Music is the soul of Mizo life ; in every household you will find a guitar. Here you can see the leading Mizo singers paying tribute to legendary Mizo singer Ruati Hlate. It was a power packed program by a group of Stars who are very young. They enthralled, mesmerized and fascinated the selected audience present at the venue and kept the Aizawl town glued to the TV screen for that evening.

 

Do I understand Mizo language ? The answer is a big NO, not even a single word. This is a Tibet - o- Burmese language and got no connection with any Indo-Aryan dialect. Still, I laughed, I cried, I danced , I gave my heart to Mizoram ; arts and beauty speaks in one language that’s called “Emotion” , that is the universal language of mankind. And that day what was spoken in that language Monsoon ? Well, the rest is a story we hold too dear to share !

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Kindly View On Black

Italian postcard by G.B. Falci, Milano, no. 131. Photo: A. Stefano Pittaluga. Lya de Putti in Manon Lescaut (Arthur Robison, 1926).

 

Lya de Putti (1899-1931) portrayed vamps in German and American silent films.

 

Lya de Putti was the daughter of a Hungarian Baron and Countess. In 1913 she married Zoltán Szepessy and had two daughters with him. In Budapest, she began her stage career on the Vaudeville circuit and made her screen debut with A császár katonái (Béla Balogh, 1918). In 1920 she progressed to perform classical ballet in Berlin. In Germany, De Putti played supporting roles in films by famous directors like F.W. Murnau (Die brennende Acker, 1921 and Phantom, 1922) and Joe May (Das Indische Grabmal, 1921) and starred in five May-productions directed by Robert Dinesen. Her biggest hit – especially in the USA – was E. A. Duponts Varieté (1925). As Bertha-Marie she seduces and betrays the simple trapeze artist Stephan Huller (Emil Jannings) and drives him to kill his partner. She followed this success with star performances in Manon Lescaut (Artur Robison, 1926) and Junges Blut (Manfred Noa, 1926).

 

Adolph Zukor invited Lya to come to Hollywood. At her arrival in New York in February 1926 she told American reporters that she was twenty-two years old. Her ocean liner's records list her as having been twenty-six. Hollywood generally cast her as a vamp, such as in Sorrows of Satan (D.W. Griffith, 1926), Buck Privates (Melville W. Brown, 1928) and The Scarlet Lady (Alan Crosland, 1928). She often wore her dark hair short in a style similar to that of Louise Brooks. De Putti was rumored to be engaged to Count Ludwig Salm von Hoogstraten, a former husband of the American oil heiress Millicent Rogers, but she denied the engagement. She failed to make it big in Hollywood and left the screen by 1929 to attempt to re-start her career on Broadway. Later she went to England to make her last movie The Informer (1929, Artur Robison) and studied the English language. Soon she returned to America. She was hospitalized to have a chicken bone removed from her throat, and contracted a throat infection, followed by pneumonia in both lungs. She died in 1931 at the age of 32. Her first husband, Zoltán Szepessy, committed suicide shortly after her death.

 

Sources: Wikipedia, Filmportal.de and IMDb.

PRESIDIO OF MONTEREY, Calif. – More than 3,000 students from across California visited the Presidio of Monterey on May 13 for DLIFLC’s Language Day. Students, educators and other participants were treated to stage performances, classroom displays and ethnic cuisine, highlighting the cultures of the many foreign languages taught here.

 

Official Presidio of Monterey Web site

 

Official Presidio of Monterey Facebook

 

PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.

Arabic (العربية al-ʻarabīyah or عربي/عربى ʻarabī ) ( [al ʕarabijja] (help·info) or ( [ʕarabi] (help·info)) is a name applied to the descendants of the Classical Arabic language of the 6th century AD. This includes both the literary language and the spoken Arabic varieties.

The literary language is called Modern Standard Arabic or Literary Arabic. It is currently the only official form of Arabic, used in most written documents as well as in formal spoken occasions, such as lectures and news broadcasts. In 1912, Moroccan Arabic was official in Morocco for some time, before Morocco joined the Arab League.

en.wikipedia.org/wiki/Arabic_language

English vs. Espanol. The man who took it was an old Turkish man ... I think.

Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).

 

Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions

 

"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".

 

The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.

 

The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.

 

Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.

 

Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:

 

Wet with cool dew drops

fragrant with perfume from the flowers

came the gentle breeze

jasmine and water lily

dance in the spring sunshine

side-long glances

of the golden-hued ladies

stab into my thoughts

heaven itself cannot take my mind

as it has been captivated by one lass

among the five hundred I have seen here.

 

Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.

 

Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.

 

There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.

 

Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.

 

The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.

 

In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:

 

During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".

 

Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.

 

While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’

 

Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.

 

An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.

 

Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983

 

Commercialization and entrance into mainstream pop culture

Main article: Commercial graffiti

With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.

 

In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".

 

Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.

 

Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.

 

Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.

 

Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.

 

There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.

 

The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.

 

Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.

 

Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis

 

Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.

 

Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.

 

Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"

 

Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal

 

In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.

 

Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.

 

Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.

 

Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.

 

With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.

 

Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.

 

Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.

 

Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.

 

Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.

 

Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.

 

Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.

 

Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.

 

The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.

 

I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.

 

The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.

 

Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.

 

Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.

 

In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".

 

There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.

 

Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.

 

A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.

By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.

 

Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.

 

In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.

 

A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.

 

From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.

 

In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.

 

Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.

 

Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.

 

Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.

  

In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.

 

Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.

 

In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.

 

In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."

 

In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.

 

In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.

 

In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.

 

In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.

 

In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.

 

The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.

 

To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."

 

In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.

 

In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.

 

Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".

 

Graffiti Tunnel, University of Sydney at Camperdown (2009)

In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.

 

Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.

 

Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.

 

In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.

 

Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.

 

Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.

 

To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.

 

When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.

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FILE MÍDIA ARTE | FILE MEDIA ART

Aaron Oldenburg – Baptize – Estados Unidos | United States

Alan Bigelow – Saving the alphabet - Estados Unidos | United States

Alan Bigelow – My summer vacation - Estados Unidos | United States

Alan Bigelow – Brainstrips - Estados Unidos | United States

Alice Bradshaw – Static - Reino Unido | United Kingdom

Alix Poscharsky - Arthur N. Ghell - Reino Unido | United Kingdom

Annette Weintraub - One Text, Many Stories [URBAN MEMORY LOSS: a Nightmare of Change in which Time is Inscribed in Space or How a Text Became a Story] - Estados Unidos | United States

Apokalipso: Rafael Gomes, Áthila Benites, Sávio Oliveira, Leandro Caro, Natanael Andrade, Fernando Gavronski & Fernanda Ferreiro – Senmorta – Brasil | Brazil

Bam Studio - Estudio de Animação Barros Melo: Leonardo Domingues – A sorte – Brasil | Brazil

Bam Studio - Estudio de Animação Barros Melo: Marcio Vieira – Mundo mudo - Brasil | Brazil

Bam Studio - Estudio de Animação Barros Melo: Filippe Lyra & William Paiva – Voltage - Brasil | Brazil

boredomresearch: Vicky Isley & Paul Smith – Lost Calls of Cloud Mountain Whirligigs (View 2, Right & Left) - Reino Unido | United Kingdom

Brad Todd - film noir – Canadá | Canada

Bruno M. Rocha, Camilo S. Lima, Caroline V. Costa & Daniela Bissoli - WIRESCAPES_simulação transversa de uma condição de metrópole - Brasil | Brazil

Calin Man - Have a Nice Click - Romênia | Romania

Caterina Davinio - The First Poetry Space Shuttle Landing on Second Life – Itália | Italy

Céline TROUILLET - Song No. 9 – França | France

Céline TROUILLET - Song No. 11 – França | France

Chris Coleman - The Magnitude of the Continental Divides – Estados Unidos | United States

Christin Bolewski - Shan-Shui-Hua – Alemanha | Germany

Coletivo Vertigem: Juliana Rodrigues, Natalia Santana & Ygor Ferreira - Repensando a Obra de arte repensada, Eu Tu Ele, Nós, Vós, Eles ou Labirinto Flutuante – Brasil | Brazil

Daito Manabe & Motoi ishibashi - Pa++ern – Brasil | Brazil

Danilo Guimarãres - (L) anos de Brasília! – Brasil | Brazil

David Clark, Marina Roy & Graham Meisner - Sign After The X - Canadá | Canada

Eric Schockmel - Occupation: Movement I (Syscape#4) - Reino Unido | United Kingdom

Fernanda Antoun - Um, Dois! Um, Dois! - Brasil | Brazil

Fundamental Research Lab: Robert B. Lisek – NEST – Polônia | Polony

Gabriela Golder – RESCATE – Argentina | Argentina

hint.fm: Fernanda Viegas & Martin Wattenberg – Fleshmap - Estados Unidos | United States

Hyun Ju Song - NOTHING IS FINISHED - Alemanha | Germany

Ivan Henriques – ReLandscaping - Holanda - Netherlands

Jason Nelson - Evidence of Everything Exploding - Austrália | Australia

Jonathan Monaghan - French Penguin - Estados Unidos | United States

Juliana Yamashita - Metro Tracks - Brasil | Brazil

Kevin Evensen – Danses - Estados Unidos | United States

Kika Nicolela – Flickering - Brasil | Brazil

Kristoffer Ørum, Anders Bojen, Rune Graulund, Maja Zander, Kaspar Bonnén, Stig W. Jørgensen, Palle R Jensen, Ida Marie Hede Bertelsen, Peter Rasmussen, Kasper Hesselbjerg, Ulrik Nørgaard, Daphne Bidstrup, Andreas Pallisgaard & Kristian Haarløv - Radiant Copenhagen - Dinamarca | Denmark

lemeh42 - Inner Klänge – Itália | Italy

Leonardo Uehara - An interactive sound tale - Brasil | Brazil

Martin John Callanan - I wanted to see all the news from today - Reino Unido | United Kingdom

Maya Watanabe – ABRASIS – França | France

Michael Takeo Magruder - Data_plex (economy) - Reino Unido | United Kingdom

Michael Takeo Magruder - Data_sea - Reino Unido | United Kingdom

Michele Barker & Anna Munster - Duchenne's Smile - Austrália | Australia

Miriam Thyes - Global Vulva - Alemanha | Germany

mitumBACK: Coelestine Engels, Markus Hafner & Christof Berthold – mitumBACK - Áustria | Austria

moddr: Gordan Savicic, Walter Langelaar & Danja Vassiliev - Web 2.0 Suicidemachine - Holanda - Netherlands

Não se Cale!: Amanda Miyuki de Sá, Danilo Polo Cain, Douglas Ferreira Neto, Fábio Henrique Alves Will, Patrícia Hitomi Nakazone, Talles Marques Duarte - NÃO SE CALE: A VIOLÊNCIA CONTRA A MULHER A PARTIR DAS PROPOSTAS FOTOGRÁFICAS DE BARBARA KRUGER – Brasil | Brazil

Nicholas Knouf – MAICgregator - Estados Unidos | United States

Nicole Kenney & KS Rives - Before I die I want to - Estados Unidos | United States

Nicole Stenger – DYNASTY - França | France

Osvaldo Cibils - 300x300artsport - Itália | Italy

Owen Eric Wood – Holobomo - Canadá | Canada

Owen Eric Wood – Parallel - Canadá | Canada

OZCAN TURKMEN - ENTROPIC POETRY - Turquia | Turkey

Pipol - TV Cronópios - Brasil | Brazil

Rachelmauricio – towtom - Brasil | Brazil

Rachelmauricio – TexET - Brasil | Brazil

Rachelmauricio - NO_HAHAB - Brasil | Brazil

Regina Pinto – AlphaAlpha - Brasil | Brazil

Regina Pinto - DAVID DANIEL'S 200+ HUMANS BEINGÈD HYMN TO HUMANITY - Brasil | Brazil

rgb3000 - superfreedraw.com - Alemanha | Germany

Richard O'Sullivan – Monitor - Reino Unido | United Kingdom

Richard O'Sullivan - Broken Windows - Reino Unido | United Kingdom

Roderick Coover – Canyonlands - Estados Unidos | United States

Roderick Coover - SOMETHING THAT HAPPENED ONLY ONCE - Estados Unidos | United States

Rosa Menkman - Glitch Studies Manifesto - Holanda - Netherlands

Rui Filipe Antunes - Senhora da Graça - Reino Unido | United Kingdom

Sally Grizell Larson – Axiom - Reino Unido | United Kingdom

Sergio Sotomayor - Madera (Wood) - Espanha | Spain

Silvia Laurentiz - Poesias Digitais: Projeto Percorrendo Escrituras - Brasil | Brazil

Spot - Dreams In High Fidelity II - Estados Unidos | United States

Stanza – Sondcities - Reino Unido | United Kingdom

Stuart Pound - Dance 0-19 - Reino Unido | United Kingdom

Stuart Pound - She's not there - Reino Unido | United Kingdom

Stuart Pound - Bus Stop version 2010 - Reino Unido | United Kingdom

Stuart Pound - Not you again! - Reino Unido | United Kingdom

Stuart Pound - Oh no, not you again! - Reino Unido | United Kingdom

Stuart Pound - Sticky Pixels - Reino Unido | United Kingdom

Susanne Berkenheger - The Last Days of Second Life - Alemanha | Germany

Tchello d'Barros - "Convergências" | "Convergences" - Brasil | Brazil

Tim Webster - Wonderlands: Machu Picchu - Austrália | Australia

Tina Velho - Tão longe...tão perto - Brasil | Brazil

Trace Sanderson aka Lainy Voom & Tamara Russel aka Gala Charron - Virtual Build Archive (VBA) - Reino Unido e Estados Unidos | United Kingdom and United States

Tuvalu Vizualization Project: Hidenori Watanave, Makiko Suzuki & Shuichi Endou - Tuvalu Vizualization Project - Japão | Japan

UBERMORGEN.COM - SUPERENCHANCED GENERATOR - Áustria | Austria

UBERMORGEN.COM - UGI - UNIVERSAL HEALTH - Áustria | Austria

VJ Eletro-I-MAN - Projeto Representa Corisco - Espanha | Spain

Wilton Azevedo, Rita Varlesi & Savana Pace – Atame: a Angústia do Precário - Brasil | Brazil

ZAO – hearts - Brasil | Brazil

 

HIPERSÔNICA PARTICIPANTES | HYPERSONICA PARTICIPANTS

 

++CAYCE POLLARD coletivodeartecomputacional; Nicolau Centola e Fabrizio Poltronieri - A Night in São Paulo - Brasil | Brazil

4propri8 - Junglow Drift - Brasil | Brazil

all your gardening needs – Arranco - Brasil | Brazil

Basavizi: André Damião Bandeira, Fernando Visockis & Sérgio Saad - HID - Human Improvisation Delight - Brasil | Brazil

Berger Rond - Stairs of Unsteady - Canadá | Canada

Carlos Dohrn - x → y - Brasil | Brazil

Carol Robinson – BILLOWS - França | France

Claudio Parodi - The Mother of All Feedback - Itália | Italy

Daniel Gazana - MISTÉRIO MUDO - Brasil | Brazil

Daniel Gazana - RE-CONNECT - Brasil | Brazil

Daniel Gazana - THE KINGDOM OF THE STEEL PORTAL - Brasil | Brazil

Danilo Rossetti - Metropolis parte 1 - Brasil | Brazil

Debashis Sinha - The Bell Garden - Canadá | Canada

Edilson Cardoso - Hâhnio - Ruídos para Filmes de Horror B - Brasil | Brazil

Eduardo Patrício - Electric Talk M.M.S. - Brasil | Brazil

Edwin Lo - Auditory Scenes: The other side of Tides in Limbo - China | China

Emanuele Battisti - Electrode - Study on Pink Noise N.1 - Itália | Italy

Felipe Kirst Adami - Piano Harm - Brasil | Brazil

Franklin Valverde – Sonóricos - Brasil | Brazil

Graeme Truslove - Divergent Dialogues - Reino Unido | United Kingdom

Graeme Truslove – Concrètisations - Reino Unido | United Kingdom

Graeme Truslove – Portals - Reino Unido | United Kingdom

Graeme Truslove – Elements - Reino Unido | United Kingdom

Gustavo Alfaix - (en)treses - Brasil | Brazil

John Young – Lamentations - Reino Unido | United Kingdom

Kunkuni Mix Project: Rosa Apablaza & Federico Duret - Posible Objetivo Patera - Holanda | Netherlands

Minusbaby - Subversive Motives in Chip Music or The 8bitpeople's party - Estados Unidos | United States

Ocp – Rejects - Portugal | Portugal

Panayiotis KOKORAS - Contruct Synthesis - Grécia | Greece

PAULO GUICHENEY - rec on struction - Brasil | Brazil

Philip Mantione - Dialtone and Strings - Estados Unidos | United States

Regina Porto - Metrópolis São Paulo - Brasil | Brazil

Rohan De Livera – Haiku - Sri Lanka | Sri Lanka

Secret Axis Sonic Collective: Vanderlei Lucentini, Kojiro Umezaki, Yann Novak, Manrico Montero, Terjen Paulsen, Adam Tindale, Scott Smalwood, Zbgniew Karkowski & Hangchul Ki - Secret Axis - Brasil | Brazil

SIMPLE.NORMAL: CLEBER GAZANA – CONSTRUCT - Brasil | Brazil

Sol Rezza - 25 segundos de vida - México | Mexico

The Tiny Orchestra - THE LANGUAGE OF WAITING - Canadá | Canada

Túlio Falcão - Túlio Falcão apresenta: a música de Enrorlando di Falcus - Brasil | Brazil

Vanessa Rossetto - Dogs in English Porcelain - Estados Unidos | United States

Victor Valentim – Estralactides - Brasil | Brazil

 

HIPERSÔNICA SCREENING – HYPERSONICA SCREENING

Daniel Gazana - MAN-MACHINE-TIME - Brasil | Brazil

Eduardo Raccah – EY - Alemanha | Germany

Fernando Velázquez - SP, automata landscape - Brasil | Brazil

Jaap: Harriet Payer Anderss, Jorge Esquivelzeta - Sound of this City - México | Mexico

Pink Twins - Defenestrator - Finlândia | Finland

Roberto Doati – Sindrome scamosciata - Itália | Italy

Rodrigo F. Cadiz - ID-FUSIONES - Chile | Chile

Sandra Crisp – Oceanics - Reino Unido | United Kingdom

Soundsthatmatter – skinstryment - Brasil | Brazil

Soundsthatmatter – bwavssh - Brasil | Brazil

Soundsthatmatter – soundstrain - Brasil | Brazil

 

FILE MAQUINEMA | FILE MACHINIMA

Andrzej Kozlowski aka CapKosmaty - Apocalypsis Ex Machinima - Polônia | Poland

Annie Ok - My life as an avatar (03-10) - Estados Unidos | United States

Annie Ok - My life as an avatar (04-08) - Estados Unidos | United States

Annie Ok - My life as an avatar (06-08) - Estados Unidos | United States

Basile Vignes aka Tutsy Navarathna - To Each one his own Dreams - Índia | India

Basile Vignes aka Tutsy Navarathna - Vegetal Planet - Índia | India

 

Berardo Carboni aka Finally Outlander – Volavola - Itália | Italy

Bernard Capitaine aka Iono Allen - The story of Susa Bubble - França | France

Chantal Gerads aka Chantal Harvey - A Woman´s Trial - Holanda | Netherlands

Corndog & Oil Tiger Machinima Team - War of Internet Addiction - China | China

Daniel Wasiluk aka Surgee - The Demise - Polônia | Poland

Egils Mednis aka Demoplay - The Ship - Letônia | Latvia

Elise Carlson aka Lyric Lundquist - Cradle and Trap - Estados Unidos | United States

Elise Carlson aka Lyric Lundquist - Cyberspace is Vast - Estados Unidos | United States

 

Elise Carlson aka Lyric Lundquist - Sideways Time - Estados Unidos | United States

Elizabeth Pickrd aka Liz Solo - The Death of an avatar - Canadá | Canada

Harrison Heller aka Nefarious Guy & Amorphous Blob Productions – Clockwork - Estados Unidos | United States

Iain Friar aka IceAxe – Clockwork - Reino Unido | United Kingdom

Iain Friar aka IceAxe – Embers - Reino Unido | United Kingdom

J. Joshua Diltz - Six Days - Estados Unidos | United States

James Thorpe aka Blackace - Daddy is Home - Reino Unido | United Kingdom

Les Riches Douaniers: Gilles Richard & Fabrice Zoll - Chevauchée Nocturne - França | France

Les Riches Douaniers: Gilles Richard & Fabrice Zoll – Kamikaze - França | France

Luca Lisci aka Voom – Prometheus - Itália | Italy

Luca Lisci aka Voom - The Blue Planet - Itália | Italy

Luca Lisci aka Voom - Valentina 'Riflesso' - Itália | Italy

Mark Capell aka Hardy Capo - Control Point - Reino Unido | United Kingdom

Miguel Moreira aka Hadj Ling - The Black Chant - Portugal | Portugal

Pineapple Pictures: Kate Fosk & Michael Joyce – Voices - Reino Unido | United Kingdom

Piotr Kopik - Big Psomm 2 - Polônia | Poland

Rob Wright aka Robbie Dingo - Watch the world(s) - Reino Unido | United Kingdom

Sam Goldwater aka Lorka - The Monad - Reino Unido | United Kingdom

Simone Schleu aka Sisch - Saving Grace - Alemanha | Germany

Simone Schleu aka Sisch – Transient - Alemanha | Germany

The Do Group: Clemens Fobianke aka Cisko Vandeverre - Der Erlköning - Alemanha | Germany

The Do Group: Clemens Fobianke aka Cisko Vandeverre - Der Handschuh - Alemanha | Germany

Tobias Lundmark aka Dopefish & Malu05 - Among Fables and Men - Suécia | Sweden

Tom Jantol - Brief Encounter - Croácia | Croatia

Tom Jantol - Wizard of OS: The Fish Incident - Croácia | Croatia

Tony Bannan aka Ammo Previz - Folie à Deux - Austrália | Australia

Trace Sanderson aka Lainy Voom – Fall - Reino Unido | United Kingdom

Trace Sanderson aka Lainy Voom – Postcard - Reino Unido | United Kingdom

 

Trace Sanderson aka Lainy Voom – Push - Reino Unido | United Kingdom

Van Aerden & Nicolas Bonne – Metabup - França | France

Van Aerden & Nicolas Bonne - Transbup (Trailer) - França | France

Vivian Kendall aka Osprey Therian - Alazi Sautereau - Estados Unidos | United States

Vivian Kendall aka Osprey Therian - Virtual Reality in the Future - Estados Unidos | United States

Zachariah Scott - Jill´s song - Estados Unidos | United States

 

GAMES

Alexandre Machado | 44 Bico Largo - Robo Sucata - Brasil | Brazil

Behold Studios | Buraco de Bala - Luna - Magnetoware Adventures - Brasil | Brazil

Eddy Boxerman & Dave Burke – Osmos - Canadá | Canada

Elias Holmlid, Dmitri Kurteanu, Guy Lima Jr. & Stefan Mikaelsson – Continuity - Suécia | Sweden

Erik Svedäng - Blueberry Garden - Suécia | Sweden

Florian Faller & Adrian Stutz – Feist - Suíça | Switzerland

Grupo Yellow Jam: Luciano José Firmino Júnior, Luiz José Barbosa de Moura Souza, Rafael Valle Barradas & Heloise Dantas Oliveira - Last Hope - Brasil | Brazil

Guilherme Bischoff, Francesco Sciamarella, Cauê Madeira & Evandro Valente | Kidguru Studios – Lumaki - Brasil | Brazil

Jairo Margatho | Overplay - Night Life - Brasil | Brazil

Joannie Wu & Lee Byron – Fireflies - Estados Unidos | United States

Kokoromi & Polytron - super HYPERCUBE - Canada | Canadá

Leonardo Arantes | Isis Interactive Graphics - Freestyle Challenge - Brasil | Brazil

Luiz Gerosa | Interama - Esther Art Gallery - Brasil | Brazil

Paulo Biagioni – Mutualismo - Brasil | Brazil

Philip Mangione - Chameleon Puzzle Runners - Brasil | Brazil

Q-Games - PixelJunk Eden - Japão | Japan

Rafael Fernandes | TecToy Digital - Vovó a solta - Brasil | Brazil

Rob Jagnow – Cogs - Estados Unidos | United States

Steph Thirion – Eliss - Portugal | Portugal

Tales of Tales – Vanitas - Belgica | Belgium

Tiago Fernandes | TecToy Digital - Dragon vs Heroes - Brasil | Brazil

Tiger Style Games - Spider: The Secret of Bryce Manor - Estados Unidos | United States

Tyler Glaiel – Closure - Estados Unidos | United States

Petri Purho - Crayon Physics Deluxe - Finlândia | Finland

 

INSTALAÇÕES | INSTALLATIONS

Andrew Hieronymi - Virtual Ground - Estados Unidos | United States

Corby & Baily, Jonathan Mackenzie - Southern Ocean Studies # 1.0 - Reino Unido | United Kingdom

Electronic Shadow: Naziha Mestaoui & Yacine Aït Kaci – SuperFluidity - França | France

Ernesto Klar - Luzes relacionais (Relational Lights) - Estados Unidos e Venezuela | United States and Venezuela

Guto Nóbrega – Breathing - Brasil | Brazil

Jarbas Jácome – Vitalino - Brasil | Brazil

Jeraman & Filipe Calegario - Marvim Gainsbug - Brasil | Brazil

Jonas Bohatsch - v+ - Áustria | Austria

Jörg Piringer - abcdefghijklmnopqrstuvwxyz for iPhone - Áustria | Austria

Jorge Luis Crowe - 2x (Power of two) - Argentina | Argentina

José Luis de Vicente, Irma Vilà & Bestiario - Atlas of Electromagnetic Space - Espanha | Spain

Keiko Takahashi & Shinji Sasada - Diorama Table - Japão | Japan

LEMUR: League of Electronic Musical Urban Robots & Eric Singer - LEMUR GuitarBot II - Estados Unidos | United States

Luo, He-Lin & Chen, I- Chun - Light Calligraphy - Taiwan (R.O.C.) | Taiwan (R.O.C.)

Markus Decker, Dietmar Offenhuber & Ushi Reiter - From Dust Till Dawn - Áustria | Austria

MARS: Media Arts Research Studies: Monika Fleischmann & Wolfgang Strauss – Mediaflow - Alemanha | Germany

Muk - disc.o - Áustria | Austria

Multitouch Barcelona: Dani Armengol, Roger Pujol, Xavier Vilar & Pol Pla - Hi! A real human interface - Espanha | Spain

Myrto Karanika & Jeremy Keenan – Strings - Reino Unido | United Kingdom

Pierre Proske - Frame Seductions - França e Austrália | France and Australia

Rachel Zuanon & Geraldo Lima – BioBodyGame - Brasil | Brazil

Raquel Kogan – Reler - Brasil | Brazil

Ricardo Barreto, Maria Hsu & AMUDI: Núcleo de Arte e Tecnologia da Escola Politécnica de Engenharia da USP: Breno Flesch Franco, Daniel Augusto Azevedo Moori, Erica Usui, Guilherme Wang de Farias Barros, João Flesch Fortes, Leandro Molon e Nadia Sumie Nobre Ota – feelMe - Brasil | Brazil

Ricardo Brazileiro – METROBANG - Brasil | Brazil

Rob Seward - Death Death Death - Estados Unidos | United States

Robert Mathy - Light Frequency Fingertips - Áustria | Austria

Sebastian Schmieg - Roy Block - Alemanha | Germany

SWAMP: Douglas Easterly, Matt Kenyon & Tiago Rorke – Tardigotchi - Nova Zelândia | New Zealand

Yacine Sebti - Jump! - Bélgica e Marrocos | Belgium and Morocco

 

PERFORMANCE

27/07

 

Minusbaby (Richard Alexander Caraballo) - Subversive Motives in Chip Music, or The 8bitpeoples' Party - Estados Unidos | United States

 

Celia Eid, Sébastien Béranger & Amilcar Zani – Dislocations - Brasil | Brazil

 

28/07

Jaime E Oliver LR - Silent Percussion Project - Peru | Peru

 

Panetone - Short lived like a butterfly - Brasil | Brazil

 

29/07

HEARTCHAMBERORCHESTRA - TERMINALBEACH: Erich Berger [Áustria e Finlândia | Austria and Finland] & Peter Votava [Áustria e Alemanha | Austria and Germany]

 

30/07

MooM: Dino Vicente & Bill Meirelles - Câmara Secreta - Brasil | Brazil

 

Ricardo Carioba - dáblio (w) - Brasil | Brazil

  

DOCUMENTA

27/07

 

Gustavo Godinho & Vladimir Cunha - Brega S/A- Brasil | Brazil

 

Claudio Mojope - Talk o Meu Coração ZunZunZunTV - Brasil | Brazil

 

28/07

 

Andreas Johnsen & Rasmus Poulsen - Man Ooman (Man Woman) - Dinamarca | Denmark

 

Fenton Bayle & Randy Barbato - Party Monster: The Shockumentary - Estados Unidos | United States

 

29/07

 

João Wainer & Roberto T. Oliveira – PIXO - Brasil | Brazil

 

Otávio Donasci - 30 Anos de Vídeocriaturas - Brasil | Brazil

 

30/07

 

Andreas Johnsen - Good Copy Bad Copy - Dinamarca | Denmark

 

Robert Baca & Joshua Rizzo - Welcome to Macintosh - Estados Unidos | United States

 

PRESIDIO OF MONTEREY, Calif. – More than 3,000 students from across California visited the Presidio of Monterey on May 13 for DLIFLC’s Language Day. Students, educators and other participants were treated to stage performances, classroom displays and ethnic cuisine, highlighting the cultures of the many foreign languages taught here.

 

Official Presidio of Monterey Web site

 

Official Presidio of Monterey Facebook

 

PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.

PRESIDIO OF MONTEREY, Calif. -- The Defense Language Institute Foreign Language Center held its version of Language Day at venues throughout the Presidio May 9, 2014. Thousands of visitors attended the free event aimed primarily at students in grades K-12. School groups attended from across the state. Language Day features cultural displays and activities, classroom presentations, ethnic foods served by local multinational vendors, and a wide variety of entertainment. Throughout the day, visitors were entertained by a colorful program that included Korean dancers, a leaping 60-foot Chinese paper dragon, Hindi and Afghani musicians playing traditional instruments, European choral ensembles and troubadours, Hebrew recitations, Persian folk singers, and a variety of other performers and cultural entertainments. All 24 languages taught at the DLIFLC were featured in special presentations during the day. To read the full story visit www.army.mil/article/125750/

Official Presidio of Monterey Web site

Official Presidio of Monterey Facebook

 

“If I can stop one heart from breaking”

 

If I can stop one heart from breaking,

I shall not live in vain;

If I can ease one life the aching,

Or cool one pain,

Or help one fainting robin

Unto his nest again,

I shall not live in vain.

 

Emily Dickinson

 

『ひとつの心がこわれるのを』

 

ひとつの心がこわれるのを止められるなら

わたしが生きることは無駄ではない

ひとつのいのちのうずきを軽くできるなら

ひとつの痛みを鎮められるなら

弱っている一羽の駒鳥を

もういちど巣に戻してやれるなら

わたしが生きることは無駄ではない

 

エミリ・ディキンソン　　

  

History of the Vienna State Opera

132 years house on the Ring

(you can see pictures by clicking on the link at the end of page!)

State Opera (K.K. Court Opera) 1901

About three and a half centuries, until the early Baroque period, the tradition of Viennese opera goes back. Emperor Franz Joseph I decreed in December 1857 to tear down the old city walls and fortifications around the city center of Vienna and to lay out a wide boulevard with new buildings for culture and politics, the ring road.

The two Court Theatres (a speech and a musical theater) should find a new place on the ring. For the Imperial and Royal Court Opera House was chosen a prominent place in the immediate area of ​​the former Kärntnertortheatre. This by the public that much loved opera theater was demolished in 1709 due to its confinement .

State Opera (K.K. Court Opera) 1903

The new opera house was built by the Viennese architect August Sicardsburg, who designed the basic plan, and Eduard van der Null, who designed the interior decoration. But other eminent artists had been involved: just think of Moritz von Schwind, who painted the frescoes in the foyer and the famous "Magic Flute", cycle of frescoes in the loggia. The two architects did not experience the opening of "their" opera house any more. The sensitive van der Null committed suicide since the Wiener (Viennes people) denigrated the new house as lacking in style, his friend Sicardsburg succumbed a little later to a stroke.

1869 - 1955

On 25 May 1869 the House was with Mozart's DON JUAN in the presence of Emperor Franz Joseph, the highest building owner, and Empress Elisabeth opened.

However, with the artistic charisma under the first directors Franz von Dingelstedt, Johann Herbeck, Franz Jauner and Wilhelm Jahn grew the popularity of the building. A first highlight experienced the Vienna Opera under the director Gustav Mahler, renewing the outdated performance system from scratch, strengthening precision and ensemble spirit and also using significant visual artists (including Alfred Roller) for the shaping of the new stage aesthetic.

In the ten-year-period of his Directorate (1897-1907) continued Gustav Mahler, this very day, in the concert halls of the world as the most important member of a Symphony Orchestra at the turn of the 20th century omnipresent, the intensive fostering of Wagner, Mozart's operas and Beethoven's Fidelio were redesigned, the with Richard Strauss initiated connection to Verdi was held upright. Austrian composers were promoted (Hugo Wolf), the Court Opera was opened to European modernism.

Image: Emperor Franz Joseph I and Emperor Wilhelm II during a gala performance at the Vienna Court Opera in 1900 resulting from the "Book of the Emperor", edited by Max Herzig.

Technique: Lithography

from www.aeiou.at

In addition to the classics of the Italian repertoire were and are especially Mozart, Wagner and Richard Strauss (himself 1919-1924 director of the House), the musical protection gods of the Vienna State Opera.

staatsoper_81.jpg (28138 bytes)

The modern also always had its place: the twenties and thirties witnessed the Vienna premieres of Krenek's Jonny spielt auf, Cardillac Hindemith, Korngold MIRACLE OF Héliane and Berg's Wozzeck (under President Clemens Krauss). This tradition was interrupted with the seizure of power by the National Socialists, yes, after the devastating bomb hits, on 12 March 1945 the house on the ring largely devastating, the care of the art form itself was doubtful.

The Viennese, who had preserved a lively cultural life during the war, were deeply shocked to see the symbol of the Austrian musical life in ruins.

But the spirit of the opera was not destroyed. On 1 May 1945 "State Opera Volksoper" was opened with a brilliant performance of Mozart's THE MARRIAGE OF FIGARO, on 6 October 1945 was followed by the re-opening of the hastily restored Theater an der Wien with Beethoven's Fidelio. Thus there were two venues for the next ten years, while the actual main building was rebuilt at great expense.

staatsoper_84.jpg (14707 bytes)

Visitors flock to the opera. Reopening on 5th November, 1955.

Image from © www.staatsvertrag.at / bildarchiv austria / ÖGZ / Hilscher

As early as 24 May 1945 the State Secretary of Public Works, Julius Raab, had announced the reconstruction of the Vienna State Opera, which should be placed in the hands of the Austrian architects Erich Boltenstern and Otto Prossinger. Only the main façade, the grand staircase and the Schwindfoyer (evanescence foyer) had been spared from the bombs - with a new auditorium and modernized technology, the Vienna State Opera was brilliant with Beethoven's Fidelio under Karl Böhm on 5 November 1955 reopened. The opening ceremonies were broadcasted from Austrian television and in the whole world at the same time as a sign of life of the resurrected 2nd Republic understood.

staatsoper_83.jpg (33866 bytes)

State ceremony to the reopening on 5 November 1955. On the far right under the box of the Federal President a television camera of the Austrian Broadcasting Corporation is visible which broadcasted the event. Image from © www.staatsvertrag.at / ÖGZ / Cermak

1955 to 1992

The dictum that the Vienna State Opera survives every director, is attributed to Egon Seefehlner which himself for many years run the businessses of the house. And yet marked he and the thirty-one other directors of the Vienna State Opera since 1869, great musicians or musical administrators, in their own way the profile of this world-famous institution:

staatsoper_82.jpg (13379 bytes)

Performance for the reopening of the Vienna State Opera on 5 November, 1955.

Image from © www.staatsvertrag.at / bildarchiv austria / ÖGZ / Hilscher

After the Second World War there were first the conductors directors Karl Böhm and Herbert von Karajan - the latter insisted on the title "Artistic Director" and opened the Ensemble house to the international singer market, had the opera rehearsed in original language and oriented his plans to "co-productions" with foreign opera houses, however, which were only realized after his term.

It followed as directors Egon Hilbert, Heinrich Reif-Gintl, Rudolf Gamsjäger and the mentioned Egon Seefehlner, who was appointed for a second time at the top of the house after the departure of his successor in office Lorin Maazel. Claus Helmut Drese (State Opera director from 1986 to 1991) stood with Claudio Abbado an internationally renowned music director by his side. At the beginning of the 90s the forrmer star baritone Eberhard Waechter, at that time director of the Volksoper (People's Opera), charged with the direction. Only seven months have been granted to him as a director.

The era Ioan Holender (1992 to 2010)

After Waechter's tragic death in March 1992 took over general secretary Ioan Holender, a former singer (baritone) and owner of a singer Agency, the office to continue the tradition of perhaps the most important opera institution in the world over the millennium to 2010.

His play plan design relies besides an extremely wide repertoire with the columns Mozart, Wagner, Verdi and Strauss mainly on premieres. Mention may be made of Bellini's I Puritani (1993 /94), Massenet Hérodiade (1994 /95), Verdi's Jerusalem and Britten's PETER GRIMES (1995 /96), Verdi's Stiffelio and Enescu OEDIPE (1996 /97), Rossini's GUILLAUME TELL and Lehár's operetta THE MERRY WIDOW (1998/99) and Schoenberg's THE JAKOBSLEITER, Hiller's PETER PAN, Donizetti's ROBERTO DEVEREUX, Britten's Billy Budd, Verdi's Nabucco (2000/ 01), Bellini's LA SONNAMBULA, Gounod's Roméo et Juliette, Janácek's Jenufa (2001/02), Verdi's SIMON BOCCANEGRA, Krenek's Jonny spielt auf, Donizetti's La Favorite, Hiller's PINOCCHIO, Wagner's TRISTAN UND ISOLDE (2002/ 03), Verdi's FALSTAFF, Wagner's FLYING DUTCHMAN and PARSIFAL, Strauss's Daphne (2003/ 04) and the world premiere of the original French version of Verdi's DON CARLOS (2003/ 04). A particular success of the recent past, the rediscovery of Fromental Halévy's La Juive Grand (1999 ) must be considered. Two premières concerned 1995 Adriana Hölszky's THE WALLS (co-production with the Vienna Festival at the Theater an der Wien ) and Alfred Schnittke's Gesualdo. On 15 June 2002 also THE GIANT OF STONE FIELD (Music: Peter Turrini: Friedrich Cerha libretto) premiered with great success, another commissioned work of the Vienna State Opera.

State Opera - © Oliver Thomann - FOTOLIA

Image : Vienna State Opera

In recent years it came up, in each case on 18 May, the anniversary of the death of Gustav Mahler, to concerts of the Vienna Philharmonic at the Vienna State Opera. These were under the direction of Seiji Ozawa (who since the 2002 /03 season the Vienna State Opera director Holender as music director of the house stands to the side) (1995), Carlo Maria Giulini (1996), Riccardo Muti (1997), Lorin Maazel (1998), Zubin Mehta (1999), Giuseppe Sinopoli (2000 ), Riccardo Muti (2001) and again Seiji Ozawa (2004).

Furthermore, was on 16 June, 2002 for the first time by the Vienna Philharmonic Orchestra (conducted by Seiji Ozawa) a CONCERT FOR AUSTRIA organized. More CONCERTS FOR AUSTRIA followed on 26 October 2003 (Zubin Mehta) and 26 October 2004 (under Valery Gergiev).

At the Theater an der Wien Mozart's Così fan tutte experienced a triumphant new production conducted by Riccardo Muti. This Mozart cycle under Muti continued with DON GIOVANNI and 2001 LE MARRIAGE OF FIGARO, 1999.

more...

Directors since 1869

Franz von Dingelstedt 07/01/1867 - 18/12/1870

Opening 5/25/1869

Johann von Herbeck 12/19/1870 - 30/04/1875

Franz von Jauner 01/05/1875 - 18/06/1880

Director College:

Karl Mayerhofer, Gustav Walter and

Emil Scaria 19.06.1880 - 31.12.1880

Wilhelm Jahn 01.01.1881 - 10.14.1897

Gustav Mahler 10/15/1897 - 31/12/1907

Felix Weingartner 01.01.1908 - 28.02.1911

Hans Gregor 01.03.1911 - 14.11.1918

Franz Schalk 15.11.1918 - 08.15.1919

Richard Strauss/Franz Schalk 16/08/1919 - 31/10/1924

Franz Schalk 1/11/1924 - 8/31/1929

Clemens Krauss 01/09/1929 - 15/12/1934

Felix Weingartner, 01.01.1935 - 08.31.1936

Erwin Kerber 09/01/1936 - 08/31/1940

Henry K. Strohm 09.01.1940 - 19.04.1941

Walter Thomas 02.01.1941 - 19.04.1941

Ernst August Schneider 04/20/1941 - 02/28/1943

Karl Böhm 03.01.1943 - 30.04.1945

Alfred Jerger,

State Opera in the Volksoper 01.05.1945 - 14.06.1945

Franz Salmhofer,

State Opera in the Theater an der Wien, 18.06.1945 - 31.08.1955

Karl Böhm 01.09.1954 - 31.08.1956

Herbert von Karajan 01.09.1956 - 31.03.1962

Herbert von Karajan/Walter Erich Schäfer 01.04.1962 - 08.06.1963

Herbert von Karajan/Egon Hilbert 09.06.1963 - 31.08.1964

Egon Hilbert 01.09.1964 - 18.01.1968

Heinrich Reif- Gintl 19.01.1968 - 31.08.1972

Rudolf Gamsjager 01.09.1972 - 31.08.1976

Egon Seefehlner 01.09.1976 - 31.08.1982

Lorin Maazel 01.09.1982 - 31.08.1984

Egon Seefehlner 01.09.1984 - 31.08.1986

Dr. Claus Helmut Drese 01.09.1986 - 31.08.1991

Eberhard Waechter 01.09.1991 - 29.03.1992

Ioan Holender 01.04.1992 - 31.08.2010

Dominique Meyer since 01/09/2010

 

Opera world premieres

Abbreviations:

Od = the Odeon

Ron = Ronacher

TW = the Theater an der Wien

 

1875 10:03. Goldmark The Queen of Sheba

1877 04:10. Brüller Der Landfriede

1880 26.05. Riedel The Accolade

15.12. Brüller Bianca

1883 04.01. Leschetitzky The first fold

21.02. Bachrich Muzzedin

1884 26.03. Bachrich Heini of Styria

1886 30.03. Hellmesberger jun. Fata Morgana

4:10 . Hager Marffa

19.11. Goldmark Merlin

1887 03:04. Harold pepper

1889 27.03. Fox The Bride King

4:10. Smareglia The vassal of Szigeth

1891 19:02. Mader Refugees

1892 01.01. J. Strauss Ritter Pasman

16.02. Massenet Werther

19.11. Bulk Signor Formica

1894 20.01. Heuberger Miriam

1896 21.03. Goldmark The Cricket on the Hearth

1899 17:01. The Goldmark prisoners of war

1900 22:01. Zemlinsky It was once

1902 28.02. Forster The dot mon

1904 18:02. Wolf The Corregidor

1908 02.01. Goldmark The Winter's Tale

1910 12:04. The musician Bittner

18.05. Goldmark Götz von Berlichingen

1911 09:11. Bittner The mountain lake

1912 16.03. Oberleithner Aphrodite

1913 15.03. Schreker The game works and the Princess

1914 01.04. Schmidt Notre Dame

1916 04:10. R. Strauss Ariadne auf Naxos (Vienna version)

1917 23.11. Zaiszek-Blankenau Ferdinand and Luise

1919 10.10. R. Strauss Die Frau ohne Schatten

1920 13.05. Weingartner Champion Andrea/The Village School

1921 09.04. The Bittner Kohlhaymerin

1924 20.09. Beethoven/R. Strauss The Ruins of Athens

1925 24.02. Kienzl Sanctissimum

27.03. Frank The image of the Madonna

1931 20.06. Wellesz The Bacchae

1932 10:11. Heger The beggar Nameless

1934 20.01. Lehár Giuditta

08.12. Bittner The violet

1935 26.12. Salmhofer lady in dream

1937 06.02. Wenzl - Traun rock the atonement

17.04. Frank The strange woman

18.11. Weinberger Wallenstein

1938 09.03. Salmhofer Ivan Tarasenko

1939 02:02. Will King ballad

1941 04:04. Wagner Régeny Johanna Balk

1956 17.06. Martin The Storm

1971 23.05. The visit of an old lady

1976 17.12. A Love and Intrigue

1989 25.11. The blind Furrer (OD)

1990 06:12. Krenek last dance at St. Stephen's (Ron)

1995 20.05. Hölszky The walls (TW)

26.05. Schnittke Gesualdo

2002 15.06. Cerha Der Riese vom Steinfeld

2007 15:04 Naske The Omama in the apple tree

2010 28.02. Reimann Medea

2010 10:05. Eröd dots and Anton

www.wien-vienna.at/index.php?ID=484

Soldiers from the 229th Military Intelligence Battalion, the U.S. Army element at the Defense Language Institute Foreign Language Center, Presidio of Monterey, conducted a leadership panel with the Santa Clara University Army ROTC unit Feb. 28.

 

The purpose of the panel was to provide mentorship to Army cadets and deepen cooperation between the active duty Army and Santa Clara’s Bronco Battalion. (U.S. Army photo by Patrick Bray/Released)

Photo by Hiro Chang, Presidio of Monterey Public Affairs

 

The Defense Language Institute Foreign Language Center opened its doors to the public on May 15 for its annual Language Day event.

 

The event showcased the cultures of the different departmental languages being taught here through dance, skits and fashion shows.

 

Exhibits were also presented throughout the school grounds with local Monterey ethnic vendors selling their local cuisines to the customers.

 

Nearly 2,000 high school students and teachers attended Language Day.

  

Official Presidio of Monterey Web site

 

Official Presidio of Monterey Facebook

      

Used at dubaiinformer.com/209256/language-composition-dubai-picture/

@ quelque part sur SL

একুশঃ ভাষা আন্দোলনের সচিত্র ইতিহাস (১৯৪৭-১৯৫৬) - সি এম তারেক রেজা

THE ANCIENT LANGUAGE OF SOUNDS AND SIGNS

April 27th, 2010

@ Mobius

725 Harrison Avenue, Suite One

Boston MA 02118

  

Dancers:

Olivier Besson

Ellen Godena www.mobius.org/user/27

Liz Roncka www.myspace.com/realtimeperformance

  

Musicians:

Haggai Cohen Milo (bass) www.myspace.com/jatul

Amir Milstein (flute)

Jamey Haddad (percussion) www.jameyhaddadmusic.com

 

A very special evening of improvised music and dance featuring musicians Haggai Cohen Milo (bass) and Amir Milstein (flute) and movement artists Olivier Besson, Ellen Godena and Liz Roncka.

 

ARTIST BIOS

 

Olivier Besson - Movement Artist - is an improvisational movement artist who hails from France and is based in Boston. In the period from 1980 until the mid 90's, Olivier studied Contact Improvisation with Robin Feld, Nancy Stark Smith, Lisa Nelson and Andrew Harwood, and Improvisation / Real Time composition with Daniel Lepkoff and Julyen Hamilton. During that time, he also practiced and performed Bugaku (Court dance from Japan) with Arawana Hayashi. Other training includes Butoh with Maureen Feming and Action Theater with Ruth Zaporah.

 

Most notably, Olivier’s work has been presented: *in the US - at Dance Theatre Workshop (NYC), Judson Church (NYC), New York Improvisation festival, Walker Art Centre (Minneapolis), Boston Dance Umbrella, Florida Dance Festival, Dance Place (Washington DC), The Boston Conservatory, Boston University, Radford University (Virginia), *and internationally - at the National Institute of the Arts (Taipei, Taiwan), Die Pratze (Tokyo), Art of Movement Festival (Yaroslav, Russia), Micadanses (Paris) and with Compagnie Vertige (Nice, France). He has collaborated with many individuals including Chris Aiken, Lisa Schmidt, Debra Bluth, Ming-Shen Ku, Pamela Newell, Toshiko Oiwa and musicians/composers Mike Vargas, Peter Jones, Jane Wang and Grant Smith. Locally, he has guest danced for Dawn Kramer, Micki Taylor-Pinney and Diane Noya. His ongoing performance projects involve collaborations with Liz Roncka in Boston and Emmanuelle Pepin in Nice (France) .

 

Olivier is currently on faculty at The Boston Conservatory (dance division). He has been on faculty at Canal Danse (Paris), the French National Circus School (CNAC), Bates Dance Festival, Emerson College and the School of Fine Arts at Boston Universtity. He has taught residencies at the National Institute of the Arts (Taipei, Taiwan), Le Centre Choregraphique de Danse / Daniel Larieu (Tours, France), the University of Minnesota, and Radford University (Virginia). He has also taught masterclasses for teen / pre-teen programs at Walnut Hill, Cambridge School of Weston, Jeanette Neil Dance Studios, Brookline High and Cambridge Rindge and Latin.

Haggai Cohen Milo - At the young age of 25, bass player and composer Haggai Cohen Milo is already a known name in the international music scene. Mr. Cohen Milo, currently operating from Berkeley, CA, brings exotic flavors to his music from his native middle east country, Israel. In both his compositions and in his playing, there is a contemporary mix of sound between East and West. His group the Secret Music Project, that features his personal musical sound and vision, has performed in some of the most important festivals around the world including the Aspen Music Festival, the Atlantic Jazz Festival (Canada), Boston First Night and many more.

Mr. Cohen-Milo first gained international recognition when he won the First Prize in the International Ensemble Competition in Belgium 2006. In the same year, Cohen Milo was also awarded the DownBeat Magazine Music Awards and the grand prize at the Fish Middleton Jazz Soloist Competition held in Washington, DC.

 

As a Composer, Cohen Milo has composed the score for two full enough feature films, Intimate Enemies (2008), by the internationally known Mexican director Fernando Sariñana and SPAM (2009) by the director Charlie Gore. Cohen Milo released his debut album in January 2007 under the prestigious record label “Fresh Sound - New Talent”. The album received enthusiastic reviews in the US and in Europe. Cohen Milo also recorded with different artists for Warner Music, Sunnyside Records and more.

 

With a fast growing touring career, Cohen Milo has already performed on some of the most important stages around the world, including Carnegie Hall and Birdland (New York), Getxo International Jazz Festival (Spain), The Jazz Station (Belgium) and Rome Music Festival (Italy), to name a few.

 

Cohen Milo graduated in 2009 from the prestigious New England Conservatory of Music in Boston where he studied with such masters as Danilo Perez, Bob Moses, Jamey Hadad and Jerry Bergonzi.

 

"... Haggai Cohen Milo revealed over a set of ridiculously infectious music that he's in the soul restoration business. Yessiree. He is!" (Graham Pilsworth, "The Coast", Canada)

 

Amir Milstein - Flutist and composer - is a graduate of the "Rubin Academy of Music" in Jerusalem (B.M. in jazz and classical flute), and the New England Conservatory (Masters degree in music performance, 2010) Amir established his career in the world-music scene founding acknowledged ensembles such as Bustan Abraham and Tucan Trio with which he has recorded and performed worldwide.

 

His musical background represents a variety of styles and cultures including classical, jazz, Mediterranean and Latin. He has collaborated with artists such as Zakir Hussein, Tito Puente, Ross Daly, Omar Farouk Tekbilek and Armando Macedo, among others and has participated in distinguished concert venues and festivals, both as a player and a composer.

He has collaborated with several choreographers, with whom he has composed for modern and flamenco dance groups and has composed and recorded several film scores. (His recent work on the documentary film "The Case for Israel- Democracy's Outpost" is currently presented at film festivals worldwide). Amir played in musical shows in the Israeli television and has collaborated and recorded numerous albums with Israel's leading artists, such as Matti Caspi, Shlomo Gronich, Gidi Gov, Miki Gavrielov, Leah Shabbat, and many others.

 

With over twenty years of experience teaching flute, recorders and music theory, Amir developed a unique musical education program and has instructed at the "Karev Music Educational Program" in Israel. He currently teaches at the New England Conservatory, Boston, and has lectured and presented workshops at music schools such as the Berklee College of music, Boston and Berkeley University, CA. Before moving to Boston, in 2004 Amir was also a faculty member at the "Hed College of Contemporary Music" in Tel Aviv, Israel. Amir presents an interactive workshop for schools and colleges called: "A World of Flutes"- Introducing the evolution of woodwinds through live music, stories, and a demonstration of over 80 musical instruments.

Ellen Godena - Movement Artist - is an experimental performer, choreographer, and Mobius Artists Group member. Her recent work has focused on the relationships between human, non-human (organic), and machine (non-organic) movement as a method for studying human development. Recent solo and collaborative works have been quests to define these relationships through the use of primitive, robotic entities in performance.

 

Ellen’s training, artistic influences and inspiration derive from the study of Japanese avant-garde movement and theater forms that have developed since the early 1960’s, primarily the butoh dances created by Japanese artists Kazuo Ohno and Tatsumi Hijikata, physical theater, and contemporary dance. Since 1998, she has performed solo, group, and ensemble work in Boston, Philadelphia, Providence, and New York City. She was a former dancer with the Boston-based Kitsune Dance Theater (2003-06) under the direction of Deborah Butler, and the NYC post-modern butoh troupe, the Vangeline Theater (2006-08) under the direction of Vangeline. She has performed with Master butoh artist Katsura Kan (Curious Fish, 2002, 2008), and has studied with internationally recognized artists such as Zack Fuller, Hiroko Tamano, Su-En, Diego Pinon, and Katsura Kan. Her primary, long-term training has been with American artists Deborah Butler, Vangeline, and Jennifer Hicks. Currently, Ellen is presenting solo robotics – movement projects in addition to performing regularly with Liz Roncka's Real-Time Performance Project in Boston, MA. She holds a Bachelor of Fine Arts degree from the Rhode Island School of Design in Studio Painting (1997), and a Master's degree in Human Development and Psychology from Harvard University (2005).

  

Liz Roncka - Movement Artist - is an avid practitioner of movement improvisation and contemporary dance. She is the director of lizroncka/Real-Time Performance Project,a Mobius Artists Group member and a collaborating artist with Emma Jupe, a Paris-based improvisation collective. Her work has been presented in Boston, NYC, San Francisco, Budapest and Paris.

 

Liz's early training was in the tradition of classical ballet at the School of the New Bedford Ballet. In college, Liz’s focus shifted toward contemporary dance and improvisation. She was a member of the Dance Collective of Boston from 1998-2005. Liz has had the pleasure of performing modern dance and improvisational work under the direction of: Ramelle Adams, Emily Beattie, Ruth Benson-Levin, Debra Bluth, Alissa Cardone, Sean Curran,Ellen Godena, Andrew Harwood, Michael Jahoda/White Box Project, Dawn Kramer, Light Motion, Karen Murphy-Fitch and Micki Taylor-Pinney.

 

Much of Liz's work is developed in deep collaboration with sound artists, most notably Jane Wang, Haggai Cohen Milo, Jessyka Luzzi, Sean Frenette and Akili Jamal Haynes. Current projects include an improvisational duo with Forbes Graham (trumpet) and an collaboration with Philippe Lejeune (visual artist) developing a movement piece within a glass installation exploring the intersection of reality and reflected images. For more information please see:

 

www.dailydanceproject.blogspot.com

www.myspace.com/realtimeperformance

www.mobius.org/user/29

Photo by Hiro Chang, Presidio of Monterey Public Affairs

 

The Defense Language Institute Foreign Language Center opened its doors to the public on May 15 for its annual Language Day event.

 

The event showcased the cultures of the different departmental languages being taught here through dance, skits and fashion shows.

 

Exhibits were also presented throughout the school grounds with local Monterey ethnic vendors selling their local cuisines to the customers.

 

Nearly 2,000 high school students and teachers attended Language Day.

  

Official Presidio of Monterey Web site

 

Official Presidio of Monterey Facebook

      

Project by artist James Cornetet, document all American Sign Language gestures.

deaf italians doing sign language, probably one of the most expressive things i've seen

What's the weight of your words? From: neshikabell.com/mind-your-language/

THE ANCIENT LANGUAGE OF SOUNDS AND SIGNS

April 27th, 2010

@ Mobius

725 Harrison Avenue, Suite One

Boston MA 02118

  

Dancers:

Olivier Besson

Ellen Godena www.mobius.org/user/27

Liz Roncka www.myspace.com/realtimeperformance

  

Musicians:

Haggai Cohen Milo (bass) www.myspace.com/jatul

Amir Milstein (flute)

Jamey Haddad (percussion) www.jameyhaddadmusic.com

 

A very special evening of improvised music and dance featuring musicians Haggai Cohen Milo (bass) and Amir Milstein (flute) and movement artists Olivier Besson, Ellen Godena and Liz Roncka.

 

ARTIST BIOS

 

Olivier Besson - Movement Artist - is an improvisational movement artist who hails from France and is based in Boston. In the period from 1980 until the mid 90's, Olivier studied Contact Improvisation with Robin Feld, Nancy Stark Smith, Lisa Nelson and Andrew Harwood, and Improvisation / Real Time composition with Daniel Lepkoff and Julyen Hamilton. During that time, he also practiced and performed Bugaku (Court dance from Japan) with Arawana Hayashi. Other training includes Butoh with Maureen Feming and Action Theater with Ruth Zaporah.

 

Most notably, Olivier’s work has been presented: *in the US - at Dance Theatre Workshop (NYC), Judson Church (NYC), New York Improvisation festival, Walker Art Centre (Minneapolis), Boston Dance Umbrella, Florida Dance Festival, Dance Place (Washington DC), The Boston Conservatory, Boston University, Radford University (Virginia), *and internationally - at the National Institute of the Arts (Taipei, Taiwan), Die Pratze (Tokyo), Art of Movement Festival (Yaroslav, Russia), Micadanses (Paris) and with Compagnie Vertige (Nice, France). He has collaborated with many individuals including Chris Aiken, Lisa Schmidt, Debra Bluth, Ming-Shen Ku, Pamela Newell, Toshiko Oiwa and musicians/composers Mike Vargas, Peter Jones, Jane Wang and Grant Smith. Locally, he has guest danced for Dawn Kramer, Micki Taylor-Pinney and Diane Noya. His ongoing performance projects involve collaborations with Liz Roncka in Boston and Emmanuelle Pepin in Nice (France) .

 

Olivier is currently on faculty at The Boston Conservatory (dance division). He has been on faculty at Canal Danse (Paris), the French National Circus School (CNAC), Bates Dance Festival, Emerson College and the School of Fine Arts at Boston Universtity. He has taught residencies at the National Institute of the Arts (Taipei, Taiwan), Le Centre Choregraphique de Danse / Daniel Larieu (Tours, France), the University of Minnesota, and Radford University (Virginia). He has also taught masterclasses for teen / pre-teen programs at Walnut Hill, Cambridge School of Weston, Jeanette Neil Dance Studios, Brookline High and Cambridge Rindge and Latin.

Haggai Cohen Milo - At the young age of 25, bass player and composer Haggai Cohen Milo is already a known name in the international music scene. Mr. Cohen Milo, currently operating from Berkeley, CA, brings exotic flavors to his music from his native middle east country, Israel. In both his compositions and in his playing, there is a contemporary mix of sound between East and West. His group the Secret Music Project, that features his personal musical sound and vision, has performed in some of the most important festivals around the world including the Aspen Music Festival, the Atlantic Jazz Festival (Canada), Boston First Night and many more.

Mr. Cohen-Milo first gained international recognition when he won the First Prize in the International Ensemble Competition in Belgium 2006. In the same year, Cohen Milo was also awarded the DownBeat Magazine Music Awards and the grand prize at the Fish Middleton Jazz Soloist Competition held in Washington, DC.

 

As a Composer, Cohen Milo has composed the score for two full enough feature films, Intimate Enemies (2008), by the internationally known Mexican director Fernando Sariñana and SPAM (2009) by the director Charlie Gore. Cohen Milo released his debut album in January 2007 under the prestigious record label “Fresh Sound - New Talent”. The album received enthusiastic reviews in the US and in Europe. Cohen Milo also recorded with different artists for Warner Music, Sunnyside Records and more.

 

With a fast growing touring career, Cohen Milo has already performed on some of the most important stages around the world, including Carnegie Hall and Birdland (New York), Getxo International Jazz Festival (Spain), The Jazz Station (Belgium) and Rome Music Festival (Italy), to name a few.

 

Cohen Milo graduated in 2009 from the prestigious New England Conservatory of Music in Boston where he studied with such masters as Danilo Perez, Bob Moses, Jamey Hadad and Jerry Bergonzi.

 

"... Haggai Cohen Milo revealed over a set of ridiculously infectious music that he's in the soul restoration business. Yessiree. He is!" (Graham Pilsworth, "The Coast", Canada)

 

Amir Milstein - Flutist and composer - is a graduate of the "Rubin Academy of Music" in Jerusalem (B.M. in jazz and classical flute), and the New England Conservatory (Masters degree in music performance, 2010) Amir established his career in the world-music scene founding acknowledged ensembles such as Bustan Abraham and Tucan Trio with which he has recorded and performed worldwide.

 

His musical background represents a variety of styles and cultures including classical, jazz, Mediterranean and Latin. He has collaborated with artists such as Zakir Hussein, Tito Puente, Ross Daly, Omar Farouk Tekbilek and Armando Macedo, among others and has participated in distinguished concert venues and festivals, both as a player and a composer.

He has collaborated with several choreographers, with whom he has composed for modern and flamenco dance groups and has composed and recorded several film scores. (His recent work on the documentary film "The Case for Israel- Democracy's Outpost" is currently presented at film festivals worldwide). Amir played in musical shows in the Israeli television and has collaborated and recorded numerous albums with Israel's leading artists, such as Matti Caspi, Shlomo Gronich, Gidi Gov, Miki Gavrielov, Leah Shabbat, and many others.

 

With over twenty years of experience teaching flute, recorders and music theory, Amir developed a unique musical education program and has instructed at the "Karev Music Educational Program" in Israel. He currently teaches at the New England Conservatory, Boston, and has lectured and presented workshops at music schools such as the Berklee College of music, Boston and Berkeley University, CA. Before moving to Boston, in 2004 Amir was also a faculty member at the "Hed College of Contemporary Music" in Tel Aviv, Israel. Amir presents an interactive workshop for schools and colleges called: "A World of Flutes"- Introducing the evolution of woodwinds through live music, stories, and a demonstration of over 80 musical instruments.

Ellen Godena - Movement Artist - is an experimental performer, choreographer, and Mobius Artists Group member. Her recent work has focused on the relationships between human, non-human (organic), and machine (non-organic) movement as a method for studying human development. Recent solo and collaborative works have been quests to define these relationships through the use of primitive, robotic entities in performance.

 

Ellen’s training, artistic influences and inspiration derive from the study of Japanese avant-garde movement and theater forms that have developed since the early 1960’s, primarily the butoh dances created by Japanese artists Kazuo Ohno and Tatsumi Hijikata, physical theater, and contemporary dance. Since 1998, she has performed solo, group, and ensemble work in Boston, Philadelphia, Providence, and New York City. She was a former dancer with the Boston-based Kitsune Dance Theater (2003-06) under the direction of Deborah Butler, and the NYC post-modern butoh troupe, the Vangeline Theater (2006-08) under the direction of Vangeline. She has performed with Master butoh artist Katsura Kan (Curious Fish, 2002, 2008), and has studied with internationally recognized artists such as Zack Fuller, Hiroko Tamano, Su-En, Diego Pinon, and Katsura Kan. Her primary, long-term training has been with American artists Deborah Butler, Vangeline, and Jennifer Hicks. Currently, Ellen is presenting solo robotics – movement projects in addition to performing regularly with Liz Roncka's Real-Time Performance Project in Boston, MA. She holds a Bachelor of Fine Arts degree from the Rhode Island School of Design in Studio Painting (1997), and a Master's degree in Human Development and Psychology from Harvard University (2005).

  

Liz Roncka - Movement Artist - is an avid practitioner of movement improvisation and contemporary dance. She is the director of lizroncka/Real-Time Performance Project,a Mobius Artists Group member and a collaborating artist with Emma Jupe, a Paris-based improvisation collective. Her work has been presented in Boston, NYC, San Francisco, Budapest and Paris.

 

Liz's early training was in the tradition of classical ballet at the School of the New Bedford Ballet. In college, Liz’s focus shifted toward contemporary dance and improvisation. She was a member of the Dance Collective of Boston from 1998-2005. Liz has had the pleasure of performing modern dance and improvisational work under the direction of: Ramelle Adams, Emily Beattie, Ruth Benson-Levin, Debra Bluth, Alissa Cardone, Sean Curran,Ellen Godena, Andrew Harwood, Michael Jahoda/White Box Project, Dawn Kramer, Light Motion, Karen Murphy-Fitch and Micki Taylor-Pinney.

 

Much of Liz's work is developed in deep collaboration with sound artists, most notably Jane Wang, Haggai Cohen Milo, Jessyka Luzzi, Sean Frenette and Akili Jamal Haynes. Current projects include an improvisational duo with Forbes Graham (trumpet) and an collaboration with Philippe Lejeune (visual artist) developing a movement piece within a glass installation exploring the intersection of reality and reflected images. For more information please see:

 

www.dailydanceproject.blogspot.com

www.myspace.com/realtimeperformance

www.mobius.org/user/29

PRESIDIO OF MONTEREY, Calif. -- The Defense Language Institute Foreign Language Center celebrated the upcoming Memorial Day with a ceremony on Presidio’s Soldier Field May 21. The ceremony included a solemn invocation by the Chaplain, a 21-gun salute rendered to fallen service members, firing of the ceremonial cannon, performances by the DLIFLC Joint Service Student Choir, and unveiling of the Dedication Plaque in honor of DLIFLC graduates killed in action during the wars in Iraq and Afghanistan.

 

Special honors were given to Spc. Christopher A. Landis, whose name was added to the Dedication Plaque this year. Landis died February 2014 in Afghanistan from wounds caused by a rocket-propelled grenade while conducting operations in the Kapisa province. Landis enlisted as a cryptologic linguist in the Army in March 2011 and was a DLIFLC Arabic language graduate. He was assigned to 2nd Battalion, 3rd Special Forces Group (Airborne), Fort Bragg, N.C. when he lost his life in service to his country.

 

Following the ceremony, the Presidio Garrison hosted a special reception event for Gold Star Families who were in attendance.

 

Official Presidio of Monterey Web site

 

Official Presidio of Monterey Facebook

 

PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.

PRESIDIO OF MONTEREY, Calif. -- The Defense Language Institute Foreign Language Center held its version of Language Day at venues throughout the Presidio May 9, 2014. Thousands of visitors attended the free event aimed primarily at students in grades K-12. School groups attended from across the state.

 

Language Day features cultural displays and activities, classroom presentations, ethnic foods served by local multinational vendors, and a wide variety of entertainment. Throughout the day, visitors were entertained by a colorful program that included Korean dancers, a leaping 60-foot Chinese paper dragon, Hindi and Afghani musicians playing traditional instruments, European choral ensembles and troubadours, Hebrew recitations, Persian folk singers, and a variety of other performers and cultural entertainments. All 24 languages taught at the DLIFLC were featured in special presentations during the day.

 

Official Presidio of Monterey Web site

 

Official Presidio of Monterey Facebook

 

PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.

Photo by Hiro Chang

 

The Defense Language Institute Foreign Language Center opened its doors to the public on May 15 for its annual Language Day event.

 

The event showcased the cultures of the different departmental languages being taught here through dance, skits and fashion shows.

 

Exhibits were also presented throughout the school grounds with local Monterey ethnic vendors selling their local cuisines to the customers.

 

Nearly 2,000 high school students and teachers attended Language Day.

  

Official Presidio of Monterey Web site

 

Official Presidio of Monterey Facebook

     

Lensbaby Composer

Olympus E-PL1

Lightroom 3

Language Science Day on Friday, October 28, 2022 at 2130 H.J. Patterson Hall. Event took place from 9 AM to 5 PM. These photos were taken in the afternoon.

St Marys Collegiate Church, Warwick, Warwickshire

 

The monument to Robert Dudley and Lettice Knollys, the favourite Courtier and the favourite Lady-in-waiting, who defied Elizabeth I to marry, and were banished from Court forever.

 

Robert Dudley was born 24 June 1532 the fifth son of John Dudley, 1st Duke of Northumberland and Jane Guildford. At a young age he was tutored by, among others, Dr. John Dee. He had a talent for languages, writing and maths.

He learnt the Courtiers craft at the court of Henry VIII.

1549 he was involved in crushing the Kett's Rebellion.

4 June 1550 he married Amy Robsart, the daughter of a Norfolk farmer, in the presence of King Edward. It would seem that the marriage was a love match and the young couple were dependent on John Dudley financially.

In 1553 Edward died and the plot to put Lady Jane of the throne was put into action. Robert led a force of 300 against Mary, taking various towns in Norfolk in the name of Queen Jane.

By the 19th July the reign was over and all parties involved were tried, condemned to death and placed in the Tower of London. At the same time the Princess Elizabeth was also imprisoned in the Tower and it would seem that it was during this time that the two childhood friends became close. By the autumn he and Ambrose had been released and joined the army of Phillip II of Spain.

1557 he was at the Battle of St Quentin, his bravery allowing him to return to Court, at least whilst Phillip was present.

On 18 November 1558 he witnessed the surrender of the Great Seal to Elizabeth on her accession to the throne at Hatfield. He was entrusted with the duty of organising the coronation festivities. As soon as Elizabeth was Queen, Robert was made Master of the Horse.

By April 1559 he was made a Knight of the Garter and several Ambassadors were noting that the Queen and Dudley had become so close that it was widely acknowledged that the Queen would marry no-one except Dudley. For this he attracted many enemies and the assassination plots were so rife he started wearing light chain mail under his clothes.

He was not allowed to leave the Queen's side for any length of time and was only allowed to spend four days with his wife, Amy, at Easter in 1559. She was also allowed to come to London for a month in the summer, but that was the last time he would see her. She was found at the bottom of the stairs at Cumnor place on 8 September 1560. He was with the Queen at Windsor Castle. The rumours were immediate, mainly that either Robert or the Queen had Amy murdered so they could marry. It had the opposite affect. To limit the damage and he was removed from Court for two years.

1562 he was made a Privy Councillor. He was infact to be made Protector or the Realm that year if the Queen had died from the Smallpox she had caught.

1563 Elizabeth suggested that Dudley should marry Mary Queen of Scots. If the match had gone ahead, Elizabeth was willing to proclaim Mary her heir. However, Dudley refused, and supported Mary's cause until the 1580s. He was present at her execution at Fotheringhay castle.

1564 he was created Earl of Leicester. By 1566 Dudley had given up hope he could ever marry Elizabeth, however, her hold was strong. His apartments were next to hers, and he had overwhelming influence over each other. There was long periods of time that he could not leave the Queen and at ceremonial occassions he acted as an unofficial consort or ambassador.

1587 he was made Steward of the Royal Household, and involved with the needs and running of the entire court.

He proved to be an adventurous businessman, financing many ventures including privateers such as Drake.

He also had strong religious views, trying to mediate between the non-conforming puritans and the Bishops of the church.

1575 he held a three weeks festivity at Kenilworth Castle for the visit of the Queen. It was a spectacular event.

1569-1574 he was involved in affair with Lady Douglas Sheffield. Although he claimed to love her, he was honest and stated that he could never marry the lady or he would be ruined. They had a son, Robert, in 1574, and Dudley found her a suitable husband. The boy was much loved and given an excellent education.

21 September 1578 he secretly married Lettice Knollys. He did not tell the Queen, but his enemies did and the outburst was tremendous and they were both sent from court.

They had a son, the noble imp, in 1581 but he died in 1584.

After that Robert turned heavily to God and religion.

In July 1588 at the eve of the Spanish Armada, he was created Lieutenant and Captain-General of the Queen's Armies and Companies. It was he that set up camp in Tilbury and invited the Queen to be with her troops. After the battle was one he basked in his older spledour, even dining with the Queen, for a few precious weeks.

4 September 1588, on his way to Buxton to take the baths, he died at Combury Park, having been suffering from both malaria and stomach cancer.

The Queen locked herself away for a week, refusing to be comforted, and only emerged when Lord Burghley had the door broken down. She kept his last letter by her bedside until she died 15 years later.

 

Lettice Knollys was born 8 November 1543 to Sir Francis Knollys and Catherine Carey at Rotherfield Greys, Oxfordshire.

She was introduced early to Court life and had known the Princess Elizabeth since childhood as they were cousins.

In 1560 at the age of 17 she married Walter Devereux, Viscount Hereford, with whom she had her two daughters, Penelope and Dorothy.

By 1565, pregnant with her first son, she was at court and as a result of flirting with Dudley was sent away again in a fit of rage from the Queen.

1572 her husband was created Earl of Essex and sent to Ulster for two years. During that time it is rumoured that she actually started an affair with Dudley. In 1573 he sent her a present of venison from the Kenilworth estate, and in 1574 and 1576 she made hunting trips to the estate.

1575 she was present as one of the Queens ladies at the three week festivities at Kenilworth, the party then progressed to her home of Chartley where the Queen stayed next.

The Earl died in Dublin in September 1576. Under her husbands will, she was left little and was forced to return to fathers house at Rotherfield Greys. After much legal wrangling she obtained some of the estates back.

21 September 1578 she married Dudley at 7 in the morning. Only six people were present. When the Queen was told the following year, she banished her cousin from court forever. She refused to forgive her and refused to accept the marriage. She was forced to live discreetly, as her every movement was resented, and she continued to go by the title of the Countess of Essex and not Leicester.

1581 she had a son, the noble imp, but he died in 1584. Although she had other pregnancies, the results are not known.

She continued to remained excluded from social life, and paid for her own household out of her dowar money and not from Dudley's venue.

When Dudley died in 1588, he left her a wealthy woman at £3000 a year and moveables worth £6000, although she had his debts to settle.

In 1589 she married Sir Christopher Blount, a soldier 12 years her junior who had been a gentleman to Dudley. Her son, now the Earl of Essex, was not happy with the match, which seems to have been a genuinely happy one.

1593 she sold Leicester House to her son Essex and moved to Drayton Bassett near Chartley. She stayed their for the rest of her life, seeing no point in returning to London as she was still banished from court.

In 1599, Essex, her son and now the Queens great favourite, was imprisoned for returning from Ireland without permission. Lettice only made matters worse by trying to send the Queen gifts and speak with her, all of which failed. He was spared but was again arrested in 1601 for rising against the Queen. He was executed that year with Christopher Blount.Lettice having lost both husband and son to the executioners block now found herself in legal disputed over her remaining properties. Only the death of the Queen in 1603 saved her from complete ruin.

James I was kinder and restored her grandson as the 3rd Earl of Essex but also cancelled the remainder of her debts to the crown - some £4000.

The same year, Dudley's illegitimate son, Robert tried to lay claim to his fathers estates, mostly Kenilworth. The Countess took him to Star Chamber over the matter and managed to produce 56 witnesses who all confirmed Dudley had never considered his son legitimate. The chamber found un favour of the Countess.

She spent the rest of days looking after siblings, children and grandchildren. The young Earl spent much time living with his grandmother.

She was still walking a mile a day at the age of 90, and peacefully passed away in her chair on the 25 December 1634 aged 91.

Her will stated that she wished to be buried "at Warwick by my lord and husband the Earl of Leicester with whom I desire to be entombed."

 

English - I love you

Afrikaans - Ek het jou lief

Albanian - Te dua

Arabic - Ana behibak (to male)

Arabic - Ana behibek (to female)

Armenian - Yes kez sirumen

Bambara - M'bi fe

Bengali - Ami tomake bhalobashi (pronounced: Amee toe-ma-kee bhalo-bashee)

Belarusian - Ya tabe kahayu

Bisaya - Nahigugma ako kanimo

Bulgarian - Obicham te

Cambodian - Soro lahn nhee ah

Cantonese Chinese - Ngo oiy ney a

Catalan - T'estimo

Cherokee - Tsi ge yu i

Cheyenne - Ne mohotatse

Chichewa - Ndimakukonda

Corsican - Ti tengu caru (to male)

Creol - Mi aime jou

Croatian - Volim te

Czech - Miluji te

Danish - Jeg Elsker Dig

Dutch - Ik hou van jou

Elvish - Amin mela lle (from The Lord of The Rings, by J.R.R. Tolkien)

Esperanto - Mi amas vin

Estonian - Ma armastan sind

Ethiopian - Afgreki'

Faroese - Eg elski teg

Farsi - Doset daram

Filipino - Mahal kita

Finnish - Mina rakastan sinua

French - Je t'aime, Je t'adore

Frisian - Ik h�ld fan dy

Gaelic - Ta gra agam ort

Georgian - Mikvarhar

German - Ich liebe dich

Greek - S'agapo

Gujarati - Hoo thunay prem karoo choo

Hiligaynon - Palangga ko ikaw

Hawaiian - Aloha Au Ia`oe

Hebrew

Hebrew to male: "ani ohev otcha" (said by male) "Ohevet ot'cha" (said by female)

Hebrew to female: "ani ohev otach" (said by male) "ohevet Otach" (said by female) Hiligaynon - Guina higugma ko ikaw

Hindi - Hum Tumhe Pyar Karte hae

Hmong - Kuv hlub koj

Hopi - Nu' umi unangwa'ta

Hungarian - Szeretlek

Icelandic - Eg elska tig

Ilonggo - Palangga ko ikaw

Indonesian - Saya cinta padamu

Inuit - Negligevapse

Irish - Taim i' ngra leat

Italian - Ti amo

Japanese - Aishiteru or anata ga daisuki desu

Kannada - Naanu ninna preetisuttene

Kapampangan - Kaluguran daka

Kiswahili - Nakupenda

Konkani - Tu magel moga cho

Korean - Sarang Heyo or Nanun tangshinul sarang hamnida

Latin - Te amo

Latvian - Es tevi miilu

Lebanese - Bahibak

Lithuanian - Tave myliu

Luxembourgeois - Ech hun dech g�er

Macedonian - Te Sakam

Malay - Saya cintakan mu / Aku cinta padamu

Malayalam - Njan Ninne Premikunnu

Maltese - Inhobbok

Mandarin Chinese - Wo ai ni

Marathi - Me tula prem karto

Mohawk - Kanbhik

Moroccan - Ana moajaba bik

Nahuatl - Ni mits neki

Navaho - Ayor anosh'ni

Norwegian - Jeg Elsker Deg

Pandacan - Syota na kita!!

Pangasinan - Inaru Taka

Papiamento - Mi ta stimabo

Persian - Doo-set daaram

Pig Latin - Iay ovlay ouyay

Polish - Kocham Ciebie

Portuguese - Eu te amo

Romanian - Te iubesc

Russian - Ya tebya liubliu

Scot Gaelic - Tha gra\dh agam ort

Serbian - Volim te

Setswana - Ke a go rata

Sign Language - ,\,,/ (represents position of fingers when signing'I Love You')

Sindhi - Maa tokhe pyar kendo ahyan

Sioux - Techihhila

Slovak - Lu`bim ta

Slovenian - Ljubim te

Spanish - Te quiero / Te amo

Swahili - Ninapenda wewe

Swedish - Jag alskar dig

Swiss-German - Ich lieb Di

Surinam - Mi lobi joe

Tagalog - Mahal kita

Taiwanese - Wa ga ei li

Tahitian - Ua Here Vau Ia Oe

Tamil - Nan unnai kathalikaraen

Telugu - Nenu ninnu premistunnanu

Thai - Chan rak khun (to male)

Thai - Phom rak khun (to female)

Thai (informal) Rak te

Turkish - Seni Seviyorum

Ukrainian - Ya tebe kahayu

Urdu - mai aap say pyaar karta hoo

Vietnamese - Anh ye^u em (to female)

Vietnamese - Em ye^u anh (to male)

Welsh - 'Rwy'n dy garu di

Yiddish - Ikh hob dikh

Yoruba - Mo ni fe

PRESIDIO OF MONTEREY, Calif. -- The Defense Language Institute Foreign Language Center held its version of Language Day at venues throughout the Presidio May 9, 2014. Thousands of visitors attended the free event aimed primarily at students in grades K-12. School groups attended from across the state. Language Day features cultural displays and activities, classroom presentations, ethnic foods served by local multinational vendors, and a wide variety of entertainment. Throughout the day, visitors were entertained by a colorful program that included Korean dancers, a leaping 60-foot Chinese paper dragon, Hindi and Afghani musicians playing traditional instruments, European choral ensembles and troubadours, Hebrew recitations, Persian folk singers, and a variety of other performers and cultural entertainments. All 24 languages taught at the DLIFLC were featured in special presentations during the day. To read the full story visit www.army.mil/article/125750/

Official Presidio of Monterey Web site

Official Presidio of Monterey Facebook

 

I'm not waiting on a cancer diagnosis this Thanksgiving. My baby sister is such an amazing person. She helped take such good care of me this past year. She is a wonderful friend. She is an amazing Mom! She is the Mom of the little gal you see in so many of my pics. I am so thankful to have my little sister in my life!

 

I looked at this picture later and realized that this pose has been duplicated year after year, holiday after holiday..........with my Mamaw (Grandmother). We lost her last April and we all miss her so much. I look at this photo and I am sitting in the position my Grandmother always sat in for photos. My sister is in the position that I always assumed.

 

I am reminded that she is still with us and in my heart. She would have liked the Doc Martens in Red Patent Leather! :)

একুশঃ ভাষা আন্দোলনের সচিত্র ইতিহাস (১৯৪৭-১৯৫৬) - সি এম তারেক রেজা

A book that I bought from the discarded stack of the library. Someone had torn out several pages and I got it for a euro.

 

= = = = =

 

Who am land where do I come from? And how

do people construct and transform their identity.

Igor Sevcuk's films try to answer these and similar

existential questions. Ten years ago he fled to the

Netherlands from Bosnia. He may be a stranger

here, but even in his homeland, Sevcuk feit alien.

His forebears we re from the Ukraine. Sevcuk's

grandmother was imbued in the culture of her

parents and although none of his family has even

been to the Ukraine, everyone knew what it

means to be Ukrainian.

During the period spent working for the Prix de

Rome, Sevcuk returned to his birthplace in Bosnia.

He filmed his parents' house and the environment

he grew up in. In the film, we meet his grandmother,

singing a song in an unknown language in the living

room. "Language is all to do with identity", says

Sevcuk. "My film is about a language that is almost

never used and that symbolises a distant, elusive

originality. The film shows how the language

gradually loses its meaning."

Igor Sevcuk's films are typified by an al most

documentary style. He lets the camera glide

through the interior of the flat, pausing at

interesting details. Dialogues are interspersed

with atmospheric impressions of the landscape.

His rough filming style leaves room for viewers'

own interpretations. Sevcuk takes you into his

world but deliberately avoids telling finished

stories. "Someone's memories have no clear

beginning or end. This film is about more than just

my own family history. I've also tried to touch on

universal issues surrounding identity."

In many ways, Igor Sevcuk is a painter. He only

started experimenting with moving images a few

years ago. But he never completely forgets his

background as apainter. Sevcuk has an eye for

balanced compositions and unusual perspectives.

Both in his films and his paintings, there is little

use of colour. Sevcuk: "I love the dramatic con-

trasts and raw aesthetic of black and white

images. Colours are anecdotal and, in my opinion,

unnecessary because they don't play an important

role in memories."

The probing and personal way in which Igor

Sevcuk portraits his family's everyday life is

reminiscent of the work of the English artist

Richard Billingham. His rudimentary filming style

closely parallels he style of Dogma films like Festen

and The ldiots. Sometimes the images are jolting

or poorly lit. "I deliberately choose a primitive

filming and editing style", explains Sevcuk. 'Tm

not interesting in making glossy images. The most

important thing is to communicate a feeling."

The poetic visuallanguage af Sevcuks' film is

much appreeiated by the jury. The ertist preîers bis

own pure, personet filming style io editing and

shooiinç conventlans. The members af the jury are

impressed by his exptoreiion af the theme af

identity in layered images. His work is sensiiive,

weil thouçht-oui, and demands etiention: the [ilm's

rich symbolism is camplex and nat easily deciphered.

The jury awards Igor Sevcuk the [irst prize af twenty

thausand euros.

@mkofab

White Oak Music Hall

Houston, TX

10-27-21

Oval-Man saving the day.

Photo by Hiro Chang

 

The Defense Language Institute Foreign Language Center opened its doors to the public on May 15 for its annual Language Day event.

 

The event showcased the cultures of the different departmental languages being taught here through dance, skits and fashion shows.

 

Exhibits were also presented throughout the school grounds with local Monterey ethnic vendors selling their local cuisines to the customers.

 

Nearly 2,000 high school students and teachers attended Language Day.

  

Official Presidio of Monterey Web site

 

Official Presidio of Monterey Facebook

      

No idea why Dutch is featured on this sign - it's not one of Australia's officially recognised languages.

Here are a few of the Japanese language books I have in my collection. I do not speak or read Japanese, but I love the books I have.

 

Maybe some of my Japanese speaking Flickr friends can offer translations to these titles.