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Accession Number: spa.958.47
Radical Scotland was a political magazine that emerged from the '79 Group and had a short lived incarnation in the early 1980s. It was formally relaunched in 1983 and then consistently ran bi-monthly issues. Over its life the magazine had two editors Kevin Dunion and then Alan Lawson. It featured regular contributions from political parties, independent authors and commentators. The magazine numbered 51 issues before it was wound up in 1991.
The Scottish Political Archive is housed at the University of Stirling. The archive is home to the oral interviews, personal papers and associated material from prominent Scottish politicians. For further information about the work of the archive please visit our website www.scottishpoliticalarchive.org.uk
Chris Emmert 5/16 2010
Radical Dimensions Class project.
Hard to photo. Taken at class.
No worries for me. I hung back and let everyone else pick their glass knowing these colors would still be there. Love oranges.
5. umferð Íslandsmótsins í Time Attack 23.september 2018. // Time Attack Nationals, 5th round September 23rd 2018.
Contiki and Radical Travel hosted their sales, marketing and team leaders to a three day National Conference in March.
The conference kicked off with the teams enjoying presentation from two guest speakers before taking to the Holiday Inn for drinks and a rooftop BBQ. The next day the group headed off to the Hunter Valley in NSW to enjoy a little bit of wine sampling.
Pictured above from left in front:
Peter Lombardi,
Second row: Tony Laskey, Scott Stephenson, Adam Wadson and Brendan Wall.
Third row: Alison Wood, Candace Swale, Vanessa Valerio, Jackie Lee, Adrian Piotto,
Fourth row: Ashley Woodring, Lauren Grigg, Alisha Moss, Emma Van Blommestein, Tennille Cairns, Brooke McQuilty, Jane Phillips, Mark Borradale and Katie Melville.
Back row: Clare Sloane, Nikki Emmans, Rowena Lyrijis
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Radical Transcendence *
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... Looking into the mirror - Seeing my face in it - And the words and signs on the mirror glass - Looking deep - Long and deep - And ever deeper - Deeper - So deep until I look through my face - Looking into me - Until the thoughts dissolve - Until the face dissolves in its familiar forms - Until the words and signs dissolve - Until I dissolve - And come to me at the same time ... *
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... In den Spiegel blicken - Darin mein Gesicht sehen - Und die Worte und Zeichen auf dem Spiegelglas - Tief hineinblicken - Lang und tief - Und immer tiefer - Tiefer - So tief bis ich durch das Gesicht blicke - In mich hineinblicke - Bis sich die Gedanken auflösen - Das Gesicht in seinen bekannten Formen auflöst - Die Worte und Zeichen sich auflösen - Bis ich mich auflöse - Und gleichzeitig zu mir gelange ... *
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Photo: Patricia Adler
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Wolfgang Sterneck:
In the Cracks of the World *
Photo-Reports: www.flickr.com/sterneck/sets
Articles and Visions: www.sterneck.net
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At first reading Dan comes across as a man who might earn a diagnosis by the end of the book—a simpleton. His need for solitude and quiet is extreme and the lengths that he will go to to find a life that will not pressure him unduly with a mortgage and possessions leads him on this journey despite having a wife and two kids. In fact he must leave them to do it because his wife and children were not sympatico with his need to simplify.
The craft in the book, which is nicely illustrated with his own drawings and photographs, comes in how he manages to build himself shelter. He arranges to lease a spit of land within cycling distance of town (somewhere up the northwestern coast) in exchange for taking care of downed tree limbs and such. These benign land owners turn out to be quite significant in their tolerance, but never make an appearance.
Dan lives in a tipi, then a burlap covered igloo, before building himself an earth bermed hobbit hole lined with wood with a door that requires stooping to get through. His kids come for the summer to live in the tipi. To get away from the carpenter ants eating his wood paneling he builds himself a bunker from old railway ties covered in tar. In this seclusion he writes his journals with pictures that he then publishes in a zine for his subscribers. This requires a copy machine and other office equipment. An eco shoe company hire him so his stories and drawings can enhance their catalog. His philosophy of radical simplicity comes through this journey rather than an academic treatise on why we should opt for such downsizing.
Once he has built his house and worked out all the details of eating, eliminating and washing himself, I know all I need to know about such a stripped down life. So much so that Dan has saved me the trouble of finding out for myself what it would require and how far you need to go to do it. It has it's appeal, but I wouldn't stick it out for long. I'm too fond of conventional conveniences like a standard kitchen and a large TV for movie night with friends.
I had read about Dan in my Shelter book and soon after happened on a copy of his book at my used bookstore. I was struck by some of the things he said about why our lives are unnecessarily more complicated like washing our clothes just because we wore them once and not when they are actually dirty. I also had never contemplated eating all my meals cold or uncooked. I would have gone with a solar oven. In the end I was glad that he did find satisfaction and peace in his hobbit hole housing and simplified lifestyle. It does pose the question to the reader to really examine what it is we really need to live our lives.
Some of us worked on more than one piece.
I hung back and let everyone else pick their glass.
Blues, greens and lavenders seem to be the favorites.
I of course took the ORANGES!~!!!
Shark week on Discovery channel starts on August 12th… and I can’t wait. For geeks like me that love nature channels this is the ultimate week in nature programming!
Radicalmente liberi - Presentazione del libro di Leonardo Caffo e Luca Taddio (Mimemis Edizioni) - Udine 21/05/2016 - Foto di Clara Comelli
Following DOT School Safety’s improvements to create a pedestrian-only zone outside of five public schools, P.S. 204, P.S. 338X, IS 232, ISX03 and Academy for Language and Technology on Macombs Road in the Bronx, DOT Art partnered with artist Almond Zigmund to paint the 6,400 square foot pedestrian space with vibrant, bold colors. Titled, “Radical Joy Freestyling,” the design aimed to encourage discovery, pleasure, play and engagement and helped designate the space as a safe area for students and other pedestrians. Almond’s work intended to demonstrate that art has the power to bring diverse people together and help shift perspectives.
NYC DOT Art Program, Asphalt Art Activations (2020)
Radical Joy Freestyling by Almond Zigmund
In partnership with DOT School Safety
Asphalt Pedestrian Space, Macombs Road and University Avenue, Bronx
Accession Number: spa.958.5
Radical Scotland was a political magazine that emerged from the '79 Group and had a short lived incarnation in the early 1980s. It was formally relaunched in 1983 and then consistently ran bi-monthly issues. Over its life the magazine had two editors Kevin Dunion and then Alan Lawson. It featured regular contributions from political parties, independent authors and commentators. The magazine numbered 51 issues before it was wound up in 1991.
The Scottish Political Archive is housed at the University of Stirling. The archive is home to the oral interviews, personal papers and associated material from prominent Scottish politicians. For further information about the work of the archive please visit our website www.scottishpoliticalarchive.org.uk
Contents inside the vitrine dedicated to the project "GRITOS Y SUSURROS. Converses amb els radicals" [CRIES & WHISPERS: Conversations with Radicals], 2009.
Performance in five episodes, one per week, with an approximate duration of 90 minutes each, held at La Capella, located in the Santa Creu hospital complex (Barcelona). Limited audience, with prior registration and indiscriminate acceptance of requests. Entry subject to a strict dress code and in order of arrival until a maximum of 33 people.
GRITOS Y SUSURROS was a series of five performances that took place at La Capella, Barcelona, the former chapel of the 15th-century Santa Creu hospital complex, before captive audiences of 33 people. Each performance was documented by video and audio recordings. The project shares its main title with a 1972 film by Ingmar Bergman, in which cinematic techniques serve as dark metaphors for Christian allegory and the themes of agony and death. Like Bergman’s film, the performances remorselessly explored bleak subject matter tied to physical and psychic suffering through visually arresting set pieces and a dramatic palette of black, white, and red.
The wardrobe design included religious garments from Catholic religious orders, distinctive neck ruffs that were fashionable in European royal courts of the 16th century, leather military boots, “health goth” attire, and fetish hoods. Readings were performed as though rites were being administered, or invocations declared. At times, crouched figures rocked back-and-forth as if in ritual prayer. A scene around a large round table recalled an apostolic gathering or an aristocratic pageant. Several tableaux featured a hooded male “serf” directed into stress positions, being manacled or having his arms stretched out on a metal gibbet in an evocation of crucifixion. Other elements comprised actions of real physical violence with further echoes of the iconography of masochism and martyrdom. A tattooed performer slashed his side and tongue with blades, drawing blood, and suspended himself with chains and hooks that had been put through his skin at the knees.
In the resulting video piece, these events are all punctuated by harpsichord music: the sarabande from Georg Friedrich Händel’s "Keyboard Suite in D Minor" (1706), a composition derived from a form of dance considered so lascivious during the reign of Philip II of Spain that it was banned and punishable by whipping. This 29-minute video combines footage shot at all five performances. Audio recordings were released as the spoken-word CD "ÀNIMA NEGRA" [Black Soul] (2009) and form part of the audio programme of the present exhibition.
Text by Latitudes.
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Exhibition by Joan Morey "COLLAPSE. Desiring machine, working machine", Centre d’Art Contemporani de Barcelona - Fabra i Coats, 20 September 2018–13 January 2019. Photo: Latitudes.
Since the late 1990s, Joan Morey (Mallorca, 1972) has produced an expansive body of live events, videos, installations, sound and graphic works, that has explored the intersection of theatre, cinema, philosophy, sexuality, and subjectivity. Morey’s work both critiques and embodies one of the most thorny and far-reaching aspects of human consciousness and behaviour – how we relate ourselves to others, as the oppressed or the oppressor. This central preoccupation with the exercise of power and authority seemingly accounts for the black and ominous tenor of his art.
COLLAPSE encompasses three parts. The first is presented over two floors of the Contemporary Art Centre of Barcelona - Fabra i Coats. ‘Desiring machine, Working machine’ is a survey of ten projects from the last fifteen years of the artist’s work. An exhibition display based around vitrines and video screens deployed as if sarcophagi or reliquaries, is presented alongside a continuous programme of audio works and a schedule of live performance extracts.
The second part of COLLAPSE takes place at the Centre d’Art Tecla Sala, L’Hospitalet de Llobregat (23 November 2018–13 January 2019) and is the definitive version of the touring exhibition ‘Social Body’.
Titled ‘Schizophrenic Machine’, the third and final part of the project comprises a major new performance event which will take place on January 10, 2019 at an especially resonant – yet, for the moment, deliberately undisclosed – location in Barcelona, where live action will be integrated within the longer narrative of the site’s physical and discursive past.
COLLAPSE is curated by Latitudes.
—> info: www.lttds.org/projects/morey/
Relief of the 'heretic' pharaoh Amenophis IV, better known by the name Akhenaten.
Akhenaten's reign is marked by a radical break with Egypt's ancient religion, the pharaoh abandoned the multitude of traditional gods in favour of a single deity, the Aten, the life giving sun-disc.
The seat of power was moved to Akhetaten (now El Amarna), a new city was built on a desert site, chosen for its proximity to a geographical feature that appeared to enfold the rising sun, and established to cement Egypt's revolution away from the priests and cult centre of Thebes. The city was named 'Akhetaten' and served as the cult centre of the pharaoh's new religion with himself as the chief intermediary of the new god. Akhenaten is often celebrated as one of history's earliest monotheistic rulers.
Akhenaten's religious revolution did not last beyond him and the old order was restored under his son and successor Tutankhamun. Most of his monuments were thoroughly destroyed to eradicate his memory under later pharaohs, believing Akhenaten had offended the gods by denying them.
The Egyptian Museum in Cairo contains the World's greatest collection of Ancient Egyptian antiquities, covering all periods of Egypt's rich history from the Pre-Dynastic, Old, Middle & New Kingdoms all the way to the Greco-Roman era.
The star exhibit has for the best part of a century been the treasure's of Tutankhamun's tomb (discovered in 1922) which occupy two whole galleries on the upper floor. However this arrangement will soon change as the entire Tutankhamun collection (along with several other important pieces) will be transferred to the new Grand Egyptian Museum currently being prepared in Giza. A few pieces (that I recalled from our previous visit in 1995) had already been moved, and by now doubtless others will have followed, with plans for a partial opening of the new museum with its purpose-designed Tutankhamun galleries scheduled for late 2018.