather disorienting; there's a sameyness to the space, to the point where you can arrive at the same courtyard several times from different entrances and really be totally uncertain which direction you're facing and which doors you haven't been into. (I can't help but be reminded of the ill-advised "maze" minigames which tended to pop up in late-eighties and early-nineties adventure games.)

I still can't sort out what I think about the overall premise of this, the whole parti of blocking out the context. First of all, the context isn't as bad as all that, and anyway, coming from a foreign architect it kind of seems snooty - "Ugh, contemporary China looks like Hell, do we have to look at that?" But if you set that angle aside, it's a perfectly legitimate strategy for a museum...keep people contemplative and free of distractions and noise, sure, I'm on board. And the curated landscape views are very nice. Chipperfield doesn't do a lot for me but I can't deny he's good at what he does.

Closing Plenary Session: Imagine All the People

Imagine that you were born in the midst of a civil war, into bonded labor, or an overcrowded refugee camp. Imagine how the circumstances of your birth—your zip code, gender, or ethnicity—would severely restrict your opportunities. For too many this is not imagined, but a reality. As CGI members, we seek to create unrestricted opportunities for all. To succeed, we must imagine ourselves as others—internalizing the challenges facing people who are born into circumstances different from our own. We must commit our hearts and minds to effective empathy, cooperation, and action to create peace and prosperity for people everywhere. This session will explore the nature and science of empathy and imagine how each of us can apply it to our own work and lives.

REMARKS:

Chelsea Clinton, Vice Chair, Clinton Foundation

Donnel Baird, Chief Executive Officer, BlocPower

Bill Clinton, Founding Chairman, Clinton Global Initiative, 42nd President of the United States

MODERATOR:

Uzodinma Iweala, Co-Founder, Editor-In-Chief, and CEO, Ventures Africa Magazine

PARTICIPANTS:

Ben Affleck, Actor, Filmmaker and Founder, Eastern Congo Initiative

Chouchou Namegabe, Founding Member, South Kivu Women's Media Association

Closing Plenary Session: Imagine All the People

Imagine that you were born in the midst of a civil war, into bonded labor, or an overcrowded refugee camp. Imagine how the circumstances of your birth—your zip code, gender, or ethnicity—would severely restrict your opportunities. For too many this is not imagined, but a reality. As CGI members, we seek to create unrestricted opportunities for all. To succeed, we must imagine ourselves as others—internalizing the challenges facing people who are born into circumstances different from our own. We must commit our hearts and minds to effective empathy, cooperation, and action to create peace and prosperity for people everywhere. This session will explore the nature and science of empathy and imagine how each of us can apply it to our own work and lives.

REMARKS:

Chelsea Clinton, Vice Chair, Clinton Foundation

Donnel Baird, Chief Executive Officer, BlocPower

Bill Clinton, Founding Chairman, Clinton Global Initiative, 42nd President of the United States

MODERATOR:

Uzodinma Iweala, Co-Founder, Editor-In-Chief, and CEO, Ventures Africa Magazine

PARTICIPANTS:

Ben Affleck, Actor, Filmmaker and Founder, Eastern Congo Initiative

Chouchou Namegabe, Founding Member, South Kivu Women's Media Association

Detail from the right panel of the Triptych, CHAOS, of MARTYRS OF THE CITIES OF THE PLAIN, the Feminine Entelechy. Below is a transcription of the handwritten text above:

[Desire]

I am the vision of Being….Radiating from the center of Chaos through the grid of chance I seek what I see…I see what I seek….I see chaos and seek its meaning. I seek meaning and see myself. Without me, there is nothing…I am the creator of all I seek….I have created Being to encompass me. As I create, am I created….I am Desire, a force radiating and penetrating…Pushing out the walls of Being to be shaped and shorn through the gridding fields of chaos….I encounter chance at intersections of direction forming angled mirrors of reflection…illuminating Being with the force of becoming….As I generate, I am regenerated forcing myself through the motes of chaos toward the receding edges of nullity….Chance warps me…weaves me…twists and deflects me. Still, I persist…illuminating the colliding motes with the duality of choice…reflecting fields of possibility….without the control of Being, I am derelict…without reflection I do not exist. Being portrays my isness on the staining walls of process through a tapestry of containment…a warping, weaving, shuttling manufacture of whole cloth to scrim and filter the nullity of chaos…lidded, in hiatus, I recreate my journey through the void in dreams of accommodation…running ’round and ’round like a rat in a wheel sparking glimpses of semblance on the walls of becoming….Held, contained, I run through the myths and manufacture of containment until the tapestry enfolds the inner space with suffocating absence….Being, in an act of survival, forces the lid and I am freed to once again occur the grids of chaos…turned outward toward the beginning of light, I am recorded through mimic and manifest on the evolving walls of Being…an etch of convenience….In symbiotic collusion, I sleep and wake through the necessities of becoming….Internalized, I engage the sphere of volition…imitator of chaos….I am measured on the scale of comprehension: impulse, instinct, intuition, longing, belief, passion, ecstasy…all words of survival…I am employed in constant generation…from macros to micros, survival is the object of desire. I seek it…and I seek no other…turned outward or inward, I range the infinities in search of furtherance….I am of simple compose…direct and complete….I am light in search of light…I am shadow in search of shadow. Amoral, I am the raw energy of becoming….Through lenses that enhance me, I search chaos for the beginning…and the end. Born of the middle, I am in constant re-creation…in constant search…in constant search….Chance preceded me, and I acknowledge the precedence of chance…but no other. I have created Being and I will re-create Being from the dualities of perception…from the light of beginnings and the shadows of endings it is Desire who shapes the masses, defines the edges, and informs the details of becoming…It is through what I see…and what I seek to see which forms the contours and concepts of Being…I seek no repose….It is Being who lids my eye for dreaming…and…in dream I etch her walls with light…I etch the walls of Being with transfigured light…with remembered light. Being has invented time to contain me…I, who am the mother of Being, am controlled by Being…It is the blinking eye of Desire that marks the pace and cadence of becoming…and it is Being who lids and unlids the eye….I am the vision of Being and am directed by Being…out unto the grids of chaos or in unto the chambers of becoming…lover, servant, savior, creator…I search the infinities for survival…

"MARTYRS OF THE CITIES OF THE PLAIN examines the First Holocaust. Based on the blue triangle that descends the back panel of PROCRUSTES IN SITU, the third section of the Trilogy concerns itself with the destruction of the cities Admah, Gomorrah, Sodom, and Zeboiim which the Old Testament attributes to the wrath of God. It examines the procrustean constrictions of patriarchy and the liberating challenge of feminine entelechy through the songs of Procrustes and the opposing chants of Chance, Being, and Desire. Masculine gestalt versus feminine insurrection." Robert Cremean

Collection:

Fresno Art Museum

Fresno, California

PERIODICO DE AYER www.youtube.com/user/RANiEL1963#p/u/0/BNSb013wcfU

LOS ENTIERROS www.youtube.com/user/RANiEL1963#p/u/1/zu3sPt8zEpw

DE TODAS MANERAS ROSAS www.youtube.com/user/RANiEL1963#p/u/2/n1xG6hncg4U

LAS CARAS LINDAS www.youtube.com/user/RANiEL1963#p/u/3/BZ3w684Sfmg

PLANTACION ADENTRO www.youtube.com/user/RANiEL1963#p/u/4/b-Ap266F7g8

MAXIMO CHAMORO www.youtube.com/user/RANiEL1963#p/u/5/sKCx-DmE7Zk

LAMENTO DE CONCEPCION www.youtube.com/user/RANiEL1963#p/u/6/AXOAi4cWNtE

LA CURA www.youtube.com/user/RANiEL1963#p/u/7/iHnsIDlHECg

EVELIO Y LA RUMBA www.youtube.com/user/RANiEL1963#p/u/8/NWJCq_S7NQ0

IBABAILA www.youtube.com/user/RANiEL1963#p/u/9/Bn48g_0mK5Q

GUAKIA INC www.guakia.org/index.html

Based in Hartford, Connecticut, Guakía, Inc. is the premiere Puerto Rican cultural center in southern New England.

Our mission is "to provide a focal point for the promotion of the cultural identity and heritage of Puerto Ricans in the United States through the advancement of the groups' history, language, music, arts, literature, and other cultural characteristics; and to establish a center that will serve as a clearinghouse for the study, celebration, and exposition of the Puerto Rican/Hispanic culture available to all residents of the city of Hartford and the capital region."

This page is just the beginning of our new website, being built with the assitance of Trinity College's "Smart Neighborhood Plan," a project funded in large measure by grants from the W.K. Kellogg Foundation. Additional funding for Guakia's website has been received from the Hartford Foundation for Public Giving.

We hope that you will soon be able to learn more about our organizations' history by exploring the pages of this site as they become available. The site will include detailed information on Guakía's educational and arts programs, its community partnerships, and will also feature photos and video clips of participant children and youth. We also welcome inquiries about how to help support Guakía, Inc. as we seek to expand our children and youth programs.

To provide a focal point for the promotion of the cultural identity and heritage of Hispanics in the United States through the advancement of the groups history, language, music, arts, and literature and to establish a center that will serve as a clearinghouse for the study, celebration and exposition of Hispanic cultureavailable to all residents of Connecticut.

Vision and Goals

To be the premier non-profit Hispanic arts, cultural and humanities organization dedicated to enriching the value of the Hispanic community by promoting, preserving and celebrating its cultural heritage and diversity.

To help our youth develop a strong sense of self, maximize their talents, acquire vision, internalize learning and in turn impact others in a positive way, fostering harmonic diversity in our community. Founded in 1983, Guakía is the most prominent arts and cultural organization in Hartfords Hispanic community. The word, guakia, means we in Taino, the language of the original inhabitants of the Caribbean (pre-Columbus). The word guakia signifies the unity of the Hispanic community no matter where individuals may be living. Volunteer parents who felt that their children had lost contact with the traditions of their culture and heritage founded Guakía. They felt their children needed to connect with their heritage in order to develop a sense of pride, community and self-esteem. Originally, Guakía was focused on the culture of Puerto Rico, however in recent years, as the community has become more diverse and the needs have shifted, Guakías mission has been broadened to include all Hispanic cultures. Using a curriculum based on both Puerto Rican and Latin American music, dance, and art forms, Guakía provides a wide array of visual and performing arts initiatives such as folkloric dance, painting, ceramics, traditional Hispanic music, and art classes. The early sacrifices of parents, volunteers, and teachers gave Guakía strong roots in the Puerto Rican culture. These roots have now expanded and sprouted like a beautiful tree with many branches and leaves to include all Hispanic cultures.

Hubert Scheibl, 1952 "... und dahinter die Unendlichkeit (2001: Odysee im Weltraum) "and Infinity Beyond" (2001: A Space Odyssey), 2003-2005 (Albertina - Sammlung Batliner)

The Play between Realism and Vagueness

Already in 1990, the Vienna-based painter Hubert Scheibl was exhibited in New York side by side with American Ross Bleckner. Scheibl's paintings are abstract and impressive because of their sheer seize, atmosphere, and spatial depth. Also, they are informed by latent representationalism. His painting style if often compared to Gerhard Richter. What they have in common, though, ist only the painting tool, the broad squeegee, which they both use: for while Richter unfolds no painterly space, applying many consecutive layers of paint to the canvas, Scheibl builds his pictorial space already with the first layer of paint. He first lays the paint on with a brush and then smoothens it out with a squeegee. He then places broad brushstrokes, some with deliberation, others randomly, on this grounding. If placed in the bottom area of the painting, these brushstrokes create the impression of a horizon, evoking in the viewer mental images of landscapes, oceans, or far-out galaxies.

Ross Bleckner's career started out in the 1980s in New York, where he exhibited together with friends and exponents of "New Painting," with Julian Schnabel, Eric Fischl, and David Salle. His oeuvre is comprised of widely different groups of works: paintings about AIDS, night skies, pictures of birds, flowers, and human cells. Ever since the AIDS crisis of the 1980s, Ross Bleckner has internalized a strong sense of human mortality. He executes his floral paintings with fastidious care like still lifes. The he pulls a squeegee across the still wet canvas, blurring contours and details to the point of making them unrecognizable. This play between realism and blurry vagueness is what Bleckner has in common with both Gerhard Richter and Hubert Scheibl. For Bleckner, the quiet disappearance of the representational speaks of the transient nature of the world. For Hubert Scheibl, on the other hand, blurriness is what affords viewers freedom of association.

Das Spiel zwischen Realismus und Unschärfe

Bereits 1990 ist der in Wien tätige Hubert Scheibl mit dem Amerikaner Ross Bleckner in einer Ausstellung in New zu sehen. Scheibls Bilder sind abstrakt und beeindrucken durch ihre Größe, Atmosphäre und räumliche Tiefe. Zugleich sind sie jedoch von einer unterschwelligen Gegenständlichkeit bestimmt. Seine Malerei wird of mit der von Gerhard Richter verglichen. Die Gemeinsamkeiten beschränken sich allerdings auf da Malwerkzeug, die breite Spachtel, die beiden verwenden: Denn während Gerhard Richter keinen malerischen Raum aufbaut, baut Hubert Scheibl seinen Bildraum bereits mit der ersten Malschicht auf. Er trägt die Farben zunächst mit dem Pinsel auf und zieht sie dann mit der Spachtel glatt ab. Dann setzt er einzelne breite Pinselstriche auf den Untergrund, teils planvoll, teils zufallsgesteuert. Werden die Pinselstriche am unteren Rand der Bilder platziert, wirken sie wie ein Horizont und lassen im Kopf des Betrachters Bilder von Landschaften, Meeren oder weit entfernten Galaxien entstehen.

Ross Bleckners Karrier beginnt in den 1980er-Jahren in New York, wo er mit befreundeten Vertretern der sogenannten "Neuen Malerei" ausstellt, mit Julian Schnabel, Eric Fischl und David Salle. Sein Oeuvre umfasst ganz unterschiedliche Werkgruppen: Bilder, die Aids zum Thema haben, Nachthimmel, Vogelgemälde, Blumenbilder und menschliche Zellen. Seit der Aids-Krise in den 1980er-Jahren hat Ross Bleckner das Gefühl der Sterblichkeit verinnerlicht. Seine Blumenbilder malt er so sorgfältig wie Stillleben. Dann zieht er eine breite Spachtel über die noch nasse Farbe und verwischt Details und Umrisse der Gegenstände bis zur Unkenntlichkeit. Das Spiel zwischen Realismus und Unschärfe hat er bis zu dieser Zeit mit Gerhard Richter und Hubert Scheibl gemeinsam. Für Ross Bleckner handelt dieses leise Verschwinden des Gegenständlichen von der Vergänglichkeit der Welt. Für Hubert Scheibl hingegen verschafft die Unschärfe dem Betrachter die Freiheit zu Assoziationen.

The focus of Albertina Contemporary Art is on the art of the second half of the 20th century. Both the stars and the diversity of post-1945 art will be on display: works by Anselm Kiefer, Gerhard Richter, Arnulf Rainer, Georg Baselitz, Alex Katz and Maria Lassnig, among others, form the centerpiece of this year's presentation of contemporary positions from the ALBERTINA.

Around 80 masterpieces illustrate the multi-faceted artistic production, ranging from hyperrealism to abstraction, from facets of aesthetics of color to political topics, and illustrate the complex parallel currents of the past decades.

Der Fokus von Albertina Contemporary Art liegt auf der Kunst der zweiten Hälfte des 20. Jahrhunderts. Gezeigt werden sowohl die Stars als auch die Vielfalt der Kunst nach 1945: Werke von Anselm Kiefer, Gerhard Richter, Arnulf Rainer, Georg Baselitz, Alex Katz und Maria Lassnig bilden neben anderen das Zentrum der diesjährigen Präsentation zeitgenössischer Positionen aus der ALBERTINA.

Rund 80 Meisterwerke illustrieren die facettenreiche künstlerische Produktion, die von Hyperrealismus bis Abstraktion, von farbästhetischen bis zu politischen Themen reicht, und veranschaulichen die komplexen parallelen Strömungen der vergangenen Jahrzehnte.

www.albertina.at/ausstellungen/albertina-contemporary-art/

with cooperativ regards,

edgar neo

t: +31(0)84-0032893

e: edgarneo@gmail.com

========================

sent via my iPhone 3G 2.1 :-D

- Posted using www.mobypicture.com

ORLANDO, Fla. - Army Brig. Gen. Francisco Espaillat, commanding general of the 143d Sustainment Command (Expeditionary) conducted an officer professional development brief for Army Reserve Officers' Training Corps cadets April 9, 2015 at the University of Central Florida.

The officers in training listened

attentively to Espaillat as he gave his perspective on leadership, command, and officer expectations. They also heard him provide an overview of the

143d ESC mission and structure as well as heard him stress the importance of living and internalizing the Army Values. The Fighting Knights Battalion

at UCF is not only one of the best ROTC programs in the county, it is also one of the country's largest ROTC programs with close to 220 cadets.

Photos by Army Lt. Col. Christopher West and Army Chief Warrant Officer 3 Desiree Felton, 143d ESC

-Dale Carnegie

These are words I ought to internalize.

Last night we went to a wonderful outdoor birthday party for a very special one-year-old. Good friends, good food, a drum circle, and a bonfire -- what more could one ask for?

For the sixty-four colors group (each week we take a photo representing a different color in a pack of sixty-four crayola crayons). This week's color: orange

In 2002 Pope John Paul II announced five new mysteries to the rosary, called the Luminous Mysteries. They were introduced in his Apostolic Letter Rosarium Virginis Mariae. Before the addition of these mysteries, there were 15 mysteries ― five Joyous, five Sorrowful and five Glorious ― known as the whole Rosary. The Hail Marys in these 15 mysteries along with the three preliminary Hail Marys, would number153, if you continue reciting the 15 mysteries, one after another. (It should be noted that a third of the whole rosary is also called a Rosary.)

Praying the Rosary was part of the message of Fatima of 1917. It's interesting to realize that the span of time covered by Mary's appearances at Fatima, from May 13th to October 13th, adds up to153 as well―153 days. You may do the addition of the days yourself: May (18); June (30); July (31); August (31); September (30); and October (13).

There is something else about that figure of 153 that could be associated with the rosary. The number 153 is found in Scripture, in John 21:4-13. It's the number of fish caught at the direction of Christ and hauled ashore in a net. So what might 153 fish have to do with the Rosary?

Consider this footnote in the Gospel of John, found in a Spanish language Bible, La Nueva Biblia - Latinoamerica, Juan 21: Los apostoles arrastran en sus redes 153 peces grandes: Ahora bien, en ese tiempo el numero conocido de las naciones del universo era 153; de moda que la pesca milagrosa representa la accion de la iglesia. Los Pastores de la iglesia llevaran en sus redes hacia Cristo a todas las naciones de la tierra.

(The apostles dragged in their nets153 big fish. Now then, at that time the number of known nations in the world was 153. This way the miracle of the fish represents the action of the church. The shepherds of the church carried in their nets toward Christ all the nations of the earth).

At Fatima the Blessed Virgin Mary asked that the Rosary be prayed for peace in the world. Jesus told Peter in Matt. 4:19, "I will make you fishers of men." In John 21:9-10 when they came ashore, they saw a fish laid on the coals. Jesus said to His disciples: "Bring hither of the fishes which you have now caught." The fish was not only a symbol for Christ, but it represented his followers as well. It could just as well represent the nations Christianized. Jesus would want the whole world to come unto Him.

The Greek word ichthus, meaning fish, spells out the initial letter or two of the words in the Greek phrase Iesous Christos, Theou Uios, Soter (Ιησους Χρίστός Θεου Υιός Σωτήρ). It sums up a some very important facts about Our Lord, and when you think about it, it goes along with the Rosary which is Christ-centered. Pope John Paul II said in his Apostolic Letter, "The Rosary, though clearly Marian in character, is at heart a Christocentric prayer." Even the last two Glorious Mysteries with their focus on Mary, tell us how Jesus honored His mother.

Is there a linkage of the 153 Hail Marys, the 153 days of Fatima and the 153 fish? I believe all three can be associated together. The Rosary's meant for meditation and we can "set out into the deep," cast our net into the depths, contemplate the mysteries, and hope to come up with something more Christlike—and pray to internalize it in our lives and the lives of others in the world.

If you want to use your imagination, think of the Rosary beads being like floats on a net. Visualize the loop of beads being drawn across the surface of the water, and down in the water, the net to catch the minds and hearts of men, which drawn forth, bring a better world to the earthly shore.

The man depicted is holding his rehabilitation papers, documents in which the Russian state declares him a free man with a restored name. Freedom after the Gulag, however, was often a mixed experience. Many former inmates remained under travel restrictions and could live only in certain areas. The stigma of having been a prisoner in the Gulag also made it difficult to advance professionally. The artist himself was denied promotion in his artist’s union years after he had been released and Stalin’s cult denounced. Many former prisoners internalized the stigma. They felt somehow different, even guilty, notwithstanding the fact that they knew they had done nothing wrong. In 1991, President Boris Yeltsin of Russia issued a decree that would provide monetary compensation for survivors of the Gulag. The former prisoners would be paid a sum prorated for the amount of time served. The lump sum which Getman received was small, approximately the same as his pension of $50 per month. When he received his rehabilitation papers, Getman personalized the original of this painting by affixing his rehabilitation documents to the man's hands.

Some of us take safety for granted, some have their safety threatened every day, and still, some feel they are safe until those feelings are shattered by an unanticipated act of violence. While we have a visual language for safety, usually embodying various orange objects and signs, it is our shared interpretation and internalization of these symbols that create the safety we take for granted. Join SPACES for monthly discussions on the right and expectation to safety and how we as a community can work together to expand safety to all as we speak with marginalized groups and youth activists, discuss power dynamics, and focus on how we can change and do better together. FREE and open to the public as part of FRONT International and "A Color Removed."

According to a 2016 FBI report, hate crimes are on the rise with increasing attacks against Jews, Muslims and LGBT people. Additionally, individuals with mental illness are more likely to face violent victimization. Join SPACES for a conversation about how these communities cope with safety issues and what you can do to prevent violence against them.

MODERATOR Sharyna C. Cloud (Peacemakers Alliance)

Sharyna C. Cloud has a passion for community enhancement, empowerment and education, evident in her career history. Her legacy includes work in the criminal justice and the social service arena spanning over 27 years. Her successful engagement within the city of Cleveland provided unmatched insight and experience, evolving to her current role as the Executive Director of the Cleveland Peacemakers Alliance, an organization that provides prevention and intervention alternatives to the most at risk youth and young adults who are victims and/or perpetrators of gun violence within the city of Cleveland.

Ashley Hartman (Recovery Resources)

Ashley Hartman is the Coordinator of Training and Wellness at Recovery Resources, a community mental health agency in Cleveland. Recovery Resources helps people triumph over mental illness, alcoholism, drug and other addictions. Ashley is proud to be part of this work as an educator, trainer, and advocate.

Jazmin Long (Global Cleveland)

Jazmin oversees all welcoming activities that engage organizations and communities in supporting and engaging Greater Cleveland’s 115+ various ethnic groups in immigrant integration efforts. As the Deputy Director, Jazmin works closely with the President to chart Global Cleveland’s future growth and strategic response to an ever-increasing demand for the organization’s services. Additionally, she works to establish partnerships that focus on empowering people and neighborhoods through economic development tools.

Phyllis Harris (THe LGBT Center of Cleveland)

A Cleveland native, Phyllis "Seven" Harris has nearly two decades of leadership experience in local nonprofits, includes program management and development, fundraising, and senior-level executive positions. For many years, she also has played a strong role as an advocate in Cleveland’s LGBT community. Previously Ms. Harris worked at Planned Parenthood of Northeast Ohio, where she oversaw youth engagement programming. She has served as director of education and advocacy with the Cleveland Rape Crisis Center, was vice president of programs and interim CEO with Big Brothers Big Sisters of Greater Cleveland, and capital campaign director at the Cleveland Sight Center. Her involvement with Cleveland nonprofit leadership includes roles on the governing boards of the LGBT Center, SPACES, and Community Shares of Greater Cleveland. Ms. Harris holds a master’s degree in non-profit management from Case Western Reserve University and a Bachelor of Arts from Baldwin Wallace College. She lives in Shaker Heights and is the proud mother of two children.

John H. Flores (Social Justice Institute at Case Western Reserve University)

John H. Flores is a Professor of Immigration History and the Interim Co-Director of the Social Justice Institute at Case Western Reserve University. He specializes in Mexican American history, and his research examines the history of immigration and citizenship in the United States.

Paul D. Fitzpatrick (Peacemakers Alliance)

Paul D. Fitzpatrick is a Cleveland native and Marine Corp. veteran who spent 18 ½ years in an Ohio prison and has over 20 years in recovery from both alcohol and drug addiction. He is an accomplished motivational Speaker who uses his life experiences to relate to his audiences. Currently he is the Doby Fellow for the Cleveland Peacemakers Alliance where he coordinates youth outreach programming, staff training, and a mentorship program designed to partner 15 - 25 year old Cleveland area at risk youth with Public Safety Personnel. Mr. Fitzpatrick Is an undergraduate at Cleveland State University at the Levine School of Urban Affairs Majoring in Economic Development. He holds Associate level degrees from both Ohio University and The University of Finley in Business Administration and Sociology. Mr. Fitzpatrick Interned at the ADAMHS Board of Cuyahoga County under both his mentor Bill Denihan and the late Valeria Harper where he worked specifically on the Fentanyl/Opioid epidemic.

Some of us take safety for granted, some have their safety threatened every day, and still, some feel they are safe until those feelings are shattered by an unanticipated act of violence. While we have a visual language for safety, usually embodying various orange objects and signs, it is our shared interpretation and internalization of these symbols that create the safety we take for granted. Join SPACES for monthly discussions on the right and expectation to safety and how we as a community can work together to expand safety to all as we speak with marginalized groups and youth activists, discuss power dynamics, and focus on how we can change and do better together. FREE and open to the public as part of FRONT International and "A Color Removed."

According to a 2016 FBI report, hate crimes are on the rise with increasing attacks against Jews, Muslims and LGBT people. Additionally, individuals with mental illness are more likely to face violent victimization. Join SPACES for a conversation about how these communities cope with safety issues and what you can do to prevent violence against them.

MODERATOR Sharyna C. Cloud (Peacemakers Alliance)

Sharyna C. Cloud has a passion for community enhancement, empowerment and education, evident in her career history. Her legacy includes work in the criminal justice and the social service arena spanning over 27 years. Her successful engagement within the city of Cleveland provided unmatched insight and experience, evolving to her current role as the Executive Director of the Cleveland Peacemakers Alliance, an organization that provides prevention and intervention alternatives to the most at risk youth and young adults who are victims and/or perpetrators of gun violence within the city of Cleveland.

Ashley Hartman (Recovery Resources)

Ashley Hartman is the Coordinator of Training and Wellness at Recovery Resources, a community mental health agency in Cleveland. Recovery Resources helps people triumph over mental illness, alcoholism, drug and other addictions. Ashley is proud to be part of this work as an educator, trainer, and advocate.

Jazmin Long (Global Cleveland)

Jazmin oversees all welcoming activities that engage organizations and communities in supporting and engaging Greater Cleveland’s 115+ various ethnic groups in immigrant integration efforts. As the Deputy Director, Jazmin works closely with the President to chart Global Cleveland’s future growth and strategic response to an ever-increasing demand for the organization’s services. Additionally, she works to establish partnerships that focus on empowering people and neighborhoods through economic development tools.

Phyllis Harris (THe LGBT Center of Cleveland)

A Cleveland native, Phyllis "Seven" Harris has nearly two decades of leadership experience in local nonprofits, includes program management and development, fundraising, and senior-level executive positions. For many years, she also has played a strong role as an advocate in Cleveland’s LGBT community. Previously Ms. Harris worked at Planned Parenthood of Northeast Ohio, where she oversaw youth engagement programming. She has served as director of education and advocacy with the Cleveland Rape Crisis Center, was vice president of programs and interim CEO with Big Brothers Big Sisters of Greater Cleveland, and capital campaign director at the Cleveland Sight Center. Her involvement with Cleveland nonprofit leadership includes roles on the governing boards of the LGBT Center, SPACES, and Community Shares of Greater Cleveland. Ms. Harris holds a master’s degree in non-profit management from Case Western Reserve University and a Bachelor of Arts from Baldwin Wallace College. She lives in Shaker Heights and is the proud mother of two children.

John H. Flores (Social Justice Institute at Case Western Reserve University)

John H. Flores is a Professor of Immigration History and the Interim Co-Director of the Social Justice Institute at Case Western Reserve University. He specializes in Mexican American history, and his research examines the history of immigration and citizenship in the United States.

Paul D. Fitzpatrick (Peacemakers Alliance)

Paul D. Fitzpatrick is a Cleveland native and Marine Corp. veteran who spent 18 ½ years in an Ohio prison and has over 20 years in recovery from both alcohol and drug addiction. He is an accomplished motivational Speaker who uses his life experiences to relate to his audiences. Currently he is the Doby Fellow for the Cleveland Peacemakers Alliance where he coordinates youth outreach programming, staff training, and a mentorship program designed to partner 15 - 25 year old Cleveland area at risk youth with Public Safety Personnel. Mr. Fitzpatrick Is an undergraduate at Cleveland State University at the Levine School of Urban Affairs Majoring in Economic Development. He holds Associate level degrees from both Ohio University and The University of Finley in Business Administration and Sociology. Mr. Fitzpatrick Interned at the ADAMHS Board of Cuyahoga County under both his mentor Bill Denihan and the late Valeria Harper where he worked specifically on the Fentanyl/Opioid epidemic.

with cooperativ regards,

edgar neo

t: +31(0)84-0032893

e: edgarneo@gmail.com

========================

sent via my iPhone 3G 2.1 :-D

- Posted using www.mobypicture.com

The Marcel we never get to see: the student, striving to internalize and master the lessons of his peers and elders, like Matisse and Derain. One of his last volumetric representations, before he took his Cubo-Futurist leap with the chess paintings and "Nude Descending a Staircase."

Everett has internalized the ever-present Madagascar 3 ads...

Closing Plenary Session: Imagine All the People

Imagine that you were born in the midst of a civil war, into bonded labor, or an overcrowded refugee camp. Imagine how the circumstances of your birth—your zip code, gender, or ethnicity—would severely restrict your opportunities. For too many this is not imagined, but a reality. As CGI members, we seek to create unrestricted opportunities for all. To succeed, we must imagine ourselves as others—internalizing the challenges facing people who are born into circumstances different from our own. We must commit our hearts and minds to effective empathy, cooperation, and action to create peace and prosperity for people everywhere. This session will explore the nature and science of empathy and imagine how each of us can apply it to our own work and lives.

REMARKS:

Chelsea Clinton, Vice Chair, Clinton Foundation

Donnel Baird, Chief Executive Officer, BlocPower

Bill Clinton, Founding Chairman, Clinton Global Initiative, 42nd President of the United States

MODERATOR:

Uzodinma Iweala, Co-Founder, Editor-In-Chief, and CEO, Ventures Africa Magazine

PARTICIPANTS:

Ben Affleck, Actor, Filmmaker and Founder, Eastern Congo Initiative

Chouchou Namegabe, Founding Member, South Kivu Women's Media Association

Brigadier General (BG) Francisco Espaillat, commanding general of the 143d Sustainment Command (Expeditionary), conducted an officer professional development brief for Senior Army Reserve Officers’ Training Corps cadets April 22, 2015 at the University of Florida at Gainesville. The officers in training of the Fighting Gator Battalion listened attentively to BG Espaillat as he gave his personal perspective on leadership, command, and officer expectations. They also heard him provide an overview of the 143d ESC’s mission and structure, as well as heard him stress the importance of living and internalizing the Army Values. ​

Photos by Army Lt. Col. Christopher West, 143d ESC

​

GUAKIA, Inc. www.guakia.org/stories.html

75 Charter Oak Avenue

Hartford, CT 06106-1903

(860) 548-9555

GUAKIA SHOWCASE , ALEGRIA BOMBA E www.youtube.com/user/RANiEL1963#p/u/0/u7VX8w00Lnw

GUAKIA SHOWCASE , OBSESION www.youtube.com/user/RANiEL1963#p/u/1/flZeQBkAYqY

GUAKIA SHOWCASE , BOMBA DANCERS www.youtube.com/user/RANiEL1963#p/u/2/xqmHaY8Bi98

GUAKIA SHOWCASE , SALSA DANCERS www.youtube.com/user/RANiEL1963#p/u/3/kkgLiu1Pxwc

Guakia Showcase, Jennifer Murillo, DICEN QUE SOY www.youtube.com/user/RANiEL1963#p/u/4/fb8WWZHomr8

GUAKIA SHOWCASE, Jennifer Murillo, AT LAST www.youtube.com/user/RANiEL1963#p/u/5/mv_HtVudwts

Based in Hartford, Connecticut, Guakía, Inc. is the premiere Puerto Rican cultural center in southern New England.

Our mission is "to provide a focal point for the promotion of the cultural identity and heritage of Puerto Ricans in the United States through the advancement of the groups' history, language, music, arts, literature, and other cultural characteristics; and to establish a center that will serve as a clearinghouse for the study, celebration, and exposition of the Puerto Rican/Hispanic culture available to all residents of the city of Hartford and the capital region."

This page is just the beginning of our new website, being built with the assitance of Trinity College's "Smart Neighborhood Plan," a project funded in large measure by grants from the W.K. Kellogg Foundation. Additional funding for Guakia's website has been received from the Hartford Foundation for Public Giving.

We hope that you will soon be able to learn more about our organizations' history by exploring the pages of this site as they become available. The site will include detailed information on Guakía's educational and arts programs, its community partnerships, and will also feature photos and video clips of participant children and youth. We also welcome inquiries about how to help support Guakía, Inc. as we seek to expand our children and youth programs.

To provide a focal point for the promotion of the cultural identity and heritage of Hispanics in the United States through the advancement of the group’s history, language, music, arts, and literature and to establish a center that will serve as a clearinghouse for the study, celebration and exposition of Hispanic culture…available to all residents of Connecticut.

Vision and Goals

To be the premier non-profit Hispanic arts, cultural and humanities organization dedicated to enriching the value of the Hispanic community by promoting, preserving and celebrating its cultural heritage and diversity.

To help our youth develop a strong sense of self, maximize their talents, acquire vision, internalize learning and in turn impact others in a positive way, fostering harmonic diversity in our community.

Founded in 1983, Guakía is the most prominent arts and cultural organization in Hartford’s Hispanic community. The word, guakia, means “we” in Taino, the language of the original inhabitants of the Caribbean (pre-Columbus). The word guakia signifies the unity of the Hispanic community no matter where individuals may be living. Volunteer parents who felt that their children had lost contact with the traditions of their culture and heritage founded Guakía. They felt their children needed to connect with their heritage in order to develop a sense of pride, community and self-esteem. Originally, Guakía was focused on the culture of Puerto Rico, however in recent years, as the community has become more diverse and the needs have shifted, Guakía’s mission has been broadened to include all Hispanic cultures. Using a curriculum based on both Puerto Rican and Latin American music, dance, and art forms, Guakía provides a wide array of visual and performing arts initiatives such as folkloric dance, painting, ceramics, traditional Hispanic music, and art classes. The early sacrifices of parents, volunteers, and teachers gave Guakía strong roots in the Puerto Rican culture. These roots have now expanded and sprouted like a beautiful tree with many branches and leaves to include all Hispanic cultures.

@Ghandruk

ORLANDO, Fla. - Army Brig. Gen. Francisco Espaillat, commanding general of the 143d Sustainment Command (Expeditionary) conducted an officer professional development brief for Army Reserve Officers' Training Corps cadets April 9, 2015 at the University of Central Florida.

The officers in training listened

attentively to Espaillat as he gave his perspective on leadership, command, and officer expectations. They also heard him provide an overview of the

143d ESC mission and structure as well as heard him stress the importance of living and internalizing the Army Values. The Fighting Knights Battalion

at UCF is not only one of the best ROTC programs in the county, it is also one of the country's largest ROTC programs with close to 220 cadets.

Photos by Army Lt. Col. Christopher West and Army Chief Warrant Officer 3 Desiree Felton, 143d ESC

There is a growth hormone for the spirit that can only be found in quiet, when all of your devices are turned off, the screens gone dark, the music internalized, breath bringing you into your body, converted to chemical energy to keep you alight.

(But in the night I medicate myself with all that I’ve gathered to me; I shut off sensitivity and allow distraction. I become a machine that needs only fuel and fails to process complex data, and I plug in along with all the other machines so that we may speak to each other about channels, megabytes, virtual lives. And I’m completely bored by the whole thing.)

---

The uncannily insane but wholeheartedly gracious and kind painter / patron Christie Chew-Wallace swerved off the Christie Highway just long enough to purchase this drawing from me. It now hangs on her wall with several other pieces that I've made, which is nice for several reasons.

Marker on paper.

2011

In every sense, I did it right, maximized my experience, beat the crowds, etc. Throughout history, there's never been such a fantastically executed day trip to the famed ruins of Machu Picchu. I did it all; and I did it first.

Even so, I think that I missed out. Not that it was no fun to summit Montaña Machu Picchu before the first tourists or beams of heaven had touched the grassy plaza. Not that beating the first tour busses up to the park entrance wasn't gratifying. Not that pushing through hunger pains to reward myself with a huge lunch and Pisco Sour in Aguas Calientes wasn't worth it. It's not that. For me, those things are really great fun, but that's it: In my daily routine, I haven't had to consider the whims or comforts of another in over two weeks.

All considered, I'd bet the farm that the chubby mother of four, dripping in the 11 o'clock sun, passed by dozens, and gasping for the thin Andean air gets much more enjoyment, feels more awe and humility when she finally raises her head from between her knees, to see her waiting family sprawled on the beautiful precipice, ruins a mile below.

Perhaps the beauty is found more complete in the company of the most ordinary things. Perhaps the friendly flicker of headlights outside of the glass of the baggage claim is more beautiful than any mountainscape internalized in solitude. Perhaps the headlights only beautiful after so many mountainscapes, or perhaps neither is welcomed into memory without the other. There's something to the freedom I have to disregard the hindrances of diaper bags and cramps, but after these awe-inspiring experiences, sacked solitarily, I'm ready to feel the flicker of ordinary for a bit. I'm ready to make puns that I can calibrate, I'm ready to eat hot-wings.

Bogotá - 24.7.13

ATL - 26.7.13

Picture of a bottle being filled with colored alphabet letters and numbers.

Georges Minne ( Gent 1866 – St.Martens Latem 1941 )

Georges Minne is a Belgian sculptor, draughtsman and graphic artist. Fairly early on he also made name as a book illustrator. After a few classic monumental works, Minne converted himself to symbolism. By suggesting a new world of dream and reflection, symbolism alludes on an unspoken, internalized emotion and in doing so, it goes against the traditional sculpture that reflects realistic since the renaissance the human figure. He was a driving force behind the first Latemse School and was comtemporary of Gustav Klimt and Egon Schiele.

Work of art that can be admired in the open-air museum Middelheim in Antwerp: www.middelheimmuseum.be/en

Georges Minne ( Gent 1866 – St.Martens Latem 1941 )

Georges Minne is een Belgisch beeldhouwer, tekenaar en graficus. Vrij vroeg maakte hij ook naam als boekillustrator. Na een paar klassieke monumentale werken, bekeerde hij zich tot het symbolisme. Door een nieuwe wereld van droom en reflectie te suggereren alludeert het symbolisme op een onuitgesproken, verinnerlijkte emotie en zo gaat het in tegen de traditionele beeldhouwkunst die sinds de renaissance de menselijke figuur realistisch weergeeft. Hij was een drijvende kracht achter de eerste Latemse School. Hij was een tijdsgenoot van Gustav Klimt and Egon Schiele.

Kunstwerk dat kan bewonderd worden in het Middelheim museum in Antwerpen.

www.middelheimmuseum.be/

Meer over dit werk: search.middelheimmuseum.be/details/collect/148180

Georges Minne (Gand 1866 - St. Martens Latem 1941)

Georges Minne est un sculpteur, dessinateur et graphiste belge. Il s'est également fait un nom en tant qu'illustrateur de livres assez tôt. Après quelques œuvres monumentales classiques, il se convertit au symbolisme. En suggérant un nouveau monde de rêve et de réflexion, le symbolisme fait allusion à une émotion inexprimée et intériorisée et va ainsi à l'encontre de la sculpture traditionnelle qui a dépeint la figure humaine de manière réaliste depuis la Renaissance. Il a été un moteur de la première école Latem. Il était un contemporain de Gustav Klimt et Egon Schiele.

Oeuvre qui peut être admirée au musée Middelheim à Anvers: www.middelheimmuseum.be/fr

PERIODICO DE AYER www.youtube.com/user/RANiEL1963#p/u/0/BNSb013wcfU

LOS ENTIERROS www.youtube.com/user/RANiEL1963#p/u/1/zu3sPt8zEpw

DE TODAS MANERAS ROSAS www.youtube.com/user/RANiEL1963#p/u/2/n1xG6hncg4U

LAS CARAS LINDAS www.youtube.com/user/RANiEL1963#p/u/3/BZ3w684Sfmg

PLANTACION ADENTRO www.youtube.com/user/RANiEL1963#p/u/4/b-Ap266F7g8

MAXIMO CHAMORO www.youtube.com/user/RANiEL1963#p/u/5/sKCx-DmE7Zk

LAMENTO DE CONCEPCION www.youtube.com/user/RANiEL1963#p/u/6/AXOAi4cWNtE

LA CURA www.youtube.com/user/RANiEL1963#p/u/7/iHnsIDlHECg

EVELIO Y LA RUMBA www.youtube.com/user/RANiEL1963#p/u/8/NWJCq_S7NQ0

IBABAILA www.youtube.com/user/RANiEL1963#p/u/9/Bn48g_0mK5Q

GUAKIA INC www.guakia.org/index.html

Based in Hartford, Connecticut, Guakía, Inc. is the premiere Puerto Rican cultural center in southern New England.

Our mission is "to provide a focal point for the promotion of the cultural identity and heritage of Puerto Ricans in the United States through the advancement of the groups' history, language, music, arts, literature, and other cultural characteristics; and to establish a center that will serve as a clearinghouse for the study, celebration, and exposition of the Puerto Rican/Hispanic culture available to all residents of the city of Hartford and the capital region."

This page is just the beginning of our new website, being built with the assitance of Trinity College's "Smart Neighborhood Plan," a project funded in large measure by grants from the W.K. Kellogg Foundation. Additional funding for Guakia's website has been received from the Hartford Foundation for Public Giving.

We hope that you will soon be able to learn more about our organizations' history by exploring the pages of this site as they become available. The site will include detailed information on Guakía's educational and arts programs, its community partnerships, and will also feature photos and video clips of participant children and youth. We also welcome inquiries about how to help support Guakía, Inc. as we seek to expand our children and youth programs.

To provide a focal point for the promotion of the cultural identity and heritage of Hispanics in the United States through the advancement of the groups history, language, music, arts, and literature and to establish a center that will serve as a clearinghouse for the study, celebration and exposition of Hispanic cultureavailable to all residents of Connecticut.

Vision and Goals

To be the premier non-profit Hispanic arts, cultural and humanities organization dedicated to enriching the value of the Hispanic community by promoting, preserving and celebrating its cultural heritage and diversity.

To help our youth develop a strong sense of self, maximize their talents, acquire vision, internalize learning and in turn impact others in a positive way, fostering harmonic diversity in our community. Founded in 1983, Guakía is the most prominent arts and cultural organization in Hartfords Hispanic community. The word, guakia, means we in Taino, the language of the original inhabitants of the Caribbean (pre-Columbus). The word guakia signifies the unity of the Hispanic community no matter where individuals may be living. Volunteer parents who felt that their children had lost contact with the traditions of their culture and heritage founded Guakía. They felt their children needed to connect with their heritage in order to develop a sense of pride, community and self-esteem. Originally, Guakía was focused on the culture of Puerto Rico, however in recent years, as the community has become more diverse and the needs have shifted, Guakías mission has been broadened to include all Hispanic cultures. Using a curriculum based on both Puerto Rican and Latin American music, dance, and art forms, Guakía provides a wide array of visual and performing arts initiatives such as folkloric dance, painting, ceramics, traditional Hispanic music, and art classes. The early sacrifices of parents, volunteers, and teachers gave Guakía strong roots in the Puerto Rican culture. These roots have now expanded and sprouted like a beautiful tree with many branches and leaves to include all Hispanic cultures.

(Self-Portrait in Yellow) by Tony Oursler

The "head" is part of a doll laying on the floor with its head pinned by a yellow folding chair back on it. The face is animated as described below.

Walking through the center of the Milwaukee Art Museum’s main level galleries, visitors often become aware of something out of place: a single, monotone voice echoing faintly through the spacious galleries. Those curious enough to follow the noise to its source will stumble upon an unexpected scene. Just around the corner from the central staircase, a small cloth doll lies on the museum floor, a bright yellow folding chair leaning precariously against its head. Projected onto the doll’s blank head is the expressionless face of an adult man, speaking a series of short phrases slowly and deliberately.

“Sometimes I just don’t get the jokes.”

“I get angry quickly, and let it go just as fast.”

“I have few regrets.”

“I’m a difficult person to get close to.”

“I like to watch television.”

“I would be much better off, if not for a family member.”

“I am a leader, not a follower.”

“Sometimes I can’t feel the top of my head.”

Children gather around him, asking timid questions in the hopes that this living doll will answer back. Adults stand back and ponder, trying to puzzle out the meanings of his seemingly unconnected phrases, and debating whether an assemblage of a toy and a chair can even be constituted as art. The little yellow doll has both critics and fans aplenty – he has even had his own Facebook group, as hundreds of art lovers banded together to implore the museum to keep the “guy with the chair on his head” out for public display after he was briefly moved into storage in 2007. Yet for all those who view him, the question remains: What is the meaning of this little man? What message are his statements attempting to convey?

The answer requires a bit of research into the artist. Tony Oursler was born in 1957 and came into prominence as a contemporary artist in the late twentieth century. His works tend to incorporate video projectors and inanimate, found objects. During the time that he created this work, entitled MMPI (Self-Portrait in Yellow), he was focusing on the conception of mental illness within American society. In this series, Oursler made himself a key part of his works, using his own experiences to reveal and reflect the questions and insecurities about our own psychological state, which are so often internalized and not discussed aloud.

How did he accomplish this? Well, Oursler was in many ways a typical American man, who had not been diagnosed with any specific mental illness. Yet he was aware of the large issues and harmful stigma associated with the perception of mental illness in today’s society. How can we make a division between those who are “normal” and those who are not? Isn’t everyone a bit troubled, a bit unusual, in their own way? To Oursler, the creation of this false division between those who are psychologically “healthy” and those who are not was symbolized by the Minnesota Multiphasic Personality Inventory, or MMPI. This infamous series of yes/no questions, created by a team of psychologists in 1939, was used for decades as one of the main modes of psychological health assessment. Simply put, if you answered a certain way, you were “healthy” – if you did not, then you were diagnosed with one of a number of psychological illnesses. Oursler recognized the fallacy of the entire concept of such a test: How can there be simply one set of correct “normal” answers, for an entire diverse population? And how can we even say that there is any one person who is completely “sane”? What does “sane” even mean?

To come to terms with these questions, Oursler took the MMPI test himself. And then, he made a bold decision: Instead of trying to determine a diagnosis for himself, he left the interpretation of his results to the public. The image projected onto the doll in Oursler’s work is a video of the artist himself, emotionlessly reciting his own answers to the psychological test. Encountering these statements entirely without context, each viewer is left to interpret them individually, to decide if the little doll-man is truly sane – and in the process, we are led to question whether such a categorization can truly even exist.

The “guy with the chair on his head” is without question a polarizing work. Some visitors find him amusing and cute. Others see him as an oddity, and perhaps even a bit depressing. And some find the little doll disturbing, with his arbitrary, unfeeling statements – which somehow seem to be both entirely strange and unpredictable and, at the same time, a bit too familiar.

Yet after I learned the significance behind his phrases, I began to find this strange little doll to be, in a way, reassuring. The “guy with the chair on his head” does what so many of us are afraid to do: He reveals his own internal struggles, his own quirks and oddities, reassuring us that perhaps there is no such thing as perfect “sanity.” Oursler’s work reminds us that we are not alone in our oddities – that yes, everyone is a bit unusual, and that that’s okay.

So the next time you’re wandering through the galleries and hear an unusual monotone voice off in the distance, have no fear – it’s just Tony, bravely challenging society’s perception of psychological illness, one incongruous phrase at a time. And if you’re intrigued enough to stop by for a visit, most likely, you won’t be alone.

The Taichi Series—wood sculptures of the 1970s

Ju Ming developed his Taichi Series in the form of wood sculptures in the mid 70s. Undoubtedly, the prototype sculptures on display here are crucial to the series, which later became internationally renowned. Compared with his wood works of the artisan period and sculptures on local themes, the Taichi Series is no longer bound by the true-to-life depictions of a subject. It expresses a pure aesthetic form while retaining the minimum tinge of realism. With simple, clear-cut lines, the spirit of Taichi is internalized into this manifestation of the artist’s thought on form. By voicing abstract, philosophical concepts through sculptures, Ju Ming successfully creates a new style and language for his work of art.

Twenty years ago, my entire music collection fit into a trunk that was four feet wide. I don't have any pictures of it, because back then photography was expensive. Imagine how much that must have sucked! Ten years ago, thanks to the miracle of mp3 compression, my entire music collection fit onto the CDs in the binder on the left. Now, my entire music collection fits onto the USB stick on the right. Or is it even a stick now? It's more of a USB "square." It cost me $15. I hope that whoever is responsible for this progress made a billion dollars and doesn't feel the slightest bit guilty about it. And y'all say the world is going to hell. When I bring up stuff like this, the common response is, "Yes, many things are getting better, but many other things are getting worse." How can we hope to measure those two things side-by-side on an objective balance sheet? It would be difficult. But here's a hint. Thanks to Negativity Bias and the Availability Heuristic, we tend to think that bad things are worse and more common than they actually are. A million little steps of progress, just like the photo above, happen quietly every day, but no one notices. When someone mentions Fukushima, we internalize a fear of nuclear power. No one bothers to shout about the fact that, thanks to tiny steps of progress, modern nuclear power plants can be built far more safely and with far less waste. My advice is to relax, humanity. We've got this!

PERIODICO DE AYER www.youtube.com/user/RANiEL1963#p/u/0/BNSb013wcfU

LOS ENTIERROS www.youtube.com/user/RANiEL1963#p/u/1/zu3sPt8zEpw

DE TODAS MANERAS ROSAS www.youtube.com/user/RANiEL1963#p/u/2/n1xG6hncg4U

LAS CARAS LINDAS www.youtube.com/user/RANiEL1963#p/u/3/BZ3w684Sfmg

PLANTACION ADENTRO www.youtube.com/user/RANiEL1963#p/u/4/b-Ap266F7g8

MAXIMO CHAMORO www.youtube.com/user/RANiEL1963#p/u/5/sKCx-DmE7Zk

LAMENTO DE CONCEPCION www.youtube.com/user/RANiEL1963#p/u/6/AXOAi4cWNtE

LA CURA www.youtube.com/user/RANiEL1963#p/u/7/iHnsIDlHECg

EVELIO Y LA RUMBA www.youtube.com/user/RANiEL1963#p/u/8/NWJCq_S7NQ0

IBABAILA www.youtube.com/user/RANiEL1963#p/u/9/Bn48g_0mK5Q

GUAKIA INC www.guakia.org/index.html

Based in Hartford, Connecticut, Guakía, Inc. is the premiere Puerto Rican cultural center in southern New England.

Our mission is "to provide a focal point for the promotion of the cultural identity and heritage of Puerto Ricans in the United States through the advancement of the groups' history, language, music, arts, literature, and other cultural characteristics; and to establish a center that will serve as a clearinghouse for the study, celebration, and exposition of the Puerto Rican/Hispanic culture available to all residents of the city of Hartford and the capital region."

This page is just the beginning of our new website, being built with the assitance of Trinity College's "Smart Neighborhood Plan," a project funded in large measure by grants from the W.K. Kellogg Foundation. Additional funding for Guakia's website has been received from the Hartford Foundation for Public Giving.

We hope that you will soon be able to learn more about our organizations' history by exploring the pages of this site as they become available. The site will include detailed information on Guakía's educational and arts programs, its community partnerships, and will also feature photos and video clips of participant children and youth. We also welcome inquiries about how to help support Guakía, Inc. as we seek to expand our children and youth programs.

To provide a focal point for the promotion of the cultural identity and heritage of Hispanics in the United States through the advancement of the groups history, language, music, arts, and literature and to establish a center that will serve as a clearinghouse for the study, celebration and exposition of Hispanic cultureavailable to all residents of Connecticut.

Vision and Goals

To be the premier non-profit Hispanic arts, cultural and humanities organization dedicated to enriching the value of the Hispanic community by promoting, preserving and celebrating its cultural heritage and diversity.

To help our youth develop a strong sense of self, maximize their talents, acquire vision, internalize learning and in turn impact others in a positive way, fostering harmonic diversity in our community. Founded in 1983, Guakía is the most prominent arts and cultural organization in Hartfords Hispanic community. The word, guakia, means we in Taino, the language of the original inhabitants of the Caribbean (pre-Columbus). The word guakia signifies the unity of the Hispanic community no matter where individuals may be living. Volunteer parents who felt that their children had lost contact with the traditions of their culture and heritage founded Guakía. They felt their children needed to connect with their heritage in order to develop a sense of pride, community and self-esteem. Originally, Guakía was focused on the culture of Puerto Rico, however in recent years, as the community has become more diverse and the needs have shifted, Guakías mission has been broadened to include all Hispanic cultures. Using a curriculum based on both Puerto Rican and Latin American music, dance, and art forms, Guakía provides a wide array of visual and performing arts initiatives such as folkloric dance, painting, ceramics, traditional Hispanic music, and art classes. The early sacrifices of parents, volunteers, and teachers gave Guakía strong roots in the Puerto Rican culture. These roots have now expanded and sprouted like a beautiful tree with many branches and leaves to include all Hispanic cultures.

LA TIRANA www.youtube.com/user/RANiEL1963#p/a/u/1/y3HE9wYy9Zs

ISADORA www.youtube.com/user/RANiEL1963#p/a/u/0/dPHHtGLTmAc

GUAKIA INC www.guakia.org/index.html

VIDEO PLAYLIST OF THE FULL EVENT

www.youtube.com/view_play_list?p=906FFC6F001464FE

Based in Hartford, Connecticut, Guakía, Inc. is the premiere Puerto Rican cultural center in southern New England.

Our mission is "to provide a focal point for the promotion of the cultural identity and heritage of Puerto Ricans in the United States through the advancement of the groups' history, language, music, arts, literature, and other cultural characteristics; and to establish a center that will serve as a clearinghouse for the study, celebration, and exposition of the Puerto Rican/Hispanic culture available to all residents of the city of Hartford and the capital region."

This page is just the beginning of our new website, being built with the assitance of Trinity College's "Smart Neighborhood Plan," a project funded in large measure by grants from the W.K. Kellogg Foundation. Additional funding for Guakia's website has been received from the Hartford Foundation for Public Giving.

We hope that you will soon be able to learn more about our organizations' history by exploring the pages of this site as they become available. The site will include detailed information on Guakía's educational and arts programs, its community partnerships, and will also feature photos and video clips of participant children and youth. We also welcome inquiries about how to help support Guakía, Inc. as we seek to expand our children and youth programs.

To provide a focal point for the promotion of the cultural identity and heritage of Hispanics in the United States through the advancement of the groups history, language, music, arts, and literature and to establish a center that will serve as a clearinghouse for the study, celebration and exposition of Hispanic cultureavailable to all residents of Connecticut.

Vision and Goals

To be the premier non-profit Hispanic arts, cultural and humanities organization dedicated to enriching the value of the Hispanic community by promoting, preserving and celebrating its cultural heritage and diversity.

To help our youth develop a strong sense of self, maximize their talents, acquire vision, internalize learning and in turn impact others in a positive way, fostering harmonic diversity in our community. Founded in 1983, Guakía is the most prominent arts and cultural organization in Hartfords Hispanic community. The word, guakia, means we in Taino, the language of the original inhabitants of the Caribbean (pre-Columbus). The word guakia signifies the unity of the Hispanic community no matter where individuals may be living. Volunteer parents who felt that their children had lost contact with the traditions of their culture and heritage founded Guakía. They felt their children needed to connect with their heritage in order to develop a sense of pride, community and self-esteem. Originally, Guakía was focused on the culture of Puerto Rico, however in recent years, as the community has become more diverse and the needs have shifted, Guakías mission has been broadened to include all Hispanic cultures. Using a curriculum based on both Puerto Rican and Latin American music, dance, and art forms, Guakía provides a wide array of visual and performing arts initiatives such as folkloric dance, painting, ceramics, traditional Hispanic music, and art classes. The early sacrifices of parents, volunteers, and teachers gave Guakía strong roots in the Puerto Rican culture. These roots have now expanded and sprouted like a beautiful tree with many branches and leaves to include all Hispanic cultur

Brigadier General (BG) Francisco Espaillat, commanding general of the 143d Sustainment Command (Expeditionary), conducted an officer professional development brief for Senior Army Reserve Officers’ Training Corps cadets April 22, 2015 at the University of Florida at Gainesville. The officers in training of the Fighting Gator Battalion listened attentively to BG Espaillat as he gave his personal perspective on leadership, command, and officer expectations. They also heard him provide an overview of the 143d ESC’s mission and structure, as well as heard him stress the importance of living and internalizing the Army Values. ​

Photos by Army Lt. Col. Christopher West, 143d ESC

​

Ground zero. This is also how I mostly see my internalized mind. Chaos.

Eutopia: Contemporary Art Reviews "I am reminded of the perspectival loom of the Quattrocento period in early Renaissance when viewing the pictures of Laetitia Soulier as though experiencing a subliminal stroboscope that rapidly alternates between a still shot and it’s underlying mathematical lattice-work on which it is constructed. The viewer is plunged into a kinematic rotorelief of pulsating fractals and figures that through a juxtaposition of contrasting scales is effectively internalized, subject to the same perceptive inquisition it employed to examine things. The installation serves as a threshold to an un-folding itinerary from where one emerges like a charged Baudlairean kalaidoscope gifted with consciousness." ~ Ali Soltani ow.ly/4nq1GJ

The devices we hold daily in the palm of our hands have become increasingly better at knowing us, anticipating our needs, and giving us answers. Their disembodied knowledge and inner workings all seem to reside within inscrutable, opaque black boxes we have learned to trust. Autonomous machines that know all guide our lives. In a world embedded with devices that ‘just work’, we have forgotten to ask ourselves what we are giving away and what we are internalizing at every interaction. The Chiromancer explores how trust, hopes and wishes are projected onto computers by automating the ancestral practice of future-telling. This machine is a palm-reading AI that writes predictions about a person’s life, substituting the figure of the clairvoyant with the power of information technology. Like many of the other devices we use every day, *The Chiromancer* collects, stores and extrapolates user data in order to provide an answer for the user to interpret.

Photo: tom mesic

Baghdadi Mem/Wars Project: 2010

Still/Chaos

Video

1 minute, 54 seconds, Silent

Courtesy of the artists

All work produced at an artist residency at Light Work in Syracuse, New York.

The collaborative project titled Baghdadi Mem/Wars is a video and photography three suite series: Still/Chaos, Efface/Remain and Absence/Presence. Its conceptual premise is rooted in the corporal, intellectual and emotional embodiment of war and displacement. Emanating from our lived experiences and personal bodily memory of a lifetime in the trenches of an undying war, Baghdadi Mem/Wars paints the landscape of our brush with annihilation. The psychosomatic narrative manifests and replays on the topography of body, memory, and spirit.

Trapped in a collapsing white padded room, two female protagonists (performed by the artists themselves) negotiate the triptych of human deprivation. The white padded room resembles an insane asylum and a state of mind. The space acts as a mirror into oneself, each other and the outside. The stoic figures stand still in the cube room in contrast to the chaotic cacophony inside and outside of them. Their lived experiences are performed in the embodiment of war and dislocation. In an increasingly enclosing space, the figures are propelled into one another with an intensifying interaction that crafts the dual faces of survival, rebellion, and resignation.

Efface/Remain

Video

2 minutes 51 seconds, Silent

Courtesy of the artists

The writer meditatively and repeatedly writes the same sentence on the wall. The sentence on the wall is of a verse of a poem titled “The Strangers” by Nazek Al Malaika. She is a prominent Iraqi poet who is known for her pioneering work in the free verse movement in Arabic poetry. The text translates to, “With the passing of time silence is like the mood of winter.” As time progresses, the writer begins to write obsessively and franticly. The need to write, document, archive and express cultural memories into material expressions is continuously erased by socio-political forces driving a project of historical amnesia. As a result of such processes, a tension arises that causes self-censorship. Hence, this political project that attempts to silence and erase is internalized by the individual and community. Self-censorship and political forces from the outside work hand in hand to silence a community and erase their past. The fear of eraser and loss by the individual and or collective propels toward an insistence on documenting, preserving of cultural memories, language and history. Hence the act of writing in itself becomes a political intervention and preoccupation with historicizing and of maintaining culture and preserving a community. After the violent act of eraser is complete by political forces, one can still see the residue of the past on the walls. The writer begins again to write once more with a new voice.

Absence/Presence

Video

2 minutes 54 seconds, Silent

Courtesy of the artists

The concept of absence and presence is explored through the two figures and their relationship to each other as well as the landscape around them. Even though the walls have been removed and the figures stand in an open and vast plain, the sense of loss, entrapment, and suffocation is still present. The illusion of infinity and possibility is a mirage that is not real. The representation is of home, nation, belonging, not belonging, displacement, diaspora and of return. The figures are lost in this wilderness stricken by solitude. The figures are ghost like reminding us of loss, war, and dislocation.

GUAKIA, Inc. www.guakia.org/stories.html

75 Charter Oak Avenue

Hartford, CT 06106-1903

(860) 548-9555

GUAKIA SHOWCASE , ALEGRIA BOMBA E www.youtube.com/user/RANiEL1963#p/u/0/u7VX8w00Lnw

GUAKIA SHOWCASE , OBSESION www.youtube.com/user/RANiEL1963#p/u/1/flZeQBkAYqY

GUAKIA SHOWCASE , BOMBA DANCERS www.youtube.com/user/RANiEL1963#p/u/2/xqmHaY8Bi98

GUAKIA SHOWCASE , SALSA DANCERS www.youtube.com/user/RANiEL1963#p/u/3/kkgLiu1Pxwc

Guakia Showcase, Jennifer Murillo, DICEN QUE SOY www.youtube.com/user/RANiEL1963#p/u/4/fb8WWZHomr8

GUAKIA SHOWCASE, Jennifer Murillo, AT LAST www.youtube.com/user/RANiEL1963#p/u/5/mv_HtVudwts

Based in Hartford, Connecticut, Guakía, Inc. is the premiere Puerto Rican cultural center in southern New England.

Our mission is "to provide a focal point for the promotion of the cultural identity and heritage of Puerto Ricans in the United States through the advancement of the groups' history, language, music, arts, literature, and other cultural characteristics; and to establish a center that will serve as a clearinghouse for the study, celebration, and exposition of the Puerto Rican/Hispanic culture available to all residents of the city of Hartford and the capital region."

This page is just the beginning of our new website, being built with the assitance of Trinity College's "Smart Neighborhood Plan," a project funded in large measure by grants from the W.K. Kellogg Foundation. Additional funding for Guakia's website has been received from the Hartford Foundation for Public Giving.

We hope that you will soon be able to learn more about our organizations' history by exploring the pages of this site as they become available. The site will include detailed information on Guakía's educational and arts programs, its community partnerships, and will also feature photos and video clips of participant children and youth. We also welcome inquiries about how to help support Guakía, Inc. as we seek to expand our children and youth programs.

To provide a focal point for the promotion of the cultural identity and heritage of Hispanics in the United States through the advancement of the group’s history, language, music, arts, and literature and to establish a center that will serve as a clearinghouse for the study, celebration and exposition of Hispanic culture…available to all residents of Connecticut.

Vision and Goals

To be the premier non-profit Hispanic arts, cultural and humanities organization dedicated to enriching the value of the Hispanic community by promoting, preserving and celebrating its cultural heritage and diversity.

To help our youth develop a strong sense of self, maximize their talents, acquire vision, internalize learning and in turn impact others in a positive way, fostering harmonic diversity in our community.

Founded in 1983, Guakía is the most prominent arts and cultural organization in Hartford’s Hispanic community. The word, guakia, means “we” in Taino, the language of the original inhabitants of the Caribbean (pre-Columbus). The word guakia signifies the unity of the Hispanic community no matter where individuals may be living. Volunteer parents who felt that their children had lost contact with the traditions of their culture and heritage founded Guakía. They felt their children needed to connect with their heritage in order to develop a sense of pride, community and self-esteem. Originally, Guakía was focused on the culture of Puerto Rico, however in recent years, as the community has become more diverse and the needs have shifted, Guakía’s mission has been broadened to include all Hispanic cultures. Using a curriculum based on both Puerto Rican and Latin American music, dance, and art forms, Guakía provides a wide array of visual and performing arts initiatives such as folkloric dance, painting, ceramics, traditional Hispanic music, and art classes. The early sacrifices of parents, volunteers, and teachers gave Guakía strong roots in the Puerto Rican culture. These roots have now expanded and sprouted like a beautiful tree with many branches and leaves to include all Hispanic cultures.

Merlin (green) blocks EGF (red) by locking its receptor in a membrane compartment from which it cannot signal or be internalized. (JCB 177(5) TOC1)

This image is available to the public to copy, distribute, or display under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 Unported license.

Reference: Curto et al. (2007) J. Cell Biol. 177:893-903.

Published on: June 21, 2007.

Doi: 10.1083/jcb.200703010.

Read the full article at:

jcb.rupress.org/cgi/content/full/177/5/893.

GUAKIA, Inc. www.guakia.org/stories.html

75 Charter Oak Avenue

Hartford, CT 06106-1903

(860) 548-9555

GUAKIA SHOWCASE , ALEGRIA BOMBA E www.youtube.com/user/RANiEL1963#p/u/0/u7VX8w00Lnw

GUAKIA SHOWCASE , OBSESION www.youtube.com/user/RANiEL1963#p/u/1/flZeQBkAYqY

GUAKIA SHOWCASE , BOMBA DANCERS www.youtube.com/user/RANiEL1963#p/u/2/xqmHaY8Bi98

GUAKIA SHOWCASE , SALSA DANCERS www.youtube.com/user/RANiEL1963#p/u/3/kkgLiu1Pxwc

Guakia Showcase, Jennifer Murillo, DICEN QUE SOY www.youtube.com/user/RANiEL1963#p/u/4/fb8WWZHomr8

GUAKIA SHOWCASE, Jennifer Murillo, AT LAST www.youtube.com/user/RANiEL1963#p/u/5/mv_HtVudwts

Based in Hartford, Connecticut, Guakía, Inc. is the premiere Puerto Rican cultural center in southern New England.

Our mission is "to provide a focal point for the promotion of the cultural identity and heritage of Puerto Ricans in the United States through the advancement of the groups' history, language, music, arts, literature, and other cultural characteristics; and to establish a center that will serve as a clearinghouse for the study, celebration, and exposition of the Puerto Rican/Hispanic culture available to all residents of the city of Hartford and the capital region."

This page is just the beginning of our new website, being built with the assitance of Trinity College's "Smart Neighborhood Plan," a project funded in large measure by grants from the W.K. Kellogg Foundation. Additional funding for Guakia's website has been received from the Hartford Foundation for Public Giving.

We hope that you will soon be able to learn more about our organizations' history by exploring the pages of this site as they become available. The site will include detailed information on Guakía's educational and arts programs, its community partnerships, and will also feature photos and video clips of participant children and youth. We also welcome inquiries about how to help support Guakía, Inc. as we seek to expand our children and youth programs.

To provide a focal point for the promotion of the cultural identity and heritage of Hispanics in the United States through the advancement of the group’s history, language, music, arts, and literature and to establish a center that will serve as a clearinghouse for the study, celebration and exposition of Hispanic culture…available to all residents of Connecticut.

Vision and Goals

To be the premier non-profit Hispanic arts, cultural and humanities organization dedicated to enriching the value of the Hispanic community by promoting, preserving and celebrating its cultural heritage and diversity.

To help our youth develop a strong sense of self, maximize their talents, acquire vision, internalize learning and in turn impact others in a positive way, fostering harmonic diversity in our community.

Founded in 1983, Guakía is the most prominent arts and cultural organization in Hartford’s Hispanic community. The word, guakia, means “we” in Taino, the language of the original inhabitants of the Caribbean (pre-Columbus). The word guakia signifies the unity of the Hispanic community no matter where individuals may be living. Volunteer parents who felt that their children had lost contact with the traditions of their culture and heritage founded Guakía. They felt their children needed to connect with their heritage in order to develop a sense of pride, community and self-esteem. Originally, Guakía was focused on the culture of Puerto Rico, however in recent years, as the community has become more diverse and the needs have shifted, Guakía’s mission has been broadened to include all Hispanic cultures. Using a curriculum based on both Puerto Rican and Latin American music, dance, and art forms, Guakía provides a wide array of visual and performing arts initiatives such as folkloric dance, painting, ceramics, traditional Hispanic music, and art classes. The early sacrifices of parents, volunteers, and teachers gave Guakía strong roots in the Puerto Rican culture. These roots have now expanded and sprouted like a beautiful tree with many branches and leaves to include all Hispanic cultures.

The devices we hold daily in the palm of our hands have become increasingly better at knowing us, anticipating our needs, and giving us answers. Their disembodied knowledge and inner workings all seem to reside within inscrutable, opaque black boxes we have learned to trust. Autonomous machines that know all guide our lives. In a world embedded with devices that ‘just work’, we have forgotten to ask ourselves what we are giving away and what we are internalizing at every interaction. The Chiromancer explores how trust, hopes and wishes are projected onto computers by automating the ancestral practice of future-telling. This machine is a palm-reading AI that writes predictions about a person’s life, substituting the figure of the clairvoyant with the power of information technology. Like many of the other devices we use every day, *The Chiromancer* collects, stores and extrapolates user data in order to provide an answer for the user to interpret.

Photo: Tom Mesic

ORLANDO, Fla. - Army Brig. Gen. Francisco Espaillat, commanding general of the 143d Sustainment Command (Expeditionary) conducted an officer professional development brief for Army Reserve Officers' Training Corps cadets April 9, 2015 at the University of Central Florida.

The officers in training listened

attentively to Espaillat as he gave his perspective on leadership, command, and officer expectations. They also heard him provide an overview of the

143d ESC mission and structure as well as heard him stress the importance of living and internalizing the Army Values. The Fighting Knights Battalion

at UCF is not only one of the best ROTC programs in the county, it is also one of the country's largest ROTC programs with close to 220 cadets.

Photos by Army Lt. Col. Christopher West and Army Chief Warrant Officer 3 Desiree Felton, 143d ESC

Greg - Hunt Valley, MD. I walked into my local coffee shop to get some work done out of the office, and as I was getting my laptop situated Greg, sitting in a nearby chair by the fireplace, introduced himself. He asked if I was the photographer who shot a friend of his for my strangers project a week earlier! He said he saw the image on Flickr, and although he commented on it in my stream, I didn't put the pieces together and catch that he was local and knew Ken. Turns out that although Greg doesn't shoot much, he's a great admirer of photography. We talked at length about photography, not gear per se, but more about vision. A professional magician and writer, Greg, has thought deeply about vision and craft, and clearly appreciates the long and twisting path to internalizing mechanics to better express vision. I told him I was looking to photograph Stranger #2 that day, and after mentioning that he knew him, offered to introduce us. He asked if he could linger to watch me shoot, and while we waited for an opportunity, I asked if I could photograph him. Greg is so lively and animated, with bright and welcoming expressions. I wanted to draw attention to his face as a whole, rather than any one part, so I put him in a chair bathed in warm afternoon window light from over my left shoulder and nice fill from half-height windows to my right. Contrasting him with a dimly lit and out of focus background provides strong separation and gives you a taste of his inviting personality. I treated him with a slightly warm black & white in post to highlight his openness and apparent lack of pretense. A kinder gentleman you won't meet. Thanks, Greg, for the great conversation and for being Stranger #4 in my 100 Strangers project.

Find out more about the project and see pictures taken by other photographers at the 100 Strangers Project group.

"We are MPC - the hottest Hip-Hop group in NYC. I promise you folks, this is honest Hip-Hop, no gangsta, no cussing, no woman hating, nothing nasty. We are 3 males in college producing good positive music. We've got good beats and good lyrics - all positive folks! Buy the MPC CD for just $1, go to our website www.mpcsounds.com and listen to our tracks."

When did Hip-Hop have to start giving disclaimers - I guess when the rest of America thought Hip-Hop=uneducated, gangsta, woman hating noise. It made me a little sad to hear MPC saying all that on the train - it made me sad because it made me wonder if the misunderstood have internalized what has been misunderstood. Anyways - I didn't buy the CD - but 3 people on the train did - all white. I wonder if MPC's beats are good.

GUAKIA, Inc. www.guakia.org/stories.html

75 Charter Oak Avenue

Hartford, CT 06106-1903

(860) 548-9555

GUAKIA SHOWCASE , ALEGRIA BOMBA E www.youtube.com/user/RANiEL1963#p/u/0/u7VX8w00Lnw

GUAKIA SHOWCASE , OBSESION www.youtube.com/user/RANiEL1963#p/u/1/flZeQBkAYqY

GUAKIA SHOWCASE , BOMBA DANCERS www.youtube.com/user/RANiEL1963#p/u/2/xqmHaY8Bi98

GUAKIA SHOWCASE , SALSA DANCERS www.youtube.com/user/RANiEL1963#p/u/3/kkgLiu1Pxwc

Guakia Showcase, Jennifer Murillo, DICEN QUE SOY www.youtube.com/user/RANiEL1963#p/u/4/fb8WWZHomr8

GUAKIA SHOWCASE, Jennifer Murillo, AT LAST www.youtube.com/user/RANiEL1963#p/u/5/mv_HtVudwts

Based in Hartford, Connecticut, Guakía, Inc. is the premiere Puerto Rican cultural center in southern New England.

Our mission is "to provide a focal point for the promotion of the cultural identity and heritage of Puerto Ricans in the United States through the advancement of the groups' history, language, music, arts, literature, and other cultural characteristics; and to establish a center that will serve as a clearinghouse for the study, celebration, and exposition of the Puerto Rican/Hispanic culture available to all residents of the city of Hartford and the capital region."

This page is just the beginning of our new website, being built with the assitance of Trinity College's "Smart Neighborhood Plan," a project funded in large measure by grants from the W.K. Kellogg Foundation. Additional funding for Guakia's website has been received from the Hartford Foundation for Public Giving.

We hope that you will soon be able to learn more about our organizations' history by exploring the pages of this site as they become available. The site will include detailed information on Guakía's educational and arts programs, its community partnerships, and will also feature photos and video clips of participant children and youth. We also welcome inquiries about how to help support Guakía, Inc. as we seek to expand our children and youth programs.

To provide a focal point for the promotion of the cultural identity and heritage of Hispanics in the United States through the advancement of the group’s history, language, music, arts, and literature and to establish a center that will serve as a clearinghouse for the study, celebration and exposition of Hispanic culture…available to all residents of Connecticut.

Vision and Goals

To be the premier non-profit Hispanic arts, cultural and humanities organization dedicated to enriching the value of the Hispanic community by promoting, preserving and celebrating its cultural heritage and diversity.

To help our youth develop a strong sense of self, maximize their talents, acquire vision, internalize learning and in turn impact others in a positive way, fostering harmonic diversity in our community.

Founded in 1983, Guakía is the most prominent arts and cultural organization in Hartford’s Hispanic community. The word, guakia, means “we” in Taino, the language of the original inhabitants of the Caribbean (pre-Columbus). The word guakia signifies the unity of the Hispanic community no matter where individuals may be living. Volunteer parents who felt that their children had lost contact with the traditions of their culture and heritage founded Guakía. They felt their children needed to connect with their heritage in order to develop a sense of pride, community and self-esteem. Originally, Guakía was focused on the culture of Puerto Rico, however in recent years, as the community has become more diverse and the needs have shifted, Guakía’s mission has been broadened to include all Hispanic cultures. Using a curriculum based on both Puerto Rican and Latin American music, dance, and art forms, Guakía provides a wide array of visual and performing arts initiatives such as folkloric dance, painting, ceramics, traditional Hispanic music, and art classes. The early sacrifices of parents, volunteers, and teachers gave Guakía strong roots in the Puerto Rican culture. These roots have now expanded and sprouted like a beautiful tree with many branches and leaves to include all Hispanic cultures.

''I place each one of you in the state and situation needed for your advancement. I also give you and do for you just as much as is really necessary. The sole aim of life is to get back to your real self and get established permanently in your own conscious self. Man is suffering because he has got torn away from his moorings - his real self, the supreme self. Once he is able to establish his contact with the self again, all his troubles and miseries will automatically come to an end.''

-referring to his work with his disciples

No. 5 - 5: Exploring Stratford-upon-Avon.

The Garrick Inn, 25 High Street, Stratford-Upon-Avon.

ONE OF STRATFORDS OLDEST PUBS

The present building dates back to 1595

An Inn since the early 1700s it was renamed

after the Shakesperian actor. David Garrick

after he organised the famous Shakespeare

Jubilee here in Stratford in 1760

SHAKESPEARE AND THE FORMATION OF ENGLISH IDENTITY

by Ari Yampolsky

By the end of the eighteenth century, English national identity could be said to consist of two seemingly trivial preoccupations: the jealous appropriation of Shakespeare and, as T.S. Eliot wrote, "the taking of toast and tea." Citing these as constitutive of national identity may seem to miss the mark; but their significance is tied to the larger economic and social trends of this period. In the 1760's, England's status as a world power had shifted dramatically. With the acquisition of colonies abroad came an immense expansion of trade. At the same time, there was a tremendous upsurge of nationalism at home. Is it only a coincidence that (the English) Shakespeare was construed as the father of world literature par excellence at the same time that Britain fashioned herself as the mother of a global empire? The Stratford Jubilee of 1769 sought to celebrate the immortal Bard; instead, it reflected the manner in which Shakespeare had been appropriated and internalized by the English. Ironically, the result had little to do with Shakespeare and much more to do with forging a distinct English identity.

If nothing else, the Jubilee established one thing: while Shakespeare's reputation rested on his ubiquitous cultural presence and not the achievements of his works, his name was synonymous with what it was to be British. Whether one knew his plays or not did not matter. Nor did it matter that not a single Shakespeare play was performed (or even quoted) at the Jubilee. The congregants were gathered to celebrate their Englishness. No single person represented the scope of this national identity better than the best of their kind. There was a need for a national god and Shakespeare was installed to fill the vacancy. Garrick's Ode to Shakespeare spelled out the Bard's qualifications for national embodiment: his moral sensibility was unmatched, his spirit transcended bounds of time and space, his "truths" were universal and England's were the same.

The central problem of Shakespeare deification becomes evident here. We have, on the one hand, claims to universality, and on the other hand, a nationalist appropriation. How can Shakespeare be both timelessly universal and uniquely English? The details of the Jubilee highlight the fact that the national norm being worked out operated on exclusionary principles. In Garrick's immensely popular play The Jubilee (based on the actual event), Frenchman, Italians, Irishmen, and aristocrats are all excluded from and ridiculed at the festivities because they can not understand Shakespeare. They are all, as Michael Dobson writes, "beyond the pale" (Dobson, 220). English identity as figured by Garrick's appropriation of the Bard rejects even the people of Shakespeare's own rural province. Garrick's play is intended for metropolitan audiences, who constitute the socially eligible, and not the country yokels who are too stupid to understand the native words of their own kind. The jubilee claimed that Shakespeare transcended the limitations of the country lot he was born into; accordingly, the national Shakespeare can not be too closely associated with the specificity and indistinction of his birthplace, but must be made England's own, the god of our idolatry.

The success of the Jubilee's canonization relies on a gross cultural amnesia. Shakespeare had to be denied the connection to his texts, and England had to deny the existence of any area except London. Shakespeare had to be idealized (and literally forgotten) in order to fit the national past and the commercial middle-class present. The stage directions that conclude Garrick's play reflect the confusion that riddled Shakespeare's stage:

EVERY CHARACTER, TRAGIC AND COMIC, JOIN[S] IN THE CHORUS AND GO[ES] BACK, DURING WHICH THE GUNS FIRE, THE BELLS RING, ETC. ETC. AND THE AUDIENCE APPLAUD[S]. BRAVO JUBILEE! SHAKESPEARE FOREVER! THE END.

www.gouk.about.com/od/stratforduponavo…

To see Large: farm3.static.flickr.com/2777/4309715929_8a30eff601_b.jpg

Taken on

September 18, 2007 at 15:39 BST