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Misunderstandings you’ve had in the past are going to come back to haunt you in the future. Spirituality will play a role in the events to come.
HHS Secretary Alex Azar joined top health officials and global health partners at a World Health Assembly side event to look at ways to boost public trust in vaccines as our most reliable front line defense against disease. WHO Director General Dr. Tedros Adhanom Ghebreyesus delivered closing remarks at the event entitled “Promoting Vaccine Confidence: Enhancing Global Immunization Efforts to Protect the Health of all Generations.”
“Vaccines are some of the most thoroughly tested medical products we have,” said Secretary Azar in opening remarks at the event. “Vaccines are safe, effective, and lifesaving. But around the world, complacency among the public, coupled with misunderstanding and misinformation, is causing vaccination rates to decline, with tragic results.”
Speakers at the event included EU Commissioner Dr. Vytenis Andriukaitis, Dr. Luiz Henrique Mandetta, Minister of Health, Brazi:, Dr. Theresa Tam, Chief Public Health Officer of Canada; Prof. Dr. Alexandru Rafila, Romania, Member of WHO Executive Board, Dr. Seth Berkley CEO, GAVI Vaccine Alliance and Prof. Dr. Peter Hotez, Dean of the Baylor College of Medicine National School of Tropical Medicine. The event was moderated by Dr. Katherine O'Brien, Director, Department of Immunization, Vaccines and Biologicals, WHO.
Read HHS Secretary Azar’s opening remarks at the event: geneva.usmission.gov/2019/05/21/secretary-azar-remarks-on...
U.S. Mission Photo/Eric Bridiers
Man-Kzin Wars XIII created by Larry Niven
Baen Books, Feb. 2013
529 pages
Cover art by Stephen Hickman
Contents:
"Misunderstanding" - Hal Colebatch and Jessica Q. Fox
"Two Types of Teeth" - Jane Lindskold
"Pick of the Litter" - Charles E. Gannon
"Tomcat Tactics" - Charles E. Gannon
"At the Gates" - Alex Hernandez
"Zeno's Roulette" - David Bartell
"Bound for the Promised Land" - Alex Hernandez
From inside:
What Are the Odds?
The main kzin force, having gathered in a wide ring around the pillbox, tried to send a team to work through the misty margin between the flank of the strongpoint and the southern hot spring. Weapon fire erupted from the pillbox; two kzinti went down immediately. A third was clipped in the back of the leg as he tried to reach the safety of the treelike again.
The surrounding perimeter of covering brush erupted in weapon fire, all directed inward on the pillbox.
Smith swung his binoculars back to the kzin flankers coming up his slope. The two who had already been veering away were now sprinting pell-mell back in the direction of the battle. Of the remaining three, their pace slowed not due to argument. but to indulge in wistful appreciation of the same martial spectacle.
Which was why none of the three slope-scouting kzinti heard the reports of the elephant guns that fired into them from the rear.
Smith saw one flash and then another jump out of the dark wall of the undergrowth some seventy meters behind the kzin.
Two more flashes licked out of the distant wall of tangled vegetation, and the last kzin fell over, three meters short of the outcropping.
Smith exhaled through a smile.
The fellow next to him in the slit trench - a 'Runner named Tip and their best guncotton brewer - cocked a quizzical head: "What's up hauptman?"
"our odds of success," Smith replied, "our odds of success."
-- from "Tomcat Tactics" bu Charles E. Gannon
Snow day. My dog Zeus hates the snow (unless he is eatting it) but I made him pose. I'll give him extra dinner tonight
Nicole tagged me to do song lyrics. These are so of my favorites. I tried to use ones I haven’t as titles for my pictures since that is usually where all my favorite song lyrics go. If I tag you I encourage you to do this, it is quite fun and I also I encourage you to give these songs a listen. I am a tad biased but these songs all rock <3
Living is easy with eyes closed, misunderstanding all you see. It's getting hard to be someone but it all works out, it doesn't matter much to me. Let me take you down, 'cause I'm going to Strawberry Fields. Nothing is real and nothing to get hung about. Strawberry Fields forever.
Strawberry Fields Forever: The Beatles
Our dreams will break the boundaries of our fears. Boundaries of our fears
Crossfire: Brandon Flowers
Should’ve figured out then what you had to lose. But it’s too late to fix what is broken. Are you with me Cartel: 27 Steps
Those who are dead are not dead. They're just living in my head. And since I fell for that spell. I am living there as well. Time is so short and I'm sure. There must be something more
Coldplay: 42
'Cause that night the sun in retreat. Made the skyline look. Like crooked teeth. In the mouth of a man. Who was devouring, us both
Death Cab for Cutie: Crooked Teeth
Tell me does she look at you the way I do. Try and understand the words you say and the way you move
Does she Get the Same big rush. When you go in for a hug and your cheeks brush. Tell me am I crazy, am I crazy
He is We: Blame it on the Rain
Oh everyone believes from emptiness to everything. That no one is going quietly. We are never going to win the war. We are never going to stop the war. Belief is what we are fighting for.
John Mayer: Belief
The truth never set me free so I did it myself
Paramore: Careful
Now I want to be buried in your backyard and when the flowers grow just know you're still in my heart.When the flowers grow just know you're in my heart
Nightmare of You: I want to be buried in your backyard
Would you give it all up? Could I give it all up for you? Some men may follow me but you choose death and company. Why you so speechless?
Lady Gaga: Speechless
Dear Toyota
I don't know how you arrived at the idea that an effective use of mobile media is to have phone-equipped street teams try to show apps to passersby.
Phones are not an alternate form of display advertising. A single phone is not a tool for two people to use collaboratively. The screen - what you have focused on here - is the least important piece of the phone. It's the GSM transmitter, the part that connects it to places, people, things, the world. Treat the phone like a screen, and it will treat you poorly in return.
The last weeks have been a parade of bad mobile ideas, this is just another. Somewhere, someone woke up to realize that lot of people have phones and use them all the time. Soon, I hope, someone will wake up to realize that these phones have nothing to do with the television, the internet, or wherever it is you've been hanging your hat.
There are four people in Times Square, standing in the rain, trying to get strangers to look at their phones. Pay them just the same, but bring them inside and just spend time asking them how they actually engage mobile media. That would be a much better use of your money.
Sent via BlackBerry
There are a lot of misperceptions and misunderstandings about the Mormon Church. The Mormon missionaries will correct those if you ask about them, but they will be most concerned with teaching you the basic beliefs of Mormonism and the basic principles of the Gospel of Jesus Christ as the Mormons see it.
The Mormon missionaries will go into much greater depth when they teach you than we can on this website. Our section on Mormon beliefs is a little more detailed than this page of summaries. It may clear up a few misconceptions and serve as a basic resource – but the missionaries are the better resource.
Source: Elder Parley P. Pratt
On the last Friday of each month the Edinburgh Bookshop in Bruntsfield holds a Speakeasy night, with an author talk but also serving up gin and tonics and letting readers and writers socialise.
The March event this evening saw Simon Beattie giving a talk about Friedo Lampe's At the Edge of Night, which he translated, then doing a reading from the book. Lampe was a writer, librarian and publisher in Germany, he was also disabled and gay. He survived the evils of the Nazi regime (although his home was bombed and his precious lifetime book collection destroyed), only to be shot in a tragic misunderstanding by Soviet soldiers as the war was ending.
We were also treated to music and poetry from the fabulous Macsonnetries, with flautist Graham Dickson and poet Petra Reid. Graham started by playing some beautiful pieces by Bach, which feature in Lampe's novel, then he and Petra performed music and poetry together.
At one point a woman walked past outside the window, and her wee girl, maybe about eight years old, just stopped, her face lit up, utterly entranced by stumbling across this music, it was gorgeous to see her experiencing a little moment of unexpected magic. Terrific evening.
Acceder illustrates the communication between the different Chilean authorities during the earthquake and the tsunami that followed. Their decisions are affected by misunderstandings, language barriers, politics, machismo and the fear of committing mistakes. Due to a government change, a week after the catastrophe, the official response to the tsunami also became a political issue between right and left. The video is based on emergency protocols, court reports and newspaper articles. As a guided lecture, it sums up five hours of complex bureaucracy behind the emergency methodology.
Credit: vog.photo
This year my eyes were opened to a new world of cruelty, misunderstanding and judgement. A world of hurtful words, actions and repercussions. Rape culture is REAL.
I’ve seen someone I consider my family go through the most difficult ordeal of their life. I’ve seen them crushed and crucified, blamed and beaten down. And not once did I understand why anyone ever blamed them for the complete and total abuse they dealt with. It made me realize how many people go through this and then become ashamed of themselves; body and mind. I HATE that. I HATE that while we are on the cusp of 2014, we are still so close minded that we as human beings condone such horrible stigmas.
One of the things I get told and accused of the most is that I’m slutty, narcissistic, full-of-myself, craving attention. People tell me that I don’t respect myself. That I’m obsessed with myself. That I’ll take any attention, good or bad. And for the longest time I believed them, and it made me hate myself. It made be want to disappear because I thought that maybe if I hate myself, instead of loving myself and who I am, maybe people would finally like me. By cutting off my own self-esteem and no longer drawing any attention to myself, maybe other people would start thinking good things about me. MAYBE if I stopped being HAPPY, other people would APPROVE of MY life. Do you know how long I lived that way? TOO long. The SECOND that anyone believes that the opinions of others trumps the happiness you have with yourself is a second too long. It took me moving to a different state, meeting new people and being completely self-reliant to realize that by loving myself, I’m not being “slutty” or “narcissistic.” By loving myself, I’m not asking for “it” or any kind of attention. I’m being me. I’m loving myself. All of these misconceptions go back to people being so caught up in this awful culture of accusing without reason and judgement without understanding. We’re all so scared that our happiness with ourselves will chase off others, we don’t even realize how much we’re holding ourselves back.That needs to change.
You can’t expect everyone to love or accept you. But the sooner we stop judging others, the sooner that we can rid ourselves of the awful ideals that Rape Culture promote. You are not a slut for being happy with your body. You are not narcissistic for embracing who you are. You are NOT asking for it because you are wearing, saying, doing or posting ANYTHING.
Loving yourself is the first way to stop rape culture.
Being yourself is the BEST way to start loving yourself.
You are the most magnificent piece of artwork there is.There is only one of you and no brush stroke, sculpture or song can ever capture your essence. Do not hold back from being you. Be proud of yourself, your body. Nudity is NOT asking for it. It’s nudity. Simple as that.
A misunderstanding with a frenchman leads the Mario brothers to yet another castle where the princess ain't.
You should have seen what they did to the Mr. Rogers Dinosaur when they mistook it for Bowser.
More photos in the comments. Click on photo
La confusione è una forza maligna. Invade lo spazio e svuota il corpo. La trasposizione della vita nel vortice del tutto è vuoto incompreso nell'assordante rumore dell'Ordine del caos.
This was shot on New Year's Eve, in near-zero temperature cold, shortly before midnight.
As I finished up, I collapsed my tripod and hustled across the street to rejoin my lovely wife who was waiting in the warm car. This got the attention of a nearby police officer, who thought I was carrying a rifle. After a brief panic and some flashing lights, we resolved the misunderstanding and had a surprisingly pleasant conversation.
Kingman residents, give your police force a hand for being both vigilant and cool.
Yoko Ono interview - full transcript
Yoko Ono interviewed by Simon Harper for http://www.clashmusic.com
Artist, singer, wife, mother, loved, loathed, legend, survivor - Yoko Ono is many things to many people, but the little person behind the big name is buried beneath a mountain of myths and misunderstandings. Clash flew to New York to meet the real Yoko Ono.
For obvious reasons, it’s quite disconcerting walking into the Dakota building. The imposing nineteenth century apartment block, which overlooks Central Park, was home to John Lennon and Yoko Ono throughout the Seventies, and, as you pass through the gates of the main entrance, you realise you’re walking in the last footsteps Lennon ever took. That Yoko still lives here, still passes the place where her husband was murdered twenty-nine years ago, demonstrates the strong-will, bravery and resilience of a woman that has endured years of antipathy purely for marrying the man she loved.
These thoughts are hurtling through my head, overwhelming the nerves that were earlier festering in there and stretching down to the pit of my stomach, as I crossed the cobbled entry and into the lobby. I’m here to talk about Yoko’s new album, ‘Between The Sky And My Head’, and to focus on the pioneering spirit of the vivacious seventy-six-year-old, but the inescapable weight of her past looms large, and dominates my mind as I’m led through the winding corridors and, eventually, into her apartment - the former home of John Lennon.
Yoko Ono does not appear from a ball of flames, nor a puff of smoke. Instead, she humbly emerges from a doorway, dressed casually in a black tracksuit (and of course her ever-present shades), and walks meekly up to shake my hand. She commands your attention with only her presence.
‘Between The Sky And My Head’ is the first Yoko Ono album to be co-produced with her son, Sean (and the first release on his own Chimera Music label). It betrays her age by embracing the modern strains of garage rock, electro, dance and ambient classical, and, ironically, will be released in the wake of The Beatles’ latest explosion.
Sitting down at her kitchen table, I sneak a look around the room we are in - walls are decorated with Japanese prints, photos of John and Yoko, and a Lennon calendar; he still permeates her life, clearly. She asks for the air conditioning to be turned off - meanwhile I’m suffering, still recovering from the forty degree heat outside - and then the conversation begins to flow. With every answer comes a shy chuckle, she peers over her glasses and stares straight into my eyes. With just a look, I know if my line of questioning has strayed too far, and I change tack. We start, naturally, at the beginning...
You apparently became heavily involved with art and music while at college...
No, no, not really... Did I tell you this or did you read somewhere that...
I read that you’d...
About the fact that I went to school, pre-school; you don’t call it nursery, it’s called Jiyugakuen. Jiyugakuen is like a freedom garden - when you translate it it’s garden of freedom - it was a school in Japan. I’d say it was maybe still there. In the 1930s my mother put me in there. It’s a school where you get very early music education: perfect pitch, harmony, everything.
They start you young.
Yeah. It was very interesting thing that happened then - I didn’t think it was anything at the time, but one of the homeworks was to listen to all the sounds and the noise of the day and transcribe it into music notes. Isn’t that amazing?
It’s very kind of New Age now, isn’t it?
New Age, yes. And in music you start to sort of develop a kind of ear that’s very different. For instance, they would just ask you to listen to the sound of the clock going ‘ding, ding, ding, ding’, and they’d say, ‘Well, how many times did it ring?’ And you have it in your head, so you have to repeat in your head, that sort of thing. It was a very, very interesting education I got.
You wrote a piece for Clash a couple of years ago - we asked you to do a New Year’s message, and you wrote about growing up in Japan after the bomb. We just marked the anniversary for Hiroshima bombing...
Oh, I remember it; I remember very clearly. It’s a very interesting thing: my father travelled a lot and he came to New York, and we came to New York and we lived in Scarsdale or somewhere like that, briefly, and then just before the war started there was incredible tension between the United States and Japan, and we were all warned that we should go back to Japan. So, we all went back to Japan, and then sure enough there was a war; it started. It was a very, very difficult time really.
Do you think that your generation that remember the bomb grew up with a different perspective on life?
Yes, and I’m very lucky that I had that experience because otherwise I would have been one of those kids, those prep school kids that are like, ‘Ha ha everything’s okay’, but no, it wasn’t okay at all. We were evacuated to some farm land, and the farmers were not very nice to us; they felt like, ‘This is our time, you city people’. So, we didn’t get very much food, for instance. I mean, that was a surprise; I’d never had an experience like that - of course, very few people have that kind of experience.
How do you mark the anniversary now? I know you Twittered a message on Hiroshima day. Do you think about it when the day comes round, or is it a day you try not to think about it?
Well, each time there was a message where they wanted to play my music or something, whatever it was... You can’t ignore it, but also I think it’s very good to bring it out and ask people to remember it, because it might just sort of discourage some people to again create a war like that. I don’t know, it seems like we’re just screaming in the wind or something.
Did the musical training of your youth teach you to write more instinctive, or is it more intellectualized?
Instinctively. I think that I’m trying to stick to spontaneity of my inspiration, and it’s an emotional accumulation or outburst; I think that’s more real. I was just saying in another interview, with this record especially, I felt there’s a hodge-podge element that I love. The thing is, when you put a classical music record out, in your head, just like when I was four-years-old, there’s so many different noises going in and out - you’re experiencing what is in the street or what is inside the house, and then at one point maybe you have jingles coming out - but you ignore that, you sanitise it, and you make sure that there’s just classical music only on the CD. Even just that is so boring for me, so with this, you notice with this record that I made, there’s so many different styles just jumping out; the first is the screamer, and then right after that there’s the dance stuff, and then you think it’s gonna be dance music but then there’s pop music or something. In other words, I was not scared to not streamline it, in terms of the forms of music.
As testament to your diversity, back in the ’60s you played with the jazz legend Ornette Coleman - and you just did the Meltdown Festival in London with him.
I was so amazed; it was exciting, because both of us survived in a way (laughs). There’s so many people that we knew that are not here anymore; it was interesting.
Is he a good friend to work with?
He was always a very gentle person, I think that’s how he survived maybe. I’m sure there’s some anger in him, of course - the racism and all that and how they were treated. And also jazz is not a very popular field, compared to rock and pop and all that, so he must have gone through all that and some pain as well, but instead of that, he’s always sort of gentle; it’s amazing.
Your reputation and acceptance from the general public and Beatles fans has become gradually more prevalent over the years. You’re finally being embraced...
Yes, I’m much more accepted now, thank God I’m sure, but when you go on the Internet, some people are still extremely upset with me! (Laughs)
How do you cope with that level of cruelty?
Isn’t it amazing? It’s a bit scary, so that’s why I’m always very careful; in that sense I’m not displaying my courage. (Laughs)
Having to continue your career after John’s death was a very brave move in the first place, and the fact that you’re still here with a new album is very admirable.
I was so surprised and interested in that film called The Pianist, where the pianist is that Jewish guy who’s always being banged around, but he’s always [mimes playing the piano] - in his head he’s always playing the piano. That’s how I survived. Many composers, like my first husband [composer Toshi Ichiyanagi]; we would be in a restaurant and he would be sitting there like, ‘da da dun da’ [mimes playing piano on table], and I’d be doing that too. We are not communicating, we are living in our heads; that was the reason I survived, I think - it was the music that made me survive.
Your previous album, ‘Yes I’m A Witch’, endeared you greatly with the indie scene - you gave your songs to some excellent artists to remix: Cat Power, Antony Hegarty...
Aren’t they incredible?
And it was a great album. Was it a good album to make? Did you have fun hearing what they did to your music?
I really respect Antony. Antony is an incredible artist, the way he sings and everything is fantastic!
It’s out of this world isn’t it?
You see, I think about sounds as an independent art from composition. In the ‘Yoko Ono/Plastic Ono Band’ [1970 album] , when we did [opening track] ‘Why’, I was interested in breaking the sound barrier with it. Breaking the sound barrier for the music world, like ‘Boom!’ And we did it.
Making an impact!
We did it! But of course instead of what we thought we did, I had a huge, huge trash can, saying ‘Yoko Ono’s record’, and everybody’s standing like this (throwing the record in), in Japan. John was like, ‘In Japan? It’s your own country!”
Were you aware of the artists who worked on ‘Yes I’m A Witch’ before you made the record? Did you trust them with your songs?
Well, it all just happened, like, ‘Well, what do you think about this one?’ I was not aware of them, but I immediately became aware of him [Antony] especially.
So, this album is co-produced with Sean.
Yeah, isn’t that great?
What’s your working relationship like?
I was very nervous - well, at first I was not nervous... When Sean said, ‘We should do an album - your album...’ Now I say, ‘Don’t say “your album”: it’s a Chimera [Sean’s label] album, okay? Don’t say “your album” like it’s something you want to push outside.” And he said, ‘Okay, let’s do it.’ So I said, [sheepishly] ‘Okay...’ I had no concern about it. I thought it was great; we’d have the chance to be together. I don’t know how you feel about your parents - there’s a point where you just want to ignore your parents, and just call when you need money! (Laughs) ‘Hello, do you have any cash?’ The thing is, I thought, it’s not just that I’m gonna get a call - I’m gonna be with him. That was my concern; that was the reason why I wanted to do it initially. And then a few people said, ‘Are you sure you want to do this? Because mother and son can be very difficult.’ Maybe, but I didn’t really think that. There was something instinctive about it; I didn’t think it was gonna be bad, and it wasn’t bad - in fact, we sort of like discovered each other - well, maybe Sean would say that he didn’t discover me... (Laughs) I discovered the fact that he knew so much of my music; that was a real surprise. And so, as a music director, first of all he got the best studio for me, that was the best thing - it’s not known to be the best maybe, but he said, ‘It’s good and it has this funky sound; this will be the best.’ It just makes you comfortable being in there, too. It’s not a state-of-art kind of place. And then he collected all those musicians.
He chose a combination of Japanese and American musicians...
Well, the Japanese ones, it’s a very strange thing. Sean wanted me to come to Tokyo to join him in this concert he was doing. He said, ‘Why don’t you come to this concert? I’d like you to be a part of it.’ And I said, ‘You mean I’m gonna go all the way to Japan just for this one concert? That sounds crazy!’ But then I thought, ‘Okay, it’s my son, it’s my son.’ So, I went there. I started to sing, and there was a point that - this was a song that was like a constructed song and they probably knew it - but in the end I was just going for the spontaneity kind of thing, spontaneously going to vocal modulation - I’m not using the word ‘scream’ because you’re going to use that anyway! And it just went up and up, and I thought, ‘They can’t follow this - they won’t know when I stop it.’ And I just went, [raises hand] ‘Uh’, and they just stopped. I thought, ‘Oh my God, who are these people?’ I just looked back and it was the Japanese trio [Yuka Honda and members of Cornelius’ band], and I thought, ‘Hmmm, okay!’ So, when Sean said we should make a record, I said, ‘Okay, well get those two or three.’ So that was the main character, the main sort of people.
Did he tend to boss you around in the studio?
No, he didn’t. Well, alright, so he tried probably! (Laughs)
Your stature and your fame means that you could probably work with anybody, so why did you choose these Japanese and Americans, and what did you hope they would do together?
I’m probably arrogant to the point of unbearable! (Laughs) The idea of Plastic Ono Band was that anybody can be the band. Before I met John - the name Plastic Ono Band was named by him, so we didn’t have the name at the time - I was asked to go to a university or something in the United States, pre-John Lennon, so I go, and they of course want me to perform as well. So I just said, ‘You, you and you, why don’t you just come and play?’ In other words, I didn’t check their credentials, because I thought I can just do it and it will be beautiful. And so, with this group too - the three Japanese musicians were very good - then Sean invited all these other people; they were all very good. I think in terms of the spirit of things, not credentials.
The art is in the spontaneity.
Yeah.
You were, and still are, a great symbol and crusader of women’s rights.
Yes!
Now that you’re in your seventies, do you think you’re leading the way to defy the expectations of septuagenarians?
(Laughs) Well, I’m not that conscious of it. If I am conscious of it, whether I’m conscious or not, if I can’t make it I can’t make it. But it happens to be, you know, I’m not feeling old; I’m feeling very excited about life every day.
That’s good, and it’s reflected in the vitality of the music.
Well, after I finished that one, it was like, ‘We have to do a second one, Sean!’ And he was saying, ‘Yeah, yeah, we have to’, because I got some ideas, of course; when you’re making music you get more inspired.
Talking of improvisation, I read that most of the lyrics on the album are improvised. Do you think that it makes them less ripe for studying, or that since they came from your subconscious, they are much more of a window into your true thoughts?
Oh, definitely. For instance, some critics have criticised John for his lyrics being too personal, that his songs are personal. So? That’s why it’s good! (Laughs)
What else are you gonna write about?
You know what I mean? It’s crazy to think that if we create a fictional situation it is more legitimate. We don’t think that; I don’t think that. I’m giving my guts; I’m giving myself.
Are you aware of the lyrics when you’re making them, or afterwards, when you listen to what you sang, do you go, ‘Wow, where did that come from?’ Do you know where the lyrics are coming from when you sing them?
I don’t know, and even when I listen to it after I don’t know. I don’t think about it that way. It’s very interesting, one of the CDs - we call it CD now, but LP - somebody in this building, actually, said, ‘You know, on your album, your voice sounds very much like the Spanish when they dance...’
Flamenco?
Yeah. I said, ‘Oh, really?’ And, you see, I never connect those things, but then I thought maybe I was a Spaniard one day a long time ago, who knows?
There are a number of references to water throughout the album - is that of any significance to you?
Water’s very important. I created a song called ‘We Are All Water’, remember, a long, long time ago, and the reason is because we are 90% water.
We’re tidal.
We are water - we better be very careful. Oh, this is another thing that I just learned - it’s a new thing I learnt, and I really think it would be good if you can just put it in... You know, we know, and we keep saying as hippies or yuppies or zippies (laughs), that what we do or what we think affects the whole world - you, me, anybody. So then now, two scientists discovered that - they were checking how the waves are made in the ocean - just anything that gets into the water, whether it’s a tiny acorn or a little boy splashing, affects the whole ocean. Isn’t that amazing? But you know what that means? It’s not just on land, but it’s in the ocean - both ways we’re all together; we’re just one.
It’s the same on land as well.
Yeah, of course. The land one, we always said whatever we think or whatever we say affects everybody.
My favourite songs of the album are perhaps the most poignant ones, ‘Memory Of Footsteps’ and ‘I’m Going Away Smiling’.
Oh, really? Oh, that’s so sweet of you.
What do those ones mean to you? Are they poignant to you as well?
Yeah. ‘I’m Going Away Smiling’ made me cry, of course.
It made me cry as well!
(Laughs) At Meltdown I just couldn’t sing it. I just thought, ‘Okay, I better sing it with the lyrics in front’. It was a disaster in that sense - it wasn’t a disaster, but it’s just very difficult. Like, ‘Walking On Thin Ice’ is a very difficult song for me to sing because there are so many memories. It’s that kind of thing. That’s one that’s very difficult for me to sing. The other one, ‘Memory oO Footsteps’, yeah, that one too, but not as much as ‘I’m Going Away Smiling’. After I wrote ‘I’m Going Away Smiling’ and recorded it, I thought I better put the end bit in, you know, [the final line] “I’m alive!”
Yeah, it’s a defiant spirit right at the end. I didn’t know whether it was a happy statement or that you were surprised to be alive.
It was not a surprise. There’s a certain anger in that: ‘You think I’m dead, right? I’m alive!’ The reason is because we’re at the time when... it’s a very difficult time - all of us are scared shitless in a way - and of course the economic shock and some people thinking there’s a Doomsday coming or something, so it’s really good to sort of hammer things and say, ‘I’m alive!’ (Laughs)
People must presume that a lot of your songs about John. Is he still your main inspiration behind your music?
I never thought about that one.
I saw the Lennon exhibition at the Rock & Roll Hall Of Fame Annex in New York... I’m so glad. It was the last time I was in New York. I was here for a day, and I thought, ‘What do I want to do? I’m here for a day what should I go and do?’
I’m so glad. Isn’t it great?
Yeah, it was fantastic! What were your plans for that exhibition? It takes you on a journey doesn’t it?
Well, it’s the New York City (years), and to focus on that period, which was a very important period: he was in love in New York City, and that’s where he was killed. So it’s a very, very important point in his life, I thought.
I found it very moving. It’s only a small space, but when you start you see the performances and the lyrics, and John is alive and well, and then it comes to the end, and it’s almost like in the space of this room you’ve been on that journey. You got criticism for including John’s bloody glasses and the clothes he was killed in.
I know. I thought I would get criticism. The point is, you can’t help it; if you want to do something good creatively, there’s always gonna be somebody saying there’s something wrong. That was a creative effort. I mean, the point is to put that in there. I knew that some people would be very upset, but I thought it was very important to do that, and you were sharing my extreme, extreme sadness that I felt at the time.
How much of your time is dealt with business affairs of The Beatles and does that detract from your own creativity or your own art?
I don’t know. It seems like a suitcase that you can fill more than you think, you know? (Laughs) It’s that kind of thing.
When you make decisions on John’s behalf, for what John would do, are those made personally by you or do you have people to give you advice?
Depends. Most of the time I get like twenty requests a week and then I have to sort it out; ‘This is a good one.’
Just to touch briefly on the new Beatles things that are coming out, the re-masters and the Rock Band, in terms of the Rock Band, what did you think when you were approached by that, did it excite you?
Yeah, it did excite me. John was like that and I am like that too, but we always just jump on a new media, and this is great. I even went to Boston when they were making it: fifty people, all young generation computer experts - they have to be young to understand it! (Laughs) They’re all there making the images, you know? It was very exciting.
It looks fantastic. It looks like it’s all gonna kick off in September
Isn’t that great?
It’s a good date, because John was a fan of the number nine.
Yeah, it’s great. I love it.
It’s 09/09/09.
Well, it’s a very strong thing, 090909, yeah.
And in terms of the re-masters, have you heard the new music, the re-mastered albums? They sound fantastic.
Which one?
They’ve re-mastered all the albums.
Isn’t that great?
I got to hear them in Abbey Road, and it was incredible.
You went to Abbey Road?
Yeah. You’re an active Twitter user, what do you make of the new kind of social network thing?
Listen, I’m into everything, right? (Laughs) It’s really great. I don’t answer [messages from] everybody, but some people are very into that step into future. For me it’s a very good education.
You’re very dedicated to humanitarian causes - what role do you think Twitter and getting your message out there can play?
Well, I’m glad that I can get new messages out there, because if I wrote a book or something nobody’s going to read it! (Laughs) What I mean is it’s always good to go with the new media, where they’re all there, so you can really talk to them. I think Twitter’s very good. How did Twitter become Twitter?
As in the name? I don’t know...
It’s a nice name, Twitter. (Laughs)
It’s almost as flippant as the act of Twittering itself. So, you’ve been advocating for peace for most of your life - do you think the world has become more aware of the plight?
Yes, yes, yes! When John and I were doing it, it was sort of like Salvation Army kind of people standing on street corners, handing out pamphlets or something, and nobody wanted to know. We did the Bed-In [in Amsterdam and Montreal] - we thought it was pretty good, but at the time they didn’t think it was pretty good! (Laughs) But I think the humour of it, I thought surely they get the humour of it? We’re in bed! (Laughs)
Yeah, ‘Come on, keep up!’
Yeah, but they didn’t; so funny.
With everyone that reads your Twitter updates or any message you put out, if you could inspire them to do something, what would you hope that they did?
Well, I think that together we’re getting wiser and wiser, and if I can contribute to that in some way I’m very happy, because becoming wiser is almost synonymous to getting this world into a peaceful place.
We’ll get there eventually.
Yeah, we’re getting there.
Do you see this album as a competition to the latest releases by young bands, or are you competing on a level with your contemporaries?
I never thought about those things. When you make an album, you make an album that you think is good and great - most artists are narcissists, and they have to be if they want to survive! (Laughs) So, you make an album as best as you can, and what are you gonna do, check who’s gonna listen to it? I never know what’s going on in that sense. You keep saying ‘young people’, but I never ask their age, first of all; they might be fourteen or they might be fifty, I don’t know! (Laughs)
You said earlier about the patchwork quality of the songs.
Yeah, I love that.
Were you worried that it wasn’t gonna fit, that people might think it doesn’t work together?
I couldn’t care less. Maybe that’s why I was slow in being appreciated, because I don’t care about those things. But the first song, ‘Waiting For The D-train’, some people were saying, ‘Don’t put ‘Waiting For The D Train’ first, because they’re all gonna think that the whole thing is gonna be a screamer.’ I said, ‘This is selectivity, we select the people.’ If they don’t want to hear about this album after that, then go to another album.
I don’t think it matters nowadays anyway - people don’t listen to albums anymore, they listen to songs. If you get a good song, people will download the song or buy the song. Sean has obviously come into his own as an artist...
Did you know that? The point is, it seems that before, before I recognised it or started to understand or appreciate it, it seems like everybody knows that. He’s a very good, talented musician.
Yeah, obviously he’s forged his own career.
I don’t know, he could get crushed by the history of it all. (Laughs)
It’s commendable that he isn’t!
Yeah, he just survived, you know?
When you see him working in music, who do you see more of in him, is it you or his dad?
His dad, definitely, because I was making [music] with John and I remember that experience, so I have to - it’s bad, maybe - but I just compare it; I can’t help it.
Yoko Ono interviewed by Simon Harper for ClashMusic.com
Day Twenty Eight:
I'm not sure I'm all that comfortable with being referred to at "The Monster". I don't recall doing anything the least bit...oh well there was that slight incident but it was more of a misunderstanding. They looked like they'd float. But no, I still refuse the title of Monster.
I wasn't the one digging up graves and pinching body parts and stitching them together, rather crudely I might add. Look at this stitch work. Hadn't he heard to super glue? It would have done the job in half the time and possibly given him a nice buzz too. But look at it. All these bits of thread dangling off my various body parts. Well I say my body parts I've actually lost count of how many people these belong to. I don't remember having a tattoo there.
I don't even know what he was trying to achieve here. If he was really into putting things together I've a thousand piece jigsaw that would have kept him occupied for ages. But no he just wanted to build himself the perfect specimen. And fair dues to him he didn't do too badly at that.
Ow Family Properties is once again pleased to present the 2011 Pacific Rim Film Festival, now celebrating our 23rd year! First held in Santa Cruz in 1988, this unique celebration is dedicated to promoting cross-cultural understanding through the medium of film.
With films from Asia and the Pacific rim region, the festival hopes to open windows of perception from one culture to another, as well as shedding light on areas of cultural collision and misunderstanding.
HHS Secretary Alex Azar joined top health officials and global health partners at a World Health Assembly side event to look at ways to boost public trust in vaccines as our most reliable front line defense against disease. WHO Director General Dr. Tedros Adhanom Ghebreyesus delivered closing remarks at the event entitled “Promoting Vaccine Confidence: Enhancing Global Immunization Efforts to Protect the Health of all Generations.”
“Vaccines are some of the most thoroughly tested medical products we have,” said Secretary Azar in opening remarks at the event. “Vaccines are safe, effective, and lifesaving. But around the world, complacency among the public, coupled with misunderstanding and misinformation, is causing vaccination rates to decline, with tragic results.”
Speakers at the event included EU Commissioner Dr. Vytenis Andriukaitis, Dr. Luiz Henrique Mandetta, Minister of Health, Brazi:, Dr. Theresa Tam, Chief Public Health Officer of Canada; Prof. Dr. Alexandru Rafila, Romania, Member of WHO Executive Board, Dr. Seth Berkley CEO, GAVI Vaccine Alliance and Prof. Dr. Peter Hotez, Dean of the Baylor College of Medicine National School of Tropical Medicine. The event was moderated by Dr. Katherine O'Brien, Director, Department of Immunization, Vaccines and Biologicals, WHO.
Read HHS Secretary Azar’s opening remarks at the event: geneva.usmission.gov/2019/05/21/secretary-azar-remarks-on...
U.S. Mission Photo/Eric Bridiers
"The Quiet and Ugly Artist (Hanoi, 1965-2015)", An art installation by Daniel Kerkhoff at Chaap Art, 82 Đê Quai Street, Tây Hồ District, Hanoi. October 3rd to October 11th,, 2015. Opening reception, October 3rd, 6-9pm.
An installation based on Daniel Kerkhoff's self-imposed artist-in-residency in Hanoi from February 6th to October 26th. It is part of a larger project which includes residencies in Ghana and Ecuador. Embedded in a community for just under nine months, the human gestation period, premature, a gradual, a creative process,
an exploration, noticing, weaving, sharing, and witnessing, connection, disconnection, a journal, found sculptures, painting, photographs, videos, documenting, collections, keepsakes, collages, receipts and brochures, maps, business cards and consumer packaging, consumed and consuming, souvenirs,
walking, discovering, travel, a paper trail, colonize, appropriate, trophies, convoluted, cover-ups, muddy, history, memory, remnants, experience, lost, absorbed, traces, vague, melding, a buried presence, fading, rotting, germinating, misunderstanding, forgotten, pollination, rejuvenation, impermanence, transformation.
Daniel Kerkhoff is a visual artist from Minneapolis, Minnesota, U.S.A. You can see photos of his projects in Vietnam, Ghana, Ecuador, and other places at www.danielkerkhoff.com.
Prints will be available for 500,000 VND or $25.00 with all proceeds going to future exhibition costs at Chaap Art for emerging women artists.
The exhibition will be open everyday from 10 am to 4 pm. Chaap Art is located at No. 82 Đê Quai, Lane 310, Nghi Tàm Street, Tây Hồ District, Hanoi. Directions: From Nghi Tàm Street, follow Lane 310 all the way to the end where it turns left onto Đê Quai Street. Go about 500 meters on Đê Quai Street and Chaap Art will be on your left.
Phone number: 0987757769 - 0985836023
Chaap Art is an art space founded by a group of artists in 2009 with the purpose of supporting contemporary art activities and exhibitions in Hanoi. Our slogan is: "Cứ tự nhiên".
Translate in to Vietnamese:
"The Quiet and Ugly artist ( Hanoi,1965 - 2015 )" - " Nghệ sĩ Trầm lặng và Xấu xí (Hanoi, 1965 - 2015)
Từ ngày 3/10 đến 11/10
Mở cửa đón khách 3/10/2015 từ 18h đến 21h
Triển lãm sắp đặt dựa trên quá trình tự lưu trú của nghệ sĩ Daniel Kerkhoff's tại Hà Nội từ ngày 6/2 đến ngày 26/10. Đây là một phần của dự án lớn hơn bao gồm cả những chương trình lưu trú của nghệ sĩ tại Ghana và Ecuador. Hòa chung với cộng đồng chỉ chưa tới chín tháng , thời kì thai nghén của một con người, sinh non, một quá trình sáng tạo dần,
một sự khai phá, lưu tâm, đan kết, chia sẻ, chứng kiến, kết nối, tách biệt, viết nhật kí, tìm ra những tác phẩm điêu khắc, tranh vẽ, ảnh, video, tài liệu, thu thập, lưu giữ, cắt dán, hóa đơn, tờ rơi,bản đồ, danh thiếp, giấy đóng gói hàng, đã tiêu thụ và đang tiêu thụ, đồ lưu niệm,
đi bộ, khám phá, du lịch, những giấy tờ, dấu ấn, riêng biệt, danh hiệu, cuộn lại, che phủ, màu sắc mờ đục, lịch sử, kí ức, tàn tích, kinh nghiệm, thất lạc, cảm thụ, dấu vết, mơ hồ, tan chảy, chôn vùi hiện diện, phai màu, mục nát, nảy mầm, sự hiểu lầm, bị lãng quên, thụ phấn, trẻ hóa, vô thường, biến đổi.
Daniel Kerkhoff là một nghệ sĩ thị giác đến từ Minneapolis, Minnesota, Mỹ. Các bạn có thể xem những hinhg ảnh về dự án của ông ở Việt Nam, Ghana, Ecuador và một số nơi khác ở website: www.danielkerkhoff.com.
Những bản in có sẵn với giá 500.000 đồng hoặc $25,00. Tất cả tiền thu lại sẽ dành để làm chi phí cho triển lãm trong tương lai cho các nữ nghệ sĩ tại Chaap Art.
Triển lãm mở cửa trong 8 ngày từ 10h sáng đến 16h chiều tại Chaap Art - Số 82 Đê Quai - ngõ 310 - Đường Nghi Tàm - Quận Tây Hồ- HN
Điện thoại : 0987757769 - 0985836023
Chaap Art là một không gian nghệ thuật được sáng lập bởi một nhóm nghệ sĩ từ năm 2009 nhằm mục đích hỗ trợ các hoạt động và triển lãm sáng tạo nghệ thuật đương đại tại Hà Nội. Tiêu chí của chúng tôi trong sáng tác nghệ thuật là " Cứ tự nhiên"
(Top) International Conlangs: Esperanto & Other Auxiliary Languages
The dream of creating a language understandable by the entire world has been around for centuries. Many early proponents of these universal languages advocated a return to the days before the Tower of Babel; others see their calling as a purely modern phenomenon. Providing the world with a neutral, universal language free of national and ethnic partisanship, in these people’s view, would alleviate much suffering and misunderstanding in the world. The most well-known international auxiliary language is Esperanto but many others have been (and are still being) proposed. The dream lives on...
(Zamenhof caption) Ludwik Lejzer Zamenhof
“Dr. Esperanto”
L. L. Zamenhof was born in Bialystok (in what is now Poland) on Dec. 15, 1859. A Russian-speaking Jew living in an area of ethnic and national tension, Zamenhof saw first-hand the trouble that competing languages could create. His theory was that tolerance could be fostered by use of an international language unencumbered by a connection to a specific country, and Zamenhof dedicated himself to creating just such a language. Along with a group of friends in school, the young idealist created a workable language. His father, uneasy about the reaction to a “secret” language in the contemporary political climate, burned all of Zamenhof’s notebooks while Ludwik was away at the University of Warsaw. The dream of a universal language was widespread at this time, and, in 1880, Johann Martin Schleyer created Volapük, which attracted a sizable number of users and even held several conventions.
Undaunted by this competition, Zamenhof by 1887 had reconstituted his work from the burned notebooks and published a textbook entitled Lingvo Internacia under the pseudonym Dr. Esperanto (“Dr. Hopeful” in his new language). The book included a pledge to use the new language for people to sign and send back to Zamenhof. Lingvo Internacia quickly acquired the name of its founder, and Esperanto was born. Encouraged by the significant (albeit less than hoped for) return of pledges, the first Esperanto magazine, La Esperantisto, appeared in 1889. A number of Volapük clubs switched “allegiances” to Esperanto, due in large part to the fact that it was easier to learn than Volapük. Leo Tolstoy himself became an early supporter of Esperanto.
The first Esperanto World Congress was held in 1905 in Boulogne-sur-Mer, France, with over 600 people attending. The same year, Zamenhof published his Fundamento de Esperanto, which would become the canon for the language. The Universala Esperanto-Asocio or “Universal Esperanto Association” was established in 1908. Over the years, the language has ebbed and flowed, and, today, there are an estimated two million Esperanto speakers worldwide. The Internet has also opened up unlimited possibilities with lively online communities and informational websites using Esperanto. Google (www.google.com/intl/eo/) and Wikipedia (Vikipedio - eo.wikipedia.org) are even available in the language.
The first feature-length movie entirely in Esperanto was the 1965 film Incubus starring William Shatner, who would later go on to play Capt. James T. Kirk in Star Trek. The 1997 sci-fi thriller Gattaca included announcements in the corporate headquarters in Esperanto.
Zamenhof's birthday is celebrated as Esperanto Day or Esperanto-Tago.
(Bottom left) Schisms in a Perfect World
Originally viewed as a means of bringing the world closer, Esperanto underwent a fracture early on when, in 1907, a group of Esperanto enthusiasts attempted to “correct” flaws they perceived in that language’s design. In fact, Zamenhof proposed most of the changes himself, but they were rejected by a poll of La Esperantisto readers. Zamenhof did not pursue instituting the changes, fearing a schism (which ended up happening anyway). The result of the revisionists was the language known as Ido, which is actually an Esperanto suffix meaning “derived from.”
One of the early advocates of Ido was Danish linguist Otto Jespersen. Jespersen continued to have difficulties with the revised-Esperanto grammar of Ido and set about creating an entirely new international auxiliary language. The result, in 1928, was Novial, a compromise between a completely regular language like Esperanto and Ido and a natural language. Novial also drew on more Germanic and Western European sources for its words than either of its predecessors.
Johann Martin Schleyer’s Volapük was not immune to splintering as well. In 1887, the International Academy of Volapük or Kadem Bevünetik Volapüka set out to perfect the language. The result was called Idiom Neutral. In recognition of the major change, the name of the Academy was changed to Akademi Internasional de Lingu Universal in 1898. There are still speakers of Volapük, and Vükiped is the community’s version of Wikipedia.
(Bottom right) The Esperanto Flag
Green has been the color associated with Esperanto since its very beginnings. In an article published in La Esperantisto in 1893, the Green Star (verda stelo) was proposed as a symbol to recognize fellow speakers with the star representing the traditional five continents.
(Others in this case are a basic Esperanto grammar and phrases)
There has been much written that robots do not have emotions ... oh please! ... all this misunderstanding came from the tin man who vehemently claimed he still wanted a heart even after the Wizard of Oz told him that he was lucky not to have one as hearts will never be practical until they can be made unbreakable. The real reason why I prefer not to cry is that the tissues are way too big, and I don't have the feline flexibility to scrunch them properly when blowing ... us robots do have emotions, its the mechanics that less us down ...
click here for more robot empathy and thanks to KristinREarl and Pink who inspired me today.
147/365 Toy Project
147/365 One Object 365 Project
“Sensitive people are the most genuine and honest people you will ever meet. There is nothing they won’t tell you about themselves if they trust your kindness. However, the moment you betray them, reject them or devalue them, they become the worse type of person. Unfortunately, they end up hurting themselves in the long run. They don’t want to hurt other people. It is against their very nature. They want to make amends and undo the wrong they did. Their life is a wave of highs and lows. They live with guilt and constant pain over unresolved situations and misunderstandings. They are tortured souls that are not able to live with hatred or being hated. This type of person needs the most love anyone can give them because their soul has been constantly bruised by others. However, despite the tragedy of what they have to go through in life, they remain the most compassionate people worth knowing, and the ones that often become activists for the broken hearted, forgotten and the misunderstood. They are angels with broken wings that only fly when loved.”
― Shannon L. Alder
"Living is easy with eyes closed, misunderstanding all you see..."
Emoção demais estar em frente aos portões de Strawberry Fields. Momento mágico e único!
Mingle Media TV was invited to the Screen Actors Guild President’s National Task Force for American Indians & NBC Universal's world premiere of the short video American Indian Actors and the Los Angeles premiere of the feature documentary director’s cut of Reel Injun at LA Skins Fest, the premiere Native American film festival in Los Angeles.
American Indian Actors is a look at contemporary American Indian actors in the entertainment industry. This 10-minute video was produced by Multinesia Productions, commissioned by SAG President’s National Taskforce for American Indians and funded by the SAG-Producers Industry Advancement Cooperative Fund.
Reel Injun, directed by Cree filmmaker Neil Diamond, is an entertaining and insightful look at the portrayals of North American Natives through a century of cinema and how the myth of "the Injun" has influenced the world's understanding-and misunderstanding-of Natives. Interviews include Clint Eastwood, Adam Beach, Sacheen Littlefeather, Chris Eyre, John Trudell, Jim Jarmusch and more.
Special thanks to SAG and M4PR.com for inviting us to cover this event. For more Red Carpet coverage, please visit www.minglemediatv.com.
Through a series of misunderstandings, Alvin, Simon and Theodore come to believe that Dave is going to propose to his new girlfriend in Miami…and dump them. They have three days to get to him and stop the proposal, saving themselves not only from losing Dave but possibly from gaining a ...
www.topdoma.com/alvin-and-the-chipmunks-the-road-chip-mov...
"The Quiet and Ugly Artist (Hanoi, 1965-2015)", An art installation by Daniel Kerkhoff at Chaap Art, 82 Đê Quai Street, Tây Hồ District, Hanoi. October 3rd to October 11th,, 2015. Opening reception, October 3rd, 6-9pm.
An installation based on Daniel Kerkhoff's self-imposed artist-in-residency in Hanoi from February 6th to October 26th. It is part of a larger project which includes residencies in Ghana and Ecuador. Embedded in a community for just under nine months, the human gestation period, premature, a gradual, a creative process,
an exploration, noticing, weaving, sharing, and witnessing, connection, disconnection, a journal, found sculptures, painting, photographs, videos, documenting, collections, keepsakes, collages, receipts and brochures, maps, business cards and consumer packaging, consumed and consuming, souvenirs,
walking, discovering, travel, a paper trail, colonize, appropriate, trophies, convoluted, cover-ups, muddy, history, memory, remnants, experience, lost, absorbed, traces, vague, melding, a buried presence, fading, rotting, germinating, misunderstanding, forgotten, pollination, rejuvenation, impermanence, transformation.
Daniel Kerkhoff is a visual artist from Minneapolis, Minnesota, U.S.A. You can see photos of his projects in Vietnam, Ghana, Ecuador, and other places at www.danielkerkhoff.com.
Prints will be available for 500,000 VND or $25.00 with all proceeds going to future exhibition costs at Chaap Art for emerging women artists.
The exhibition will be open everyday from 10 am to 4 pm. Chaap Art is located at No. 82 Đê Quai, Lane 310, Nghi Tàm Street, Tây Hồ District, Hanoi. Directions: From Nghi Tàm Street, follow Lane 310 all the way to the end where it turns left onto Đê Quai Street. Go about 500 meters on Đê Quai Street and Chaap Art will be on your left.
Phone number: 0987757769 - 0985836023
Chaap Art is an art space founded by a group of artists in 2009 with the purpose of supporting contemporary art activities and exhibitions in Hanoi. Our slogan is: "Cứ tự nhiên".
Translate in to Vietnamese:
"The Quiet and Ugly artist ( Hanoi,1965 - 2015 )" - " Nghệ sĩ Trầm lặng và Xấu xí (Hanoi, 1965 - 2015)
Từ ngày 3/10 đến 11/10
Mở cửa đón khách 3/10/2015 từ 18h đến 21h
Triển lãm sắp đặt dựa trên quá trình tự lưu trú của nghệ sĩ Daniel Kerkhoff's tại Hà Nội từ ngày 6/2 đến ngày 26/10. Đây là một phần của dự án lớn hơn bao gồm cả những chương trình lưu trú của nghệ sĩ tại Ghana và Ecuador. Hòa chung với cộng đồng chỉ chưa tới chín tháng , thời kì thai nghén của một con người, sinh non, một quá trình sáng tạo dần,
một sự khai phá, lưu tâm, đan kết, chia sẻ, chứng kiến, kết nối, tách biệt, viết nhật kí, tìm ra những tác phẩm điêu khắc, tranh vẽ, ảnh, video, tài liệu, thu thập, lưu giữ, cắt dán, hóa đơn, tờ rơi,bản đồ, danh thiếp, giấy đóng gói hàng, đã tiêu thụ và đang tiêu thụ, đồ lưu niệm,
đi bộ, khám phá, du lịch, những giấy tờ, dấu ấn, riêng biệt, danh hiệu, cuộn lại, che phủ, màu sắc mờ đục, lịch sử, kí ức, tàn tích, kinh nghiệm, thất lạc, cảm thụ, dấu vết, mơ hồ, tan chảy, chôn vùi hiện diện, phai màu, mục nát, nảy mầm, sự hiểu lầm, bị lãng quên, thụ phấn, trẻ hóa, vô thường, biến đổi.
Daniel Kerkhoff là một nghệ sĩ thị giác đến từ Minneapolis, Minnesota, Mỹ. Các bạn có thể xem những hinhg ảnh về dự án của ông ở Việt Nam, Ghana, Ecuador và một số nơi khác ở website: www.danielkerkhoff.com.
Những bản in có sẵn với giá 500.000 đồng hoặc $25,00. Tất cả tiền thu lại sẽ dành để làm chi phí cho triển lãm trong tương lai cho các nữ nghệ sĩ tại Chaap Art.
Triển lãm mở cửa trong 8 ngày từ 10h sáng đến 16h chiều tại Chaap Art - Số 82 Đê Quai - ngõ 310 - Đường Nghi Tàm - Quận Tây Hồ- HN
Điện thoại : 0987757769 - 0985836023
Chaap Art là một không gian nghệ thuật được sáng lập bởi một nhóm nghệ sĩ từ năm 2009 nhằm mục đích hỗ trợ các hoạt động và triển lãm sáng tạo nghệ thuật đương đại tại Hà Nội. Tiêu chí của chúng tôi trong sáng tác nghệ thuật là " Cứ tự nhiên"
I wish I didn't have to post this, but I seem to get trade requests whether or not I put a disclaimer on photos. This is going in my profile.
I'm not trying to be a dick, I just want to make my stance on this absolutely clear so that there are no misunderstandings. In the event that I do want to trade something, it will be clear from the title, description, notes and tags.
This is the area that bore the brunt of the devastating attacks on 12 October 2002. Nearly 200 people were killed as bombs went off within minutes of each other at the Sari nightclub and at Paddy's Bar across the road.
Ground zero is like a black hole of Hell where all your energy gets sucked through,
And you feel all the sadness and sorrows just rushing through your heart,
It feels like you're going to explode with tears,
Every week the Anand Krishna centre is singing for a better world .
"Paris, May 15, 1908: After several incidents with robbers and uninvited visitors, several jewellers and hotels have decided to use guardian robots for their and their guests' safety. Please cooperate with the guardians in order to avoid misunderstandings."
A series of AI-generated pictures of guardian robots, in different art styles.
To be continued.
Pictures made with Midjourney.
I'm always happy to accept invites to groups as long as I can see their content. Should I see "this group is not available to you", my pictures won't be made available to that group. Thanks for your understanding.
Bunia, Ituri, RDC: Dans le but de dissiper les malentendus et de lutter contre la désinformation, la MONUSCO a organisé ce samedi le 12 juin à Bunia une séance d'explication de son mandat à laquelle ont pris part plus de 150 personnes, dont de nombreuses femmes, des étudiants et des représentants de partis politiques. Photo MONUSCO/Jean Tobie OKALA
Bunia, Ituri, DRC: To dispel misunderstandings and to fight disinformation, MONUSCO has organized today Saturday, June 12 in Bunia, a session to explain its mandate in which more than 150 people took part, including many women, students and representatives of political parties. Photo MONUSCO / Jean Tobie OKALA
See more like this click HERE
www.youtube.com/watch?v=TmzivRetelE&feature=related
Cú Chulainn
The son of the god Lug and Deichtine (sister of Conchobar mac Nessa), he was originally named Sétanta and got his name Cú Chulainn from the story below.
Childhood
The stories of Cú Chulainn's childhood are told in a flashback sequence in Táin Bó Cúailnge. As a small child, living in his parents' house on Muirthemne Plain, he begs to be allowed to join the boy-troop at Emain Macha. However, he sets off on his own, and when he arrives at Emain he runs onto the playing field without first asking for the boys' protection, being unaware of the custom. The boys take this as a challenge and attack him, but he has a ríastrad and beats them single-handed. Conchobar puts a stop to the fight and clears up the misunderstanding, but no sooner has Sétanta put himself under the boys' protection than he chases after them, demanding they put themselves under his protection.
Culann the smith invites Conchobar to a feast at his house. Before going, Conchobar goes to the playing field to watch the boys play hurling. He is so impressed by Sétanta's performance that he asks him to join him at the feast. Sétanta has a game to finish, but promises to follow the king later. But Conchobar forgets, and Culann lets loose his ferocious hound to protect his house. When Sétanta arrives, the enormous hound attacks him, but he kills it in self-defence, in one version by smashing it against a standing stone, in another by driving a sliotar (hurling ball) down its throat with his hurley. Culann is devastated by the loss of his hound, so Sétanta promises he will rear him a replacement, and until it is old enough to do the job, he himself will guard Culann's house. The druid Cathbad announces that his name henceforth will be Cú Chulainn – "Culann's Hound".
One day at Emain Macha, Cú Chulainn overhears Cathbad teaching his pupils. One asks him what that day is auspicious for, and Cathbad replies that any warrior who takes arms that day will have everlasting fame. Cú Chulainn, though only seven years old, goes to Conchobar and asks for arms. None of the weapons given to him withstand his strength, until Conchobar gives him his own weapons. But when Cathbad sees this he grieves, because he had not finished his prophecy — the warrior who took arms that day would be famous, but his life would be short. Soon afterwards, in response to a similar prophecy by Cathbad, Cú Chulainn demands a chariot from Conchobar, and only the king's own chariot withstands him. He sets off on a foray and kills the three sons of Nechtan Scéne, who had boasted they had killed more Ulstermen than there were Ulstermen still living. He returns to Emain Macha in his battle frenzy, and the Ulstermen are afraid he will slaughter them all. Conchobar's wife Mugain leads out the women of Emain, and they bare their breasts to him. He averts his eyes, and the Ulstermen wrestle him into a barrel of cold water, which explodes from the heat of his body. They put him in a second barrel, which boils, and a third, which warms to a pleasant temperature.
Hurling
(Irish: Iománaíocht/Iomáint) is an outdoor team game of ancient Gaelic origin, administered by the Gaelic Athletic Association, and played with sticks called hurleys and a ball called a sliotar. Hurling is the national sport of Ireland. The game has prehistoric origins, has been played for at least 3,000 years, and is thought to be the world's fastest field team game in terms of game play. One of Ireland's native Gaelic games, it shares a number of features with Gaelic football, such as the field and goals, number of players, and much terminology. There is a similar game for women called camogie (camógaíocht). It shares a common Gaelic root with the sport of shinty (camanachd) which is played predominantly in Scotland.
The object of the game is for players to use a wooden stick called a hurley (in Irish a camán, pronounced /ˈkæmən/ in English) to hit a small ball called a sliotar ( /ˈʃlɪtər/) between the opponents' goalposts either over the crossbar for one point, or under the crossbar into a net guarded by a goalkeeper for one goal, which is equivalent to three points. The sliotar can be caught in the hand and carried for not more than four steps, struck in the air, or struck on the ground with the hurley. It can be kicked or slapped with an open hand (the hand pass) for short-range passing. A player who wants to carry the ball for more than three steps has to bounce or balance the sliotar on the end of the stick and the ball can only be handled twice while in his/HER possession.
Side-to-side shouldering is allowed although body-checking or shoulder-charging is illegal. No protective padding is worn by players. A plastic protective helmet with faceguard is mandatory for all age groups, including senior level, as of 2010. The game has been described as "a bastion of humility", with player names absent from jerseys and a player's number decided by his position on the field.
Hurling is played throughout the world, and is popular among members of the Irish diaspora in the United Kingdom, North America, Europe, Australia, New Zealand, South Africa and Argentina. In Ireland, it is a fixture of life. It has featured regularly in both film and literature. In 2007, Forbes magazine described the media attention and population multiplication of Thurles town ahead of one of the game's annual provincial hurling finals as being "the rough equivalent of 30 million Americans watching a regional lacrosse game. American soldiers have also expressed their love of the game's warrior ethos.
"The Quiet and Ugly Artist (Hanoi, 1965-2015)", An art installation by Daniel Kerkhoff at Chaap Art, 82 Đê Quai Street, Tây Hồ District, Hanoi. October 3rd to October 11th,, 2015. Opening reception, October 3rd, 6-9pm.
An installation based on Daniel Kerkhoff's self-imposed artist-in-residency in Hanoi from February 6th to October 26th. It is part of a larger project which includes residencies in Ghana and Ecuador. Embedded in a community for just under nine months, the human gestation period, premature, a gradual, a creative process,
an exploration, noticing, weaving, sharing, and witnessing, connection, disconnection, a journal, found sculptures, painting, photographs, videos, documenting, collections, keepsakes, collages, receipts and brochures, maps, business cards and consumer packaging, consumed and consuming, souvenirs,
walking, discovering, travel, a paper trail, colonize, appropriate, trophies, convoluted, cover-ups, muddy, history, memory, remnants, experience, lost, absorbed, traces, vague, melding, a buried presence, fading, rotting, germinating, misunderstanding, forgotten, pollination, rejuvenation, impermanence, transformation.
Daniel Kerkhoff is a visual artist from Minneapolis, Minnesota, U.S.A. You can see photos of his projects in Vietnam, Ghana, Ecuador, and other places at www.danielkerkhoff.com.
Prints will be available for 500,000 VND or $25.00 with all proceeds going to future exhibition costs at Chaap Art for emerging women artists.
The exhibition will be open everyday from 10 am to 4 pm. Chaap Art is located at No. 82 Đê Quai, Lane 310, Nghi Tàm Street, Tây Hồ District, Hanoi. Directions: From Nghi Tàm Street, follow Lane 310 all the way to the end where it turns left onto Đê Quai Street. Go about 500 meters on Đê Quai Street and Chaap Art will be on your left.
Phone number: 0987757769 - 0985836023
Chaap Art is an art space founded by a group of artists in 2009 with the purpose of supporting contemporary art activities and exhibitions in Hanoi. Our slogan is: "Cứ tự nhiên".
Translate in to Vietnamese:
"The Quiet and Ugly artist ( Hanoi,1965 - 2015 )" - " Nghệ sĩ Trầm lặng và Xấu xí (Hanoi, 1965 - 2015)
Từ ngày 3/10 đến 11/10
Mở cửa đón khách 3/10/2015 từ 18h đến 21h
Triển lãm sắp đặt dựa trên quá trình tự lưu trú của nghệ sĩ Daniel Kerkhoff's tại Hà Nội từ ngày 6/2 đến ngày 26/10. Đây là một phần của dự án lớn hơn bao gồm cả những chương trình lưu trú của nghệ sĩ tại Ghana và Ecuador. Hòa chung với cộng đồng chỉ chưa tới chín tháng , thời kì thai nghén của một con người, sinh non, một quá trình sáng tạo dần,
một sự khai phá, lưu tâm, đan kết, chia sẻ, chứng kiến, kết nối, tách biệt, viết nhật kí, tìm ra những tác phẩm điêu khắc, tranh vẽ, ảnh, video, tài liệu, thu thập, lưu giữ, cắt dán, hóa đơn, tờ rơi,bản đồ, danh thiếp, giấy đóng gói hàng, đã tiêu thụ và đang tiêu thụ, đồ lưu niệm,
đi bộ, khám phá, du lịch, những giấy tờ, dấu ấn, riêng biệt, danh hiệu, cuộn lại, che phủ, màu sắc mờ đục, lịch sử, kí ức, tàn tích, kinh nghiệm, thất lạc, cảm thụ, dấu vết, mơ hồ, tan chảy, chôn vùi hiện diện, phai màu, mục nát, nảy mầm, sự hiểu lầm, bị lãng quên, thụ phấn, trẻ hóa, vô thường, biến đổi.
Daniel Kerkhoff là một nghệ sĩ thị giác đến từ Minneapolis, Minnesota, Mỹ. Các bạn có thể xem những hinhg ảnh về dự án của ông ở Việt Nam, Ghana, Ecuador và một số nơi khác ở website: www.danielkerkhoff.com.
Những bản in có sẵn với giá 500.000 đồng hoặc $25,00. Tất cả tiền thu lại sẽ dành để làm chi phí cho triển lãm trong tương lai cho các nữ nghệ sĩ tại Chaap Art.
Triển lãm mở cửa trong 8 ngày từ 10h sáng đến 16h chiều tại Chaap Art - Số 82 Đê Quai - ngõ 310 - Đường Nghi Tàm - Quận Tây Hồ- HN
Điện thoại : 0987757769 - 0985836023
Chaap Art là một không gian nghệ thuật được sáng lập bởi một nhóm nghệ sĩ từ năm 2009 nhằm mục đích hỗ trợ các hoạt động và triển lãm sáng tạo nghệ thuật đương đại tại Hà Nội. Tiêu chí của chúng tôi trong sáng tác nghệ thuật là " Cứ tự nhiên"
"The Quiet and Ugly Artist (Hanoi, 1965-2015)", An art installation by Daniel Kerkhoff at Chaap Art, 82 Đê Quai Street, Tây Hồ District, Hanoi. October 3rd to October 11th,, 2015. Opening reception, October 3rd, 6-9pm.
An installation based on Daniel Kerkhoff's self-imposed artist-in-residency in Hanoi from February 6th to October 26th. It is part of a larger project which includes residencies in Ghana and Ecuador. Embedded in a community for just under nine months, the human gestation period, premature, a gradual, a creative process,
an exploration, noticing, weaving, sharing, and witnessing, connection, disconnection, a journal, found sculptures, painting, photographs, videos, documenting, collections, keepsakes, collages, receipts and brochures, maps, business cards and consumer packaging, consumed and consuming, souvenirs,
walking, discovering, travel, a paper trail, colonize, appropriate, trophies, convoluted, cover-ups, muddy, history, memory, remnants, experience, lost, absorbed, traces, vague, melding, a buried presence, fading, rotting, germinating, misunderstanding, forgotten, pollination, rejuvenation, impermanence, transformation.
Daniel Kerkhoff is a visual artist from Minneapolis, Minnesota, U.S.A. You can see photos of his projects in Vietnam, Ghana, Ecuador, and other places at www.danielkerkhoff.com.
Prints will be available for 500,000 VND or $25.00 with all proceeds going to future exhibition costs at Chaap Art for emerging women artists.
The exhibition will be open everyday from 10 am to 4 pm. Chaap Art is located at No. 82 Đê Quai, Lane 310, Nghi Tàm Street, Tây Hồ District, Hanoi. Directions: From Nghi Tàm Street, follow Lane 310 all the way to the end where it turns left onto Đê Quai Street. Go about 500 meters on Đê Quai Street and Chaap Art will be on your left.
Phone number: 0987757769 - 0985836023
Chaap Art is an art space founded by a group of artists in 2009 with the purpose of supporting contemporary art activities and exhibitions in Hanoi. Our slogan is: "Cứ tự nhiên".
Translate in to Vietnamese:
"The Quiet and Ugly artist ( Hanoi,1965 - 2015 )" - " Nghệ sĩ Trầm lặng và Xấu xí (Hanoi, 1965 - 2015)
Từ ngày 3/10 đến 11/10
Mở cửa đón khách 3/10/2015 từ 18h đến 21h
Triển lãm sắp đặt dựa trên quá trình tự lưu trú của nghệ sĩ Daniel Kerkhoff's tại Hà Nội từ ngày 6/2 đến ngày 26/10. Đây là một phần của dự án lớn hơn bao gồm cả những chương trình lưu trú của nghệ sĩ tại Ghana và Ecuador. Hòa chung với cộng đồng chỉ chưa tới chín tháng , thời kì thai nghén của một con người, sinh non, một quá trình sáng tạo dần,
một sự khai phá, lưu tâm, đan kết, chia sẻ, chứng kiến, kết nối, tách biệt, viết nhật kí, tìm ra những tác phẩm điêu khắc, tranh vẽ, ảnh, video, tài liệu, thu thập, lưu giữ, cắt dán, hóa đơn, tờ rơi,bản đồ, danh thiếp, giấy đóng gói hàng, đã tiêu thụ và đang tiêu thụ, đồ lưu niệm,
đi bộ, khám phá, du lịch, những giấy tờ, dấu ấn, riêng biệt, danh hiệu, cuộn lại, che phủ, màu sắc mờ đục, lịch sử, kí ức, tàn tích, kinh nghiệm, thất lạc, cảm thụ, dấu vết, mơ hồ, tan chảy, chôn vùi hiện diện, phai màu, mục nát, nảy mầm, sự hiểu lầm, bị lãng quên, thụ phấn, trẻ hóa, vô thường, biến đổi.
Daniel Kerkhoff là một nghệ sĩ thị giác đến từ Minneapolis, Minnesota, Mỹ. Các bạn có thể xem những hinhg ảnh về dự án của ông ở Việt Nam, Ghana, Ecuador và một số nơi khác ở website: www.danielkerkhoff.com.
Những bản in có sẵn với giá 500.000 đồng hoặc $25,00. Tất cả tiền thu lại sẽ dành để làm chi phí cho triển lãm trong tương lai cho các nữ nghệ sĩ tại Chaap Art.
Triển lãm mở cửa trong 8 ngày từ 10h sáng đến 16h chiều tại Chaap Art - Số 82 Đê Quai - ngõ 310 - Đường Nghi Tàm - Quận Tây Hồ- HN
Điện thoại : 0987757769 - 0985836023
Chaap Art là một không gian nghệ thuật được sáng lập bởi một nhóm nghệ sĩ từ năm 2009 nhằm mục đích hỗ trợ các hoạt động và triển lãm sáng tạo nghệ thuật đương đại tại Hà Nội. Tiêu chí của chúng tôi trong sáng tác nghệ thuật là " Cứ tự nhiên"
I painted with dye this scrim and carved the side rocks for the productionof "Brigadoon" that I designed as the resident designer for Diamond Head Theatre. I borrowed the foam rocks overhead from the TV show "Magnum, P.I." where a few years later I would be doing their sets. Unfortunately there was a misunderstanding about how long I was going to be using the rocks and they came one day to take them back! Ultimately, I was able to keep them for the run of the show
On the day I arrived here, the weather was so bad no boats were going out to view the whale sharks, so you loose some you win .
Oslob is a fourth class municipality in the province of Cebu, Philippines. According to the 2010 census, it has a population of 26,116 people. Whale sharks are spotted in Tan-awan, Oslob which is 10 km away from the centre of the town. It started last September 2011 and become a tourist attraction and popular all over the world. Local fishermen’s interact with the whale sharks by feeding them by hand while tourists find it entertaining
The name Oslob came from a misunderstanding between a native couple, named Umpang and Burong,and two Guardia civil's (civil guards) in the year 1785 at a place currently named Nigad in barangay Daanlungsod. While the said couple were taking a rest under the tree and were eating their boiled bananas while soaking it with vinegar and salt, the two guards asked the couple: “Como se llama esto pueblo?”, meaning ”What is the name of this town?”. The couple not knowing what the civil guards were saying, were thinking that the strangers were asking them what they were doing. Since the couple, at that time, were then soaking bananas with the vinegar and salt, the couple answered Toslob, which means soak. After hearing the word Toslob, the civil guards kept on repeating the word Toslob thinking that the said word was the name of the town, which was later changed to “Oslob”. Until now, the flowing of the water at Nigad is still there quenching the thirst of the many people of the place including the nearby inhabitants specially when there is a shortage of water.
Sumilon Island is a 24-hectare coral island off the coast of Bancogon, Oslob, Cebu. The island hosts the Sumilon Blue water Island Resort which developed the island into an eco-friendly haven for those who want to get away from the stress of city living. The Island of Sumilon is located in the southeastern tip of the Municipality of Oslob in the province of Cebu. The island has an area of 24 hectares and has clear waters with varying aquamarine hues and white sand beaches in different areas of the island. It is the first marine protected area in the Philippines and was created as a marine sanctuary in 1974 under the guidance of the Siliman University Marine Reserve of Dumaguete City in the nearby province of Negros Oriental.
The island is famous throughout the country and internationally for the exceptional beauty of its dive sites. Sumilon has four major dive sites, which are Garden Eel Plaza, Nikki’s Wall, Coral Landscape and Julie’s Rock. The island’s diving sites are famous for their superb visibility, stunning reefs and abundance of varied tropical marine species that provide an ideal and memorable dive. There are occasional sightings of black tip sharks during dives. A popular attraction in Sumilon Island is its sandbar because of its changing shapes and shifting locations around the island depending on the season. Other places of interest in the island are a natural lagoon teeming with high mangroves and natural caves used by fishermen to seek refuge during storms, and a pristine lake. On the south portion of the island, a lighthouse rests on a protected tree park and beside it is a Baluarte, a historical watchtower built as part of a warning system to thwart slavers and marauders in the 19th century.
Besides diving, you can also go bird watching, do beach picnics with the family, fishing, hiking, island tours, paddling and trekking. Located in the island is the Sumilon Blue water Island Resort, a private beach resort that provides excellent amenities and facilities for tourists and guests. The Island of Sumilon is located off the southeast coast of the Municipality of Oslob, Cebu, and is under the administration of Oslob. The island is about 125 kilometres from Cebu City and separated from the mainland by the Cebu Strait. It is also close to Dumaguete City in the nearby island province of Negros Oriental.To get to Oslob, you can ride a public bus or a V-hire van from the Cebu South Bus Terminal in Cebu City. The estimated travel time from the city to Oslob is about three hours. The three-hour land trip to Oslob from Cebu City is a scenic ride through the southern coastal towns with fantastic views of the ocean. From the port of Oslob, there are pump boats or small fast constructs that will bring you to the island. Another route to Sumilon Island is via Dumaguete City since it is also close to the island
Eh... Virgar nuts? LOL!
Actually it's my unfortunate angle in shooting this vendor selling roasted chestnuts in front of a sex shop in Chinatown that cause might cause some misunderstanding. xD
Taken on 17th Jan 2009
The misunderstanding from the last chapter will follow Nano Machine Chapter 117, but how did it come to be? After Cheon Yeo's guard goes on to kill Cheon
bestphanmem.com/nano-machine-chapter-117-release-date-and...
Mandheling is one of Sumatra's coffee varietes, named after the similarly spelled Mandailing ethnic, which is located in North Sumatra, Indonesia. The name is the result of a misunderstanding by the first foreign purchaser of the variety, and no coffee is actually produced in the "Mandailing region", but who cares? Let's just take a sip...
Emilio, 27y/o, is an artist and a poet whom I met total randomly while strolling on Sheinkin Street in Tel Aviv.
I saw a glimpse of him through an open store door so I walked in and asked whether he'd pose for me.
There was something very sweet and open about his face.
Emilio loved the camera and photographing him was really fun.
In between shots, he showed us his notebook with his drawings and poetry.
Emilio was born in Israel. In the past he had, however, spent a period of time in Italy. Naturally, we conversed in Italian, English & Hebrew. We made pictures in the store and out on a sidewalk bench.
Emilio's wanted some time to think about a meaningful message, then he said: "Create and share love in all its forms.
Our world is abounded in beauty and cruelty, love and despise, and beyond it all yourself and all others... it's in the palm of our hands to reform it all."
"What advice would you give to your younger self?"
"Remain true to your ideas and clear all fears because they are only the misunderstanding of others."
"Any challenge or struggle in your life, now or in the past?"
"The only struggle in the now is driving myself to a higher level of achievements."
"Emilio, what do you love about yourself?"
"The fact that all who encounter me love me back as much I love them, and the way I can always express myself without doubt."
I am an artist in many fields, of which I have dedicated much efforts to learn by myself, first is the written word, in poems and prose, second is my love for languages, third is illustrating, and more in the music by playing the guitar, composing and dancing..."
This is my 704th submission to The Human Family group.
Visit the group here to see more portraits and stories: The Human Family
The "massacre of Gorla" or "little martyrs of Gorla" are the names under which it is known the result of an allied air raid that hit a primary school in Milan, October 20th, 1944, during the Second World War.
On that morning, 36 B-24 bombers of the 451º Bomb Group took off from Foggia, commanded by Colonel James B. Knapp, with the task of destroying the Breda factory in Sesto San Giovanni. Due to a misunderstanding, most of the bombs reached the urban district of Gorla in Milan. One of the bombs, fatally, fell in the central stairwell of the primary school "Francesco Crispi", reaching the underground shelter of the building and killing 184 children and the entire faculty.
On the ground where the primary school once was, granted by the City of Milan to the relatives of the victims, a monument was erected, called the "little martyrs of Gorla". It was created by sculptor Remo Brioschi and inaugurated on the third anniversary of the massacre.
In the crypt, in subsequent years were transferred the remains of the dead children and their teachers.
In memory.
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La "strage di Gorla" o "piccoli martiri di Gorla" sono le denominazioni con cui vengono chiamate le conseguenza di un bombardamento aereo alleato che colpì una scuola elementare di Milano, il 20 ottobre 1944, durante la seconda guerra mondiale.
il mattino del 20 ottobre 1944, dall'aeroporto di Foggia decollarono i 36 bombardieri "B-24" del 451º Bomb Group, al comando del colonnello James B. Knapp, con il compito di distruggere gli stabilimenti della Breda di Sesto San Giovanni. In seguito ad un errore, la maggior parte delle bombe raggiunse il quartiere milanese di Gorla. Uno degli ordigni, fatalmente, centrò il vano scale della scuola elementare "Francesco Crispi", raggiungendo il rifugio sotterraneo dell'edificio e causando la morte di 184 bambini e dell'intero corpo docente.
Sul terreno dove sorgeva la scuola elementare, concesso dal Comune di Milano ai parenti delle vittime, venne innalzato il monumento ossario intitolato ai "Piccoli Martiri di Gorla", realizzato dallo scultore Remo Brioschi ed inaugurato nel terzo anniversario della strage.
Nella cripta, durante gli anni successivi vennero trasferite, a gruppi, le spoglie dei bambini morti a Gorla in seguito al bombardamento e dei loro insegnanti.
In memoria.
Acceder illustrates the communication between the different Chilean authorities during the earthquake and the tsunami that followed. Their decisions are affected by misunderstandings, language barriers, politics, machismo and the fear of committing mistakes. Due to a government change, a week after the catastrophe, the official response to the tsunami also became a political issue between right and left. The video is based on emergency protocols, court reports and newspaper articles. As a guided lecture, it sums up five hours of complex bureaucracy behind the emergency methodology.
Credit: vog.photo