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Dental hygienists have a specific scope of clinical procedures they provide to their patients. They assess a patient’s condition in order to offer patient-specific preventative and educational services to promote and maintain good oral health. The use of therapeutic...
Pride and Prejudice: on Raphael Perez's Artwork
Raphael Perez, born in 1965, studied art at the College of Visual Arts in Beer Sheva, and from 1995 has been living and working in his studio in Tel Aviv. Today Perez plays an important role in actively promoting the LGBT (lesbian, gay, bisexual and transsexual) art and culture in Tel Aviv, and the internet portal he set up helps artists from the community reach large audiences in Israel and abroad. Hundreds of his artworks are part of private collections in Israel and abroad, and his artworks were shown in several group exhibitions: in Tel Aviv Museum of Art, "Zman Le'Omanut" art gallery, Camera Obscura, The Open House in Jerusalem, Ophir Gallery, The Haifa Forum and other private businesses and galleries.
In 2003-4 his paintings and studio appeared in a full-length movie, three student films and two graduation films.
Raphael Perez is the first Israeli artist to express his lifestyle as a Gay. His life and the life of the LGBT community are connected and unfold over hundreds of artwork pieces. His art creation is rare and extraordinary by every Israeli and international artistic standard. His sources of inspiration are first and foremost life events intertwined in Jewish and Israeli locality as well as influences and quotes from art history (David Hockney, Matisse). This uniqueness has crossed international borders and has succeeded in moving the LGBT and art communities around the world.
This is the first time we meet an Israeli artist who expresses all of his emotions in a previously unknown strength. The subjects of the paintings are the everyday life of couples in everyday places and situations, along with the aspiration to a homosexual relationship and family, equality and public recognition. Perez's works bring forward to the cultural space and to the public discourse the truth about living as LGBT and about relationships, with all of their aspects – casual relationships and sex, the yearning for love, the everyday life and the mundane activities that exist in every romantic relationship – whether by describing two men in an intimate scene in the bathroom, the bedroom or the toilet, a male couple raising a baby or the homosexual version of the Garden of Eden, family dinners, relationship ups and downs, the complexity in sharing a life as well as mundane, everyday life competing with the aspiration to self realization – through Perez's life.
Perez's first artworks are personal diaries, which he creates at 14 years of age. He makes sure to hide these diaries, as in them he keeps a personal journal describing his life events in the most genuine way. In these journals he draws thousands of drawings and sketches, next to which he alternately writes and erases his so-called "problematic texts", texts describing his struggle with his sexual orientation. His diaries are filled with obsessive cataloging of details, daily actions, friends and work, as well as repeating themes, such as thoughts, exhibits he has seen, movies, television, books and review of his work.
When he is done writing, Perez draws on his diaries. Each layer is done from beginning to end all along the journal. In fact, the work on the diaries never ends.
This struggle never ends, and when the emotion is passed on to paper, and it ends its role and becomes meaningless in a way, the visual-graphic side becomes dominant, due to the need to hide the written text, according to Perez. In books and diaries this stands out even more – when he chooses to draw in a style influenced by children's drawings, the characters are cheerful, happy, naïve and do not portray any sexuality, and when he tries drawing as an adult the sketches became more depressed and somber. During these years Perez works with preschool children, teaching them drawing and movement games. Perez says that during this period he completely abandoned the search for a relationship, either with a woman or a man, and working with children has given him existential meaning. This creation continues over 10 years, and Perez creates about 60 books-personal journals in various sizes (notepads, old notebooks, atlases and even old art books).
In his early paintings (1998-1999) the transition from relationships with women to relationships with men can be seen, from restraint to emotional outburst in color, lines and composition. Some characters display strong emotional expression. The women are usually drawn in restraint and passiveness, while a happy and loving emotional outburst is expressed in the colors and style of the male paintings.
"I fantasized that in a relationship with a woman I could fly in the sky, love, fly. However, I felt I was hiding something; I was choked up, hidden behind a mask, as if there was an internal scream wanting to come out. I was frustrated, I felt threatened…"
His first romance with a man in 1999 has drawn out a series of naïve paintings dealing with love and the excitement of performing everyday actions together in the intimate domestic environment.
"The excitement from each everyday experience of doing things together and the togetherness was great, so I painted every possible thing I liked doing with him."
From the moment the self-oppression and repression stopped, Perez started the process of healing, which was expressed in a burst of artworks, enormous in their size, amount, content and vivid colors – red, pink and white.
In 2000 Perez starts painting the huge artworks describing the hangouts of the LGBT community (The Lake, The Pool) and the Tel Avivian balcony paintings describing the masculine world, which, according to him, becomes existent thanks to the painting. Perez has dedicated this year to many series of drawings and paintings of the experience of love, in which he describes his first love for his new partner, and during these months he paints from morning to night. These paintings are the fruit of a long dialogue with David Hockney, and the similarity can be seen both in subjects and in different gestures.
In 2001 Perez creates a series of artworks, "Portraits from The Community". Perez describes in large, photorealistic paintings over 20 portraits of active and well-known members of the LGBT community. The emphasis is on the achievements that reflect the community's strong standing in Tel Aviv.
As a Tel-Avivian painter, in the past two years Perez has been painting urban landscapes of central locations in his city. Perez wanders around the city and chooses familiar architectural and geographical landmarks, commerce and recreation, and historical sites, and paints them from a homosexual point of view, decorated with the rainbow flag, which provide a sense of belonging to the place. His artworks are characterized by a cheerful joie de vivre and colors, and they also describe encounters and meetings. The touristic nature of his paintings makes them a declaration of Tel Aviv's image as a place where cultural freedom prevails.
Perez's Tel Aviv is a city where young families and couples live and fill the streets, the parks, the beach, the houses and the balconies – all the city's spaces. The characters in his paintings are similar, which helps reinforcing the belonging to the LGBT community in Tel Aviv. The collective theme in Perez's artwork interacts with the work of the Israeli artist Yohanan Simon, who dealt with the social aspects of the Kibbutz. Simon, who lived and worked in a Kibbutz, expressed the human model of the Kibbutznik (member of a Kibbutz) and the uniqueness of the Kibbutz members as part of a group where all are equal. Simon's works, and now Perez's, have contributed to the Israeli society what is has been looking for endlessly, which is a sense of identity and belonging.
Perez maps his territory and marks his boundaries, and does not forget the historical sites. Unlike other Tel Avivian artists, Perez wishes to present the lives of the residents of the city and the great love in their hearts. By choosing the historical sites in Tel Aviv, he also pays tribute to the artist Nachum Gutman, who loved the city and lived in it his whole life. In his childhood Gutman experienced historical moments (lighting the first oil lamp, first concert, first pavement), and as an adult he recreated the uniqueness of those events while keeping the city's magic.
Like Gutman, Perez has also turned the city into an object of love, and it has started adorning itself in rich colors and supplying the energy of a city that wishes to be "the city that never sleeps", combining old and new. Perez meticulously describes the uniqueness and style of the Bauhaus houses and balconies along the modern glass and steel buildings, all from unusual angles in a rectangular format that wishes to imitate the panorama of a diverse city in its centennial celebrations.
Daniel Cahana-Levensohn, curator.
Interview with the painter Raphael Perez about his family artist book
An interview with the painter Raphael Perez about an artist's book he created about his family, the Peretz family from 6 Nissan St. Kiryat Yuval Jerusalem
Question: Raphael Perez, tell me about the family artist book you created
Answer: I created close to 40 artist books, notebooks, diaries, sketch books and huge books. I dedicated one of the books to my dear family, a book in which I took a childhood photograph of my family, my parents and brothers and sisters.. I pasted the photographs inside a book (the photograph is 10 percent of the total painting) and I drew with acrylic paints, markers and ink on the book and the photograph, so that the image of the photograph was an inspiration to me Build the story that includes page by page..
Question: Tell me when you were born, where, and a little about your family
Answer: I was born on March 4, 1965 in the Kiryat Yuval neighborhood in Jerusalem
I have a twin brother named Miki Peretz and we are seven brothers and sisters, five boys and two girls
Question: Tell us a little about your parents
Answer: My parents were new immigrants from Morocco, both immigrated young.
My mother's name before the wedding was Alice - Aliza ben Yair and my father's name was Shimon Peretz,
My mother was born in the Atlas Mountains and was orphaned at a young age and was later adopted by my father's family at the age of 10, so that my mother and father spent childhood and adolescence together....
They had a beautiful and happy relationship but sometimes when they argued my mother would say "even when she was a child she was like that..." This means that their acquaintance and relationship dates back to childhood..
Question: What did your parents Shimon and Aliza Peretz work for?
Answer: My father, Shimon Perez, born in 1928 - worked in a building in his youth and then for thirty years worked as a receptionist at Hadassah Ein Kerem Hospital in Jerusalem... My father's great love was actually art, he loved to draw as a hobby, write, read, solve crossword puzzles and research Regarding the issue of medicinal plants, as a breadwinner he could not fulfill his dream of becoming an artist, in order to support and feed seven children. But we are the next generation, his children are engaged in the world of creativity and education, a field in which both of my parents were engaged during their lives. My father died at the age of 69
My mother, Alice Aliza Perez, born in 1934, worked as an assistant to a kindergarten teacher, and later took care of a baby at home. She is a woman of wholehearted giving and caring for children and people, a warm, generous and humble woman.. and took care of us in our childhood for every emotional and physical deficiency.. My mother is right For the year 2023, the 89-year-old is partly happy and happy despite the difficulties of age.. May you have a long life..
My mother really loved gardening and nature and both of them together created a magnificent garden, my parents have a relatively large garden so they could grow many types of special and rare medicinal plants and my father even wrote a catalog (unpublished) of medicinal plants and we even had botany students come to us who were interested in the field... today they They also grow ornamental plants, and fruit trees...
Question: A book about the brothers and sisters
Answer: My elder brother David Perez repented in his mid-twenties.. He was a very sharp, opinionated, curious and very charismatic guy who brought many people back to repentance, and also helped people with problems through the yeshiva and the synagogue to return to the normal path of life, he died young at the age of 56
Hana Peretz: My lovely sister, raised eight children, worked in the field of education, a kindergarten teacher, and child care.
She has a very large extended family of grandchildren, great-grandchildren and great-great-grandchildren...
My brother Avi (Abraham) Peretz studied in Israel at the University of Philosophy and Judaism, he married a wonderful woman named Mira Drumi, a nurse by profession, and together they had three wonderful children, when they moved to the United States in their mid-twenties, where my brother Avi Peretz completed his master's degree in education, worked in the field Education and for the last twenty years is A conservative rabbi
The fourth brother is Asher Peretz - a great man of the world, very fond of traveling and has been to magical places all over the world, engaged in the creation of jewelry with two children.
I am Rafi Peretz english raphael perez the fifth and after fifteen minutes my twin brother was born
My mother still gets confused and can't remember who was born first :-)
My twin brother Miki micky - Michael Peretz, a beloved brother (everyone is beloved), a talented industrial designer, he has three children, his wife Revital Peretz Ben, who is a well-known art curator, active and responsible for the art field in Tel Aviv, they are a dynamic and talented couple, full of talents and action
The lovely little sister Shlomit Peretz - has been involved in the Bezeq telephone company for almost three decades, and is there in management positions, raising her lovely and beloved child.
The art book I dedicated to my family is colorful, rich in details, shows a very intense childhood, happy, cheerful, colorful, ... We were taught to be diligent and to be happy in our part and to see the glass half full in life, to have emotional intelligence and to put the relationship and love at the center with self-fulfillment in work that will interest you us and you will give us satisfaction.
Each of us is different in our life decisions and my family is actually a mosaic of the State of Israel that includes both religious and secular people from the entire political spectrum who understand that the secret to unity is mutual respect for each other... when my mother these days is also the family glue in everyone's gatherings on Shabbat and holidays..
The personification of the flower couple paintings by the Israeli painter Raphael Perez
Raphael Perez, also known as Rafi Peretz, is an Israeli painter who
explores his personal and sexual identity through his flower paintings. He created a series of flower paintings from 1995 to 1998, when he was in his early thirties and still in relationships with women, despite feeling gay. His flower paintings reflect his emotional turmoil and his struggle with his sexual orientation. He painted two flowers, one blooming and one wilting, to represent the contrast and conflict between his heterosexual relationships and his true self. He also painted single flowers or two flowers in their prime, to express his longing for a harmonious relationship that matches his nature. He chose sunflowers, white lilies, and red lilies as symbols of expression, purity, and joy, respectively. He painted from real flowers, using different styles and light to create drama and mood. Perez’s paintings of the flower couples are minimalist and focused on the theme of the complex relationship. He omitted any background or context, leaving only the canvas and the drawing of the flower couples. In some of the paintings, he added a very airy abstract surface with thin oil paints that give an atmosphere of watercolors. He also made drawings of flowers in ink, markers and gouache on paper. Later on, he created large acrylic paintings of flowers and still life. Perez’s flower paintings are not mere illustrations or decorations. They are autobiographical and psychological expressions of his inner state and his struggle with his sexuality. He wanted to reveal his loneliness, distress and concealment through these paintings, and to connect with people who are in a similar situation. He deliberately chose only two flowers and no more to intensify the engagement in the charged and complex relationship. Perez also painted and drew couples of men and women with charged psychological states, as well as states of desire for connection and realization of a heterosexual relationship that did not succeed. He used hyperrealism and expressive styles to convey his frozen and calculated state, as well as his mental stress. He used harsh lighting to create contrast and drama, with one side very bright and the other side darker. Perez was influenced by some of the famous artists who painted flowers, such as Van Gogh, who also used sunflowers as a symbol of expression. He also used white lilies and red lilies to convey freshness, cleanliness, purity, color, joy, movement, eruption, and splendor. Perez also painted some single flowers or two flowers in their prime, to show his aspiration for a future where he will have a harmonious relationship. Today, he is 58 years old and in a happy relationship for 10 years with his partner Assaf Henigsberg. He is surrounded by female friends and soulmates and not conflicted with heterosexual relationships as he used to be. He occasionally paints flowers in pots to symbolize home, stability, and peace. Sometimes I paint flowers in pots, which represent home, stability, and solid ground for me. I don’t paint just a couple of flowers, but pots full of flowers that overflow with life. This means that we also have a supportive network of family, friends, and peers around us. We live in a rich, supportive, and protective world. These paintings are a personification of my psychological state, when I had no words to express my feelings to myself. The painting began In 35 years of my creation (starting in 1998), you can read more about how my art and style evolved over time. Perez’s flower paintings are a unique and extraordinary artistic creation that reveals his personal journey and his sexual identity. His work is honest, expressive, and emotional, as well as beautiful and vibrant.
The characteristics of the naive painting of the painter Raphael Perez
A full interview with the Israeli painter Raphael Perez (Hebrew name: Rafi Peretz) about the ideas behind the naive painting, resume, personal biography and curriculum vitae Question: Raphael Perez Tell us about your work process as a naive painter? Answer: I choose the most iconic and famous buildings in every city and town that are architecturally interesting and have a special shape and place the iconic buildings on boulevards full of trees, bushes, vegetation, flowers. Question: How do you give depth in your naive paintings? Answer: To give depth to the painting, I build the painting with layers of vegetation, after those low famous buildings, followed by a tall avenue of trees, and behind them towers and skyscrapers, in the sky I sometimes put innocent signs of balloons, kites. A recurring motif in some of my paintings is the figure of the painter who is in the center of the boulevard and paints the entire scene unfolding in front of him, also there are two kindergarten teachers who are walking with the kindergarten children with the state flags that I paint, and loving couples hugging and kissing and family paintings of mother, father and child walking in harmony on the boulevard. Question: Raphael Perez, what characterizes your naive painting? Answer: Most naive paintings have the same characteristics (Definition as it appears in Wikipedia) • Tells a simple story to absorb from everyday life, usually with humans. • The representation of the painter's idealization to reality - the mapping of reality. • Failure to maintain perspective - especially details even in distant details. • Extensive use of repeating patterns - many details. • Warm and bright colors. • Sometimes the emphasis is on outlines. • Most of the characters are flat, lack volume • No interest in texture, expression, correct proportions • No interest in anatomy. • There is not much use of light and shade, the colors create a three-dimensional effect. I find these definitions to be valid for all my naive paintings Question: Raphael Perez, why do you choose the city of Tel Aviv? Answer: I was born in Jerusalem, the capital city which I love very much and also paint, I love the special Bauhaus buildings in Tel Aviv, the ornamental buildings that were built a century ago in the 1920s and 1930s, the beautiful boulevards, towers and modern skyscrapers give you the feeling of the hustle and bustle of a large metropolis and there are quite a few low and tall buildings that are architecturally fascinating in their form the special one Also, the move to Tel Aviv, which is the capital of culture, freedom, and secularism, allowed me to live my life as I chose, to live in a relationship with a man, Jerusalem, which is a traditional city, it is more complicated to live a homosexual life, also, the art world takes place mainly in the city of Tel Aviv, and it is possible that from a professional point of view, this allows I can support myself better in Tel Aviv than in any other city in Israel. Question: Raphael Perez, are the paintings of the city of Tel Aviv different from the paintings of the city of Jerusalem? Answer: Most of the paintings of Jerusalem have an emphasis on the color yellow, gold, the color of the old city walls, the subjects I painted in Jerusalem are mainly a type of idealization of a peaceful life between Jews and Arabs and paintings that deal with the Jewish religious world, a number of paintings depict all shades of the currents of Judaism today In contrast, the Tel Aviv paintings are more colorful, with skyscrapers, the sea, balloons and more secular motifs Question: Raphael Perez, tell me about which buildings and their architects you usually choose in your drawings of cities Answer: My favorite buildings are those that have a special shape that anyone can recognize and are the symbols of the city and you will give several examples: In the city of Tel Aviv, my favorite buildings are: the opera building with its unusual geometric shape, the Yisrotel tower with its special head, the Hail Bo Shalom tower that for years was the symbol of the tallest building in Tel Aviv, the Levin house that looks like a Japanese pagoda, the burgundy-colored Nordeau hotel with the special dome at the end of the building, A pair of Alon towers with the special structure of the sea, Bauhaus buildings typical of Tel Aviv with the special balconies and the special staircase, the Yaakov Agam fountain in Dizengoff square appears in a large part of the paintings, many towers that are in the stock exchange complex, the Aviv towers and other tall buildings on Ayalon, in some of the paintings I took plans An outline of future buildings that need to be built in the city and I drew them even before they were built in reality, In the paintings of Jerusalem, I mainly chose the area of the Old City and East Jerusalem, a painting of the walls of the Old City, the Western Wall, the Church of the Holy Sepulcher, the El Akchea Mosque, the Tower of David, most of the famous churches in the city, the right hand of Moses, in most of the paintings the Jew is wearing a blue shirt with a red male cord I was in the youth movement and the Arab with a galabia, and in the paintings of the religious public then, Jews with black suits and white shirts, tallitas, kippahs, special hats, synagogues and more I also created three paintings of the city of Haifa and one painting of Safed In the Haifa paintings I drew the university, the Technion, the famous Egged Tower, the Sail Tower, well-known hotels, of course the Baha'i Gardens and the Baha'i Temple, Haifa Port and the boats and other famous buildings in the city Question: Raphael Perez, have you created series of other cities from around the world? Answer: I created series of New York City with all the iconic and famous buildings such as: the Guggenheim Museum, the famous skyscrapers - the Chrysler Building, the Empire State Building, Lincoln Center, the famous synagogue in the city, the Statue of Liberty, the flags of the United States and other famous buildings Two paintings of London and all its famous sites, Big Ben, famous monuments, the Ferris wheel, Queen Elizabeth and her family, the double bus, the famous public telephone, palaces, famous churches, well-known monuments I created 4 naive paintings of cities in China, a painting of Shanghai, two paintings of the city of Suzhou and a painting of the World Park in the city of Beijing... I chose the famous skyline of Shanghai with all the famous towers, the famous promenade, temples and old buildings, two Paintings of the city of Suzhou with the famous canals, bridges, special gardens, towers and skyscrapers of the city Question: Raphael Perez What is the general idea that accompanies your paintings Answer: To create a good, beautiful, naive, innocent world in which we will see the innovation of the modern city through the skyscrapers in front of small and low buildings that bring the history and past of each country, all with an abundance of vegetation, boulevards, trees Resume, biography, CV of the painter Rafi Peretz and his family Question: When was Raphael Perez born in hebrew his name rafi peretz? Answer: Raphael Perez in Hebrew his name Rafi Peretz was born on March 4, 1965 Question: Where was Raphael Perez born? Answer: Raphael Perez was born in Jerusalem, Israel Question: What is the full name of Raphael Perez? Answer: His full name is Raphael Perez Question: Which art institution did Raphael Perez graduate from? Answer: Raphael Perez graduated from the Visual Arts Center in Be'er Sheva Question: When did Raphael Perez start painting? Answer: Raphael Perez started painting in 1989 Question: When did you start making a living selling art? Answer: Raphael Perez started making a living selling art in 1999 Question: Where does Raphael Perez live and work? Answer: Since 1995, Raphael Perez has been living and working from his studio in Tel Aviv Question: In which military framework did Raphael Perez serve in the IDF? Answer: Raphael Perez served in the artillery corps Question: Raphael Perez, what jobs did he work after his military service? Answer: Raphael Perez worked for 15 years in education in therapeutic settings for children and taught arts and movement Question: How many brothers and sisters does Raphael Perez, the Israeli painter, have? Answer: There are seven children in total, with the painter 5 sons and two daughters, that means the painter Raphael Perez has 4 more brothers and two sisters Question: What do the brothers and sisters of the painter Raphael Perez do? Answer: The elder brother David Peretz Perez was involved in the field of religious studies, the sister Hana Peretz Perez is involved in the field of education, a kindergarten teacher and child care, the brother Avi Peretz Perez who is in the United States today is a conservative rabbi but in the past was involved in education and therapy, the brother Asher Peretz Perez is involved in the fields of creativity and jewelry The twin brother Mickey Peretz Perez is a well-known industrial designer and seller. The younger sister Shlomit Peretz Perez works in a managerial position at Bezeq. Question: Tell me about the parents of the painter Raphael PerezAnswer: The painter Raphael Perez's parents are Shimon Perez Peretz and Eliza Alice Ben Yair, they were married in 1950 in Jerusalem, both were born in Morocco and immigrated to Israel in 1949, Shimon Peretz worked in a building in his youth and later as a receptionist at the Hadassah Ein Kerem Hospital, Eliza Alice Peretz dealt in child care Kindergarten, working in kindergartens and of course taking care of and raising her seven children
LOS ANGELES - The Los Angeles Fire Department gathered on May 5, 2022 to honor the achievements of seventy LAFD uniformed and civilian members who successfully completed the demanding process of promoting in rank or status within the Department.
Expressing her pride in their accomplishments, City of Los Angeles Fire Chief Kristin M. Crowley oversaw the formal promotion ceremony at the LAFD Frank Hotchkin Memorial Training Center in Elysian Park.
Individually honored at the event were:
PROMOTING TO BATTALION CHIEF:
Martin G. Mullen
Ricky D. Crawford
Brett R. Willis
Timothy G. Lambert
PROMOTING TO CAPTAIN II:
Abran Tapia III
Kyle M. Rausch
Timothy J. Toledo
Bryan R. Willis
Leroy R. Rogers
Santino B. Marcione
Daniel J. Will
PROMOTING TO CAPTAIN I:
Landon Rupright
Kuniyuki Kasahara
Austin M. Hajjar
Scott R. Benton
Jason E. Yim
Bryan A. Geiger
Senay I. Teklu
Dameon A. Cane
Osbaldo G. Garcia
Stephen M. Hiserman
PROMOTING TO APPARATUS OPERATOR:
Brian A. Farris
Aaron E. Brownell
Mark S. Perine
Cameron S. Sentance
PROMOTING TO ENGINEER:
Anh M. Nguyen
Garrett M. Roach
Jacob S. Gonzalez
Jake B. Lins
Paul D. Jeremica
Matthew R. Moon
Calos Zuniga
Chelsey C. Grigsby
Cody A. Morgan
Drew R. Denton
Jesus Padilla
Cody E. Eitner
Christopher R. Winn
William F. Isozaki
Presyller G. Gadia Jr.
PROMOTING TO INSPECTOR II:
Laveon Rider
Daryl S. Yoshihashi
Lance S. Kawakami
PROMOTING TO INSPECTOR I:
Mathew J. Kovar
Blake S. Robbins
Jason G. Bunn
Marteese Smith
Benjamin R. Guzman
Ildefonso Felix
Lonnie Lopez
John D. Heller
PROMOTING TO FIREFIGHTER III / PARAMEDIC:
Natalie N. Martin
A'Raymond S. Smith
Charles Flowers
Jacy W. Hernandez
Sergio Lara Jara
Edward J. Oh
Mitchell R. Wasserman
Darion M. Timmons
Zulema Chavez
Jonathan C. McNey
PROMOTING TO SENIOR COMMUNICATIONS ELECTRICIAN:
Frank Moreno
PROMOTING TO FIRE SPECIAL INVESTIGATOR:
Valerie J. Ross
PROMOTING TO SECRETARY:
Hana K. Ali
PROMOTING TO SENIOR ADMINISTRATIVE CLERK:
Gina Nelson
PROMOTING TO SENIOR ACCOUNTANT II:
Marife Espenilla
PROMOTING TO EXECUTIVE ADMINISTRATIVE ASSISTANT III:
Isela Iniquez
PROMOTING TO FIRE PROTECTION ENGINEER ASSOCIATE IV:
William D. Johns
Oscar Salgado
PROMOTING TO SENIOR PERSONNEL ANALYST II:
Irma Romanelli
----------------------------
Photo Use Permitted via Creative Commons - Credit LAFD
LAFD Event 050522-Promotion Ceremony
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
U.S. Soldiers assigned to 2nd Battalion, 159th Aviation Regiment (Attack Reconnaissance), 12th Combat Aviation Brigade scan their sector of fire while conducting cold load training during exercise Saber Junction 15 at the U.S. Army’s Joint Multinational Readiness Center in Hohenfels, Germany, April 11, 2015. Saber Junction 15 prepares NATO and partner nation forces for offensive, defensive, and stability operations and promotes interoperability among participants. Saber Junction 15 has more than 4,700 participants from 17 countries, to include: Albania, Armenia, Belgium, Bosnia, Bulgaria, Great Britain, Hungary, Latvia, Lithuania, Luxembourg, Macedonia, Moldova, Poland, Romania, Sweden, Turkey and the U.S. More at www.eur.army.mil/SaberJunction. (U.S. Army photo by Pfc. Shardesia Washington/Released)
A FLASH IN THE FACE!!
I was thinking of giving this years Halloween Parade a miss due to the fact I was wasn’t feeling well. Plus we had a fine rain which is always a downer when it comes to keeping the lens and camera body dry. But I soldered on and ran into photographers I knew and only just met, as we waited on Story Street with everyone else.
Then came the bombshell.
Due to complaints last year. “No names given as to who complained?”
Only two designated photographer, one shooting video would be allowed to follow the parade, so we the Paisley photographers who shoot and promote our town where basically told we would be allowed to take photos as they came out the loading bay paisley centre building then to get behind the barriers.
FUCK OFF is how we all seen it to be!
This never went down well, hell it’s a f#### common law road and you the council aren’t above the fucking law you can push people off the road!!! But why stand there rowing when it’s a parade…
Anyway, one person was straight onto the phone to a well known paisley site that comes up top or very high in a Google Paisley search, due to their selfless promotions of our town. Needless to say people where pissed off the council could do this!!.
“Like I say, I no longer vote or hold any kind of faith in this council or government, not of the people but of the little fascists….”
Now I pointed out last years faults, where the coppers where great, as the stayed ahead of the parade and out the way. I also pointed out it was the security who where shit and remained to close to the performers, which meant they where in shot and no one, even the public wanted them in shot.
This mean photographers where forced to moving up instead of zooming in, trying to work round these people who should have moved up behind the police or down the side and out the f#### way. You should only see security when people are acting like c###.
I also pointed out last year how one security guy by the Abby wouldn’t even move one foot to the side for one f#### second to allow me to take a shot. He was told to stand their and not move….
If that isn’t bad enough!
This year a tall guy with kids kindly let me in front of him with his kids to see the drummers on stage. It was the perfect spot as we all waited for the drummers to arrive and no sooner did the arrive on stage a security guy to another stand there right in front of us and again said when I asked if he could move. He said, he wasn’t allowed to move or crouch down out the way and why he was in front of crash barriers we where behind, again an over use of unneeded security. So he stood their playing with his fucking phone, which has that? to do with security….. F### ALL THAT‘S WHAT!!
Matters where made worse when the photographer and video guys came in and got in front of the kids waiting longer then me. So that meant they had had their view taken and even forced to stand on the ironic crash barriers we where all behind…
Its bad enough the security walked around looking pissed of without them getting in everyone’s way because someone tells them, stand there and don’t move only for the public to ask if they will move, which pisses everyone off when they cant!!!… In my opinion there was way too much security.. I heard one guy say, “Don’t take my photo, I’m on the dole.“ While another said when the zombies slowly came out. “Fuck! Is this how slow the parade in going to move into town”
If I heard it then others heard it and that’s not cool paisley!! Your hiring people who don’t want to be there while excluding those who do and I was while worse for ware in my case!!
Then there was the fact the public themselves weren’t even standing behind the barriers heading up cause side and by the cross. If anything they where walking onto the road and at one point pushing through the parade just to cross the road and NO ONE STOPPED THEM…
It was more than possible for the paisley photographers to walk along the side of the parade instead of being forced to ask the public politely if they can squeeze in for a few minutes to take a photo before pushing on for another shot else where..
In saying that, the turn out was massive and the people who let me push in where fantastic and I thank you all.
All these photos where taken using a Hi ISO and NO FLASH. Some aren’t so sharp while others due to the ISO are noisy, but not a loud as my rant!!
The paisley council need to take into account its we photographers who also promote these events with our photography and its we who see the real faults and time after time you’re the ones at fault!! Plus these performers love play up to everyone’s cameras and don’t need people getting in the way….
AGENDA Magazine:
SPOTLIGHT
[Photo Caption] Philip McMaster promotes sustainability, three fingers at a time
GIVE ‘EM THE FINGERS!
Philip McMaster, Founder of the World Sustainability Project
Activist Philip McMaster is giving China three fingers, and through this little gesture, he is changing the world. Agenda met with McMaster to discuss how his Peace Plus One – World Sustainability Project promotes environmental sustainability in a holistic manner.
What did you do before you started saving the world?
I am very fortunate to have “flowed’ through many interesting careers, working in television, publishing newspapers, developing satellite launch facilities, consulting on sustainable tourism in the Brazilian Amazon, running a sports-and-adventure consulting company, and teaching MBA students in Canada and Hong Kong. Life is an adventure and I’m interested in so many different things that I just allow the world to propel me along the great wave of experience.
So my life as a Sustainablist and the Peace Plus One - World Sustainability Project has been forming with every experience and every place visited on this lonely planet.
Tell us a bit about Peace Plus One.
I see China regaining its position as the “center of the world” and being the leader of what’s meaningful and important - sustainable human culture and sustainable business within a balanced and healthy environment.
We created the Peace Plus One – World Sustainability Project to achieve this.
When I was teaching business, it occurred to me that there is no such thing as corporate social responsibility (CSR). The only reality is Individual Social Responsibility (ISR). All business students know that corporations are “fictitious persons” and are limited in terms of their liability, so by definition a corporation cannot be responsible.
The only reality is that each individual within a corporation is responsible for their own actions, and responsible for the communal performance of their place of employment. So we focus on promoting sustainability at the individual level.
Our objective is not to re-invent the wheel. We support, promote and participate with all NGOs and organizations that are making an effort to train their members to be CSR and ISR. It’s all about balance, and balance lies in the decisions of the individual.
What projects have you undertaken?
Most of our projects involve communicating ideas or philosophies, building individual selfesteem, and helping other NGOs, social enterprises and LOHAS (Lifestyles of Health and Sustainability) companies to promote environmental, economic and social harmony. One project is our Three Finger Wednesday initiative, a weekly reminder to think sustainably and modify our habits in support of the planet for at least 24 hours. Participants are requested to not eat meat, and thereby stop contributing to the 20% of greenhouse gasses produced by it, and unplug unused appliances for the day.
On Wednesdays, we also have LOHAS lunch, where participating restaurants offer their delicious nonmeat dishes in special promotions.
Similarly, our LOHAS shopping expeditions introduce participants to environmentally sustainable stores.
We also have a project that involves donating goods and services to underserved communities, and matchmaking parties.
We are currently producing the Win On Wednesday TV show, which features games, fashion, interviews, social networks, and contests that promote a sustainable lifestyle. And we’re working with many open source IT professionals on online games, Three Finger phone apps, and other digital projects that share the sustainability ethic in an entertaining and engaging way.
What is the story with the three finger salute?
The Three-Finger “Peace Plus One” sustainability symbol is like a virtual seed of happiness. It makes me happy to plant it in the conscience of everyone I meet, and watch others become happier when they share it too. Our objective is to encourage millions of “Three Finger Johnny Appleseeds,” first in China, then as an open source gift from China to the world, sharing the new symbol of sustainability and its Chinese
origin. People can flash the 3 Finger symbol, or put it up as their social media avatars when they are participating in one of our initiatives.
Are Chinese people receptive to your ideas?
Chinese people from all walks of life are very receptive to these ideas, because the values are already in their DNA. The core concepts actually come from Chinese culture itself. For thousands of years, peace, harmony and balance have been at the center of Chinese thought, so now it’s time to innovate and refresh those old but valuable ideas. This is what we want to share person-to-person, sustainable values that are above language and culture, which everyone on the planet has the opportunity and responsibility to share.
My ideas are simply the application of those fundamentals to the current situation in China and the world.
Does networking play a big role in your profession?
In order to find and match talent and resources, it’s all about networking. Last year I attended over 80 conferences and meetings.
What are the three keys to getting people motivated and involved, especially Chinese people?
Every individual is motivated by slightly different things, so the first key is to ask what actually motivates them, and usually making money tops the list among Chinese people. Second are working conditions, and third might be the appreciation, recognition, praise and loyalty of the boss to the company and employees. This is quite different from my experience in Western organizations, but understandable when considering the different social safety net, or lack thereof, in China.
We don’t pay our volunteers, so we motivate them to do a good job with benefits like career development, professional success, LOHAS health, balance and energy, the opportunity to influence and experience leadership, and exclusive learning, knowledge and discovery. What we’re doing is challenging, and only the best and most passionate are up to the challenge.
How do you see the concept of sustainability evolving in China?
Sustainability is not being taken for granted as much as it has been in the past. The strange paradox is that China has continuously sustained itself for several-thousand years, but it is only in the last few years that the issue of sustainability and the conceptualization of the problem have come to the forefront. It is evolving from the perception of simply an environmental problem to the truth of it being a relationship problem between society and its values.
What are some of the least sustainable practices in China, and how do you see them changing?
The new love affair with the automobile is unsustainable. Also, the pressure on young people to make the money necessary to pay huge mortgages is unsustainable and leading to an overworked and unhappy generation.
Interview by Jennifer Thomé and Phoenix Tso
For more information, visit
THU, APR 21 – WED, MAY 4 AGENDA 35
McMaster Institute for Sustainable Development in Commerce
(See the actual size of this tiny weed flower compared to the head of a paper match below.)
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From my set "Best Weed Flower Micros:"
www.flickr.com/photos/motorpsiclist/sets/72157626023965740/
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Some of these photographs appear to be close-ups of regular-sized flowers; they are not. All of these photos are micro (macro) photographs of the super-tiny blooms that blossom on common weeds.
Weed flowers...wild flowers...whichever appellation you want to bestow on them nonetheless these almost microscopic beauties are the flowers that bloom on the weeds in my yard.
Most of these flowers when measured petal tip to petal tip at their widest diameters measure 1/4" (6mm) across…or less...the entire bloom is that small. But the smallest weed flower I've shot yet is a small ring of flowers that measured less than 1/32" (.7mm) in diameter which encircled a spire which measured about 1/64" (0.3mm) in diameter.
For some photos I’ve included references to common objects such as the head of a paper match. On some others I’ve listed a description of the actual size of each object in the photo.
So far I've made over 600 photographs of over 48 varieties of weed flowers; this set represents the best of the best.
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My photographs and videos and any derivative works are my private property and are copyright © by me, John Russell (aka “Zoom Lens”) and ALL my rights, including my exclusive rights, are reserved. ANY use without my permission in writing is forbidden by law.
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It comes with a polished solid wood table, matching stools crafted in the same wood and with leather for the stool seats
It is accessorized by 3 paintings with coffee motifs and a coffee tray set. You can use them together or separately.
Just click on the stool to select the type of animation you will prefer:
- 14 animations included
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Mesh realistic looking it will be a great asset for any Victorian,rustic, cottage, countryside and colonial decoration, always with the lowest prim number possible.
In .:PiC:. we promote the "do-it- yourself" concept i.e. we provide a suggestion on how to display a set, but most of the objects come unlinked so that you can have fun placing them exactly as you want.
Have a look at our other items,
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*Market Place: marketplace.secondlife.com/stores/176749
SLURL: maps.secondlife.com/secondlife/Hickory%20Hills/6/38/19
U.S. Army Africa photo by Sgt. 1st Class Kyle Davis
U.S. Africa Command (AFRICOM) hosted its second annual C4ISR Senior Leaders Conference Feb. 2-4 at Caserma Ederle, headquarters of U.S. Army Africa, in Vicenza, Italy.
The communications and intelligence community event, hosted by Brig. Gen. Robert Ferrell, AFRICOM C4 director, drew approximately 80 senior leaders from diverse U.S. military and government branches and agencies, as well as representatives of African nations and the African Union.
“The conference is a combination of our U.S. AFRICOM C4 systems and intel directorate,” said Ferrell. “We come together annually to bring the team together to work on common goals to work on throughout the year. The team consists of our coalition partners as well as our inter-agency partners, as well as our components and U.S. AFRICOM staff.”
The conference focused on updates from participants, and on assessing the present state and goals of coalition partners in Africa, he said.
“The theme for our conference is ‘Delivering Capabilities to a Joint Information Environment,’ and we see it as a joint and combined team ... working together, side by side, to promote peace and stability there on the African continent,” Ferrell said.
Three goals of this year’s conference were to strengthen the team, assess priorities across the board, and get a better fix on the impact that the establishment of the U.S. Cyber Command will have on all members’ efforts in the future, he said.
“With the stand-up of U.S. Cyber Command, it brings a lot of unique challenges that we as a team need to talk through to ensure that our information is protected at all times,” Ferrell said.
African Union (AU) representatives from four broad geographic regions of Africa attended, which generated a holistic perspective on needs and requirements from across the continent, he said.
“We have members from the African Union headquarters that is located in Addis Ababa, Ethiopia; we have members that are from Uganda; from Zambia; from Ghana; and also from the Congo. What are the gaps, what are the things that we kind of need to assist with as we move forward on our engagements on the African continent?” Ferrell said.
U.S. Army Africa Commander, Maj. Gen. David R. Hogg, welcomed participants as the conference got under way.
“We’re absolutely delighted to be the host for this conference, and we hope that this week you get a whole lot out of it,” said Hogg.
He took the opportunity to address the participants not only as their host, but from the perspective of a customer whose missions depend on the results of their efforts to support commanders in the field.
“When we’re talking about this group of folks that are here — from the joint side, from our African partners, from State, all those folks — it’s about partnership and interoperability. And every commander who’s ever had to fight in a combined environment understands that interoperability is the thing that absolutely slaps you upside the head,” Hogg said.
“We’re in the early stages of the process here of working with the African Union and the other partners, and you have an opportunity to design this from the end state, versus just building a bunch of ‘gunkulators.’ And so, the message is: think about what the end state is supposed to look like and construct the strategy to support the end state.
“Look at where we want to be at and design it that way,” Hogg said.
He also admonished participants to consider the second- and third-order effects of their choices in designing networks.
“With that said, over the next four days, I hope this conference works very well for you. If there’s anything we can do to make your stay better, please let us know,” Hogg said.
Over the following three days, participants engaged in a steady stream of briefings and presentations focused on systems, missions and updates from the field.
Col. Joseph W. Angyal, director of U.S. Army Africa G-6, gave an overview of operations and issues that focused on fundamentals, the emergence of regional accords as a way forward, and the evolution of a joint network enterprise that would serve all interested parties.
“What we’re trying to do is to work regionally. That’s frankly a challenge, but as we stand up the capability, really for the U.S. government, and work through that, we hope to become more regionally focused,” he said.
He referred to Africa Endeavor, an annual, multi-nation communications exercise, as a test bed for the current state of affairs on the continent, and an aid in itself to future development.
“In order to conduct those exercises, to conduct those security and cooperation events, and to meet contingency missions, we really, from the C4ISR perspective, have five big challenges,” Angyal said.
“You heard General Hogg this morning talk about ‘think about the customer’ — you’ve got to allow me to be able to get access to our data; I’ve got to be able to get to the data where and when I need it; you’ve got to be able to protect it; I have to be able to share it; and then finally, the systems have to be able to work together in order to build that coalition.
“One of the reasons General Ferrell is setting up this joint information enterprise, this joint network enterprise . . . it’s almost like trying to bring together disparate companies or corporations: everyone has their own system, they’ve paid for their own infrastructure, and they have their own policy, even though they support the same major company.
“Now multiply that when you bring in different services, multiply that when you bring in different U.S. government agencies, and then put a layer on top of that with the international partners, and there are lots of policies that are standing in our way.”
The main issue is not a question of technology, he said.
“The boxes are the same — a Cisco router is a Cisco router; Microsoft Exchange server is the same all over the world — but it’s the way that we employ them, and it’s the policies that we apply to it, that really stops us from interoperating, and that’s the challenge we hope to work through with the joint network enterprise.
“And I think that through things like Africa Endeavor and through the joint enterprise network, we’re looking at knocking down some of those policy walls, but at the end of the day they are ours to knock down. Bill Gates did not design a system to work only for the Army or for the Navy — it works for everyone,” Angyal said.
Brig. Gen. Joseph Searyoh, director general of Defense Information Communication Systems, General Headquarters, Ghana Armed Forces, agreed that coordinating policy is fundamental to improving communications with all its implications for a host of operations and missions.
“One would expect that in these modern times there is some kind of mutual engagement, and to build that engagement to be strong, there must be some kind of element of trust. … We have to build some kind of trust to be able to move forward,” said Searyoh.
“Some people may be living in silos of the past, but in the current engagement we need to tell people that we are there with no hidden agenda, no negative hidden agenda, but for the common good of all of us.
“We say that we are in the information age, and I’ve been saying something: that our response should not be optional, but it must be a must, because if you don’t join now, you are going to be left behind.
“So what do we do? We have to get our house in order.
“Why do I say so? We used to operate like this before the information age; now in the information age, how do we operate?
“So, we have to get our house in order and see whether we are aligning ourselves with way things should work now. So, our challenge is to come up with a strategy, see how best we can reorganize our structures, to be able to deliver communications-information systems support for the Ghana Armed Forces,” he said.
Searyoh related that his organization has already accomplished one part of erecting the necessary foundation by establishing an appropriate policy structure.
“What is required now is the implementing level. Currently we have communications on one side, and computers on one side. The lines are blurred — you cannot operate like that, you’ve got to bring them together,” he said.
Building that merged entity to support deployed forces is what he sees as the primary challenge at present.
“Once you get that done you can talk about equipment, you can talk about resources,” Searyoh said. “I look at the current collaboration between the U.S. and the coalition partners taking a new level.”
“The immediate challenges that we have is the interoperability, which I think is one of the things we are also discussing here, interoperability and integration,” said Lt. Col. Kelvin Silomba, African Union-Zambia, Information Technology expert for the Africa Stand-by Force.
“You know that we’ve got five regions in Africa. All these regions, we need to integrate them and bring them together, so the challenge of interoperability in terms of equipment, you know, different tactical equipment that we use, and also in terms of the language barrier — you know, all these regions in Africa you find that they speak different languages — so to bring them together we need to come up with one standard that will make everybody on board and make everybody able to talk to each other,” he said.
“So we have all these challenges. Other than that also, stemming from the background of these African countries, based on the colonization: some of them were French colonized, some of them were British colonized and so on, so you find that when they come up now we’ve adopted some of the procedures based on our former colonial masters, so that is another challenge that is coming on board.”
The partnership with brother African states, with the U.S. government and its military branches, and with other interested collaborators has had a positive influence, said Silomba.
“Oh, it’s great. From the time that I got engaged with U.S. AFRICOM — I started with Africa Endeavor, before I even came to the AU — it is my experience that it is something very, very good.
“I would encourage — I know that there are some member states — I would encourage that all those member states they come on board, all of these regional organizations, that they come on board and support the AFRICOM lead. It is something that is very, very good.
“As for example, the African Union has a lot of support that’s been coming in, technical as well as in terms of knowledge and equipment. So it’s great; it’s good and it’s great,” said Salimba.
Other participant responses to the conference were positive as well.
“The feedback I’ve gotten from every member is that they now know what the red carpet treatment looks like, because USARAF has gone over and above board to make sure the environment, the atmosphere and the actual engagements … are executed to perfection,” said Ferrell. “It’s been very good from a team-building aspect.
“We’ve had very good discussions from members of the African Union, who gave us a very good understanding of the operations that are taking place in the area of Somalia, the challenges with communications, and laid out the gaps and desires of where they see that the U.S. and other coalition partners can kind of improve the capacity there in that area of responsibility.
“We also talked about the AU, as they are expanding their reach to all of the five regions, of how can they have that interoperability and connectivity to each of the regions,” Ferrell said.
“(It’s been) a wealth of knowledge and experts that are here to share in terms of how we can move forward with building capacities and capabilities. Not only for U.S. interests, but more importantly from my perspective, in building capacities and capabilities for our African partners beginning with the Commission at the African Union itself,” said Kevin Warthon, U.S. State Department, peace and security adviser to the African Union.
“I think that General Ferrell has done an absolutely wonderful thing by inviting key African partners to participate in this event so they can share their personal experience from a national, regional and continental perspective,” he said.
Warthon related from his personal experience a vignette of African trust in Providence that he believed carries a pertinent metaphor and message to everyone attending the conference.
“We are not sure what we are going to do tomorrow, but the one thing that I am sure of is that we are able to do something. Don’t know when, don’t know how, but as long as our focus is on our ability to assist and to help to progress a people, that’s really what counts more than anything else,” he said.
“Don’t worry about the timetable; just focus on your ability to make a difference and that’s what that really is all about.
“I see venues such as this as opportunities to make what seems to be the impossible become possible. … This is what this kind of venue does for our African partners.
“We’re doing a wonderful job at building relationships, because that’s where it begins — we have to build relationships to establish trust. That’s why this is so important: building trust through relationships so that we can move forward in the future,” Warthon said.
Conference members took a cultural tour of Venice and visited a traditional winery in the hills above Vicenza before adjourning.
To learn more about U.S. Army Africa visit our official website at www.usaraf.army.mil
Official Twitter Feed: www.twitter.com/usarmyafrica
Official YouTube video channel: www.youtube.com/usarmyafrica
The Dark Enlightenment, also called the Neo-Reactionary movement (abbreviated to NRx), is an anti-democratic, anti-egalitarian,[1] and reactionary philosophical and political movement.[2] It can be understood as a reaction against values and ideologies associated with Enlightenment,[3][4][5] advocating for a return to traditional societal constructs and forms of government, such as absolute monarchism and cameralism.[3] The movement promotes the establishment of authoritarian capitalist city-states that compete for citizens. Neoreactionaries refer to contemporary liberal society and its institutions as "the Cathedral", associating them with the Puritan church, and their goals of egalitarianism and democracy as "the Synopsis". They say that the Cathedral influences public discourse to promote progressivism and political correctness,[6][7] which they view as a threat to Western civilization.[8][2] Additionally, the movement advocates for scientific racism, a view which they say is suppressed by the Cathedral.[6][7][9][10]
Curtis Yarvin began constructing the basis of the ideology in the late 2000s,[11][12] with Nick Land elaborating and coining the term "Dark Enlightenment". The movement has also received contributions from prominent figures, such as venture capitalist Peter Thiel.[13] Despite criticism, the movement has gained traction with parts of Silicon Valley, as well as with several political figures associated with United States President Donald Trump, including political strategist Steve Bannon, Vice President JD Vance, and Michael Anton.
The Dark Enlightenment has been described as part of the alt-right, as its theoretical branch,[14][15] and as neo-fascist.[14][16][17][18] It has been described as the most significant political theory within the alt-right,[2] as "key to understanding" the alt-right political ideology,[2] and as providing a philosophical basis for considerable amounts of alt-right political activity.[19] University of Chichester professor Benjamin Noys described it as "an acceleration of capitalism to a fascist point". Nick Land disputes the similarity between his ideas and fascism, saying that "Fascism is a mass anti-capitalist movement", whereas he prefers that "capitalist corporate power should become the organizing force in society".[14] Historians Angela Dimitrakaki and Harry Weeks link the Dark Enlightenment to neofascism via Land's "capitalist eschatology" which they argue is grounded in the supremacist theories of fascism.[20] Neoreactionary ideas have also been described as "feudalist"[6] and "techno-feudalist".[21][4]
History
Curtis Yarvin is one of the founders of the movement.
Neo-reactionaries are an informal community of bloggers and political theorists who have been active since the 2000s. Steve Sailer and Hans-Hermann Hoppe are contemporary forerunners of the ideology, which is also heavily influenced by the political thought of Thomas Hobbes, Thomas Carlyle, and Julius Evola.[21][7][22]: 1 In 2007 and 2008, software engineer Curtis Yarvin, writing under the pen name Mencius Moldbug, articulated what would develop into Dark Enlightenment thinking. Yarvin's theories were elaborated and expanded by philosopher Nick Land, who first coined the term "Dark Enlightenment" in his essay of the same name.[7][23][24][22]
By mid-2017, NRx had moved to forums such as the Social Matter online forum, the Hestia Society, and Thermidor Magazine. In 2021, Yarvin appeared on Fox News' Tucker Carlson Today, where he discussed the United States' withdrawal from Afghanistan and his concept of the 'Cathedral', which he says is the current aggregation of political power and influential institutions that is controlling the country.[25] Emerson Brooking, an expert in online extremism, said that "Yarvin escaped the fringe blogosphere because he wrapped deeply anti-American, totalitarian ideas in the language of U.S. start-up culture."[26]
Influence in government
Several prominent Silicon Valley investors and Republican politicians have been associated with the philosophy. Steve Bannon has read and admired Yarvin's work, and there have been allegations that he has communicated with Yarvin which Yarvin has denied.[27][6][9] Bannon would later consider Yarvin an enemy, which Yarvin did not reciprocate.[28] Michael Anton, the State Department Director of Policy Planning during Trump's second presidency, has also discussed Yarvin's ideas,[29] and Yarvin has claimed to have given staffing recommendations to him.[28] In January 2025, Yarvin attended a Trump inaugural gala in Washington; Politico reported he was "an informal guest of honor" due to his "outsize influence over the Trumpian right."[28] Marc Andreessen has quoted Yarvin and referred to him as a "friend",[4] also investing in his startup Tlon and urging people to read him.[5]
According to historian of conservatism Joshua Tait, "Moldbug's relationship with the investor-entrepreneur Thiel is his most important connection."[30] Max Chafkin described Yarvin as the "house political philosopher" for Thiel's circle of influence (or "Thielverse"),[31][32] including people such as Blake Masters, and Yarvin has referred to Thiel as "fully enlightened".[31][5] Vanity Fair noted that both have been influential in the New Right and the National Conservatism Conference.[31] Thiel had also invested in Yarvin's Tlon.[5]
U.S. Vice President JD Vance has cited Yarvin as an influence[33][34][35] and has connections to Thiel.[32][31] Prior to his election to the Vice Presidency, JD Vance cited in his 2022 Senate Campaign Yarvin's "strongman plan to 'retire all government employees,' which goes by the mnemonic 'RAGE.'"[36] In a 2021 interview, "Vance said Trump should 'fire every single midlevel bureaucrat, every civil servant in the administrative state, and replace them with our people. And when the courts stop you, stand before the country and say, "The chief justice has made his ruling. Now let him enforce it."'"[37] Yarvin has praised Vance, stating "in almost every way, JD is perfect", but also considered his relationship with Vance overstated by the media, as they've rarely communicated. He also praised Trump for breaking from Republican practices of trying to "play ball and help the system work" and instead "trying to move all of the levers of this machine that he can move", though also stating "what he’s doing is not at all what I would do with an opportunity like this. But I think that what I would do is probably not possible."[28]
It has been suggested that the Department of Government Efficiency, or DOGE, bears resemblance to RAGE, as advocated for by Yarvin.[37][4] Land, when asked by the Financial Times if he approved of DOGE, said "the answer is definitely yes", having also endorsed Steve Bannon's goal of "deconstruction of the administrative state".[38] In a report by The Washington Post, two DOGE advisors described Yarvin as an "intellectual beacon" for the department, with one saying, "It's an open secret that everyone in policymaking roles has read Yarvin."[26] The report said that Yarvin, initially approving of the Trump administration, had become critical of DOGE. He cited its handling of the National Science Foundation and National Institutes of Health, stating "Instead of fighting against these people because they’re an enemy class who votes for the Democrats, you [should be] saying, 'Oooh, we have cookies for you.'"[26] However, Tait said that Yarvin bears some responsibility for DOGE, saying, "It would have been created, probably, regardless. But he spent a good chunk of time creating a justifying framework for it."[26] Political philosopher Danielle Allen said that DOGE is clearly based on Yarvin's work, and the outcome was the natural result of the shortcomings in Yarvin's views.[26]
CNN notes that Thiel, Andreessen, Vance and Anton don't deny that they are listening to Yarvin, but they have indicated that they do not accept all of Yarvin's theories:
An advisor to Vance denied the vice president has a close relationship with Yarvin, saying the two have met 'like once.' Thiel, who did not respond to a request for comment, told The Atlantic in 2023 he didn't think Yarvin's ideas would 'work' but found him to be an 'interesting and powerful' historian. And earlier this year [2025], Andreessen, who also did not respond to a request for comment, posted on X that one can read 'Yarvin without becoming a monarchist.'[39]
Beliefs
Opposition to democracy
Central to neoreactionarism's ideas is a belief in freedom's incompatibility with democracy,[8] with Land having stated "Democracy tends to fascism".[6] Yarvin and Land drew inspiration from libertarians such as Thiel.[6][40][8] Thiel had stated that, "I no longer believe that freedom and democracy are compatible", although he opined that trying to radically alter the current U.S. government was unrealistic. He also suggested that Yarvin's methods would lead to Xi's China or Putin's Russia.[41] Yuk Hui notes that neoreactionaries consider the Enlightenment values of democracy and equality to be degenerative and limiting, respectively.[8] Tait considers Yarvin to have "a complex relationship" with Enlightenment values, as he adopts a secular and rationalist view of reality while rejecting its key political ideals of equality and democracy.[42] Sergio C. Fanjul contrasts the movement's far-right critique of the Enlightenment with the Frankfurt School's critique of the Enlightenment as a Eurocentric prelude to colonialism and war.[21]
Yarvin told Vanity Fair "The fundamental premise of liberalism is that there is this inexorable march toward progress. I disagree with that premise."[31] A 2016 article in New York magazine notes that "Neoreaction has a number of different strains, but perhaps the most important is a form of post-libertarian futurism that, realizing that libertarians aren't likely to win any elections, argues against democracy in favor of authoritarian forms of government."[19]
Journalist Andrew Sullivan writes that neoreaction's pessimistic appraisal of democracy dismisses many advances that have been made and that global manufacturing patterns also limit the economic independence that sovereign states can have from one another.[43]
Support for authoritarianism
Yarvin supports authoritarianism on right-libertarian grounds, saying that the division of political sovereignty expands the scope of the state, whereas strong governments with clear hierarchies remain minimal and narrowly focused.[44] Yarvin's "A Formalist Manifesto" advocates for a form of "neocameralism" in which small, authoritarian "gov-corps" coexist and compete with each other, an idea anticipated by Hans-Hermann Hoppe.[45][6][7][38] Academic Jonathan Ratcliffe describes the model as "a network of hyper-capitalist city states ruled by authoritarian CEO monarchs."[46] Yarvin claims freedom under the system, known as the "Patchwork",[47][32] would be guaranteed by the ability to "vote with your feet", whereby residents could leave for another gov-corp if they felt it would provide a higher quality of life, thus forcing competition. Land reiterates this with the political idea "No Voice, Free Exit", taken from Albert Hirschman's Exit, Voice, and Loyalty model in which voice is democratic and exit is departure to another society:[6][48]
"If gov-corp doesn’t deliver acceptable value for its taxes (sovereign rent), [citizens] can notify its customer service function, and if necessary take their custom elsewhere. Gov-corp would concentrate upon running an efficient, attractive, vital, clean, and secure country, of a kind that is able to draw customers."[40]
Yarvin has advocated for a "dictator-president" or "national CEO".[49] He has described himself as a royalist, monarchist, and Jacobite;[6][46] and has praised cameralism, Frederick the Great,[9][8][3] and Thomas Carlyle.[21] He is also influenced by Austrian economics,[21][6][5] particularly Hoppe,[7][21][6] Ludwig von Mises, Murray Rothbard,[6] and Friedrich Hayek.[21] Ava Kofman credits Hoppe's Democracy: The God That Failed with pushing Yarvin away from standard libertarian thought, with authoritarianism scholar Julian Waller saying "it's not copy-and-pasted, but it is such a direct influence that it's kind of obscene".[5] Yarvin admires Chinese leader Deng Xiaoping for his pragmatic and market-oriented authoritarianism, and the city-state of Singapore as an example of a successful authoritarian regime. He sees the US as soft on crime, dominated by economic and democratic delusions.[44] He additionally cites Dubai and Hong Kong as providing a high quality of life without democracy, stating "as Dubai in particular shows, a government (like any corporation) can deliver excellent customer service without either owning or being owned by its customers."[47]
Andy Beckett stated that NRx supporters "believe in the replacement of modern nation-states, democracy and government bureaucracies by authoritarian city states, which on neoreaction blogs sound as much like idealised medieval kingdoms as they do modern enclaves such as Singapore."[50] Ana Teixeira Pinto describes the political ideology of the gov-corp model as a form of classical libertarianism, stating "they do not want to limit the power of the state, they want to privatise it."[51] According to criminal justice professor George Michael, neoreaction seeks to perform a "hard reset" or "reboot" on democracy rather than gradual reform.[52] Neoreactionary ideas have also been referred to as "feudalist"[6] and "techno-feudalist".[21][4] Yarvin's proposals are not fully detailed beyond philosophy and general principles,[46] and the economic ability to leave and the willingness of other locations to accept immigrants are not generally considered.[2] Andrew Jones criticized his arguments as "vaguely defined and often factually incorrect".[2]
The process of instituting authoritarianism
Yarvin describes his proposals as a modern version of monarchy[46] and advocates for an American monarch dissolving elite academic institutions and media outlets within the first few months of their reign,[53] stating "if Americans want to change their government, they're going to have to get over their dictator phobia."[32] Time notes that Yarvin's proposal for a "Butterfly Revolution" envisions an internal coup to replace democracy with a privatized executive authority, which includes his RAGE proposal to "retire all government employees" in favor of loyalists.[4] While conceding that it may not be possible, he stated that, were he in Trump's position, he would take executive control of government institutions such as the Federal Reserve, keeping those "that have a very clear role and are not politicized in any way" while disposing of others such as the State Department. He advocates constitutionally challenging laws such as impoundment control, birthright citizenship, and Marbury v. Madison, potentially defying the courts if it were necessary and "unifying". However, he also stated "if you’re doing that in a situation where the vibe is like, 'This is going to be the first shot in the civil war between red America and blue America' [...] I think it’s bad", considering Trump and America "unready for that level of change".[28]
He suggested in a January 2025 New York Times interview that there was historical precedent to support his reasoning, asserting that in his first inaugural address, Franklin Delano Roosevelt "essentially says, Hey, Congress, give me absolute power, or I'll take it anyway. So did FDR actually take that level of power? Yeah, he did." The interviewer, David Marchese, remarked that "Yarvin relies on what those sympathetic to his views might see as a helpful serving of historical references — and what others see as a highly distorting mix of gross oversimplification, cherry-picking and personal interpretation presented as fact."[54] Scholars have described Yarvin's arguments as misrepresenting the historical record, and said that the historical autocracies he praises were considered deeply oppressive by their subjects.[26]
The Cathedral
Neoreactionaries refer to contemporary liberal society and institutions which they oppose as the 'Cathedral', considering them the descendant of the Puritan church, and their goals of egalitarianism and democracy as "the Synopsis". They say that the Cathedral influences public discourse to promote progressivism and political correctness.[6][7] According to neoreactionaries, the Cathedral's adoption of liberal humanism is the primary reason for an alleged decline of Western civilization.[8][2] A neoreactionary online dictionary defines the Cathedral as "the self-organizing consensus of Progressives and Progressive ideology represented by the universities, the media, and the civil service", with an agenda that includes "women’s suffrage, prohibition, abolition, federal income tax, democratic election of senators, labor laws, desegregation, popularization of drugs, destruction of traditional sexual norms, ethnic studies courses in colleges, decolonization, and gay marriage."[55][6] Yarvin views it as an oligarchy of educated elites competing for status[31] and has accused Ivy League schools, The New York Times, and Hollywood of being members.[9][10]
Land and others argue that enforcement of political correctness by these institutions means that they are a religious entity, hence the term 'Cathedral'.[56] Yarvin, described by El País as a former progressive,[21] describes these institutions as a "twentieth-century version of the established church",[55] with the educational system as a method for indoctrinating people into the Cathedral, enforcing compliance with progressive ideology and preventing them from thinking for themselves.[55] Yarvin defines a church as "an organization or movement which tells people how to think", and includes schools as churches.[2]
The concept of the Cathedral has been described as "fundamental to the alt-right's understanding of the humanities".[2] Academic Andrew Woods describes the Cathedral as one of one of two central ideas that enable the alt-right to dismiss criticism, the other being cultural Marxism.[55] He writes that both ideas function to pre-emptively neutralize attempts at refutation, and that they are especially used to delegitimize critical theory. The Cathedral allegedly "seeks to delude the American public" while amassing power and influence, and critical theory is portrayed as the ideological justification for the pursuit of power. Progressive thought is seen as a disguise for power-seeking, and Woods says that Yarvin takes advantage of the inability to prove the unconscious desires of others to argue that "everyone's primary motivation in life is their craving for greater power."[55] El País compared the concept to QAnon and its claims of a deep state.[21]
Race
Neoreactionaries endorse scientific racism, a pseudoscientific view which they refer to as "human biodiversity". Land coined the term "hyperracism" to refer to his views on race; he believes that socioeconomic status is "a strong proxy for IQ" rather than race specifically (though he acknowledges a correlation between race and socioeconomic status), and that meritocracy, particularly space colonization, will "function as a highly-selective genetic filter" that propagates mostly (but not strictly) Whites and Asians.[6][7] Roger Burrows, writing for The Sociological Review, stated "In Land's schema, the consumers ‘exiting’ from competing gov-corps quickly form themselves into, often racially based, microstates. Capitalist deterritorialization combines with ongoing genetic separation between global elites and the rest of the population resulting in complex new forms of ‘Human Bio-diversity’. He described Land's views as eugenicist and compared them to those of The Bell Curve.[48]
According to Land, the concepts of hate speech and hate crimes are simply methods to suppress ideas that contradict the Cathedral's dogma. He says that statements described as "hate speech" are not related to hatred but are simply a type of defiance of the Cathedral's religious orthodoxy. The suppression is carried out by the "Media-Academic Complex" because the ideas are seen as reflecting a "heretical intention".[55]
Yarvin has stated "Although I am not a white nationalist, I am not exactly allergic to the stuff", believing it to simply be an ineffective tool for "the very real problems about which it complains."[57] Yarvin has endorsed arguments for black racial inferiority and says they are being suppressed by the Cathedral.[9][10] He has said that some races are more suited to slavery than others[58] and has been described as a modern-day supporter of slavery, a description he disputes.[59][58]
Accelerationism
One of Land's goals with neoreactionarism is to drive accelerationism, viewing capitalism and technology as a way to destabilize existing systems and create radical change. Roger Burrows stated of Land's interpretation of Yarvin, "The Dark Enlightenment itself might be best thought of as the application of Land’s accelerationist framework to Moldbug’s neocameralism."[48] Land views democratic and egalitarian policies as only slowing down acceleration and a technocapital singularity, stating "Beside the speed machine, or industrial capitalism, there is an ever more perfectly weighted decelerator [...] comically, the fabrication of this braking mechanism is proclaimed as progress. It is the Great Work of the Left."[10][6] Vincent Le states "If Land is attracted to Moldbug’s political system, it is because a neocameralist state would be free to pursue long-term technological innovation without the democratic politician’s need to appease short-sighted public opinion to be re-elected every few years."[60] Vox attributed such views to Land living in China's "techno-authoritarian political system" and his admiration for Deng Xiaoping and Singapore's Lee Kuan Yew.[10] Land has referred to Lee as an "autocratic enabler of freedom", and Yarvin has also praised Lee.[61] Yuk Hui considers sinofuturism to be a model for the movement's pursuit of technological progress which results from a perceived decline of the West. According to Hui, political fatigue leads people such as Land to look towards Asian cities such as Shanghai, Hong Kong, and Singapore as examples of "depoliticized techno-commercial utopia". China is viewed as smoothly importing Western science and technology while Western innovation is constantly limited by the progressivism of the Cathedral. Hui considers this to be "simply a detached observation of these places that projects onto them a common will to sacrifice politics for productivity".[8] Land has advocated for accelerationists to support the neoreactionary movement, though many have distanced themselves from him in response to his views on race.[50]
Formalism
In the inaugural article published on Unqualified Reservations in 2007, entitled "A Formalist Manifesto", Yarvin used the term "formalism" for his ideas, advocating for the formal recognition of the realities of existing power by aligning property rights with current political power as a solution to violence.[62][63] Courtney Hodrick, writing for Telos, stated "in his view, all politics are individual property relationships and the social contract is an agreement between citizen-consumers and governor-owners. Your consent to an agreement such as 'I won’t kill anyone on the street,' he explains, is 'just your agreement with whoever owns the street.' This agreement means that the owner of the street may use violence to enforce this agreement, just as individuals may use violence to defend their own property. His concern [...] is deciding who has the monopoly on the legitimate use of violence. But rather than concern himself with justifying legitimacy politically or metaphysically, Moldbug calls for a naturalization of existing property relations."[47] Yarvin describes the U.S. as "an big [sic] old company that holds a huge pile of assets, has no clear idea of what it’s trying to do with them, and is thrashing around like a ten-gallon shark in a five-gallon bucket",[46] advocating formalism as a solution:
"To a formalist, the way to fix the US is to dispense with the ancient mystical horseradish, the corporate prayers and war chants, figure out who owns this monstrosity, and let them decide what in the heck they are going to do with it. I don't think it's too crazy to say that all options—including restructuring and liquidation—should be on the table."[64]
He rejects democracy as "ineffective and destructive" and attributes the successes of the post-WWII democratic system to its actually being "a mediocre implementation of formalism". He describes democratic politics as "a sort of symbolic violence, like deciding who wins the battle by how many troops they brought".[64] Rejecting pacifism for what he perceives as a tendency to advocate for the rectification of injustices instead of seeking an end to armed conflict, Yarvin promotes the adoption of classical approaches to international law and the idea of "formalising the military status quo"[65] as the most direct path to peace. He identifies the form of pacifism which prioritises "righteousness" instead of peace with the Calvinist doctrine of providence, and "ultracalvinism" as the ideological/theological basis for contemporary American interventionism.[66][67]
Relation to other movements
Seasteading
Prominent figures in the neoreactionary movement have connections to seasteading, the creation of sovereign city-states in international waters, which has been characterized as a way to execute the movement's ideas. Yarvin has connections to Patri Friedman, founder of The Seasteading Institute and grandson of Milton Friedman, and Thiel was once its main investor.[6][21][48] Thiel has also advocated the use of cyberspace, outer space, and the oceans to outstrip traditional politics via capitalism in order to realize libertarianism.[8] Land has quoted Friedman in stating that "free exit is so important that…it [is] the only Universal Human Right".[48]
The Network State
See also: City of Starbase Incorporation election and Free State Project
Balaji Srinivasan has proposed the Network State, a plan for technology executives and investors to remove themselves from democracy and create their own sovereign states.[68] Journalists have noted similarities of the Network State to Yarvin's ideas,[69][31] describing Srinivasan as a leader of the neoreactionary movement[68] and a friend of Yarvin.[5] Srinivasan had also messaged Yarvin suggesting potentially using the Dark Enlightenment audience to dox reporters.[70][5] Comparisons have also been made to Galt's Gulch from Atlas Shrugged[69][71] and Donald Trump's proposed "Freedom Cities".[72][73] Supporters include Marc Andreessen,[68][71][74][75][69] Garry Tan,[68][74] Peter Thiel,[71][74][75][76] Michael Moritz,[74] Patrick Collison,[74] Patri Friedman,[75][76] Roger Ver,[75] Naval Ravikant,[75][69] Joe Lonsdale,[76] Bryan Johnson,[76] the Winklevoss twins,[75][76] Sam Bankman-Fried,[75] Sam Altman,[71][77] Shervin Pishevar,[69] Brian Armstrong,[69] and Vitalik Buterin.[69] Proposed cities alleged to be examples of the Network State include California Forever,[74] Praxis,[74][75] Telosa,[74] Neom,[76] Liberland,[71] and Elon Musk's Starbase City.[78] Established cities alleged to be part of the Network state include Próspera in Honduras[75] and Itana in Nigeria.[75] Other locations of interest include Greenland,[79] French Polynesia,[76] Palau,[76][69] South Asia,[76] Ghana,[80] the Marshall Islands,[80] Panama,[80] the Bahamas,[69] Montenegro,[69] Costa Rica,[69] and Rhode Island.[81]
Cryptocurrency and Web3 are central components of the project.[76] Its legal framework also involves special economic zones,[76] and foreign investors have used Investor–state dispute settlement (ISDS) in the case of Próspera.[82] The movement has been compared to Trumpism, with common ideologies including a belief in Strauss–Howe generational theory and hostility to left-wing politics, the news media and the administrative state.[76]
Critics have described these projects as a form of neocolonialism,[76][71][83] corporate monarchy[71] or white saviorism.[83]
The Highland Rim Project, located in Tennessee and Kentucky, is a Christian nationalist community influenced by the Network State and was proposed by New Founding, a Christian venture capital firm that received funding from Andreessen and is connected to the Network State venture capital firm Pronomos Capital.[84][85] The Guardian has noted the community's ties to far-right groups and white nationalism.[86]
Surveillance capitalism
See also: Surveillance capitalism
Mother Jones cites Clearview AI and its founder Hoan Ton-That (who were in connection with Thiel and Yarvin) as an example of the Dark Enlightenment or neoreactionary thinking's influence on the development of surveillance technology.[87] A 2025 anonymous letter of a group of self-described former followers of the neoreactionary movement warned that the movement advocated for "techno-monarchism" in which its ruler would use "data systems, artificial intelligence, and advanced algorithms to manage the state, monitor citizens, and implement policies." It further warned that Elon Musk, in the context of his actions at the Department of Government Efficiency, was working "for his own power and the broader neo-reactionary agenda."[88]
Yarvin has outlined a vision for San Francisco where public safety would be enforced by constant monitoring of residents and visitors via RFID, genotyping, iris scanning, security cameras, and transportation which would track its location and passengers, reporting all of it to the authorities. The New Republic described the proposed surveillance system as "Orwellian".[32]
The alt-right
The Dark Enlightenment has been described by journalists and commentators as part of the alt-right, specifically as its theoretical branch.[14][15] Journalist and pundit James Kirchick states that "although neo-reactionary thinkers disdain the masses and claim to despise populism and people more generally, what ties them to the rest of the alt-right is their unapologetically racist element, their shared misanthropy and their resentment of mismanagement by the ruling elites".[89]
Scholar Andrew Jones wrote in 2019 that the Dark Enlightenment is the most significant political theory within the alt-right, and that it is "key to understanding" the alt-right political ideology.[2] "The use of affect theory, postmodern critiques of modernity, and a fixation on critiquing regimes of truth", Jones remarked, "are fundamental to NeoReaction (NRx) and what separates it from other Far-Right theory".[2] Moreover, Jones argues that Dark Enlightenment's fixation on aesthetics, history, and philosophy, as opposed to the traditional empirical approach, distinguishes it from related far-right ideologies.[2]
Historian Joe Mulhall, writing for The Guardian, described Land as "propagating very far-right ideas."[90] Despite neoreaction's limited online audience, Mulhall considers the ideology to have "acted as both a tributary into the alt-right and as a key constituent part [of the alt-right]."[90] Journalist Park MacDougald described neoreactionarism as providing a philosophical basis for considerable amounts of alt-right political activity.[19][91]
The term "accelerationism", originally referring to Land's technocapitalist ideas, has been re-interpreted by some into the use of racial conflict to cause societal collapse and the building of white ethnostates, which has been linked to several white nationalist terrorist attacks such as the 2019 Christchurch mosque massacres. Vox described Land's shift towards neoreactionarism, along with neoreactionarism crossing paths with the alt-right as another fringe right wing internet movement, as the likely connection point between far-right racial accelerationism and the otherwise unrelated technocapitalist term. They cited a 2018 Southern Poverty Law Center investigation which found users on the neo-Nazi blog The Right Stuff who cited neoreactionarism as an influence.[10] Land himself has called the neoreactionary movement "a prophetic warning about the rise of the Alt-Right".[6]
Fascism
Journalists and academics have described the Dark Enlightenment as neo-fascist.[14][16][17][18] University of Chichester professor Benjamin Noys described it as "an acceleration of capitalism to a fascist point". Nick Land disputes the similarity between his ideas and fascism, saying that "Fascism is a mass anti-capitalist movement", whereas he prefers that "capitalist corporate power should become the organizing force in society".[14] Historians Angela Dimitrakaki and Harry Weeks tie the Dark Enlightenment to neofascism via Land's "capitalist eschatology" which they describe as supported by the supremacist theories of fascism. Dimitrakaki and Weeks say that Land's Dark Enlightenment was "infusing theoretical jargon into Yarvin/Moldbug's blog 'Unqualified Reservations'".[20]
In The Sociological Review, Roger Burrows examined neoreaction's core tenets and described the ideology as "hyper-neoliberal, technologically deterministic, anti-democratic, anti-egalitarian, pro-eugenicist, racist and, likely, fascist", and describes the entire accelerationist framework as a faulty attempt at "mainstreaming ... misogynist, racist and fascist discourses".[48] He criticizes neoreaction's racial principles and its brazen "disavowal of any discourses" advocating for socio-economic equality and, accordingly, considers it a "eugenic philosophy" in favor of what Nick Land deems "hyper-racism".[48] Graham B. Slater wrote that neoreaction "aim[s] to solve the problems purportedly created by democracy through what ultimately amount to neo-fascist solutions."[18]
Land himself became interested in the Atomwaffen-affiliated theistic Satanist organization Order of Nine Angles (ONA) which adheres to the ideology of Neo-Nazi terrorist accelerationism, describing the ONA's works as "highly-recommended" in a blog post.[92][93]
In the contemporary art world, art historian Sven Lütticken says that the popularity of Land's concepts has made certain art centers in New York and London hospitable to trendy fascism.[94]
See also
Libertarian authoritarianism – Political spectrum and theory
Intellectual dark web – Commentators opposed to identity politics and political correctness
Reactionary modernism – Political ideology characterized by embrace of technology and anti-Enlightenment thought
Social Darwinism – Group of pseudoscientific theories and societal practices
The Fourth Political Theory – 2009 book by Aleksandr Dugin
Exit, Voice, and Loyalty – Book on economic and political theory
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Townsend, Tess (31 March 2016). "Controversy Rages Over 'Pro-Slavery' Tech Speaker Curtis Yarvin". Inc.com. Archived from the original on 1 April 2016. Retrieved 31 March 2016. Yarvin's online writings, many under his pseudonym Mencius Moldbug, convey blatantly racist views. He expresses the belief that white people are genetically endowed with higher IQs than black people. He has suggested race may determine whether individuals are better suited for slavery, and his writing has been interpreted as supportive of the institution of slavery. ... Yarvin disputes that he agrees with the institution of slavery, but many interpret his writings as screeds supportive of bondage of black people. He writes in an email to Inc., 'I don't know if we can say *biologically* that part of the genius of the African-American people is the talent they showed in enduring slavery. But this is certainly true in a cultural and literary sense. In any case, it is easiest to admire a talent when one lacks it, as I do.' ... In Yarvin's Medium blog post, he wrote that while he disagrees with the concept that 'all races are equally smart,' he is not racist because he rejects what he refers to as 'IQism.'
Byars, Mitchell (6 April 2016). "Speaker Curtis Yarvin's racial views bring controversy to Boulder conference". Daily Camera: Boulder News. Archived from the original on 10 March 2018. Retrieved 30 June 2016. A programming conference in Boulder this May has become surrounded by controversy after organizers decided to let Curtis Yarvin — a programmer who has blogged under the pseudonym Mencius Moldbug about his views that white people are genetically smarter than black people — remain a speaker at the event. ... But Yarvin's views, which some have alleged are racist and endorse the institution of slavery, already have led to him being kicked out of a conference in 2015, and there has been pressure on LambdaConf to do the same. ... 'I am not an "outspoken advocate for slavery," a racist, a sexist or a fascist,' he wrote. 'I don't equate anatomical traits (whether sprinting speed or problem-solving efficiency) with moral superiority. ... '
Le, Vincent (2018). "THE DECLINE OF POLITICS IN THE NAME OF SCIENCE? CONSTELLATIONS AND COLLISIONS BETWEEN NICK LAND AND RAY BRASSIER". Cosmos & History. 14 (3): 31–50 – via EBSCO Information Services.
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Yarvin, Curtis (2 July 2007). "The mystery of pacifism". Unqualified Reservations. Retrieved 24 March 2025.
Yarvin, Curtis (12 June 2007). "A short history of ultracalvinism". Unqualified Reservations. Retrieved 24 March 2025.
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"The Most Powerful Crypto Bro in Washington Has Very Weird Beliefs". The New Republic. 1 October 2024. ISSN 0028-6583. Archived from the original on 26 April 2025. Retrieved 16 May 2025.
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"The VC Plan That Surely Won't Backfire: Tech Bro Colonies". The Daily Beast. 30 December 2023. Archived from the original on 11 April 2025. Retrieved 16 May 2025.
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Alt-right
Categories: Dark EnlightenmentAlt-rightCriticism of democracyFar-right politicsNeo-fascismReactionaryTotalitarianism
Dark Enlightenment
The Dark Enlightenment or the neo-reactionary movement, sometimes abbreviated NRx, is an anti-democratic, anti-egalitarian, reactionary philosophy founded by Curtis Yarvin, an American software engineer and blogger under the pen name “Mencius Moldbug,” and developed further by English philosopher Nick Land. The ideology generally rejects Whig historiography, the concept that history shows an inevitable progression towards greater liberty and enlightenment, culminating in liberal democracy and constitutional monarchy. monarchism and other archaic forms of leadership such as cameralism.
In 2007 and 2008, Yarvin articulated what would develop into Dark Enlightenment thinking. Yarvin’s theories were elaborated and expanded by Land, who first coined the term Dark Enlightenment in his essay of the same name. Jessica Klein, who defines Dark Enlightenment as a disturbing philosophy in an article, states that it’s what would happen if more members of the alt-right read Nietzsche and H.P. Lovecraft instead of Donald Trump’s tweets. She reminded that “at its core, the Dark Enlightenment is a neo-reactionary philosophy started by Nick Land, a continental philosophy professor at the University of Warwick until the late 1990s. There, he cofounded the Cybernetic Culture Research Unit with colleague Sadie Plant, whose writing went on to influence cyberfeminism.”
In 2012, Land’s online manifesto condemns democracy and cites libertarians like Peter Thiel, quoting his belief that freedom and democracy are not “compatible.” It has ten parts, compares immigrants to zombies before you can scroll even a quarter of the way through, and quotes major political and cultural figures ranging from Alexander Hamilton to Winston Churchill, noting Hobbes, Marx, the Terminator, and, importantly, Mencius Moldbug.
Klein writes that Moldbug has endorsed slavery, noting that some races are “better suited” for it than others. He also believes that feudalism is superior to democracy. In his modern feudalism, kingdoms would instead look like corporations, with CEOs as sovereigns. Without those pesky chains of democracy holding him back, the CEO can make decisions that would be necessarily beneficial because they’d be financially profitable. The CEO would have a very high IQ, or would perhaps be a cyborg, exemplifying the crossroads where eugenics and the singularity merge in a horrific, sci-fi dystopia. Kind of like the 1997 movie Gattaca, except that some people actually want it to happen.
The Dark Enlightenment has been described by journalists and commentators as alt-right and neo-fascist. A 2016 article, written by Park MacDougald in New York magazine, notes that “Neoreaction has a number of different strains, but perhaps the most important is a form of post-libertarian futurism that, realizing that libertarians aren’t likely to win any elections, argues against democracy in favor of authoritarian forms of government. ”
Some consider the Dark Enlightenment part of the alt-right, its theoretical branch. The Dark Enlightenment has been labelled neo-fascist and “an acceleration of capitalism to a fascist point”. Land disputes this, claiming that “fascism is a mass anti-capitalist movement” a point of view that is not corroborated by historical knowledge about the economics of fascism. Journalist and pundit James Kirchick says in an article that “although neo-reactionary thinkers disdain the masses and claim to despise populism and people more generally, what ties them to the rest of the alt-right is their unapologetically racist element, their shared misanthropy and their resentment of mismanagement by the ruling elites.”
Klein asserts that though closely associated with the alt-right, the Dark Enlightenment is more elitist than populist. She writes “That ‘selective breeding’ Dark Enlightenment proponents are a fan of should be, in their eyes, between people with high IQs — white people with high IQs, or maybe East Asians, if you’re reading Land’s blog. Trump, in Land’s view, is indicative of democracy’s broken nature, not a cause for celebration — even though you’d think his xenophobic, white supremacist views would line up neatly with the Dark Enlightenment’s. Turns out Trump isn’t intellectually enlightened enough. ”
Meanwhile, according to an article by Olivia Goldhill, Benjamin Noys, who is a critical theory professor at the University of Chichester, claims that Dark Enlightenment proponents see themselves as “the philosophical masters” of the alt-right movement. “Land sees himself as above all that, as a Philosopher King of a movement that’s too populist and grubby for this liking,” says Noys. “He’s part of this continuum, that’s pretty clear. But he’s fighting to distinguish himself from the more populist end of things.”
Klein also says that there’s an overlap between the Dark Enlightenment and the white supremacist, anti-immigration groups, like the VDARE Foundation. According to her article, the Southern Poverty Law Center describes the VDARE site as “a place where relatively intellectually inclined leaders of the anti-immigrant movement share their opinions.” One of its biggest contributors is Peter Brimelow. Both he and Land have been connected to the LD50 art gallery in London, which has provided a platform for neo-reactionaries and neo-Nazis. The Shut Down LD50 Tumblr specifically points to Land promoting “racism, in its eugenic, ethnonationalist, and cultural varieties.”
Eliana Johnson and Eli Stokols reported that former Trump strategist Steve Bannon is a fan of Dark Enlightenment. They wrote that Moldbug has reportedly opened up a line to the White House, communicating with Bannon and his aides through an intermediary.
Related Articles:
Glossary: Alt-Right
From Populism to Fascism? Intellectual Responsibilities in Times of Democratic Backsliding
Related Terms:
Term: Dark Enlightenment
Term: Liberal Democracy
Term: Alt-Right
Term: Populism
A settlement existed here before the Romans arrived. Caesar promoted the place, which was consequently called "Forum Julii". The name eventually became the place name, which has survived to this day abraded.
Emperor Augustus increased the importance of the place when he established here the Colonia Octaviorum. An amphitheater and other structures can still be seen.
In 572 the Lombards devastated the Frejus. The siltation of the harbor was accompanied by the decline of the city. Between the 7th and the 9th centuries, Muslim invaders repeatedly raided the city.
Fréjus' resurgence began in the 10th century under the leadership of the city's bishops. He started the erection of the cathedral amd had the city fortified. In 1471, the city counted 266 inhabited houses, but a pirate raid in 1475 led to destruction of the city again.
Of course Frejus is a touristic place meanwhile, but other than neighbouring Cannes, it still has a very "french" flair, with a lot of locals drinking pastis in the sidewalk cafes.
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The oldest survivig structure of the Cathedral Saint-Léonce is the octagonal baptistery dating to Merovingian time of the 5th century.
Inside the baptistery. Eight eight antique Corinthian columns were reused. They probably were taken from a Roman building.
Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.
HISTORY
Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.
Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.
As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.
Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.
KATHAKALI PLAYS
Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.
The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.
Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.
MUSIC
The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.
As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.
PERFORMANCE
Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).
ACTING
A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.
There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.
The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.
One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.
NOTABLE TRAINING CENTRES & MASTERS
Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.
‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.
Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.
Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.
KATHAKALI STYLES
Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:
Vettathu Sampradayam
Kalladikkodan Sampradyam
Kaplingadu Sampradayam
Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.
OTHER FORMS OD DANCE & OFFSHOOTS
Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.
As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.
Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).
Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.
NOTED KATHAKALI VILLAGES & BELTS
There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.
AWARDS FOR KATHAKALI ARTISTS
Sangeet Natak Akademi Awardees - Kathakali (1956–2005)
Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}
KATHAKALI ATTAMS (ELAKI ATTAMS)
Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).
The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.
VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA
Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.
When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).
"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.
The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.
UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY
Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.
Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."
Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.
SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM
While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.
When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."
THANDEDATTAM: RAVANA IN BALI VADHAM
After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."
ASHRAMA VARNANA: ARJUNA IN KIRATHAM
Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."
Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."
A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.
AN ATTAM BASED ON A SLOKA
Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.
Kusumo Kusumolpatti Shrooyathena Chathushyathe
Bale thava Mukhambuje Pashya Neelolpaladwayam
Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).
A CONVERSATION BASED ON A SLOKA
Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:
Pitha: Kushalee Mama hritha Bhujaam
Naatha Sachee Vallabha:
Maatha: kim nu Pralomacha Kushalinee
Soonurjayanthasthayo
Preethim va Kushchate Thadikshnavidhow
Cheta Samutkanuthe
Sutha: tvam Radhamashu Chodaya vayam
Dharmadivam Mathala
Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.
SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM
Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.
He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.
Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:
Ekopi Thraya Iva Bhathi Kandukoyam
Kanthayaa: Karathala Raktharaktha:
Abhrastho Nayanamareechi Neelaneelo
Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.
Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to
Bhumau Talcharana Naghamshu Gaurgaura:
Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".
At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.
TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM
[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]
SCENE 1
When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.
SCENE 2
(The tapas itself is shown as a part of autobiographical narration of adult ravana)
Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.
I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.
In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.
[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]
KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM
[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]
Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).
“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”
Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.
WIKIPEDIA
The history of the Austrian Museum of Applied Art/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.
1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.
1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.
1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.
1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director.
1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag concludes his directorate.
1932 / Richard Ernst is new director.
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the directorate of Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.
1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director.
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria
1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.
2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.
2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.
2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /
Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.
2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.
2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein
2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.
2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.
The Marked Moskva fashion designers responded with this, "We have designed the burqas to muslim and non-muslim women in Norway. We use burqas to wear at a regular basis ourselves. We see many advantages with wearing burqa and we want to promote it as a supplement to the ordinary female’s wardrobe. If you read the interview in www.oslopuls.no and translate, you will know Marked Moskvas true intensions. Peace!
"
tinyurl.com/yocdrz
Disappointing to find that there's no Hefty bag burqa. :)
Director-General engages high-ranking Australian officials, promotes implementation of Chemical Weapons Convention and cooperation in Pacific region. Picture-Patrick Hamilton
Bryan Woodward is promoted to Chief Warrant Officer 3 at the Joint Force Readiness Center in Cheyenne, Wyo. on June 11, 2021. Woodward is an information technology specialist with the Wyoming Army National Guard. (U.S. Army National Guard photo by Sgt. Kristina Kranz)
The 100th anniversary of this beautiful wooden boat was celebrated in 2015 www.dailytelegraph.com.au/newslocal/the-hills/former-boat...
A history of the vessel essentially copied from Macquarie Princess' facebook page
There have been a number of vessels named Nambucca.
Nambucca 1898 (1898 – 1905). Single screw steamer built of wood by David Drake of Bald Rock, Balmain. She operated out of the Nambucca River until 1902 before being sold to New Zealand operators. She was wrecked in January 1905 whilst on a voyage from Blenheim to Wellington.
Nambucca 1915 . The Nambucca was built by William Lloyd Holmes & Co, McMahons Point, Sydney, NSW, Australia. Owned by Jack Cox, she was used on the Nambucca River as a milk/cream boat to collect milk containers from dairy farmers along the river for delivery to the Nambucca Dairy Co., Ltd., (NORCO) butter factory. She was sold to interests in Sydney and converted into a ferry named Promote. She currently operates on the Hawkesbury River as a tourist ferry. Details are in the following album. Nambucca 1915
Nambucca I (1922 -1934). Twin screw steamer built of wood by Ernest Wright of Tuncurry for the North Coast Steam Navigation Company. She came to grief at the entrance to the Nambucca River in 1931 but was refloated. She was wrecked in May 1934 after running aground. Details are in the following album. Nambucca I
Nambucca II (1936 – 1946). Twin Screw steamer built of wood by Ernest Wright of Tuncurry for the North Coast Steam Navigation Company. A much larger vessel than Nambucca I. In later life she was acquired by the R.A.N. and became HMAS Nambucca and finally USS YDG-5. She was burned to the waterline in Okinawa in 1946. Details are in the following album. Nambucca. No images of the Nambucca have been found.
The ferry Promote, formerly the Nambucca and later the Macquarie Princess has an interesting history from cream/milk boat to ferry.
Details:
Name: Nambucca - later Promote - later Macquarie Princess
ON 172892 (Promote)
Registered 17/1939 Sydney
Register Tonnage: Gross 24.1 Net: 16.4
Length: 49.4 ft
Breadth: 16.0 ft
Depth: 5.5 ft
Builder: W.L. Holmes, McMahon's Point
The Nambucca replaced the Breckenridge-built cream boat Undaunted when the latter was burned to the water line in 1914.
Initial Operation - 1915 - 1925
: The Nambucca was built by W. L. Holmes & Co, McMahons Point, Sydney, NSW, Australia. She was used on the Nambucca River as a milk/cream boat to collect milk containers from dairy farmers along the river for delivery to the Nambucca Dairy Co., Ltd., (NORCO) butter factory.
Launch for the Royal Australian Navy 1925 - 1938
By 1925 cargo transport had become more economical via road and the Nambucca was commissioned by the NAVY as a personnel transportation vessel, running from Balmain to Garden Island on Sydney Harbour.
Purchased by Nicholson Bros., renamed Promote and operated as ferry 1930 - 1938.
During this period it appears that she continued to provide transportation services to the Navy while acting as a charter boat on weekends. It is believed that in about 1930, the vessel was fitted with an upper passenger deck; the upper deck can be seen in this image taken in 1931. She was regularly chartered by organisations including Bon Marche Ltd in 1931 and the Irish National Forester's Entertainment Committee in 1933.
1938 - 1969 Ownership transferred to Nicholson Bros. Harbour Transport Pty Ltd.
Based at Balmain, she was refitted & altered by Morrison & Sinclair. A taller funnel was fitted. Licensed to carry 197 passengers, she was fitted with a new motor (40bhp 4Cy. 8.5"-9" Dreadnought. 8.5 knots). She joined sister vessels the Provide and later the Produce and Protend on the Balmain to Erskine Street (Darling Harbour) run.
Purchased by Stannard Bros. and formed part of Stannard's ferry fleet - 1969 - 1973:
The Promote, continued to work on Sydney Harbour as part of the Stannard Brothers fleet of commuter ferries.
Pittwater ferry - 1973 - 1974:
The Promote was sold to Broken Bay Ferries, operated by George and Thelma Bennet, and continued to work as a commuter ferry, this time on Pittwater.
Pittwater ferry under new ownership 1974 - 1979
The Promote continued to work on Pittwater as Scotland Island Co-op (John Hebden) included her in their fleet.
Converted to cruise boat for use on Lake Macquarie - name changed to Macquarie Princess
In 1980 David Mitchell purchased the vessel and she was taken to Lake Macquarie for conversion to a cruise boat. Her name was changed once again to Macquarie Princess.
Operation from Berowra Waters
In 1983 the Macquarie Princess was purchased by Gordon & Joan Mandin and commenced operation at Berowra Waters on the Hawkesbury River as cruise vessel.
In 2003 The Mandin Family retired and the Macquarie Princess was purchased by owner operators Fred & Carolyn Mulae, and Gino & Mary Donofrio. The vessel underwent a major mechanical overhaul and structural restoration.
In 2007 the Macquarie Princess was purchased by John & Lisa Tillott, and along with the help of children Jasmine & Bradley is now run as a family operated cruise boat.
The Macquarie Princess has now operated from the very same wharf at Berowra Waters West Marina since 1983, and in this time has carried over 650 000 passengers.
The Tillott family look forward to ensuring that the M.V. Macquarie Princess will continue to cruise the Hawkesbury for many years to come.
Image Source - Black Diamond Images Collection
All Images in this photostream are Copyright - Great Lakes Manning River Shipping and/or their individual owners as may be stated above and may not be downloaded, reproduced, or used in any way without prior written approval.
GREAT LAKES MANNING RIVER SHIPPING, NSW - Flickr Group --> Alphabetical Boat Index --> Boat builders Index --> Tags List
THE HAZZARD RANGE HERALD
Hazzard Range county commission in their Monthly meeting. Heard reports from County officials including Public Works Dept( PWD ) Superintendent JR Mcdonald who noted that all is running smoothly and the PWD is ready for monsoon season ,he also noted one area so far during this monsoon season the county has seen only two washouts .
In his report Sheriff Troy Forbes reported the sheriff's office been busy and trying time for him and his staff after two attacks on law enforcement officers in this country this month ( July ) . Fallowing the Sheriff's Forbes report .Sheriff Forbes and county commission held a Promotions Ceremony. Sergeant /investigator Dolly King a 15 year veteran was promoted to Lieutenant .Deputy Junior Hays a 10 year veteran was Promoted to Sergeant /investigator .Sheriff's Forbes also welcome new county deputy Lance Mead .He worked for Boom Police dept until this spring when he was laid off after oil bust .
After hearing reports the commission unanimously voted to approved budget adjustments. unanimously voted to approve the purchase of new fire truck and for purchase of new water tank for Mist Mt .
Pictured , Commissioner Jake Harpe , Commissioner Fred taller , Commission Chair George Dallas ( G. D ) and Commission Vice chair Tom Bortz . Clerk Julia Azzarello ,County Manager Monica Ski, Lt Dolly King .Sergeant /investigator Junior Hays ,Sheriff Troy Forbes and deputy Lance Mead.
Green Goal 2010 - South Africa World Cup Eco Route, Promoting responsible tourism in South Africa
Promoting responsible tourism in South Africa.
Follow the Mynatour team on their exciting trip around South Africa - 6000kms in 28 days. www.mynatour.org/diary
Visiting places such as Cape Town, Albertinia, Lions Head, Langa, Durban, Johannesburg, Soweto, Fair Trade Tourism South Africa, Saint Lucia, Port Elizabeth, Kruger National Park, Table Mountain National Park, Wild Coast, Port St. Johns, Panorama Route, Garden Route, Guineafowl, Timbavati, Graskop, Wetsern Cape, Zululand, Swaziland, Manzini, East London,, Cintsa, Cintsa West, Cape St. Lucia, St. Lucia Marine Sanctuary, St. Lucia, St. Lucia Wetland Park, Cape Widal, Blyde Ricer
In collaboration with Fair Trade in Tourism SA (http://www.fairtourismsa.org.za/) we will be exploring all types of responsible, community based and ecotourism activities such as mountain trekking, bushman cave paintings, off road 4x4, surfing, township tours, sustainable youth hostels, nature trails, mountain biking, safari, bird watching.
With plenty of tips to help you on the road, this will be your ultimate guide to ecotourism practice in South Africa.
2010 marks the beginning of Mynatour's biggest and most exciting adventure yet - and we're going to share it with you everyday online.
We are going to transport you to South Africa - home of the 2010 World Cup - and a place that will experience one of the biggest environmental impacts of any sporting event in history and try to promote some advices to make it, just, a little bit greener. A campaign to promote environmental responsibility during the world cup ...follow us...
Become a member of the MyNatour community at mynatour.org because the more we share, the richer we are!
A social ecotourism network of responsible travellers to preserve nature and promote local intercultural understanding. CONNECT + LEARN + DISCOVER + SHARE = RESPECT... it's as simple as that!
Online videos and photos brought to you by the production team of MyNatour TV. Look out for the full series of programs over the coming weeks.
"Ideas at Play: The gaming of innovation and entrepreneurship education" was held as a pre-conference session during Open 2015, VentureWell's annual conference. Participants utilized games to promote learning and engagement in the classroom. Photos by Laurie Moore.
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Work promotes confidence
Date Created/Published: [New York] : Federal Art Project, [between 1936 and 1941]
Medium: 1 print on board (poster) : silkscreen, color.
Summary: Poster for Works Progress Administration encouraging laborers to gain confidence from their work, showing stylized man holding hammer.
Reproduction Number: LC-USZC2-1018 (color film copy slide) LC-USZ62-59986 (b&w film copy neg.)
Rights Advisory: No known restrictions on publication.
Call Number: POS - WPA - NY .01 .W76, no. 1 (C size) [P&P]
Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA
Notes:
Work Projects Administration Poster Collection (Library of Congress).
Posters of the WPA / Christopher DeNoon. Los Angeles : Wheatly Press, c1987, no. 1
wpa_work promoters confidence_M
Rudolph Valentino while traveling across country to promote his last movie, The Son of the Sheik took ill. On August 15th 1926 he was rushed to Polyclinic Hospital for severe abdominal pains. X-Rays confirmed a large perforated ulcer. Surgery was performed to cleaned the abdomen cavity of the infection. Within days his gut was swollen, bruised and blotchy. Further X-Rays were taken and revealed pleurisy and all hopes of recovery were lost.
Nurses wept as they attempted to make his final hours pleasant. A priest was called to perform the last rites. Crowds outside waited for word. Police had to form a ring around the hospital because of the thousands of mostly female fans besieging it.
Thing is, he probably would have survived if the surgeons weren’t so freaked out by the fact that "Valentino" was in their midst. They were terrified "being THE ONE to cut open Valentino", that they procrastinated for several hours, dramatically worsening his condition. Technically he may have been killed by his own celebrity.
His last words were spoken to Joseph Schenck, Chairman of the Board of United Artists, "Don't worry Chief, I will be all right." Last rites were given to Rudolph 10am.
At 12:10pm on August 23, 1926 The Great Lover died at age 31.
People flipped. Two women attempted suicide outside the hospital. In London, another took poison in front of a photograph of Valentino, while a boy in New York died on a bed covered with Valentino photos (drama queen). Valentino's body was taken in a plain wicker basket covered in a gold cloth, to the Campbell funeral home in NYC.
The first funeral was in New York, and drew a crowd of 100,000 in what was describe as a "carnival setting". More than 100,000 fans filed past his open casket at the Frank E. Campbell funeral home. A spokesperson for the Funeral Home said in a statement, "Never before have so many persons tried to see a body. Mr. Valentino’s body is not being handled any differently than that of anyone else, excepting we are giving it special attention, and putting in an exceptionally great amount of time on it. The body arrived here at about two o’clock Monday afternoon, August 23rd, and we immediately began work on the embalming, keeping at it until the following morning, when it was placed on view until 1am.” Right then, no special treatment.
Valentino’s remains were described as, “dressed in a dinner jacket and heavy pancake make-up and mascara applied to his face. His mouth, still contorted in pain from his period in the hospital, was eased into a deductive smile.” He was in a bronze casket on a raised pedestal. There was a railing and a low, cushioned ledge where people could pray. One floral arrangement included 4000 red roses from Pola Negri, who swore they were engaged to marry.
There is a report that the actual body on display was not the real Rudolph Valentino. “To save that idol from wear and tear, Valentino was substituted by a wax dummy for the body –an artist was called in who was skilled at creating a perfect likeness. So while the real Valentino lay in peace in a cool, dark vault, the wax figure of Valentino took the brutal punishment from the hundreds of fans at the funeral parlor,” was quoted by a source.
When his body was transported to Hollywood, thousands stood by to see the train pass. In Los Angeles there was an invitation only service at the Good Shepherd Catholic Church, where this card was distributed. Another 80,000 crowded in and around the Hollywood Memorial Park. Bushels of flowers were dropped from a plane overhead, as he was carried into the Cathedral Mausoleum.
He was interred under the name Rodolfo Gugliemi Valentino in a ‘temporary' gravesite in the Cathedral Mausoleum. Plans were made for an elaborate memorial including life size statues of Valentino from his various roles. Money, however, became a problem when his estate was found to be lacking and his temporary resting-place became permanent.
The grave was owned by June Mathis, the woman often described as having discovered him. When he died, Mathis offered her crypt as a temporary place of entombment until the appropriate personal mausoleum for him was built. Mathis died the following year of a heart attack, and Valentino was moved into the vault which was intended for her husband, which of course is where her remains remain today.
On the one-year anniversary of his death, a woman bought flowers to Valentino's grave. She was dressed all in black, complete with a long veil. This "Lady in Black" has kept up this tradition throughout the years. Here is a picture of her in 1963. The most popular theory of her identity is a supposedly terminally ill young girl Valentino had visited in the hospital. They made a pact: whoever died first would visit the grave of the other every year on the anniversary. The girl got better. Valentino became ill. When he died she kept the promise, passing on the honor to the next generation of The Lady in Black. She, as well as many well-meaning impostors, can be seen today. There is even a black lady, dressed in white. Hilarity ensues. The original Lady In Black is now identified as Anna Maria De Carrascosa - and she was killed by a bus. Her daughter, Estrillita Di Regil took on the role. Almost daily she would show up at the crypt, and weep. Loudly. Honestly, she was crazier than a box of frogs. I met her. Crazy fo real.
words from the wonderful www.findadeath.com
80 years on people gather to have a memorial service for Valentino and in the evening gather to picnic on the great lawn near Douglas Fairbanks memorial and watch a Valentino movie.
Esti and Sophie Freud visit an outdoor pottery market in
Morocco while awaiting their immigration papers to the
United States.
Sophie Freud was born in on August 6, 1924 in Vienna,
Austria. Her father, Dr. Martin Freud, was the oldest son
of Dr. Sigmund Freud, the psychiatrist. Her mother,
Ernestine (Esti) Drucker Freud, came from an affluent
assimilated Jewish Viennese family. Sophie had an older
brother, Walter, born on April 3, 1921 also in Vienna. As
a child Sophie and Walter visited their famous grandfather,
Sigmund Freud, every Sunday with their father. Martin Freud
was born on December 6, 1889 in Vienna. In 1908 he entered
the university to study law. He was an enthusiastic
sportsman and, being politically engaged, had joined a
Zionist movement, 'The Kadimah' (Forward). In 1910 he
joined the Imperial horse artillery, and when World War I
broke out, he volunteered for military service. In January
1915 he was stationed in the Austro-Hungarian province of
Galicia. After being slightly wounded in August 1915, he
was promoted to lieutenant, but was taken prisoner of war.
He was released in 1919.
Ernestine (Esti) Drucker was born on May 21, 1896 in
Vienna to an affluent Jewish family. During World War I,
Esti served as a volunteer Red Cross nurse from September
1914 to January 1915. She then took up speech instruction.
Martin Freud and Esti Drucker met at a party during the
war and corresponded regularly during his imprisonment as a
prisoner of war. On December 7, 1919 they were married in
Vienna. Martin was employed as a clerk in a newly created
bank in Vienna, but having background in law, he became
increasingly involved in his father's investments and
helped manage the publication of his books. In fact he was
in charge of the company, which published Sigmund Freud's
books. Esti Freud began teaching speech techniques for
people with speech impairments and voice disorders and
became a speech, voice and hearing therapist. In 1932, she
became a lecturer and teacher at the Vienna University for
voice and speech techniques.
On March 13, 1938, the German army entered Vienna and
Austria ceased to exist as an independent country. The
Nazis immediately imposed anti-Jewish laws in Austria.
Jews were treated harshly as in Germany and forbidden to
engage in certain forms of commerce. Esti received a
letter from the Department of Education revoking her
teaching contract at the university. The family made plans
to emigrate from Austria. In May 1938, Sophie's parents
received their passports to travel abroad, and on May 14,
1938, Sophie and her mother took the night train from
Vienna to Paris. Sophie's father, who had become estranged
from his wife, left for London on the next day with
Sophie's brother Walter. In the meantime, the persecution
of Dr. Sigmund Freud by the Nazis in Vienna had made big
headlines throughout the world, and in June1938, the
professor and the rest of the Freud family lalso eft for
London.
In Paris, Esti organized a speech and voice rehabilitation
clinic. She enrolled Sophie in the high school Lycee Jean
de la Fontaine. But due to her poor French, Sophie lost a
year's study. To avoid being late to class, she acquired
and learned to ride a bicycle. Esti disapproved to
Sophie's riding the bicycle the 8 miles to and from the
Lycee and gave Sophie the bus fare. Sophie, however, used
the bus fare to pay for parking the bicycle in a garage
close to the school. In May 1940, Sophie heard that the
population from northern France was leaving in a panic
because the Germans had broken through the Maginot Line,
which was the defense line on the French - Belgian border.
On June 8, 1940, two days before Hitler entered Paris,
Sophie and her mother, left Pairs on bicycles and headed
south toward Nice. Esti Freud found work treating
speech-handicapped children, and Sophie continued her
schooling at the Lycee de Nice.
The situation in Nice deteriorated quickly after racial
laws were enacted, and food shortages became acute. Esti
and Sophie sought refuge elswhere. Esti's sisters, Lily
and Marianne (Janne) and their families had previously left
Vienna and immigrated to New York. After Lily succeeded in
obtaining U.S. visas for Sophie and Esti in December 1941,
they left Nice, France for Casablanca, Morocco to await the
actual issuing of their American visas. Esti organized a
school for deaf children and Sophie enrolled in a school
that was organized by the Jewish community since the
state-run high school was closed to Jews.
In September 1942, Sophie and Esti left Casablanca for
Lisbon, Portugal, and on October 23, 1942, they boarded the
S.S. Carvalho Arjuo and sailed to the United States. The
ship docked in Baltimore, MD on November 2, 1942. Nine
days before that date Esti's mother, Ida Drucker, was
deported from Vienna to the Theresienstadt concentration
camp. From there she was deported to Auschwitz death camp
where she perished. Esti Freud continued her work as a
speech therapist in New York, and in 1952, at the age of
56, she received her Ph.D. in speech therapy. Martin Freud
continued to live in London. The two never divorced but
never saw each other again. Walter Freud, Sophie's
brother, also remained in England.
In 1942, at the age of 18, Sophie enrolled in Radcliffe
College, where she majored in psychology. Three years
later, she married a German immigrant, Paul Lowenstein, who
had escaped from a Nazi transit camp in France. Sophie
Freud Lowenstein and her husband Paul are the parents of
three children. Their marriage dissolved after forty
years, in 1980's. Sophie earned her master's degree in
social work at Simmons College in Boston, MA, and her Ph.D.
in social welfare at Brandeis University. She was a
practicing social worker in the field of child welfare and
child-parent guidance. In 1970 Sophie Freud obtained her
Ph.D. from the Florence Heller School for Social Welfare at
Brandeis and went on to become a professor at the School of
Social Work at Simmons College. In 1988, Sophie wrote ''My
Three Mothers and Other Passions'' and in 2007 she wrote
'Living in the Shadow of the Freud Family' based on her
mother's letters and autobiography. She is the book review
editor of the American Journal of Psychotherapy, Professor
Emeritus of Social Work at Simmons College and teaches at
the Brandeis Osher Lifelong Learning Institute program.
Photo Credit: United States Holocaust Memorial Museum, courtesy of Sophie
Freud
On 22 January 2023, President Kagame and First Lady Jeannette Kagame joined resident of Kigali city for #CarFreeDay. The popular sporting activity takes place twice a month and aims to promote a healthier lifestyle & a green city.
Photo taken in Zimbabwe under the Livelihood Food Security Programme (LFSP), a programme funded by the United Kingdom’s Department for International Development (DFID), and implemented by FAO and, Palladium and Coffey. The programme aims to increase agricultural productivity, increase incomes, improve food and nutrition security, and reduce poverty in rural Zimbabwe. ©FAO/Leonard Makombe
To Promote the next big exhibition at the end of the year in Autoworld with the fabulous theme "American Dream Cars" we proudly present to you the Plymouth Road Runner Superbird. This car is restored in it's rare, original, and wonderful period color of Limelight Green, wit a Black Vinyl Top, 440 Commando, 4-barrel engine and the heavy duty "Hemi Type" 4 speed transmission. With just 68.000 miles, the car runs and drives great and one can cruise the highway listing to both AM and the factory optional 8 Track stereo.
Featuring the wonderful Warner Bros. cartoon character the Road Runner, and being featured in Petty Blue in the hit 2006 Pixar film "Cars" as "The King" sponsored by "Dinoco", the Super Bird is a car that is loved by children from age 3 and up.
This particular 1970 Plymouth Road Runner Superbird is one of just approx. 1.980, that left the Chrysler's Lynch Road facility. The Superbird was produced, only in 1970. In stock form, with the 440 or 426 Hemi engine, the street car hit over 160 mph off the showroom floor. As you can imagine seeing something like this on the American roads in 1970, caused a sensation wherever they went and they still do today.
Expo : Dream Cars 2017
Auto / Moto / Van : 95° European Motor Show Brussels
Autosalon Brussel
Salon de l'Auto Bruxelles
Brussels - Belgium
January 2017
NAP Consultation - North Western Province - Sri Lanka 2019- WPS
Under the project “Empowered Women, Peaceful Communities: Promoting Peace and Preventing Intolerance in Sri Lanka,” UN Women provides technical assistance to the Government of Sri Lanka with the generous support and funding from the Government of Japan to formulate a National Action Plan (NAP) on Women, Peace and Security (WPS). Consultative dialogues were held across 9 provinces with the participation of local government officials, civil society organisations and women with direct experience of conflict situations, to inform the development of an inclusive and representative NAP on WPS. Photo: UN Women/Boost Metrics
To remember the Australian and New Zealand warriors during World War One who fought to take the Gallipoli Peninsula and to honor the service of our Australian brothers in arms, Kandahar Crossfit conducted a special workout. The WOD was Wood named for Brett Woods, an Australian Special Forces Commando. Woods was killed in Afghanistan in May 2011. He died instantly when an insurgent IED exploded on a foot patrol he led in the Kandahar Province.
The WOD was: run 400 meters, 10 – Burpee box jumps (24/20), 10 – SDHP (95/65), 10—Thrusters (95/65), rest 1 minute, five rounds for time.
Proceeds from the event will go to Legacy the Australian wounded warrior society and to Kandahar Crossfit to promote Crossfit activities on Kandahar Airfield.
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
Daryl Davis is an African American virtuoso blues pianist, author, actor and lecturer. He is on a mission. Throughout the last 30 years he has befriended members of the KKK and persuaded them to leave their racist beliefs and organizations. Daryl does it through dialogue and music.
The U.S. Embassy in Tel Aviv brought Daryl to Israel to promote conversation between diverse parts of multi-cultural Israeli society through music and through his personal example. The program was dedicated to the memory of Daniel Pearl, the US journalist and musician that was murdered by terrorists in Pakistan. His legacy- “Harmony for Humanity”- is celebrated through annual musical events across the globe.
In course of four intensive days in Israel Daryl shared his unbelievable story and performed for Jewish and Arab high school and college students, secular and religious audiences of all ages in Jerusalem, Taibeh, Beer Sheva, Hura and Kfar Batya. He inspired hundreds of people from all sectors to seek solutions through an honest and intelligent dialogue. The universal language of music served as the perfect platform to start the conversation, which included collaborations with local musicians, such as the “Ground Heights” band and the Israeli blues man Itay Pearl.
Daryl message is clear: "When two enemies are talking, they are not fighting… It’s when the talking ceases, that the ground becomes fertile for violence. Keep the conversation going.”