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On Mnet‘s ‘Beatles Code 3D,’ Woohyun related an interesting story about how his behavior converted an anti-fan into just a simple fan.
MC Shin Dong Yup brought this up by saying, “There’s a story going around that after a few words from Woohyun, an anti-fan...
360kpop.info/kpop-news-korean/woohyun-relates-a-story-of-...
If you don't know which movie this is your childhood sucked. I'm so sorry. #InspirationalQuotes #GirlQuotes #Quotes #TeenageLife #LifeQuotes #BeautifulQuotes #RelationshipQuotes #SuccessQuotes #DontGiveUp #QuotesForTeens #PositiveQuotes #TeenQuotes #WomenQuotes #Follow4follow #Adult #Love #Forever #LDR #LongDistanceRelationship #S4S #Relateable #Allgirls #Repost #followme #beyonce #nickiminaj - _relate.quotess
#SundayNightMapNerdTime I like good six word stories. They tell you a lot with so little. As a cartographer, I can relate to that. Maps are synopic designs, meaning they're to be interpreted as a whole. Problem is, we've only got about eight seconds (+/- whatever) to either 1) grab your attention and make you stick around longer or 2) get main message across. A good map does both of these things. Customers sometimes laugh when I tell them that maps tell stories. No, they do, sometimes literally. This map tells a story -- an alternate history of North America -- that was created by one alteration of our historical timeline back in the mid-19th Century, playing forward until today. Does this map, then, tell a story? If it does, consider yourself a co-writer, because all of us fill will in the details of that timeline a little differently. #map #cartography #mapping #althistory via Instagram ift.tt/2J5L4xS
"relating to the motion of material bodies and the forces and energy associated therewith"
A creative outing with my photo club - Inland Empire Photo Club - where we played with light and motion and long exposures to create kinetic art. It was a wonderful, creative evening.
Gretchen Bender, Born Seaford, DE 1951-
died New York City 2004
TV Text & Image (DREAM NATION), 1989, live television broadcast on a monitor with vinyl lettering, dimensions variable,
How does today's news relate--or not--to your idea of a "dream nation"?
Unlike most screens in an art gallery, this monitor is not showing prerecorded, artist-made imagery. Instead, the artist intervenes in regular broadcast television by printing DREAM NATION on the surface of the screen. Gretchen Bender's work invites you to contrast your current take on these words with what is on TV at this very moment. When displayed in the nation's capital of Washington, DC, it can also feel site-specific, invoking this country's dreams and dreamers.
Bender was part of a generation of artists, including Barbara Kruger (whose work is on view nearby), who responded to the rising power of mass media. Using what she described as "guerilla tactics . . . to make some kind of break or glitch in the media," Bender took on television to make the "underlying patterns of social control" visible.
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"Women, queer artists, and artists of color have finally become the protagonists of recent American art history rather than its supporting characters. This is the lesson to be learned from the programming at New York’s Whitney Museum of American Art since it reopened in 2015, and it is now the big takeaway in the nation’s capital, at the Smithsonian American Art Museum, whose contemporary art galleries have reopened after a two-year closure.
During that time, architect Annabelle Selldorf refurbished these galleries, which have the challenge of pushing art history’s limits without going too far. Her interventions in these spaces are fairly inoffensive. Mainly, she’s pared down some of the structural clutter, removing some walls that once broke up a long, marble-floored hallway. To the naked eye, the galleries are only slightly different.
What is contained within, however, has shifted more noticeably—and is likely to influence other museums endeavoring to diversify their galleries. For one thing, I have never encountered a permanent collection hang with more Latinx and Native American artists, who, until very recently, were severely under-represented in US museums. That unto itself is notable.
It is a joy to see, presiding over one tall gallery, three gigantic beaded tunics courtesy of Jeffrey Gibson, a Choctaw artist who will represent the US at the next Venice Biennale. Printed with bombastic patterning and hung on tipi poles, they hang over viewers’ heads and allude to the Ghost Shirts used by members of the Sioux to reach ancestral spirits. One says on it “WITHOUT YOU I’M NOTHING.” That statement can also be seen as a confession on behalf of SAAM’s curators to the artists now included in this rehang: a multiplicity of perspectives is more nourishing than having just one.
Something similar can be seen in Judith F. Baca’s Las Tres Marías (1976). The installation features a drawing of a shy-looking chola on one side and an image of Baca as a tough-as-nails Pachuca on the other. These are both Chicana personae—the former from the ’70s, the latter from the ’40s—and the third component, a long looking glass, sutures the viewer into the piece. It’s no surprise this piece is shaped like a folding mirror, an item used to examine how one may present to the outside world. Baca suggests that a single reflection isn’t enough. To truly understand one’s self, many are needed.
It is hardly as though the Smithsonian American Art Museum’s collection ever lacked diversity. Nam June Paik’s Electronic Superhighway: Continental U.S., Alaska, Hawaii (2002), a video installation featuring a map of the country with each state’s borders containing TV monitors, is a crown jewel of the collection. It has returned once more, where it now faces a 2020 Tiffany Chung piece showing a United States strung with thread. So, too, has Alma Thomas’s magnum opus, Red Azaleas Singing and Dancing Rock and Roll Music (1976), a three-part stunner showing an array of petal-like red swatches drifting across white space.
But the usual heroes of 20th century art history are notably absent. Partly, that is because the Smithsonian American Art Museum doesn’t own notable works by canonical figures like Andy Warhol, Jasper Johns, and Robert Rauschenberg. (For those artists, you’d have to head to the National Gallery of Art.) Yet it is also partly because the curators want to destabilize the accepted lineage of postwar American art, shaking things up a bit and seeing where they land.
There is, of course, the expected Abstract Expressionism gallery, and while works by Willem de Kooning and Clyfford Still are present, those two are made to share space with artists whose contributions are still being properly accounted for. The standouts here are a prismatic painting by Ojibwe artist George Morrison and a piquant hanging orb, formed from knotted steel wire, by Claire Falkenstein.
This being the nation’s capital, there is also an entire space devoted to the Washington Color School. Come for Morris Louis’s 20-foot-long Beta Upsilon (1960), on view for the first time in 30 years, now minus the pencil marks left on its vast white center by a troublemaking visitor a long time ago. Stay for Mary Pinchot Meyer’s Half Light (1964), a painting that features a circle divided into colored quadrants, one of which has two mysterious dots near one edge.
From there, the sense of chronology begins to blur. The Baca piece appears in a gallery that loosely takes stock of feminist art of the 1970s; a clear picture of the movement’s aims fails to emerge because the various artists’ goals appear so disparate. It’s followed by an even vaguer gallery whose stated focus is “Multiculturalism and Art” during the ’70s and ’80s. Beyond the fact that all five artists included are not white, the gallery doesn’t have much of a binding thesis.
This partial view of recent art history leads to gaps, which is both a good thing and a bad thing. It’s a good thing because it offers due recognition for art-historical nonpareils. Audrey Flack is represented by Queen (1976), a Photorealist painting showing a view of a sliced orange, a rose, photographs, a playing card, and trinkets blown up to a towering size. It’s both gaudy and glorious. Hats off to the curators for letting it shine.
Then there are two totem-like sculptures by the late Truman Lowe, a member of the Ho-Chunk Nation, that are allowed to command a tall space of their own. They feature sticks of peeled willow that zigzag through boxy lumber structures, and they refuse to enjoin themselves to any artistic trend. Later on, there are three deliciously odd paintings by Howard Finster, of Talking Heads album cover fame. One shows Jesus descended to a mountain range strewn with people and cars who scale the peaks. Try cramming that into the confines of an accepted art movement.
That’s just three lesser-knowns who make an impact—there are many others on hand, from Ching Ho Cheng to Ken Ohara. And yet, herein lies this hang’s big problem: its gaping omissions in between them all, which are likely to be visible not just to the literati of the art world but to the general public, too.
Despite the focus of these new galleries being the 1940s to now, Pop, Minimalism, Conceptualism, and their resultant offshoots are skipped over entirely as the curators rush through the postwar era in order to get closer to the present. The Paik installation aside, there is almost no video art in this hang (although there is a newly formed space for moving-image work where a Carrie Mae Weems installation can be found), and no digital art or performance documentation at all, which is a shame, given that the museum owns important works by the likes of Cory Arcangel and Ana Mendieta, respectively. The AIDS crisis of the 1980s and ’90s and its devastating impact on the art world isn’t mentioned a single time in the wall text for these new galleries, and queer art more broadly is a blind spot.
Protest art periodically makes the cut, but any invocation of racism, misogyny, colonialism, and the like is typically abstracted or aestheticized. That all makes a work like Frank Romero’s Death of Rubén Salazar (1986) stand out. The painting depicts the 1970 killing of a Los Angeles Times reporter in a café during an unrelated incident amid a Chicano-led protest against the high number of Latino deaths in the Vietnam War. With its vibrant explosions of tear gas (Salazar was killed when a tear gas canister shot by the LA Sheriff Department struck his head) and its intense brushwork, it is as direct as can be—a history painting for our times. So, too, in a much different way, is Consuelo Jimenez Underwood’s Run, Jane, Run! (2004), a piece that ports over the “Immigrant Crossing” sign, first installed near the US-Mexico border in Southern California in the 1990s, and remakes it as a yellow tapestry that is threaded with barbed wire.
In general, this presentation could use more art like Romero and Jimenez Underwood’s. Yet the curators at least cop to the fact they’re seeking to hold handsome craftmanship and ugly historical events in tension, and the methods on display are productive in that regard.
By way of example, there’s Firelei Báez 2022 painting Untitled (Première Carte Pour L’Introduction A L’Histoire De Monde), which features a spray of red-orange paint blooming across a page from an 18th-century atlas documenting Europe’s colonies. One could say Báez’s blast of color recalls the bloodshed of manifest destiny, but that seems like an unfair interpretation for a work that provides so much visual pleasure. Rather than re-presenting the violence of a bygone era, Báez beautifies it. The result allows history to begin anew—on Báez’s own terms."
www.artnews.com/art-news/reviews/smithsonian-american-art...
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Title: "Memoirs relating to European and Asiatic Turkey; edited from manuscript journals, by R. Walpole. (Travels in various countries of the East; being a continuation of Memoirs relating to European and Asiatic Turkey, &c.)"
Author: WALPOLE, Robert - Rev
Shelfmark: "British Library HMNTS 1786.d.13.", "British Library HMNTS 982.i.7."
Volume: 02
Page: 218
Place of Publishing: London
Date of Publishing: 1817
Publisher: Longman & Co.
Issuance: monographic
Identifier: 003842704
Explore:
Find this item in the British Library catalogue, 'Explore'.
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This photo relates to Bravo’s use of black and white and really provokes an emotion in the student sitting in the desk alone. It creates a sense of loneliness. If you want to imagine this as a story, the story would most likely say the kid got in trouble by the teacher and is now sad. He feels bad for what he did. He’s looking down and is all by himself. You kind of feel bad for him. He may even be crying, but that is for you to interpret. Everyone can see this photo in their own way and depict their own feelings from it.
Eduardo Rosas-Ruiz | Pre-AICE Photography | Mrs. Debra Markley | Sarasota High School |Grade 11
The Problems relating to the Management & Excavations of the Archaeological Ruins of Herculaneum / Pompeii as reported in Foreign Press (1904-2002). "Pompeii: Rifling the Ruins...", THE WASHINGTON POST., Apr. 4, 1977, p. D1 [2/2].
The Problems relating to the Management & Excavations of the Archaeological Ruins of Herculaneum / Pompeii during the 20th / 21st century as reported in Foreign Press (1904-2002). "THE STATE OF POMPEY," The N.Y. Times, July. 7. 2002, p. D2.
Image from 'Papers relating to the Island of Nantucket, with documents relating to the original settlement of that island, Martha's Vineyard, and other islands adjacent, known as Dukes County, while under the Colony of New York. Compiled from official records, etc. F.P', 001742300
Author: HOUGH, Franklin Benjamin.
Page: 25
Year: 1856
Place: Albany
Publisher:
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AKHIL BHARATIYA VIDYARTHI PARISHAD .
.
01/11/2004 .
THE REWRITING OF HISTORY .
.
Friends, .
One of the most contentious issues of the last few years relates to the rewriting of history textbooks by the NDA government and their .
rejection by the UPA government. If there can be any legitimate criticism of the new NCERT textbooks, it can only be that, perhaps owing to the .
pulls and pressures of coalitioh politics, no real paradigm shift was attempted and no alternative, Indigenous vision of Indian history was sought to .
be constructed. .
The charges regarding 'saffronization' -one fails to understand how this term has come to acquire a negative meaning -fall flat at the .
most cursory of glances; for the Supreme Court verdict in September, 2002, that the teaching of religious ideals is not against Indian secularism, .
and the fact that Marxist academics talking of 'saffronization' were, in fact, referring only to some factual errors which crept into the new textbooks .
as a result of oversight, and not to any concrete instances of 'saffronization', come as a resounding slap in the face of Marxist propaganda. .
So far as 'distortion' of history -another catchword from the Marxist lexicon -is concerned, any serious student of social sciences .
understands that history is not a body of factual information, but a discipline based on contesting interpretations and approaches to questions of the .
past. Every model of historical 'knowledge' is thus only a construct; a way of looking al the past. Any historical narrative based on legitimate .
sources and coherently argued does constitute a valid contribution to historiography. .
However, 'distortions' are possible In the case of school textbooks, for any attempt of selective concealment and projection of facts by an .
ideology having no popular base in order to indoctrinate young minds can be considered nothing but a devious attempt at 'distortion'. Instances .
galore of such attempts can be seen in the old NCERT textbooks. R.S Sharma's 'Ancient India' talks about 'Aryan migration'-a theory that was .
passed on by imperialist writers to the child people, the Indian Marxists, as 'Aryan invasion' before it got toned down for want of evidence -without .
any archaeological evidence, which is indispensable for the study of pre-history, proto-history and early historical societies. AU that the theory rests .
on is a weak philological basis. Even Romila Thapar has now been compelled to accept that there is no conclusive proof of Aryan migration. That .
beef eating was common in early India is enthusiastically argued, despite the fact that while early literary evidences are often contradictory, the .
archaeological evidence on beef eating Is far from conclusive. The bones, wHh cut marks, found in different excavations are those of cattle, a .
generic term which includes cow, buffalo, bison etc. Nowhere in these excavations have cow bones been conclusively found to establish beef .
eating. While accounting for the rise of heterodoxies, R.S. Sharma takes refuge in economic determinism, arguing that the altered material context .
-the need to work an iron plough in the middle Gangetic plains and the consequent need to preserve cattle wealth -led to a change in ideology. Thus, the simplistic 'base-superstructure' model is used by a Marxist ideologue to convince young minds that historical evolution is a result of the dialectics of material forces, without mentioning that this is only 'one' philosophical approach to the understanding of societies and 'he', being a Marxist himself, prefers it over others. This Marxist regime of truth is calculated to create a band of future Marxists -note that history students in DU, JNU, etc. are often Marxists despite the ideology otherwise having only a peripheral presence in India-who have been 'converted' at a young age! Only a rewriting ofhistory textbooks can prevent further conversions byMarxist missionaries/ .
The textbooks on medieval India have sought to project the medieval state in India as non-theocratic, ignoring the fact that 'theocracy' is .
not the real issue, as far as the medieval state is concerned. For, the basis of state in medieval India was unequivocally Islam, which provided .
almost all the symbols of state, and provided legitimacy to that state. Numerous instances of temple destructions are rationalized as quests for .
power, wealth and legitimacy from the Ulema, despite the fact that no evidence can show that fanaticism was not a reason for the destruction of .
Hindu religious symbols. .
In drviding the entire political history of modem India into two compartments -'the secular and anti-imperialisr as counterposed to the 'communal and pro-imperialisf -Bipan Chandra has been guilty of a distortion of the worst kind. Nowhere tn the Class XII textbook does he mention that there was a profound overlap -right from the grassroots to the level of top leadership -between the Congress and the Hindu Mahasabha, till the Congress, under the influence of the left, chose to break that connection around 1938. Men like Lajpat Rat and W!alaviya, to name just two, had been actively involved with both the organizations. Since such a dialogue between the supposedly 'secular' and 'communal' presupposes the absence of a 'secular-communal' dichotomy, Bipan Chandra's entire model is a flawed one. Paying obeisance to the Communists, the Modern India textbook makes no mention of their boycott of all Gandhian mass movements and their act of sabotaging the 1942 Quit India Movement. Understanding that any mention of the support offered by the 'secular' CPI to the 'communal' Muslim League over tts demand for the formation of an Islamic State, i.e., Pakistan, from 1942 to 1946, would simply collapse the 'secular-communal' model, Prof. Chandra has -as have all other 'secular' historians -taken reooursa to strategic silence : this glaring evidence of the CPI's treachery has been made to disappear from all history textbooks. If such partisan history wri~ng is not 'distortion', then the word 'distortion' should itself be given a decent burial. Thus, what is required is a rejection of Marxist history and the construction of an alternative, indigenous reading of our nationaJ past. .
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CENTRAL PANEL .
.
DHANANJA Y SINGH - PRESIDENT .
ANKITA BHATTACHARJEE - VICE-PRESIDENT .
PRITISH KUMAR SAHU - GEN-SECRETARY .
MANOJPANT - JOINT-SECRETARY .
SL SIS s s s Sanskr-It Centre .
BHARTI TANWAR ARIJIT RAKSHlT RAJEEV NARAY AN .
DZHKHA KARUNA SAURABJYOTISARMA RAKESH RANJAN VIKAS SHA RMA .
NAVNEET RADHAY SHYAM .
PUSP RANJAN VIKAS ANAND .
SATISH VIVEK KUMAR OJHA .
.
.
Attend Public Meeting tonight at 9:30 P.M. .
in the Ganga Mess. .
SPEAKER: MR. MUKHTAR ABBAS NAQVI .
.
VANDE MATARAMI .
Sd/-Ran Vijay Central Campaign Coordinator .
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.
.
.
I have a bunch of books because I enjoy reading them. All of the titles also somehow relate to my life. I have a giraffe mug because giraffes are my favourite animals. And in the cup I have earl grey tea because it is my favourite kind of tea. Also, a good cup of tea, a good book and a warm blanket, which is my background are three things I love. I have the small metal statue of the Eiffel Tower because I speak french and I enjoy learning about french culture. I have water colours and a paintbrush because I paint in my free time and each colour can be mixed with another to make a picture or it can stand alone and that is like me. I also have the box of Good & Plenty candy because it is my favourite candy. I took this photo at my house.
Blog relating to this story .... peterjemmett.blogspot.com/2018/08/the-year-that-was-part-...
Image from 'A Lytell Geste of Robin Hode, with other ancient & modern ballads and songs relating to this celebrated yeoman. To which is prefixed his history and character, grounded upon other documents than those made use of by ... “Mister Ritson.” Edited by J. M. Gutch', 001726444
Author: HOOD, Robin.
Volume: 02
Page: 477
Year: 1847
Place: London
Publisher: Longman, Brown, Green & Longmans
Following the link above will take you to the British Library's integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer'. Click on the 'related items' to search for the electronic version of this work.
I chose to relate my photo to the song,"If I die Young." By Band Perry. I chose this song because it reminds me of my friend that died a year ago in the river. Her middle name is Rose so I wanted to choose a rose for my subject. 1. I took this shot close up about 2 inches away from my subject. I found the closer shots made the rose bigger to shoow that it is the dominant subject. There is also a lot of texture going on in this photo with the carpet in the background and the leather bible. 2. My subject like I said earlier is the rose. Its hue stands out of the background because the black and white colors. I really like the contrast with the black bible. 3. I turned my flash off and took this photo both during the day and night. I tried getting only light from artificial soft light but it didnt turn out as I hoped. So the shots during the day worked better. In this one the left half of the rose has soft light from my artificial light going up the stairs. The other side is darker and leaves a shadow from the leaves. 4. The hardest part in capturing this photo was trying to get a natural tinted light. It was too dark to have my flash off and the light from my flash made the mood too bright. During the day it was complicating because it looked almost too bright out and also made the mood bright. Overall this is a reminder of death and i needed a dimmer mood.5. The purpose of my photo was for brittney. She was a sweet girl whose life was cut short. I chose the rose to represent brittney and the bible to represent death.
SB 525 Relating to certification for Emergency Medical Training for the Mining Industry
SB 626 Relating generally to coal mining
HB 4626 Relating to West Virginia Innovative Mine Safety Technology Tax Credit Act 4-11-18
Relates to this blog post about sponsored tweets:
www.friendswithbenefitsbook.com/2009/11/22/sponsored-twee...
The Problems relating to the Management & Excavations of the Archaeological Ruins of Herculaneum / Pompeii as reported in Foreign Press (1904-2002). "Pompeii: Rifling the Ruins...", THE WASHINGTON POST., Apr. 4, 1977, p. D1[1/2].
Image from '[Historical Collections of the State of New Jersey ... relating to its history and antiquities, with geographical descriptions of every township in the State. [With illustrations.]]', 000194808
Author: BARBER, John Warner and HOWE (Henry)
Page: 164
Year: 1852
Place: Newark, N.J
Publisher: J. H. Bradley
Following the link above will take you to the British Library's integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer'. Click on the 'related items' to search for the electronic version of this work.
View this map on the BL Georeferencer service.
Image taken from:
Title: "Memoirs relating to European and Asiatic Turkey; edited from manuscript journals, by R. Walpole. (Travels in various countries of the East; being a continuation of Memoirs relating to European and Asiatic Turkey, &c.)"
Author: WALPOLE, Robert - Rev
Shelfmark: "British Library HMNTS 1786.d.13.", "British Library HMNTS 982.i.7."
Volume: 02
Page: 76
Place of Publishing: London
Date of Publishing: 1817
Publisher: Longman & Co.
Issuance: monographic
Identifier: 003842704
Explore:
Find this item in the British Library catalogue, 'Explore'.
Open the page in the British Library's itemViewer (page image 76)
Download the PDF for this book Image found on book scan 76 (NB not a pagenumber)Download the OCR-derived text for this volume: (plain text) or (json)
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While im over here claiming yo ass you looking single asf. 😪 #shitdead #deadasf #InspirationalQuotes #GirlQuotes #Quotes #TeenageLife #LifeQuotes #BeautifulQuotes #RelationshipQuotes #SuccessQuotes #DontGiveUp #PositiveQuotes #TeenQuotes #WomenQuotes #Follow4follow #Adult #Love #Forever #LDR #LongDistanceRelationship #S4S #Relateable #Allgirls #Repost #beyonce #nickiminaj #nofuckingchill - _relate.quotess
View of the podium during the Preparatory Committee of the "Diplomatic Conference to Conclude an International Legal Instrument Relating to Intellectual Property, Genetic Resources and Traditional Knowledge Associated with Genetic Resources", held at WIPO Headquarters in Geneva, on December 13, 2023.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution 4.0 International License.
Brasília-DF - 30-11-2022 . Relator do orçamento senador Marcelo Castro na comissão de orçamento. Foto Lula Marques
View this map on the BL Georeferencer service.
Image taken from:
Title: "Memoirs relating to European and Asiatic Turkey; edited from manuscript journals, by R. Walpole. (Travels in various countries of the East; being a continuation of Memoirs relating to European and Asiatic Turkey, &c.)"
Author: WALPOLE, Robert - Rev
Shelfmark: "British Library HMNTS 1786.d.13.", "British Library HMNTS 982.i.7."
Volume: 01
Page: 10
Place of Publishing: London
Date of Publishing: 1817
Publisher: Longman & Co.
Issuance: monographic
Identifier: 003842704
Explore:
Find this item in the British Library catalogue, 'Explore'.
Open the page in the British Library's itemViewer (page image 10)
Download the PDF for this book Image found on book scan 10 (NB not a pagenumber)Download the OCR-derived text for this volume: (plain text) or (json)
Click here to see all the illustrations in this book and click here to browse other illustrations published in books in the same year.
Hawaiian mythology relates how this plant was brought to Hawaii centuries ago by seafarers and it has been utilised and loved by Pacific people. Every part of the tree provides materials for housing, food, medicine, ornaments, fishing, religion and folklore. There are hundreds of species, with some of them edible and are also eaten by many animals, including bats, rats, crabs, monitor lizards and in some areas (not mine)- elephants. Here is the link to find out heaps of info.