Continuing to create a sample board of value and key-stoning for my online workshop - to be filmed next month.

 

This picture has light from outside of the underneath path of the stairs and shadow as well because of how the stairs cover the sky.

power box

Podium at the Values Voter Summit in Washington, DC.

 

Please attribute to Gage Skidmore if used elsewhere.

 

Some unloved cans of Tesco's budget bitter, stranded in Victoria station. There's a lot of emotions there (mainly along the lines of, seriously, Tesco do a value bitter? And also, that alcohol percentage, who is their target market for this?)

Don't knock it 'til you try it. Any port in a storm I say. Along with Tesco value chocolate digestives, these babies have kept my cocoa cravings bubbling under during many a lean period. Nothing special, with a chocolate coating measured in microns, it nevertheless does the job with room to spare. If it were an aircraft, it would be the De Havilland Mosquito - quick, light and made of tasty balsa wood.

Various Hasbro - Star Wars "Value" 6 Inch Figures

Han Solo, Luke Skywalker, Kanan Jarrus,

Darth Maul, Darth Vader, Rey,

C-3PO, First Order Stormtrooper, and Captain Phasma

[Missing: figures not released in the US]

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.

www.mak.at/das_mak/geschichte

MARSYAS/MYSELF

MYSELF Diptych, Detail

 

Below is a transcription of the handwritten text on the detail pictured above:

 

Art

Desire—Creativity—Release

 

"To embrace absence. To cradle and enfold the freedom and purity of immolation. To distill all need into the heavy metal of desire. To need no allies. To know that there are no allies. To know. To find sustenance in the ashes. To set corms into the ashes and bring forth all that which is no longer there. This is not despair. From this place springs the emptying of self after the purging of ambition. From this place springs Art. I have pitched my tent in this verdant wasteland of contradiction and set no value on any other place. From this vast horizontal, only the horizon defines me. A speck of desire on a polished orb. I hold in amputated hands the future of the future and have dedicated my life to the poverty of self-awareness. I am not afraid. I want nothing. I have no regrets. Let me speak for Art. Let me speak as Art. Am I not qualified? I have destroyed the audience and created silence. For myself, I have created the silence. Silence, then, will be my audience. As Art creates silence, Art speaks for silence. I speak for myself. Am I not qualified? I speak to the silence. Listen. I have established the eternal present. It is on this scale are all illusions weighed. I judge nothing. I am the shifting paradox of possibility. Nothing more. I am now. Nothing more...but there is a caveat: I am of human invention. Like nature, I am. Like rocks and rivers and the passing of days, I am. I exist when perceived. I impose my existence when engaged. Through perception, I confound the conception of time. Through engagement, I re-create myself within the living Now. I am more ancient than the caves of Lascaux and when perceived, I confront human consciousness with the power of Isness. I have no past. Like nature, I am. But within the caveat of human invention, I am born of desire. Though I am the most enduring of human enterprise, my purpose is unclear. Let me speak to this. Some would claim that I exist to illustrate the passage of time thus supporting the invention of history. But history has to do with memory and the cataloguing of events, a neatly arranged rationale of cause and affect, one influence on another through linear time. But this is not my purpose. Because I exist, like nature, in the eternal now, I belie such definition. To impose such limitations on my purpose is to confine me to the cage of intellect. If one accepts this definition, it is he who lives inside the cage, not I, though I concede a certain compassion for this usage as it enables the blind a kind of vision. But I am made of fiercer stuff. Compassion is not my purpose. My purpose is to destroy illusion. Linearity is my enemy and because I exist always in the now, to impose linearity upon me is to pervert my purpose. I am created when perceived. Being born of desire, I mirror the desire of the perceiver. Together we confirm the eternal now. There is no history, only the encapsulated instant of recognition. Only the birth of silence. Only the transforming re-creation of the creator. A duet and a paen to the purging light. I am the by-product of the creator’s desire to create himself. Having himself been created through the purging light of re-creation, his pursuit of the light causes my potential for creation. How simple it seems. What obvious and unquestionable truth. As light feeds the eye and sound the ear, odor the nose, friction the touch and taste the tongue, the now is created and sustained. So, too, is Art. Because I am created by the perceiver, my creation is sporadic and serendipitous. I am of the moment. I am in the now. As long as my materiality exists, my potential for conversion exists, from noun to verb, objectivity to response. Artifact to Art. Those who would force me into linearity turn actions into events and anchor my identity within the reflective mirror of history. They fear me. They fear what they cannot see. They fear what they cannot feel. They fear what they cannot control. They fear chaos. But I, too, have a protocol. Because it alters and redefines their position does not preclude their viability. It simply means that they serve me rather than I them. This is not chaos. It requires only the acceptance of a more humble role. Simply put, the protocol for my Isness is thus: The artist creates himself. The culture-maker creates metaphor. And the perceiver creates Art. Obviously, the recognition of this shift in roles requires an almost total restructuring of the cultural gestalt. I flourish and propagate within the eternal feminine. Masculine entelechy is a hostile and barren landscape. It would nullify my purpose. In this arid desert of the intellect, my sensuality is veiled in sand. I am contained and controlled, bourkhaed in masculine fear. To restrict and confine my purpose to the identity of the artist is to re-enforce linearity, history, knowledge, and illusion. For the one who makes me, I am but a by-product of self-creation. Hermaphroditically conceived within the artifacts of desire, I exist solely for the purpose of connection. He who makes me is not she who creates me. Art is conceived within the womb of perception. I exist when I am created without prejudice, cultural correctness, or linear logic. As for taste, good and bad have nothing to do with my inception. Moral judgment serves group identity. These strictures cannot constrain my birthright. I exist where I am perceived. There is no such thing as good or bad art; there is only Art and I am created by the perceiver. All else is artifact. Whenever and wherever I am perceived, Art exists. The fusion that occurs between making and creating forces my becoming and reinforces the eternal now. This fusion is the peak of human experience: Being without metaphor, simile, or trope. As with physical orgasm, the orgasm of aesthetic response is not filtered through the intellect. The experience defines itself through a tautology of sensation. How would one define an orgasm? It simply is. Though procreation is its purpose, procreation is not its definition. This is true also of aesthetic orgasm. Though cultural enhancement is its practicality, the sensation of response is indefinable. Orgasm is the ultimate reality. It is wordless and transcends all boundaries. Its communication is total, a connection so intense that ones existence is confirmed. Some speak of me in terms of spirit; the response I invoke, a religious catharsis. I think not. Religiosity distorts my purpose, and spirit separates me from my totality. Appreciation is another facet of response, as is beauty, as is seduction. I am a gestalt of many metaphors. No one characteristic defines me. I am defined by the indefinable. Totality. When I occur, when Art occurs, it is with the violence of disconnection and the sublimity of connection. In the moment of my creation, the armor of the intellect is pierced with the turgescent light of recognition and my creator is filled with my maker’s desire for self-creation. Because I am a gestalt of many metaphors, by examination and deletion, metaphor by metaphor, I shall define my purpose. Through distillation, I might define my purpose. Because I am all of these and no one of these, my totality is indefinable, unexplainable. My outline can be etched by describing what I am in part and through deconstruction that which presses out may be released. In the orgasm of my inception, the perceiver is disconnected from the linear masculine and enveloped within the spherical feminine. This episode, this moment, this lifetime is my birth. Art is realized within the bourn of the creator. The variables of causation for orgasmic perception are infinite, chaotic, and serendipitous. Like the artifacts that induce the sensation, connection occurs when connection occurs, without judgment or foreplay. Two basics exist for my creation: attraction and seduction...Art can happen to anyone with any artifact at any time. There is no such thing as good or bad Art; there is, however, such a thing as profound or mediocre orgasm. Only the perceiver can distinguish the experience. Whether the orgasm is sexual or aesthetic, it occurs within the bourn. It belongs to the perceiver and no other. It lies beyond the reach and control of the culture-maker’s protocol of intimidation. Culture is my enemy. For it to exist, it must defeat my purpose. For a culture to exist, it must establish its identity on the necklace of linear time. This beaded processing of artifacts and events called history would place one of myriad metaphors above all others as my defining gestalt. That art as evidence defines me is a perversion of my purpose. It would use me as decoration rather than the defining force of human Isness. It is my entirety that defines my purpose and that entirety is revealed with the bourn of the perceiver. That Art is a reflection of its time is as much a truism as Art History is an oxymoron. This propagandizing of a single metaphor as my defining purpose is the ultimate confusion of artifact with Art. Most of my metaphors tie me to concepts of culture and group identities. Two do not. That Art is beauty and that Art is truth may pit the perceiver against the active and pervasive cultural metaphor of the perceiver’s time and require a degree of courage and a desire for self-creation through the orgasm of response with its residual euphoric sense of enlightenment. I have brought perceivers to their knees and tears to their eyes. I have no peer in terms of emotional power and epiphanic response. My ability to split the individual from the numbing complacency of the group can be cataclysmic. My potential to induce the insurrection of solitude is extreme. Of all my metaphors, Art is beauty and Art is truth are linked in controversy. They tend to provoke heated and emotional intellectual criticisms and commentaries on idealism, romanticism, ignorance, taste, sophistication, naivete, sophism, empiricism, fascism, egalitarianism, aesthetics, history, historicism, elitism, and on and on and on. These two metaphors are the intellectual battlefield on which the war between culture and Art is fought. It is a conflict that cannot, will not, and must not be resolved, for it is through this conflict that humankind’s evolution transpires: individual enlightenment vs. cultural control, freedom vs. repression, individual courage vs. group fear. Life vs. death. Art is entertainment is the metaphor whose dominance most contorts and ridicules my purpose. It perverts human endeavor and diverts the search for being. It requires audience, gratification, and applause thus embedding my determination in linear time. It is a crippling, procrustean enabler of social control. This metaphor, with its sibling, Art is money, reduces my significance within the cultural gestalt to product, and my maker, a comedian on the stage of trivialities. These metaphors breed nihility without the blandishments of hope. Their fertility is cancerous eating away the potential for joy and replacing it with the immediacy of amusement. And though pleasure is often a part of me, it is subsidiary to my purpose. Culture is my enemy because it selects a single metaphor from my pantheon of metaphors to define my significance within its gestalted singularity in linear time. It manipulates me to control individual response and maintain the status quo. That Art is entertainment and that Art is money are metaphors of a fearful culture, stagnant and repressive, hostile to excellence. These metaphors, if taken as my primary distinction, condemn my artifacts to flaccid mediocrity. This is not a judgment against the majority; rather, it is a complaint for the minority which seeks neither to be entertained nor to buy and sell art. Their desire leads toward challenge rather than pacification and materialism. They are forced to seek me outside the paradigm of the culture of entertainment. This most self-creating segment of culture is driven into the linear past to create the eternal now. Branded as elitists, these futurists secure my furtherance. The most avid culture-makers force the artifacts of first appearance as their definitions of my being. Newness, however, does not define me; it reflects, rather, their own ambitions. Art is created by the perceiver regardless of cultural imperative. The culture-maker has no purchase in this transaction. Nor does history. The shoulds and shouldn’ts of cultural propriety are the shoulds and shouldn’ts of cultural identity. Exactly that. To be culturally correct has to do with the ordering of the group, not with the creation of Art. The perceiver may or may not create Art from the acceptable artifacts of the culture. If the perceiver cannot, Art will be created outside of that culture’s prerogatives. I exist when and where I am created. No authority can prejudice my becoming. My essence is amoral. Because aesthetic orgasm is my purpose, I do not qualify the means of attainment whether by attraction and consent or rape. Seduction or surprise, my inception is irrepressible. I occur within the being of the perceiver and my only recordation lies within the perceiver’s bourn. My only history is aesthetic memory. Cultural and artifactual history lie within the purview of the intellect. Further deconstruction of my gestalt would be the metaphor Art is communication: what the perceiver reads into me, what he is told to read into me, and what is discussed about me. It is through communication that the hierarchy of the culture is established, promoted and maintained. Constructed on military, traditionally proven protocols of control, words used like cattle-prods direct and channel large segments of the cognoscenti into an oligarchy of historical distinction. This oligarchy is dependent on an elite group of culture-makers which has jockeyed itself into positions of authority through education, political wisdom, and brilliance of intellect, qualities which have nothing whatever to do with my creation. How tribal the human condition! How masculine the fierce competition for advancement and retainment of control, rank, and command. The ordering of culture is controlled from the top down. With military pragmatism, the ordering of culture-making proceeds from the upper ranks of the culturally elite and descends through the various levels of worth, wealth and sycophantism. Through response, curiosity, education, intimidation, and imposition, culture-makers initiate, propagate and maintain cultural correctness through the various structures of communication. The artists of any culture are not necessarily culture-makers; all induce aesthetic orgasm and thus the creation of Art. Through communication, culture-makers create history. Through silence, perceivers create Art. Happily, for the evolving human condition, we are not mutually exclusive. As cultures invent and record the repetitions of linear time through the alphabets of history, I await discovery by the perceiver within the artifacts of silence. Words do not enhance my perception. Alphabets of communication obscure my purpose, bits and pieces, shards of descriptive analyses opaque my seduction. Aesthetic orgasm does not occur within the mind; it occurs unexpected and unexplained within the fertile bourn of the perceiver. My inception can be neither induced nor denied by instruction or imperative. Acculturation is my enemy. It muddies and opaques my transparency of purpose. Noise. Business. Confusion. I am recorded within the wisdom of myth rather than the knowledge of history. Transformed by the tongues of silence into the nodding recognition of self, I await my perceivers. I am discovered where I am found. Without qualification or judgment, I mark their journeys. As history records the alphabet of repeat, Myth affords the epiphanies of evolvement. Myths are connections within the eternal now for the self’s process of becoming. They transport my significance. My most expedient and perplexing metaphor is: Art is what artists make. This truism absolves the culture-maker from the advancement of aestheticism to the promotion of artists. Celebrity becomes product and its creation becomes culture. On the beaded necklace of linear time, this metaphor is of little moment. Its artifacts are created and sustained by contrivance: Culture-makers create culture-makers who create history. The perceiver, the artist who creates me, re-creates my maker in the eternal now. Through this creation-re-creation, one sees what the other seeks. This is my purpose. This is Art.

 

Subsequent to the completion of STUDIO SECTION 2002-2005, Marsyas/Myself, the artist created another studio section, STUDIO SECTION 2005-2007, The Seven Deadly Sins and Three Diptychs from The Winter Notebooks. On Pages 7 and 8 of The Winter Notebooks he reprised MARSYAS/MYSELF in retrospect visual and verbal consideration and wrote the following excerpt about it:

 

"Marsyas/Myself was completed in 2005 and entered into the permanent collection of the Crocker Art Museum in November of that same year. My three year involvement with this studio section was epiphanic and liberating, the separation nearly complete. However, the song of the artist, the skin of Marsyas, hangs heavy and will not be silenced. It lingers still, as Myself lingers still, and will not be silenced. As long as artists create artifacts and as long as viewers persist in creating Art from these artifacts, the myth of Marsyas is the truth of the artist; his life, his pain, his ecstasy, and his fate. By subjection of myself as a particular artist in equation with the corpus of Marsyas, an attempt was made to recast the drama of art into an anti-fascisttic and non-authoritarian process; a complete reassignment of roles wherein the viewer becomes the sole creator of Art and all else is cultural rhetoric. It was also an attempt by this artist at total honesty. As we know virtually nothing about Marsyas, it was my intention to reveal everything about Myself even to the extent of confessional boredom. All information has been made available to the viewer. Setting the plight of Marsyas in his challenge of Apollo within the context of a contemporary sculptor’s studio establishes the parallel of the cautionary myth with all artists who would gamble their lives on a rigged contest. There is no drama greater than the artist’s struggle with his own mortality. The transmutation of mortal desire into material artifact into immortal response is the distinguishing principal of humanity and it is the artist who personifies this principal in its sublime purity. No challenge is greater, no reality more intense. Marsyas is the artist’s myth and it is to this myth all artists conform…."

  

STUDIO SECTION 2002-2005, Marsyas/Myself is a multi-part installation work that requires a space approximately 40' x 40' for exhibition in its entirety. It consists of free-standing sculptures, and large panels hanging on the walls and a combination of these and evenly divided into two metaphorical dimensions: "Marsyas" and "Myself."

 

Collection:

Crocker Art Museum

Sacramento, California

Value Education Workshop at Jalpaiguri and Coochbehar District of West Bengal in April 2017

This bike came in totally disassembled, with a lot of sentimental value behind it.

 

We slowly rebuilt the bike, polishing everything in our path (Leticia did most of the work on this bike). The Phil Wood hubs laced into 27" Mavic MA 2 rims were sent back to the factory to have fresh bearings pressed in. A honey Brooks B17 and matching leather bar tape finish off the bike nicely.

 

To make the multi-speed rear wheel work as a single speed, we did some magic with a few hub shims, and a slightly shorter cottered bottom bracket than the one that came with the bike. We also reversed the chain ring on the crank arm spindle. The chain line isn't perfectly straight, but it is pretty darn close. MKS Sylvan Touring pedals are a good match for your typical flat-bottomed sneaker set (a pair of Chuck Taylors, Vans, etc.)

 

Schwalbe Marathons are the tires of choice for most of our hard core city riders - and this old Raleigh Grand Prix got a set.

 

We think the bike looks great and rides like new (or maybe better) after all of the time and attention we put into it.

 

The build labor and parts came to a little under $350. Paint was done by our customer (we typically charge anywhere from $120+ to have a bike powdercoated).

take it for what it is worh

October 11, 2013

Blogged here: simplesewendipity.blogspot.com/2014/03/scrapbeelicious-st...

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I don't sell my dolls. Thank you for your understanding !!!

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Imagine I offered you a choice of four gifts:

  

* The original Mona Lisa

  

* The keys to a brand new Lamborghini

  

* A million dollars in cash

  

* A parachute

  

You can pick only one. Which would you choose? Before you decide, here's some information that will help you to make the wisest choice: You have to jump 10,000 feet out of an airplane.

  

Does that help you to connect the dots? It should, because you need the parachute. It's the only one of the four gifts that will help with your dilemma. The others may have some value, but they are useless when it comes to facing the law of gravity in a 10,000-foot fall. The knowledge that you will have to jump should produce a healthy fear in you—and that kind of fear is good because it can save your life. Remember that.

  

Now think of the four major religions:

  

* Hinduism

  

* Buddhism

  

* Islam

  

* Christianity

  

Which one should you choose? Before you decide, here's some information that will help you determine which one is the wisest choice: All of humanity stands on the edge of eternity. We are all going to die. We will all have to pass through the door of death. It could happen to us in twenty years, or in six months, . . . or today. For most of humanity, death is a huge and terrifying plummet into the unknown. So what should we do?

 

Do you remember how it was your knowledge of the jump that produced that healthy fear, and that fear helped you to make the right choice? You know what the law of gravity can do to you. In the same way, we are going to look at another law, and hopefully your knowledge of what it can do to you will help you make the right choice, about life's greatest issue. So, stay with me—and remember to let fear work for you.

  

The Leap...

 

After we die we have to face what is called "the law of sin and death." We know that Law as "The Ten Commandments." So let's look at that Law and see how you will do when you face it on Judgment Day.

 

Have you loved God above all else? Is He first in your life? He should be. He's given you your life and everything that is dear to you. Do you love Him with all of your heart, soul, mind, and strength? That's the requirement of the First Commandment.

 

Or have you broken the Second Commandment by making a god in your mind that you're comfortable with—where you say, "My God isn't a God of wrath, he's a God of love and mercy"? That god does not exist; he's a figment of the imagination. To create a god in your mind (your own image of God) is something the Bible calls "idolatry." Idolaters will not enter Heaven.

 

Have you ever used God's name in vain, as a cuss word to express disgust? That's called "blasphemy," and it's very serious in God's sight. This is breaking the Third Commandment, and the Bible says God will not hold him guiltless who takes His name in vain.

 

Have you always honored your parents implicitly, and kept the Sabbath holy? If not, you have broken the Fourth and Fifth Commandments. Have you ever hated someone? The Bible says, "Whosoever hates his brother is a murderer."

 

The Seventh is "You shall not commit adultery," but Jesus said, "Whosoever looks on a woman to lust after her has committed adultery with her already in his heart" (the Seventh Commandment includes sex before marriage). Have you ever looked with lust or had sex outside of marriage? If you have, you've violated that Commandment. Have you ever lied? Ever stolen anything, regardless of value? If you have, then you're a lying thief. The Bible tells us, "Lying lips are abomination to the Lord," because He is a God of truth and holiness. Have you coveted (jealously desired) other people's things? This is a violation of the Tenth Commandment.

  

Little Jessica....

 

So that is God's moral Law that we each will face. We will be without excuse when we stand before God because He gave us our conscience to know right from wrong. Each time we lie, steal, commit adultery, murder, and so on, we know that it's wrong. So here is the crucial question. On Judgment Day, when God judges you, will you be found innocent or guilty of breaking this Law? Think before you answer. Will you go to Heaven or Hell? The Bible warns that all murderers, idolaters, liars, thieves, fornicators, and adulterers will end up in Hell. So where does that leave you?

 

Perhaps the thought of going to Hell doesn't scare you, because you don't believe in it. That's like standing in the open door of a plane 10,000 feet off the ground and saying, "I don't believe there will be any consequences if I jump without a parachute." To say that there will be no consequences for breaking God's Law is to say that God is unjust, that He is evil. This is why.

 

On February 24, 2005, a nine-year-old girl was reported missing from her home in Homosassa, Florida. Three weeks later, police discovered that she had been kidnapped, brutally raped, and then buried alive. Little Jessica Lunsford was found tied up, in a kneeling position, clutching a stuffed toy.

 

How do you react?...

 

How do you feel toward the man who murdered that helpless little girl in such an unspeakably cruel way? Are you angered? I hope so. I hope you are outraged. If you were completely indifferent to her fate, it would reveal something horrible about your character.

 

Do you think that God is indifferent to such acts of evil? You can bet your precious soul He is not. He is outraged by them. The fury of Almighty God against evil is evidence of His goodness. If He wasn't angered, He wouldn't be good. We cannot separate God's goodness from His anger. Again, if God is good by nature, He must be unspeakably angry at wickedness.

 

But His goodness is so great that His anger isn't confined to the evils of rape and murder. Nothing is hidden from His pure and holy eyes. He is outraged by torture, terrorism, abortion, theft, lying, adultery, fornication, pedophilia, homosexuality, and blasphemy. He also sees our thought-life, and He will judge us for the hidden sins of the heart: for lust, hatred, rebellion, greed, unclean imaginations, ingratitude, selfishness, jealousy, pride, envy, deceit, etc. Jesus warned, "But I say to you, that every idle word that men shall speak, they shall give account thereof in the day of judgment" (emphasis added).

 

The Bible says that God's wrath "abides" on each of us, and that every time we sin, we're "storing up wrath" that will be revealed on Judgment Day. We are even told that we are "by nature the children of wrath" (emphasis added). Sinning against God comes naturally to us—and we naturally earn His anger by our sins.

 

Instant Death...

 

Many people believe that because God is good, He will forgive everyone, and let all sinners into Heaven. But they misunderstand His goodness.

 

When Moses once asked to see God's glory, God told him that he couldn't see Him and live. Moses would instantly die if he looked upon God. Consider this: [God] said, I will make all my goodness pass before you . . . And it shall come to pass, while my glory passes by, that I will put you in a cleft of the rock, and will cover you with my hand while I pass by.

 

Notice that all of God's glory was displayed in His "goodness." The goodness of God would have killed Moses instantly because of his personal sinfulness. The fire of God's goodness would have consumed him, like a cup of water dropped onto the surface of the sun. The only way any of us can stand in the presence of God is to be pure in heart. Jesus said, "Blessed are the pure in heart, for they shall see God."11 But as we've seen by looking at the Law, not a single one of us is "pure in heart."

 

These are extremely fearful thoughts, because the God we are speaking about is nothing like the commonly accepted image. He is not a benevolent Father-figure, who is happily smiling upon sinful humanity. In the midst of these frightening thoughts, remember to let fear work for you. The fear of God is the healthiest fear you can have. The Bible calls it "the beginning of wisdom."

 

Again, your knowledge of God's Law should help you to see that you have a life-threatening dilemma: a huge problem of God's wrath (His justifiable anger) against your personal sins. The just penalty for sin—breaking even one Law—is death, and eternity in Hell. But you haven't broken just one Law. Like the rest of us, you've no doubt broken all these laws, countless times each. What kind of anger do you think a judge is justified in having toward a criminal guilty of breaking the law thousands of times?

 

Let's See...

 

Let's now look at those four major religions to see if they can help you with your predicament.

 

Hinduism

 

The religion of Hinduism says that if you've been bad, you may come back as a rat or some other animal. If you've been good, you might come back as a prince. But that's like someone saying, "When you jump out of the plane, you'll get sucked back in as another passenger. If you've been bad, you go down to the Economy Class; if you've been good, you go up to First Class." It's an interesting concept, but it doesn't deal with your real problem of having sinned against God and the reality of Hell.

 

Buddhism

 

Amazingly, the religion of Buddhism denies that God even exists. It teaches that life and death are sort of an illusion. That's like standing at the door of the plane and saying, "I'm not really here, and there's no such thing as the law of gravity, and no ground that I'm going to hit." That may temporarily help you deal with your fears, but it doesn't square with reality. And it doesn't deal with your real problem of having sinned against God and the reality of Hell.

 

Islam

 

Interestingly, Islam acknowledges the reality of sin and Hell, and the justice of God, but the hope it offers is that sinners can escape God's justice if they do religious works. God will see these, and because of them, hopefully He will show mercy—but they won't know for sure. Each person's works will be weighed on the Day of Judgment and it will then be decided who is saved and who is not—based on whether they followed Islam, were sincere in repentance, and performed enough righteous deeds to outweigh their bad ones. So Islam believes you can earn God's mercy by your own efforts. That's like jumping out of the plane, and believing that flapping your arms is going to counter the law of gravity and save you from a 10,000-foot drop. And there's something else to consider.

 

The Law of God shows us that the best of us is nothing but a wicked criminal, standing guilty and condemned before the throne of a perfect and holy Judge. When that is understood, then our "righteous deeds" are actually seen as an attempt to bribe the Judge of the Universe. The Bible says that because of our guilt, anything we offer God for our justification (our acquittal from His courtroom) is an abomination to Him, and only adds to our crimes. Islam, like the other religions, doesn't solve your problem of having sinned against God and the reality of Hell.

 

Christianity

 

So why is Christianity different? Aren't all religions the same? Let's see. In Christianity, God Himself provided a "parachute" for us, and His Word says regarding the Savior, "Put on the Lord Jesus Christ." Just as a parachute solved your dilemma with the law of gravity and its consequences, so the Savior perfectly solves your dilemma with the Law of God and its consequences! It is the missing puzzle-piece that you need.

 

How did God solve our dilemma? He satisfied His wrath by becoming a human being and taking our punishment upon Himself. The Scriptures tell us that God was in Christ, reconciling the world to Himself. Christianity provides the only parachute to save us from the consequences of the Law we have transgressed

 

Back to the Plane...

 

To illustrate this more clearly, let's go back to that plane for a moment. You are standing on the edge of a 10,000-foot drop. You have to jump. Your heart is thumping in your chest. Why? Because of fear. You know that the law of gravity will kill you when you jump. Someone offers you the original Mona Lisa. You push it aside. Another person passes you the keys to a brand new Lamborghini. You let them drop to the floor. Someone else tries to put a million dollars into your hands. You push the person's hand away, and stand there in horror at your impending fate.

 

Suddenly, you hear a voice say, "Here's a parachute!" Which one of those four people is going to hold the most credibility in your eyes? It's the one who held up the parachute! Again, it is your fear of the jump that turns you toward the good news of the parachute.

 

In the same way, knowledge of what God's Law will do to you produces a fear that makes the news of a Savior unspeakably good news! It solves your predicament of God's wrath. God loves you so much that He became a sinless human being in the person of Jesus of Nazareth.

 

The Savior died an excruciating death on the cross, taking your punishment (the death penalty) upon Himself. The demands of eternal justice were satisfied the moment He cried, "It is finished!" The lightning of God's wrath was stopped and the thunder of His indignation was silenced at Calvary's bloodied cross: "Christ has redeemed us from the curse of the law, being made a curse for us." We broke the Law, but He became a man to pay our penalty in His life's blood.

 

Then He rose from the dead, defeating death. That means that God can now forgive every sin you have ever committed and commute your death sentence. If you repent and place your trust in Jesus, you can say with the apostle Paul: For the law of the Spirit of life in Christ Jesus has made me free from the law of sin and death.

 

So you no longer need to be tormented by the fear of death, and you don't need to look any further for ways to deal with the dilemma of sin and God's wrath. The Savior is God's gift to you. The gospel is unspeakably good news for the entire, sinful human race! God Himself can "justify" you. He can cleanse you, and give you the "righteousness" of Christ. He can make you pure in heart by washing away your sins. He can shelter you from His fierce wrath, in the Rock of Ages that He has cleft for you. Only Jesus can save you from death and Hell, something that you could never earn or deserve.

 

Repent (Luke 13:5) of your sins (turn from them), and put on the Lord Jesus Christ (Romans 13:14) as you would put on a parachute—trusting in Him (Psalm 62:8) alone for your salvation. That means you forsake your own good works (Isaiah 64:6) as a means of trying to please God (trying to bribe Him), and trust only in what Jesus has done for you. Throw yourself on the mercy of the Judge. The Bible says that He's rich in mercy (Ephesians 2.4) to all who call upon Him, so call upon Him (Isaiah 55:6) right now. He will hear you if you approach Him (John 6:44) with a humble and sorrowful heart.

 

value on calculator. You are allowed to use this image on your website. If you do, please link back to my site as the source: creditscoregeek.com/

 

Example: Photo by CreditScoreGeek

 

Thank you!

Mike Cohen

 

Value Education Workshop at Jalpaiguri and Coochbehar District of West Bengal in April 2017

I found all this at Value Village, all told for $72 No sets are complete, all are missing at least 1 or two minifigs, smaller items in the set, and a couple cases had some glue on them, most notable the TIE advanced. Still one heck of a deal.

Benched ion Seattle Wa

With the great Courtney Berente.

#DatoEmmanuelErwinraj

#DatoEmmanuelErwinraj`s Multilevel Marketing (MLM Meaning) success tips

Multilevel Marketing is a huge business. According to #DatoEmmanuelErwinraj, one of the most important things to ensure success in a MLM venture is to be genuine and ethical. He stresses the importance of strong character building while getting involved in this type of marketing. He lays emphasis on the need to develop a good value driven character. This he says can be attained either through one`s own efforts or by drawing inspiration through reading motivational books.

Some of the books suggested by him are ` Think and Grow Rich` by Napoleon Hill, `Rich Dad, and Poor Dad `by Robert Kiyosaki and also books by Zig Ziglar like `Born to Win`. Zig Ziglar is an American motivational speaker who has inspired thousands with exhortations to be positive and goal-oriented in order to achieve success through focused work. These books were suggested to #DatoEmmanuelErwinraj by his close friend, Vijay and it is only on reading such great books that he could change his way of thinking completely. These motivational self-help books introduced him to a new lease of life, filled him with positive thoughts, saturated him with tremendous energy, altered his thinking patterns to find success and abundance in life.

#DatoEmmanuelErwinraj didn’t stop here. He proceeded to read several more of these motivational books written by well known authors. One of the books that made him a highly moral person was `Truth Is`. These books made him do self- analysis, set goals, stay focused, do introspection, change his flaws and drawbacks, and guided him directly to a path of self mastery and ultimate victory.

Apart from character building, he also laid importance to professional appearance. He said that appearance is the first impression and this makes dressing very important.

#DatoEmmanuelErwinraj says that reading good motivational books taught him how to dress well and understand the importance of professional appearance in marketing. They also taught him how to achieve his goals. These books guided him how to groom his hair, face and what type of clothes to wear and footwear to choose in order to look best. In MLM type of business, one has to meet several new people every day. So he says, it paves way to show people good business opportunity. According to him, the right clothes during marketing help increase not only one`s own confidence but also helps increase the confidence of the potential customer in your abilities. He says that the prospective customer notices you first even before you start talking about money, success, change or growth. The customer begins to form an opinion of you even before you start the pitch. He therefore says that for salesmen, projecting the right appearance from the start is crucial. He always maintained that the `First Impression is the Last Impression`. He said to achieve that; the change should first begin from within. Even as a police officer, #DatoEmmanuelErwinraj was always honest and maintained highest standards of integrity. He also was known to have dressed impeccably adorned with good pair of shoes, well designed clothes. His dressing style was remarkable.

In MLM marketing field, #DatoEmmanuelErwinraj countered many untold challenges and struggles. As the saying of Swami Vivekananda goes ` A man without difficulties is not living at all`, M #DatoEmmanuelErwinraj faced innumerable disappointments in his marketing career that ultimately showed him the way of life and shaped him into a fine strong personality. Many times he had to face rejections from customers. Some people spoke ill of him too. It is at these moments, we have to keep our mind steadfast with unwavering faith in our abilities, unshaken by external factors says

M #DatoEmmanuelErwinraj. Such a mindset must be cultivated to see success, he emphatically says.

At the same time, one has to understand the truth `No pain, No gain`. He always advised that efforts are important to achieve one`s goals and enjoy success. Without taking efforts, victory will always remain elusive, he adds. He spent time to become fit and energetic with various exercise workouts to get a six pack body. He dedicated time and energy to achieve his fitness goals.

#DatoEmmanuelErwinraj`s success formula for life

Life is filled with ups and downs. It is not an easy path. Whatever work we do, we must excel in it, he advises. To become a millionaire, you will face obstacles. But they must be overcome with an indomitable will, guides#DatoEmmanuelErwinraj. The strong thought, `I will definitely become a millionaire ` should always be affirmed in the conscious and the sub conscious mind by constantly repeating to oneself is most vital for achievement of goals and success, he says.

His father always used to instill rich thoughts of prosperity in his mind until his last breath by telling him, `Son, you must become a millionaire`. It was his father`s positive thoughts that paved way for his success in life. He always valued his father`s words and heeded his advice in every step of his life. He understood the greatness of the wise words of his loving father, to which he faithfully abided.

Those who wish to attain a good position in life should not only work but work endlessly with untiring efforts, he says. Firstly, he guides us to ask these three questions, in other words, frame these questions in our mind. .

•What is that I want to become?

•What am I going to do to achieve this?

•What is the height I am going to reach?

For goal setting in order to become a rich person, you must fix a time frame to achieve this goal. Within how many years or months, you are going to take to achieve this goal – such thoughts should be framed in the conscious mind, he says. What type of work you are going to do in order to achieve the goal of becoming rich. He points out three steps to achieve these goals.

Short Term, Mid Term, Long Term

Take for example, he says, if you sell ten rupees pen, you are going to get two rupees as commission. So, how many pens you are going to sell in order to earn a million. This should be the question in your mind. To sell so many pens, how many years or months is it going to take?. All these questions must be in the mind and must be calculated. He tells, if you think you can`t earn a million by selling just pens, then change your job or else forget your thought of becoming a millionaire. If you have decided to earn million, you must decide how many million you want to make, whether you want to make one million or ten million. This should be clear in your mind, he advises. After setting the amount, one must draw a suitable plan and work towards the goal with hard efforts. However, goal setting must be practical and within attainable limits, he adds. You must also weigh whether your job or the kind of work you do, will help you achieve your goal.

Goals alone must stay in your mind and nothing else must dominate your mind, says#DatoEmmanuelErwinraj. Your efforts must be directed in the achievement of your goals always, he advises. Thoughts must be positive. Only then will actions become positive. Only if actions are positive and strong, can success be reaped, says the talented speaker. Every day, you must affirm to yourself, that you are going to see success, you are going to become rich, he says. He strongly advocates self- confidence in the achievement of victory. Faith in oneself, belief in the power of personal victory, enjoyment of abundance is our birthright – These are his views which he strongly believes that can take one to the path of success.

 

#DatoEmmanuelErwinraj`s Social Work

Malaysia is a Southeastern Asian country that is multiracial, with many different ethnic groups living in the country. These include Malays, Chinese, Indians, Arabs, whites and other groups. In his organization,#DatoEmmanuelErwinraj works extensively to improve the lives of people irrespective of race, color or religion. In this multiracial setup, all children are imparted knowledge and awareness on various social evils like drugs without any bias from this selfless human being, Mr. #DatoEmmanuelErwinraj. His organization is dedicated in rendering social services through education to children along with tradition and he is the founder member of such an organization.

In order to raise socially aware children, M#DatoEmmanuelErwinraj worked hard to spread awareness on human trafficking, prostitution, corruption. Besides raising awareness on such issues, he also spoke to children about history and imparted general knowledge of the world around.

His younger brother, Mr. Madurai Pillai is the head of the organization. He runs this organization through the guidance of his elder brother, M#DatoEmmanuelErwinraj. Emmanuel along with his brother and other active members toil tirelessly by giving their time, energy and money to work towards the upliftment of socially deprived downtrodden children.

 

Building Social Awareness on Prostitution

The growing evil of prostitution does not affect women alone, it extends to men too. It is not only harmful for girls, but for boys as well. In order to spread awareness of sex trafficking and prostitution, M#DatoEmmanuelErwinraj decided to start from the grassroots. In order to bring an end to child sex trafficking, he decided to educate them. The more knowledge one has about what child sex trafficking is, the better prepared and equipped one is to stop it, he felt. He understood that children need protection especially girls from predatory criminals who turn the vulnerability and desperation of their victims into big business. Girls who have no idea about what prostitution is, are easily absorbed into this business. If girls are educated on such matters, they can become empowered to handle such issues when confronted with and can save themselves from such forceful sexual exploitation, he decided. Some women are forced into such acts or abuse at some point of their lives due to the lack of such knowledge. Girls and children should be taught warning signs of sex abuse like any touching them inappropriately, talking vulgar or sexual topics, showing pornographic material, seeing them in a bad manner, expressing unusual interest in them that is not age appropriate, spending time alone with them. When girls or women are undergoing such situations and if they are aware that they are being abused, it will be an empowering for them to come out of such vicious cycle. Girls must be taught the boundaries of their interaction with a male in order to protect themselves of sexual abuse, he felt.

Apart from sex abuse in women, society faces the problem of gays among men and transgenders. Philippines has a record number of transgenders in its soil. In this country, many men get their sex changed to a female. Women too undergo change as males. The most affected by such phenomena are the young adolescents. If young children both boys and girls are given such education on sex in their early stages of learning, then they will be empowered to fight the challenges and protect themselves of any sex abuse when faced by them, he felt. If they are not made aware of such happenings, then these young adolescents will go searching for answers to their lurking questions in their mind that arises at the growing phases of their lives. As a result, many get sexually abused or assaulted at some stages of their lives, he felt. #DatoEmmanuelErwinraj sole concern is to protect children of sex abuse and create awareness on prostitution in the young children`s mind through education on such matters. He felt knowledge alone can be an empowering factor to make the children grow as socially aware beings. He on his part strived hard to create awareness on such issues among children through his social services rendered through means of education.

   

The history of the Austrian Museum of Applied Arts/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. k. Austrian Museum for Art and Industry" and apponted Rudolf von Eitelberger, the first professor of art history at the University of Vienna, to 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 kk 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. k.) Austrian Museum for Art and Industry .

1866 / Due to the lack of space in the ballroom setting up 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 on 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 Straße 11-13/Schwarzspanierstrasse 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 on the ring. Objects from now on could be placed permanently and arranged according to main materials. / / The Arts School moves into the house on Stubenring. / / Opening of Austrian art 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 of 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 Applied Arts, adjoining the museum, Stubenring 3 , also designed by Heinrich von Ferstel, is opened.

1878 / participation of the Museum of Art and Industry and the School of Art 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 arts and crafts school join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and crafts 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 is Jacob von Falke, his longtime deputy, appointed manager. Falke plans all collection areas als 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 the 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 applied arts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagated 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. 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 receives thereby 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 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 of 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 delineated. 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 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 Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.

1931 / August Schestag finishes his Directorate .

1932 / Richard Ernst is the 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 craft inventories of the collection Albert Figdor and the Kunsthistorisches Museum.

1937 / The Collection of the Museum of Art and Industry is re-established by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.

1938 / After the "Anschluss" of Austria by Nazi Germany, the museum was renamed "National Museum of Decorative Arts in Vienna".

1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Applied Arts in Vienna" is also enlarged in this way.

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 Applied Arts in Vienna" is renamed "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 Ignaz Schlosser

1959 / Viktor Griesmaier is appointed as the 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 1900 presents Crafts of Art Nouveau for the first time after the Second World War. / / It is started with the systematic processing of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary grantes the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.

1965 / The Geymüllerschlössel is as a branch of the Museum angegliedert (annexed). Gleichzeitig (at the same time) with the building came the important collection of Franz Sobek - old Viennese clocks, emerged 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 merged.

1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues to today of Austria's most important design project in the 20th Century.

1968 / On Viktor Griesmaier follows Wilhelm Mrazek as director.

1969 / The exhibition Sitting 69 shows on 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 art space 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 as Director and started building up the collection of 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 thee old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for 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 re-established, 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 Weiskirchnerstraße 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 the 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 Personale 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 the federal museums, transforming the museum into a "scientific institution under public law". / / The exhibition of art and industry. The beginnings of the Austrian Museum of Applied Arts in Vienna are dealing with the founding history of the house and the collection.

2001 / As part 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 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 in Vienna is presented.

2002 / Exhibition Nodes. symmetrical-asymmetrical. The historic Oriental Carpets of the MAK presents the extensive rug collection.

2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, the exhibition The Price of Beauty. 100 years Wiener Werkstätte takes place. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.

2004 / James Turrell 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 Disziplinatornbsp / / The exhibition Ukiyo-e Reloaded for the first time presents the collection of Japanese woodblock prints of the MAK in 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 special exhibitions annually. / / 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 using a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, the 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 of 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 Noevers resignation Martina Kandeler-Fritsch takes over temporarily the management. / / Since 1 September Christoph Thun-Hohenstein is director of the MAK.

www.mak.at/das_mak/geschichte

Jack Hemingway died in 2000 in New York aged 77, was the eldest son of the novelist Ernest Hemingway and bore a striking resemblance to his father. However, despite having grown up under the shadow of a famous writer, and hunter, Jack carved out a life which reversed some of the values of his distant, disengaged father.

 

He had long been his family's emissary, attending conferences, sitting on the advisory board of the Hemingway Foundation and, with courtesy and good humor, welcoming visitors to the family home at Ketchum, Idaho, with its breathtaking view across Sun Valley. Visitors admired the rich horde of family memorabilia - Hemingway's typewriter, a trunk which had been with the writer in Paris in the 1920s and a handsome fake Picasso hanging in the bedroom - before adjourning to the Olympic bar, one of Papa's favorite hangouts in Ketchum.

  

But his greatest love was fly fishing and the outdoor life, and after his father's suicide in 1961, he settled in Ketchum. Growing increasingly interested in the problem of conserving Idaho wildlife and environment, he became a persuasive advocate for enlightened policies in a state famed for its hunting and fishing.

 

Hemingway served as a commissioner on the Idaho Fish and Game Commission from 1971 to 1977 and was instrumental in the adoption of a "catch and release" law, which did much to preserve trout stocks while those in neighboring states declined.

 

He was born in Toronto, an easy birth made even more congenial when his mother, Hadley, his father's first wife, was given laughing gas ("Hadley says the whole childbirth business has been greatly over-rated," Hemingway wrote to Gertrude Stein, who became Jack's godmother). Nicknamed "Bumby", Jack spent his early years in Paris and the Austrian Alps. These years are described in A Moveable Feast, Hemingway's autobiography, published in 1964. The book ends with a description of Hadley greeting him at the train station, smiling, "her lovely face tanned by the snow and the sun", and Bumby at her side, "blond and chunky and with winter cheeks looking like a good Voralberg boy." Hemingway had just decided to abandon his wife and child.

 

Jack was five when his parents divorced. Sent to boarding schools, he only saw his father during summer vacations. As he grew up, they went fishing together and boxed. When Hemingway was too busy at work on a novel, he paid for Jack to stay at a dude ranch in Montana. Sending his love, Hemingway promised to bring his son ammunition for his rifle and asked if he should order some pistol cartridges, too. As a teenager, they drank frozen daiquiris together and spent time in Pamplona and Havana. After attending the University of Montana and Dartmouth College, Jack dropped out before taking his degree and enlisted in the US Army. He served in a military police detachment in North Africa and then, with certain strings pulled by influential family friends, was assigned to the Office of Strategic Services.

 

With the rank of captain, he was parachuted into Nazi-occupied France on a mission to assist the resistance. He took with him a rod, reel and fly box. On a later mission in November 1944, he was shot in the arm and shoulder and taken prisoner. He spent the rest of the war in a PoW camp. With a fine war record, "a nice set of visible scars" and the Croix de Guerre awarded by the French government, relations between novelist and son improved.

 

After the war, Jack Hemingway continued his army career as a security officer in Berlin, and as liaison officer to the Third French Army Corps in Freiburg. After serving on the staff of a special intelligence course at Fort Bragg in North Carolina, Jack left the army. The transition to civilian life was difficult. He had a brief career as a stockbroker and then as a salesman of fishing supplies.

 

After Ernest's death, Jack was the family member most at ease with the growing public interest in the family. He explored his relations with his father in a 1986 memoir, Misadventures of a Fly Fisherman: My Life With and Without Papa. Before his death, he had completed the manuscript of an as yet unpublished second volume of autobiography, A Life Worth Living, and was working on a volume of reminiscences, recipes, and tales of travel, with his second wife, Angela Hovey, who survives him.

 

His first wife, Byra, or Puck whom he married in Paris in 1949, died in 1986. They had three daughters: Joan, Margaux, who died of a barbiturate overdose in 1996, and Hadley (Mariel), the actress.

internet

Outer castle gate (Vienna) - ring road

(Further pictures you can see by clicking on the link at the end of page!)

Heldenplatz page 2005

The outer castle gate in Vienna, formerly written also Burgthor is situated between the Heroes' Square and the Ringstrasse (Ring Road) and is also known as Heroes' Gate.

History

Outer castle gate in 1898

1660 the old castle gate was built as part of the fortifications of Vienna and hotly contested during the Second Siege of Vienna in 1683. During the Fifth coalition war, in 1809, it was - like other parts of the city fortifications, too - blown up by Napoleon's soldiers, by which became apparent that the city fortifications had finally lost its military value .

The outer castle gate was built of Peter Nobile according to plans of Luigi Cagnola by soldiers of the Imperial Austrian army. For the door system with five arched gates in cuboid technique were used hard Wöllersdorfer and Kaisersteinbrucher stone, for less loaded parts St. Margarethener stone. The ceremonial laying of the foundation stone took place on 22 September 1821 in the presence of Emperor Franz I. On 16 October 1824 - the eleventh anniversary of the Battle of Leipzig - it was opened. According to an announcement was from 18 October 1824 the free passage through the new gate possible.

In gilded script can be found on the ring road side the inscription "FRANCISCUS I. IMPERATOR AUSTRIAE MDCCCXXIV " (Francis I, Emperor of Austria 1824) and at the Heroes' Square, facing front "IUSTITIA REGNORUM FUNDAMENTUM" (Justice is the foundation of the rule), the motto of Emperor Francis I of Austria.

At the end of the 19th Century Otto Wagner planned to tear off the gate and rebuild it in Grinzing (19th district of Vienna). In its place he wanted to build a monumental statue of Emperor Franz Joseph. Ludwig Baumann, on the other hand, a supervisor of the Imperial Palace, was for the demolition of the building, so as to open the Heldenplatz (until 1878" Outside Castle Square") towards to the ring road.

At the time of Nazi rule in Austria there were considerations to upgrade the Heldenplatz architecturally. To this end, the main axis of the square should be rotated by 90 degrees, so that the balcony of the Imperial Palace, from where Adolf Hitler announced the annexation of Austria, would have become the main focal point in large marches. On this behalf, one wanted to move the equestrian statues of Prince Charles and Prince Eugene of Savoy, as well as the castle gate itself, which they wanted to shift into the center of Heroes' Square.

Even the erection of this building by soldiers and the opening on the eleventh anniversary of the Battle of Leipzig should refer to the heroic struggle of the Austrian army against Napoleon's troops. Throughout its history, more and more other memorials have been set up here.

Laurel wreath and crest

Laurel branches of the supreme commander

"Laurel for our heroes 1914-1916"

At Pentecost 1915 suggested the wife of an Imperial Council, Flora Berl, the action "laurel for our heroes from 1914 to 1916". Archduke Charles Stephen, the protector of the relief operation of the war welfare office - formerly "protection against the cold" - also took care of the daughter action "laurel for our heroes 1914-1918" and also had the idea with the exterior castle gate as a central place of this action.

In this fundraising campaign should "of an alloy that is not suitable for lethal projectiles", laurel wreaths ("victor's wreaths", no grave wreaths) be produced. Each donor could either engrave his own name in one of the laurel leaves or dedicate this sheet to a soldier at the front. The donor could himself register in a book of honor and received a commemorative document - a fundraising campaign that resembles the principle of the "military man in iron". This fundraising campaign was opened on 1 June 1915 in the Kärntner Straße 35 in Vienna, where the rooms of the Hamburg-America Line served as propaganda local. The proceeds of this fundraising campaign went to the K.K. Austrian Military Widows and Orphans Fund and War Fürsorgeamt (Social Security Office) formerly "protection against the cold".

Most prominent donors were:

Emperor Franz Joseph I (Austria-Hungary)

Kaiser Wilhelm II (German Empire)

Grand Sultan Mehmed V. (Ottoman Empire)

King Ferdinand I (Bulgaria)

To their donations remember the four gilded laurel branches in the middle of the ring road frontage between the laurel wreaths and coat of arms of the countries and cities in Austria ("the countries represented in the Reichsrat"). In addition was the saying "LAURUM MILITIBUS LAURO DIGNIS MDCCCCXVI (bay laurel honor of the soldiers 1916)" attached.

Feststiege (festival stairway) to the roofless hall of honor

Crypt

Heroes Monument, Crypt

Between the years 1933 and 1934 the outer castle gate was after an architectural competition by Rudolf Wondracek, a student of Otto Wagner, to a to the fallen of the First World War dedicated heroe's monument converted, a change of the outer shape of the building not being allowed. On the two short sides run feast stairs to his roofless hall of honor, which the architect explained by stating: "The heroes of World War II have fallen under the open sky, they are to be honored under the open sky." Inside was north of the road a crypt for the fallen of the First world War built. In there can be found the by Wilhelm Frass of red marble created epitaph of a dead soldier and a simple altar. Until November 2012 ten honor books were issued with the names of the in the war fallen Austrians in showcases, whose pages were turned over daily. The books were removed after repair and on 30th November 2012 handed over to the Austrian State Archives.

For the financing of the construction of the hero monument had been placed the already in the First World War used "Wehrmann in Eisen" in service again. The ten honor books were funded by these donations. Although the epitaph was not finished, the War Memorial on 9th and 10th in September 1934 was opened as part of a patriotic ceremony. On 15 March 1938 here also laid Adolf Hitler a wreath and Hermann Goering visited on 27 March the place of honor. In this crypt is read every Sunday a Holy Mass.

SA Memorial

During the period of the Austro-Hungarian Empire, the middle gate entrance was usually closed, as this was reserved for the emperor. Here the SA later got its own memorial, which was removed after the war ended in 1945.

Ordination space

1965 on the decision of the Federal Governement was south of the passage established an ordination space for the victims of the Austrian Struggle for Freedom. It contains a black block of marble, those upper side bears the federal coat of arms and on its front the inscription" IN MEMORY OF THE VICTIMS IN THE STRUGGLE FOR FREEDOM IN AUSTRIA". In a display case in the lobby are kept documents about the re-establishment of the Republic of Austria. On 27th May 1965 the ordination space was given over to its purpose.

Environment

Just a few meters away from the exterior castle gate are two other memorials of the recent past.

Papal cross

To the south is next to the Heldentor the steel Pope cross, which the visit of Pope John Paul II on 10th September 1983 recalls and was designed by architect Gustav Peichl.

Monument to the executive

To the north, next to the Heroe's Place, there is a monument that should commemorate policemen and policewomen and gendarmes (1st July of 2005 gendarmes became policemen) killed in service. The monument, consisting of two rectangular steel bodies, was in the presence of President Thomas Klestil on 3rd June 2002 consecrated.

Papal cross

Monument to the executive

Postwar period and reorganization of the crypt in Heldentor

After the Member of Parliament Harald Walser of the Greens had made known in 2012 that the name of Josef Vallaster (criminal of war) was also listed in the Books of the Death in the crypt of the Heldentor, prompted Defense Minister Norbert Darabos the deletion Vallasters from the Books of the Death. In addition, this was followed by an ordered investigation by experts to determine whether other war criminals are among the soldiers listed in the Books of the Death. Furthermore, it was investigated whether as 1938 claimed by Wilhelm Frass, he in 1935 deposited secretly a tribute of the National Socialism in the lying soldiers, which is confirmed in July 2012. At the same time also a pacifist message of Frass' heretofore largely unknown assistant Alfons Riedel was discovered. The two documents were on 9th July 2013 handed over to the Vienna Museum of Military History, where they are exhibited as facsimile in the hall Republic and Dictatorship over a display case with a model of the castle gate and that brass sleeve in which the letters were hidden.

www.de.wikipedia.org/wiki/%C3%84u%C3%9Feres_Burgtor_(Wien)

Kids of all ages taking part of International Roma Day activities in Tirinia, Albania

 

Read more about Roma in Europe and Central Asia: europeandcis.undp.org/ourwork/roma

UN VALUE: Human Rights

This is not to say that one with a great amount of experience is always going to have an accurate intuition, however, the chances of it being more reliable are definitely amplified. The boy is taught to obey his teacher. Credit: United Nations/Mondal Nitai

Members of the HMCS FREDERICTON diving team after a dive during Operation REASSURANCE on 22 February 2023 in Souda Harbour, Crete.

  

Please credit: Cpl Noé Marchon, Canadian Armed Forces Photo

  

Des membres de l’équipe de plongée du NCSM FREDERICTON après avoir effectué une plongée au cours de l’opération REASSURANCE, le 22 février 2023, dans la baie de Souda, en Grèce.

  

Photo : Cpl Noé Marchon, Forces armées canadiennes

 

A Bullitt is only slightly wider than a regular bike...and makes them easy to pedal through traffic or up onto a sidewalk for quick and easy parking

 

A. Create a design that moves the value from light in the central area to dark in the outer perimeter.

B. Create a design that moves the value from dark in the central area to light at the outer perimeter. The following is what I came up with.

Blogged

Members of the embarked Air Detachment onboard HMCS FREDERICTON conduct visual inspection of the CH-148 Cyclone helicopter’s main rotor blades during Operation REASSURANCE on 21 February 2023 in Souda Bay, Greece.

  

Please credit: Cpl Noé Marchon, Canadian Armed Forces Photo

  

Des membres du détachement aérien embarqué à bord du NCSM FREDERICTON effectuent une inspection visuelle des pales du rotor principal de l’hélicoptère CH-148 Cyclone au cours de l’opération REASSURANCE, le 21 février 2023, dans la baie de Souda, en Grèce.

  

Photo : Cpl Noé Marchon, Forces armées canadiennes

 

Members of the embarked Air Detachment onboard HMCS FREDERICTON conduct maintenance on the CH-148 Cyclone helicopter’s main rotor head during Operation REASSURANCE on 21 February 2023 in Souda Bay, Greece.

 

Please credit: Cpl Noé Marchon, Canadian Armed Forces Photo

 

Des membres du détachement aérien embarqué à bord du NCSM FREDERICTON effectuent l’entretien de la tête de rotor principal de l’hélicoptère CH-148 Cyclone au cours de l’opération REASSURANCE, le 21 février 2023, dans la baie de Souda, en Grèce.

 

Photo : Cpl Noé Marchon, Forces armées canadiennes

 

Abandoned Value City near Randall Park Mall in North Randall, Ohio.

 

August 29th, 2009

 

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