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Crafting Narrative at Pitzhanger Manor Gallery, Ealing (London). 10 September to 19 October 2014. Photo: Sophie Mutevelian
the ability to choose and arrange the rainbow's spectrum can be transformed into an intellectual motif -- the rainbow of consciousness and the explosion of the individual within the whole.
all of us are born into this social contract of humanity. we don't have any choice about this. we are raised and reared within the boundaries of these social contracts.
currently, in this part of the world, there is a loosening of the moral and religious hold on sexuality and the range of the human heart's ability to be bigger than the limited and challenging gender roles of the past.
both sexes, men and women, are starting to understand themselves inside a much greater context and understanding than we think the past afforded.
it is just one of the outgrowths of a materialized capitalistic system of social contracting.
with moving imagery and invisible worlds now firmly entrenched across the country, the powerful syndrome of "the emperor who wore no clothes" can take full effect.
in the original tale, the narrative stops short on the exclamation of a small girl child who says, "but, mommy, he's not wearing any clothes!"
and of course, the moral right and the rigid uptight sexual judgers all come down on the period with their verdict -- which really is that the emperor has been cheated and defrauded in front of everyone.
but we already know of this lesson.
so perhaps we really should be asking where our true naked leaders are -- not the one who got cheated and defrauded and paraded in front of his subjects by clever tailors. we should be asking where our naked leaders of greatness and awesomeness and full human glory might be.
we really should be considering the idea that our leaders shouldn't need to be covered up in metaphorical or physical buffers and boundaries.
but our leaders are weapons manufacturers and drug dealers and pornographers.
our leaders spread disease and pestilence and cause wars in other countries.
our leaders are not rainbow warriors. they are gold and diamond collectors. they use time and drugs to rule and reign. they use entertainment and news to delight and bemuse.
we are the fire children.
we love our energy.
but we don't worship the sun like we used to in the alleged past.
we worship ourselves.
and this worship of the self is the exploding dahlia.
we are these dahlias floating through space. and each of us explode one day.
The Krampus Ball, 2013.
Dancing! Lederhosen! Monsters!
Music by Timur and The Dime Museum and Bavarian Schuhplattler Slap Dancing by G.T.E.V. D'Oberlandler.
In German-speaking Alpine folklore, Krampus is a horned, anthropomorphic figure. According to traditional narratives around the figure, Krampus punishes children during the Christmas season who had misbehaved, in contrast with Saint Nicholas, who rewards well-behaved ones with gifts. Regions in the Austrian diaspora feature similar figures and, more widely, Krampus is one of a number of Companions of Saint Nicholas in regions of Europe. The origin of the figure is unclear; some folklorists and anthropologists have postulated a pre-Christian origin for the figure.
-Wikipedia
Nice venue, too.
Highland Park's Ebell Club still retains its historic presence in what was Los Angeles' first annexed neighborhood due to the City asserting its pueblo rights over the Los Angeles River and all its tributaries, including the Arroyo Seco.
As noted by the NY Times: The Ebell was named after Adrian Ebell, a German professor who traveled around California forming study groups for women. In the beginning of the 20th century, the Ebell was one of the largest and most elite clubs in the nation, rivaled only by the Friday Morning Club in downtown Los Angeles.
What is often overlooked is that the Ebell Club was also a 'safe' place for women to organize the modern suffrage movement, resulting in the 19th Amendment to the US Constitution in 1920.
Availabale @ the Narrative Event
Opening on Ocotber , 15th 2021
Your Taxi : maps.secondlife.com/secondlife/Murdock%20Heights/197/152/755
Coming Together in Marin City, California for Racial Justice
June 2, 2020
Sitting a short distance north of the Golden Gate Bridge in Marin County, Marin City is home to the most African American residents in the county. On Tuesday, people from all over the county poured into Marin City to stand together for Racial Justice.
To give some context for the days' rally and march, here is a quote from an email sent out earlier in the day from SURJ (Showing Up For Racial Justice) Marin:
"SURJ Marin strongly objects to the narratives from Next Door and other social media platforms, warning of violence in today’s action in Marin City. This peaceful protest is being organized by young women of color as a way to honor those who have died as a result of police brutality. There have been peaceful protests all over the county this weekend, from Fairfax to Sausalito. The idea that a protest based in Marin City- which has more African American residents than any other locality in Marin- will be violent, and that there is a need for police escalation, is yet another effort to criminalize our Black neighbors and friends. We say- stand down, or better yet, join this peaceful protest in solidarity. Show up in support of the Marin City community."
Design Principle: Emphasis
Camera Settings: Exposure 1/10, Aperture 1/22, ISO 100
Intended Narrative: Today when helping my cousins take down their trampoline, I wanted to capture the end of season by using black and white to memorialize the trampoline's use. I ended up taking a shot of my cousin jumping on it first, keeping the camera in the exact same spot, and then taking another when just the frame was left. I used Photoshop to blend the images together.
Editing: No exposure or color correction, just the merging of the color and BW images.
Work in Progress: Images from Jawaharlal Nehru Architecture and Fine Arts University (JNAFAU), Hyderabad where the work on 24 Mural Narratives for the National Salt Satyagraha Memorial, Dandi is going on. The JNAFAU mural team is led by Prof Shantiswaroopini Roy, Head of Sculpture Department and team members include Junapudi Ramesh, Komari Ranganath, Rayana Rambhupal Gowd and Menda Suresh. (Photograph: Shiv Kumar Akula)
The 2016 John W. and Anna Hodgin Hanes Lecture and Symposium at Winston-Salem State University will feature noted scholars discussing “Black Genius” on April 14, 10 a.m. in the Cleon F. Thompson Student Services Center, room 207.
The lecture and symposium are free and open to the public.
“The Hanes Lecture and Symposium are extraordinary opportunities to bring some of the most distinguished scholars and public intellectuals to Winston-Salem State University,” said Corey D. B. Walker, Dean of the College and John W. and Anna Hodgin Hanes Professor of the Humanities. “I am extremely excited about this year’s lecture and symposium on ‘Black Genius’ as our distinguished visitors engage the rich tradition and ongoing importance of the artistic and scholarly contributions of African-Americans in advancing a broader understanding of the humanities in our world.”
Dr. Farah Jasmine Griffin, William B. Ransford Professor of English and Comparative Literature and African-American Studies at Columbia University, will deliver the 2016 Hanes Lecture. Professor Griffin's major fields of interest are American and African American literature, music, history and politics. The recipient of numerous honors and awards for her teaching and scholarship, Professor Griffin is the author of Who Set You Flowin’: The African American Migration Narrative (Oxford, 1995), If You Can’t Be Free, Be a Mystery: In Search of Billie Holiday (Free Press, 2001), co-author with Salim Washington, of Clawing At the Limits of Cool: Miles Davis, John Coltrane, and the Greatest Jazz Collaboration Ever (Thomas Dunne, 2008), and Harlem Nocturne: Women Artists and Progressive Politics During World War II (Basic Books, 2013). She is also the editor of Beloved Sisters and Loving Friends: Letters from Addie Brown and Rebecca Primus (Knopf, 1999), co-editor with Cheryl Fish, of Stranger in the Village: Two Centuries of African American Travel Writing (Beacon, 1998) co-editor, with Brent Edwards and Robert O'Meally of Uptown Conversations: The New Jazz Studies (Columbia University Press, 2004), and co-editor with Mia E. Bay, Martha S. Jones, and Barbard D. Savage of Toward An Intellectual History of Black Women (University of North Carolina Press, 2015). Her writing has appeared in The New York Times, The Guardian, Harper’s Bazaar, Callaloo, and African American Review, and she is also a frequent commentator on WNPR’s News & Notes.
The symposium will feature Dr. Gregg Carr, associate professor and chair of the department of Afro-American studies at Howard University and adjunct faculty at the Howard School of Law; Dr. Claudrena Harold, associate professor of history and African-American studies at the University of Virginia; Dr. Aldon Nielsen, George and Barbara Kelly Professor of American Literature at the Pennsylvania State University; and Steven Thrasher, Writer-At-Large for The Guardian and Henry M. MacCracken Doctoral Fellow in American Studies at New York University.
The symposium conversation with Carr and Harold will be at 10 a.m. and the conversation with Nielsen and Thrasher will be at 1 p.m. Both of those events will be in the Cleon F. Thompson Student Services Center. The lecture by Griffin will be at 3:30 p.m. in the Diggs Gallery followed by a reception at 5 p.m.
Supported by the John W. and Anna Hodgin Hanes Professorship funded through a gift from the John W. and Anna Hodgin Hanes Foundation and a matching gift from The UNC Board of Governors' Distinguished Professors Endowment Trust Fund, the Hanes Lecture annually brings outstanding scholars and civic leaders to the campus of Winston-Salem State University to engage some of the most pressing issues in the humanities and public life in our society.
Gundam Narrative Novel by Kiyoto Takeuchi is Adaptament Gundam Narrative NT ( Movie)
"NT" is a sequel depicting the future of OVA "UC" based on Fukui Haruhito's novel. By the way, the basis of "NT" was written as a Gaelic (?) novel of "UC" is "Mobile Suit Gundam UC Phoenix hunting",
Scan by Giovanni Nino
As seen at Christopher Bachmann Photography » A Halloween Triptych Narrative.
For "Narrative in Photography" class at Photographic Center NW.
The assignment was a two- or three-photo (diptych or triptych) narrative. I had the scenario in mind early on, although not with a pumpkin at first. Fate intervened though, and I like the result. Definitely wanted to play the order of the story as well, start at the end, so to speak, and give little clues that it wasn't exactly a literal narrative (at least one of the scenes is impossible!).
Critique in class was pretty hilarious, as they wondered aloud what relationship the man had with the pumpkin, based on his facial expressions. And also they asked how many pumpkins I went through, which I counted as small personal Photoshop victory.
This one you probably should view large on black
www.arqueologiadelperu.com/more-on-wreck-of-221-year-old-...
A Portuguese ship carrying more than 400 enslaved people left Mozambique on Dec. 3, 1794, and set sail for Brazil, where the growing sugar economy demanded cheap labor. Shackled and packed like cargo beneath the ship's deck, the slaves endured a cruel journey filled with sweat, blood and vomit.
Iron ballast rescued from the São José shipwreck undergo treatment. The ballast was used to weigh down the ship and balance out the human cargo [Credit: Iziko Museums]
An estimated 400,000 East Africans made the same trip between 1800 and 1865. But more than half of this ship's occupants would never reach their final destination.
Violent winds and treacherous swells rocked the vessel as it rounded the Cape of Good Hope off the coast of South Africa. The ship, called the São José, struck submerged rocks and wrecked between two reefs. A rescue attempt saved the captain, the crew and around 200 slaves. The remaining Mozambican captives sank to the bottom of the ocean.
For more than two centuries, this account of the wreckage from the ship's captain was the only evidence of the São José's victims that prevailed above water. Now, a George Washington University professor and a team of archaeologists have brought their stories to the surface.
The researchers unveiled two artifacts from the shipwreck during a press conference in South Africa on Tuesday: an iron ballast used to weigh down the ship (since human cargo could die and tip the vessel off balance) and a wooden pulley block. Both items will be loaned to the Smithsonian's National Museum of African American History and Culture for an exhibit set to open next year called "Slavery and Freedom."
This is the first time archaeological evidence has been recovered from a slaving ship that went down with slaves aboard, according to the researchers. The São José is all the more significant, they say, because it represents one of the earliest experimental voyages that brought East Africans into the trans-Atlantic slave trade.
Copper fastenings (right) recovered from the São José slave ship wreck held the structure of the ship together. Copper sheathing (left) provided exterior protection [Credit: Iziko Museums]
These findings will help to tell the slave trade narrative from a new perspective, said Stephen Lubkemann, an associate professor of anthropology and international affairs at GW. Dr. Lubkemann is a maritime archaeologist and part of the international research team that uncovered the items.
"It is, in the most literal sense, as close as we will ever get to the experience of the Middle Passage," he said. "The slave trade is one of the most important stories in modern history. It's a social process that has had ramifying impacts across the globe."
The discovery is a result of the Slave Wrecks Project—an ongoing collaboration between GW, the National Museum of African American History and Culture, Iziko Museums and a group of international partners. The project's mission is to locate, document and preserve artifacts from the global slave trade.
"They are disseminating knowledge that is really unparalleled," said Roy Richard Grinker, chair of the Department of Anthropology. "We can find objects that tell us about how people lived and what they ate. But this is a case where we're really getting a sense of this incredible, transformative experience—the hardships that these people faced, their strength and their endurance."
The project began in 2009 when new interest began developing around the São José. The ship had previously been identified as the wreck of a Dutch vessel that sank in 1756, but new archeological evidence suggested otherwise. Copper fastenings and sheathing found at the site was not commonly used until later in the 18th century.
Divers at the site of the shipwreck off the coast of South Africa. Rough water conditions and freezing cold temperatures have made the site difficult to document [Credit: Iziko Museums]
Intrigued, maritime archaeologist Jaco Boshoff began searching through archival records hoping he might find clues about the true identity of the mysterious sunken ship. In 2011, he hit the jackpot, a captain's account of the 1794 São José wrecking. The detailed document led researchers to Portugal, Brazil and South Africa where they poured through more archives.
"Those kind of references provide you with ways to narrow down the search," Dr. Lubkemann said. "But then as you start to work on the site, you start to find artifacts that confirm you are on the site that you think you are."
While diving in 2012, Dr. Boshoff and his colleagues uncovered the iron ballasts that had been buried in the ocean floor at the São José site. Further archival investigations and findings using CT scanning technology over the next three years affirmed the location of the São José wreck.
"Any one of those things by itself is not sufficient," he added. "But when you start to add six, seven, eight different lines of evidence, and they all are consistent, that's how an archaeologist narrows down a search, and our confidence increases."
Matching archival records with found treasures can be a long, sometimes tedious process. Recovering the objects from the depths of the ocean proved to be even more challenging.
The waters off the coast of Cape Town are cold and unpredictable. Dangerous storm surges leave trails of destruction in their paths. Currents from Antarctica can create waves that are three stories high. Sometimes four-week long archaeological expeditions are cut down to a single day due to heavy winds and low temperatures.
"It's like diving into a washing machine," Dr. Lubkemann said. "This is one of the hardest sites I've ever worked on."
But the payoff is well worth the effort, he said. While the Middle Passage is a heavily studied area of scholarship, the voices of the slaves themselves often go unheard.
"The historical record tells a story of those who have the ability to write, which is usually people in power. And it's heavily managed. It certainly doesn't reflect the experience of those who didn't have a voice," said Dr. Lubkemann. "That's where archaeology steps in and provides a different perspective that may, in certain instances, be quite different from that of what's been written."
The story of the Mozambicans who sank onboard the São José remains unfinished. Dr. Lubkemann and his team will continue their work at this and other shipwreck sites for years to come, as they attempt to piece together a full picture of their horrific journeys and tragic ends.
In the meantime, Dr. Lubkemann hopes that the São José relics will give the public the opportunity to engage with history in a unique and meaningful way once the objects are on display at the Smithsonian museum next year.
"We speak about the slave trade, and we often use numbers—10 million or 12 million, of whom 8 or 9 million survived on the ships," he said. "But seeing those artifacts in front of you is an enormously powerful experience. It brings home that this was real. It is not something simply in the history books."Author: Lauren Ingeno | Source: George Washington University [June 10, 2015]
Annotations and reflections on “Shelter Theology: The Religions Lives of People without Homes” by Susan J. Dunlap
Karan Johar, Head, Dharma Productions, India at the India Economic Summit 2017 in New Delhi, India, Copyright by World Economic Forum / Benedikt von Loebell
Project: Bleeding Heart Narrative "Tongue Tangled Hair"
Client: Tartaruga Records
Process: Offset
Inks: 2/0 (Pantone Inks)
Paper: Chipboard, Insert: Desert Storm
A Cyanotype version of the previous photo like this. The original photo can be found further down my photo feed.