In 1936 the name Jaguar was given to a new saloon car and from then on to all the cars. Following World War II, due to the connotations then attached to the initials SS, the company was renamed Jaguar.

 

The power output was increased from 70 bhp (52 kW) to 100 bhp (70 kW). Twin SU carburettors were bolted directly to the cylinder head. In 1938 the engine was further enlarged to 3.5 litres and the power increased to 125 bhp (93 kW). The four speed gearbox had synchromesh on the top 3 ratios. Brakes were by Girling. The complete car weighed just over 23 cwt (2600 pounds, 1150 kg).

 

On test by The Autocar in 1937 the 2.5 litre (20 RAC hp rating) car was found, with the windscreen lowered, to have a maximum speed of 95 mph (153 km/h) and a 0 to 60 mph (97 km/h) time of 13.5 seconds. With the 3.5 litre (25 RAC hp rating) the top speed reached the magic 100 mph (160 km/h) with a best of 101 mph (163 km/h) over the quarter mile and the 0 - 60 mph (97 km/h) coming down to 10.4 seconds.

 

(wikipedia.org)

Bali is an island and province of Indonesia. The province includes the island of Bali and a few smaller neighbouring islands, notably Nusa Penida, Nusa Lembongan, and Nusa Ceningan. It is located at the westernmost end of the Lesser Sunda Islands, between Java to the west and Lombok to the east. Its capital of Denpasar is located at the southern part of the island.

 

With a population of 3,890,757 in the 2010 census, and 4,225,000 as of January 2014, the island is home to most of Indonesia's Hindu minority. According to the 2010 Census, 83.5% of Bali's population adhered to Balinese Hinduism, followed by 13.4% Muslim, Christianity at 2.5%, and Buddhism 0.5%.

 

Bali is a popular tourist destination, which has seen a significant rise in numbers since the 1980s. It is renowned for its highly developed arts, including traditional and modern dance, sculpture, painting, leather, metalworking, and music. The Indonesian International Film Festival is held every year in Bali.

 

Bali is part of the Coral Triangle, the area with the highest biodiversity of marine species. In this area alone over 500 reef building coral species can be found. For comparison, this is about 7 times as many as in the entire Caribbean. There is a wide range of dive sites with high quality reefs, all with their own specific attractions. Many sites can have strong currents and swell, so diving without a knowledgeable guide is inadvisable. Most recently, Bali was the host of the 2011 ASEAN Summit, 2013 APEC and Miss World 2013.

 

HISTORY

ANCIENT

Bali was inhabited around 2000 BC by Austronesian people who migrated originally from Southeast Asia and Oceania through Maritime Southeast Asia. Culturally and linguistically, the Balinese are closely related to the people of the Indonesian archipelago, Malaysia, the Philippines, and Oceania. Stone tools dating from this time have been found near the village of Cekik in the island's west.

 

In ancient Bali, nine Hindu sects existed, namely Pasupata, Bhairawa, Siwa Shidanta, Waisnawa, Bodha, Brahma, Resi, Sora and Ganapatya. Each sect revered a specific deity as its personal Godhead.

 

Inscriptions from 896 and 911 don't mention a king, until 914, when Sri Kesarivarma is mentioned. They also reveal an independent Bali, with a distinct dialect, where Buddhism and Sivaism were practiced simultaneously. Mpu Sindok's great granddaughter, Mahendradatta (Gunapriyadharmapatni), married the Bali king Udayana Warmadewa (Dharmodayanavarmadeva) around 989, giving birth to Airlangga around 1001. This marriage also brought more Hinduism and Javanese culture to Bali. Princess Sakalendukirana appeared in 1098. Suradhipa reigned from 1115 to 1119, and Jayasakti from 1146 until 1150. Jayapangus appears on inscriptions between 1178 and 1181, while Adikuntiketana and his son Paramesvara in 1204.

 

Balinese culture was strongly influenced by Indian, Chinese, and particularly Hindu culture, beginning around the 1st century AD. The name Bali dwipa ("Bali island") has been discovered from various inscriptions, including the Blanjong pillar inscription written by Sri Kesari Warmadewa in 914 AD and mentioning "Walidwipa". It was during this time that the people developed their complex irrigation system subak to grow rice in wet-field cultivation. Some religious and cultural traditions still practised today can be traced to this period.

 

The Hindu Majapahit Empire (1293–1520 AD) on eastern Java founded a Balinese colony in 1343. The uncle of Hayam Wuruk is mentioned in the charters of 1384-86. A mass Javanese emigration occurred in the next century.

 

PORTUGUESE CONTACTS

The first known European contact with Bali is thought to have been made in 1512, when a Portuguese expedition led by Antonio Abreu and Francisco Serrão sighted its northern shores. It was the first expedition of a series of bi-annual fleets to the Moluccas, that throughout the 16th century usually traveled along the coasts of the Sunda Islands. Bali was also mapped in 1512, in the chart of Francisco Rodrigues, aboard the expedition. In 1585, a ship foundered off the Bukit Peninsula and left a few Portuguese in the service of Dewa Agung.

 

DUTCH EAST INDIA

In 1597 the Dutch explorer Cornelis de Houtman arrived at Bali, and the Dutch East India Company was established in 1602. The Dutch government expanded its control across the Indonesian archipelago during the second half of the 19th century (see Dutch East Indies). Dutch political and economic control over Bali began in the 1840s on the island's north coast, when the Dutch pitted various competing Balinese realms against each other. In the late 1890s, struggles between Balinese kingdoms in the island's south were exploited by the Dutch to increase their control.

 

In June 1860 the famous Welsh naturalist, Alfred Russel Wallace, travelled to Bali from Singapore, landing at Buleleng on the northcoast of the island. Wallace's trip to Bali was instrumental in helping him devise his Wallace Line theory. The Wallace Line is a faunal boundary that runs through the strait between Bali and Lombok. It has been found to be a boundary between species of Asiatic origin in the east and a mixture of Australian and Asian species to the west. In his travel memoir The Malay Archipelago, Wallace wrote of his experience in Bali:

 

I was both astonished and delighted; for as my visit to Java was some years later, I had never beheld so beautiful and well-cultivated a district out of Europe. A slightly undulating plain extends from the seacoast about ten or twelve miles inland, where it is bounded by a fine range of wooded and cultivated hills. Houses and villages, marked out by dense clumps of coconut palms, tamarind and other fruit trees, are dotted about in every direction; while between them extend luxurious rice-grounds, watered by an elaborate system of irrigation that would be the pride of the best cultivated parts of Europe.

 

The Dutch mounted large naval and ground assaults at the Sanur region in 1906 and were met by the thousands of members of the royal family and their followers who fought against the superior Dutch force in a suicidal puputan defensive assault rather than face the humiliation of surrender. Despite Dutch demands for surrender, an estimated 200 Balinese marched to their death against the invaders. In the Dutch intervention in Bali, a similar massacre occurred in the face of a Dutch assault in Klungkung.

 

AFTERWARD THE DUTCH GOVERNORS

exercised administrative control over the island, but local control over religion and culture generally remained intact. Dutch rule over Bali came later and was never as well established as in other parts of Indonesia such as Java and Maluku.

 

n the 1930s, anthropologists Margaret Mead and Gregory Bateson, artists Miguel Covarrubias and Walter Spies, and musicologist Colin McPhee all spent time here. Their accounts of the island and its peoples created a western image of Bali as "an enchanted land of aesthetes at peace with themselves and nature." Western tourists began to visit the island.

 

Imperial Japan occupied Bali during World War II. It was not originally a target in their Netherlands East Indies Campaign, but as the airfields on Borneo were inoperative due to heavy rains, the Imperial Japanese Army decided to occupy Bali, which did not suffer from comparable weather. The island had no regular Royal Netherlands East Indies Army (KNIL) troops. There was only a Native Auxiliary Corps Prajoda (Korps Prajoda) consisting of about 600 native soldiers and several Dutch KNIL officers under command of KNIL Lieutenant Colonel W.P. Roodenburg. On 19 February 1942 the Japanese forces landed near the town of Senoer [Senur]. The island was quickly captured.

 

During the Japanese occupation, a Balinese military officer, Gusti Ngurah Rai, formed a Balinese 'freedom army'. The harshness of war requisitions made Japanese rule more resented than Dutch rule. Following Japan's Pacific surrender in August 1945, the Dutch returned to Indonesia, including Bali, to reinstate their pre-war colonial administration. This was resisted by the Balinese rebels, who now used recovered Japanese weapons. On 20 November 1946, the Battle of Marga was fought in Tabanan in central Bali. Colonel I Gusti Ngurah Rai, by then 29 years old, finally rallied his forces in east Bali at Marga Rana, where they made a suicide attack on the heavily armed Dutch. The Balinese battalion was entirely wiped out, breaking the last thread of Balinese military resistance.

 

INDIPENDENCE FROM THE DUTCH

In 1946, the Dutch constituted Bali as one of the 13 administrative districts of the newly proclaimed State of East Indonesia, a rival state to the Republic of Indonesia, which was proclaimed and headed by Sukarno and Hatta. Bali was included in the "Republic of the United States of Indonesia" when the Netherlands recognised Indonesian independence on 29 December 1949.

 

CONTEMPORARY

The 1963 eruption of Mount Agung killed thousands, created economic havoc and forced many displaced Balinese to be transmigrated to other parts of Indonesia. Mirroring the widening of social divisions across Indonesia in the 1950s and early 1960s, Bali saw conflict between supporters of the traditional caste system, and those rejecting this system. Politically, the opposition was represented by supporters of the Indonesian Communist Party (PKI) and the Indonesian Nationalist Party (PNI), with tensions and ill-feeling further increased by the PKI's land reform programs. An attempted coup in Jakarta was put down by forces led by General Suharto.

 

The army became the dominant power as it instigated a violent anti-communist purge, in which the army blamed the PKI for the coup. Most estimates suggest that at least 500,000 people were killed across Indonesia, with an estimated 80,000 killed in Bali, equivalent to 5% of the island's population. With no Islamic forces involved as in Java and Sumatra, upper-caste PNI landlords led the extermination of PKI members.

 

As a result of the 1965/66 upheavals, Suharto was able to manoeuvre Sukarno out of the presidency. His "New Order" government reestablished relations with western countries. The pre-War Bali as "paradise" was revived in a modern form. The resulting large growth in tourism has led to a dramatic increase in Balinese standards of living and significant foreign exchange earned for the country. A bombing in 2002 by militant Islamists in the tourist area of Kuta killed 202 people, mostly foreigners. This attack, and another in 2005, severely reduced tourism, producing much economic hardship to the island.

 

GEOGRAPHY

The island of Bali lies 3.2 km east of Java, and is approximately 8 degrees south of the equator. Bali and Java are separated by the Bali Strait. East to west, the island is approximately 153 km wide and spans approximately 112 km north to south; administratively it covers 5,780 km2, or 5,577 km2 without Nusa Penida District, its population density is roughly 750 people/km2.

 

Bali's central mountains include several peaks over 3,000 metres in elevation. The highest is Mount Agung (3,031 m), known as the "mother mountain" which is an active volcano rated as one of the world's most likely sites for a massive eruption within the next 100 years. Mountains range from centre to the eastern side, with Mount Agung the easternmost peak. Bali's volcanic nature has contributed to its exceptional fertility and its tall mountain ranges provide the high rainfall that supports the highly productive agriculture sector. South of the mountains is a broad, steadily descending area where most of Bali's large rice crop is grown. The northern side of the mountains slopes more steeply to the sea and is the main coffee producing area of the island, along with rice, vegetables and cattle. The longest river, Ayung River, flows approximately 75 km.

 

The island is surrounded by coral reefs. Beaches in the south tend to have white sand while those in the north and west have black sand. Bali has no major waterways, although the Ho River is navigable by small sampan boats. Black sand beaches between Pasut and Klatingdukuh are being developed for tourism, but apart from the seaside temple of Tanah Lot, they are not yet used for significant tourism.

 

The largest city is the provincial capital, Denpasar, near the southern coast. Its population is around 491,500 (2002). Bali's second-largest city is the old colonial capital, Singaraja, which is located on the north coast and is home to around 100,000 people. Other important cities include the beach resort, Kuta, which is practically part of Denpasar's urban area, and Ubud, situated at the north of Denpasar, is the island's cultural centre.

 

Three small islands lie to the immediate south east and all are administratively part of the Klungkung regency of Bali: Nusa Penida, Nusa Lembongan and Nusa Ceningan. These islands are separated from Bali by the Badung Strait.

 

To the east, the Lombok Strait separates Bali from Lombok and marks the biogeographical division between the fauna of the Indomalayan ecozone and the distinctly different fauna of Australasia. The transition is known as the Wallace Line, named after Alfred Russel Wallace, who first proposed a transition zone between these two major biomes. When sea levels dropped during the Pleistocene ice age, Bali was connected to Java and Sumatra and to the mainland of Asia and shared the Asian fauna, but the deep water of the Lombok Strait continued to keep Lombok Island and the Lesser Sunda archipelago isolated.

 

CLIMATE

Being just 8 degrees south of the equator, Bali has a fairly even climate year round.

 

Day time temperatures at low elevations vary between 20-33⁰ C although it can be much cooler than that in the mountains. The west monsoon is in place from approximately October to April and this can bring significant rain, particularly from December to March. Outside of the monsoon period, humidity is relatively low and any rain unlikely in lowland areas.

 

ECOLOGY

Bali lies just to the west of the Wallace Line, and thus has a fauna that is Asian in character, with very little Australasian influence, and has more in common with Java than with Lombok. An exception is the yellow-crested cockatoo, a member of a primarily Australasian family. There are around 280 species of birds, including the critically endangered Bali myna, which is endemic. Others Include barn swallow, black-naped oriole, black racket-tailed treepie, crested serpent-eagle, crested treeswift, dollarbird, Java sparrow, lesser adjutant, long-tailed shrike, milky stork, Pacific swallow, red-rumped swallow, sacred kingfisher, sea eagle, woodswallow, savanna nightjar, stork-billed kingfisher, yellow-vented bulbul and great egret.

 

Until the early 20th century, Bali was home to several large mammals: the wild banteng, leopard and the endemic Bali tiger. The banteng still occurs in its domestic form, whereas leopards are found only in neighbouring Java, and the Bali tiger is extinct. The last definite record of a tiger on Bali dates from 1937, when one was shot, though the subspecies may have survived until the 1940s or 1950s. The relatively small size of the island, conflict with humans, poaching and habitat reduction drove the Bali tiger to extinction. This was the smallest and rarest of all tiger subspecies and was never caught on film or displayed in zoos, whereas few skins or bones remain in museums around the world. Today, the largest mammals are the Javan rusa deer and the wild boar. A second, smaller species of deer, the Indian muntjac, also occurs. Saltwater crocodiles were once present on the island, but became locally extinct sometime during the last century.

 

Squirrels are quite commonly encountered, less often is the Asian palm civet, which is also kept in coffee farms to produce Kopi Luwak. Bats are well represented, perhaps the most famous place to encounter them remaining the Goa Lawah (Temple of the Bats) where they are worshipped by the locals and also constitute a tourist attraction. They also occur in other cave temples, for instance at Gangga Beach. Two species of monkey occur. The crab-eating macaque, known locally as "kera", is quite common around human settlements and temples, where it becomes accustomed to being fed by humans, particularly in any of the three "monkey forest" temples, such as the popular one in the Ubud area. They are also quite often kept as pets by locals. The second monkey, endemic to Java and some surrounding islands such as Bali, is far rarer and more elusive is the Javan langur, locally known as "lutung". They occur in few places apart from the Bali Barat National Park. They are born an orange colour, though by their first year they would have already changed to a more blackish colouration. In Java however, there is more of a tendency for this species to retain its juvenile orange colour into adulthood, and so you can see a mixture of black and orange monkeys together as a family. Other rarer mammals include the leopard cat, Sunda pangolin and black giant squirrel.

 

Snakes include the king cobra and reticulated python. The water monitor can grow to at least 1.5 m in length and 50 kg and can move quickly.

 

The rich coral reefs around the coast, particularly around popular diving spots such as Tulamben, Amed, Menjangan or neighbouring Nusa Penida, host a wide range of marine life, for instance hawksbill turtle, giant sunfish, giant manta ray, giant moray eel, bumphead parrotfish, hammerhead shark, reef shark, barracuda, and sea snakes. Dolphins are commonly encountered on the north coast near Singaraja and Lovina.

 

A team of scientists conducted a survey from 29 April 2011 to 11 May 2011 at 33 sea sites around Bali. They discovered 952 species of reef fish of which 8 were new discoveries at Pemuteran, Gilimanuk, Nusa Dua, Tulamben and Candidasa, and 393 coral species, including two new ones at Padangbai and between Padangbai and Amed. The average coverage level of healthy coral was 36% (better than in Raja Ampat and Halmahera by 29% or in Fakfak and Kaimana by 25%) with the highest coverage found in Gili Selang and Gili Mimpang in Candidasa, Karangasem regency.

 

Many plants have been introduced by humans within the last centuries, particularly since the 20th century, making it sometimes hard to distinguish what plants are really native.[citation needed] Among the larger trees the most common are: banyan trees, jackfruit, coconuts, bamboo species, acacia trees and also endless rows of coconuts and banana species. Numerous flowers can be seen: hibiscus, frangipani, bougainvillea, poinsettia, oleander, jasmine, water lily, lotus, roses, begonias, orchids and hydrangeas exist. On higher grounds that receive more moisture, for instance around Kintamani, certain species of fern trees, mushrooms and even pine trees thrive well. Rice comes in many varieties. Other plants with agricultural value include: salak, mangosteen, corn, kintamani orange, coffee and water spinach.

 

ENVIRONMENT

Some of the worst erosion has occurred in Lebih Beach, where up to 7 metres of land is lost every year. Decades ago, this beach was used for holy pilgrimages with more than 10,000 people, but they have now moved to Masceti Beach.

 

From ranked third in previous review, in 2010 Bali got score 99.65 of Indonesia's environmental quality index and the highest of all the 33 provinces. The score measured 3 water quality parameters: the level of total suspended solids (TSS), dissolved oxygen (DO) and chemical oxygen demand (COD).

 

Because of over-exploitation by the tourist industry which covers a massive land area, 200 out of 400 rivers on the island have dried up and based on research, the southern part of Bali would face a water shortage up to 2,500 litres of clean water per second by 2015. To ease the shortage, the central government plans to build a water catchment and processing facility at Petanu River in Gianyar. The 300 litres capacity of water per second will be channelled to Denpasar, Badung and Gianyar in 2013.

 

ECONOMY

Three decades ago, the Balinese economy was largely agriculture-based in terms of both output and employment. Tourism is now the largest single industry in terms of income, and as a result, Bali is one of Indonesia's wealthiest regions. In 2003, around 80% of Bali's economy was tourism related. By end of June 2011, non-performing loan of all banks in Bali were 2.23%, lower than the average of Indonesian banking industry non-performing loan (about 5%). The economy, however, suffered significantly as a result of the terrorist bombings 2002 and 2005. The tourism industry has since recovered from these events.

 

AGRICULTURE

Although tourism produces the GDP's largest output, agriculture is still the island's biggest employer; most notably rice cultivation. Crops grown in smaller amounts include fruit, vegetables, Coffea arabica and other cash and subsistence crops. Fishing also provides a significant number of jobs. Bali is also famous for its artisans who produce a vast array of handicrafts, including batik and ikat cloth and clothing, wooden carvings, stone carvings, painted art and silverware. Notably, individual villages typically adopt a single product, such as wind chimes or wooden furniture.

 

The Arabica coffee production region is the highland region of Kintamani near Mount Batur. Generally, Balinese coffee is processed using the wet method. This results in a sweet, soft coffee with good consistency. Typical flavours include lemon and other citrus notes. Many coffee farmers in Kintamani are members of a traditional farming system called Subak Abian, which is based on the Hindu philosophy of "Tri Hita Karana". According to this philosophy, the three causes of happiness are good relations with God, other people and the environment. The Subak Abian system is ideally suited to the production of fair trade and organic coffee production. Arabica coffee from Kintamani is the first product in Indonesia to request a Geographical Indication.

 

TOURISM

The tourism industry is primarily focused in the south, while significant in the other parts of the island as well. The main tourist locations are the town of Kuta (with its beach), and its outer suburbs of Legian and Seminyak (which were once independent townships), the east coast town of Sanur (once the only tourist hub), in the center of the island Ubud, to the south of the Ngurah Rai International Airport, Jimbaran, and the newer development of Nusa Dua and Pecatu.

 

The American government lifted its travel warnings in 2008. The Australian government issued an advice on Friday, 4 May 2012. The overall level of the advice was lowered to 'Exercise a high degree of caution'. The Swedish government issued a new warning on Sunday, 10 June 2012 because of one more tourist who was killed by methanol poisoning. Australia last issued an advice on Monday, 5 January 2015 due to new terrorist threats.

 

An offshoot of tourism is the growing real estate industry. Bali real estate has been rapidly developing in the main tourist areas of Kuta, Legian, Seminyak and Oberoi. Most recently, high-end 5 star projects are under development on the Bukit peninsula, on the south side of the island. Million dollar villas are being developed along the cliff sides of south Bali, commanding panoramic ocean views. Foreign and domestic (many Jakarta individuals and companies are fairly active) investment into other areas of the island also continues to grow. Land prices, despite the worldwide economic crisis, have remained stable.

 

In the last half of 2008, Indonesia's currency had dropped approximately 30% against the US dollar, providing many overseas visitors value for their currencies. Visitor arrivals for 2009 were forecast to drop 8% (which would be higher than 2007 levels), due to the worldwide economic crisis which has also affected the global tourist industry, but not due to any travel warnings.

 

Bali's tourism economy survived the terrorist bombings of 2002 and 2005, and the tourism industry has in fact slowly recovered and surpassed its pre-terrorist bombing levels; the longterm trend has been a steady increase of visitor arrivals. In 2010, Bali received 2.57 million foreign tourists, which surpassed the target of 2.0–2.3 million tourists. The average occupancy of starred hotels achieved 65%, so the island is still able to accommodate tourists for some years without any addition of new rooms/hotels, although at the peak season some of them are fully booked.

 

Bali received the Best Island award from Travel and Leisure in 2010. The island of Bali won because of its attractive surroundings (both mountain and coastal areas), diverse tourist attractions, excellent international and local restaurants, and the friendliness of the local people. According to BBC Travel released in 2011, Bali is one of the World's Best Islands, ranking second after Santorini, Greece.

 

In August 2010, the film Eat Pray Love was released in theatres. The movie was based on Elizabeth Gilbert's best-selling memoir Eat, Pray, Love. It took place at Ubud and Padang-Padang Beach at Bali. The 2006 book, which spent 57 weeks at the No. 1 spot on the New York Times paperback nonfiction best-seller list, had already fuelled a boom in Eat, Pray, Love-related tourism in Ubud, the hill town and cultural and tourist center that was the focus of Gilbert's quest for balance through traditional spirituality and healing that leads to love.

 

In January 2016, after music icon David Bowie died, it was revealed that in his will, Bowie asked for his ashes to be scattered in Bali, conforming to Buddhist rituals. He had visited and performed in a number of Southest Asian cities early in his career, including Bangkok and Singapore.

 

Since 2011, China has displaced Japan as the second-largest supplier of tourists to Bali, while Australia still tops the list. Chinese tourists increased by 17% from last year due to the impact of ACFTA and new direct flights to Bali. In January 2012, Chinese tourists year on year (yoy) increased by 222.18% compared to January 2011, while Japanese tourists declined by 23.54% yoy.

 

Bali reported that it has 2.88 million foreign tourists and 5 million domestic tourists in 2012, marginally surpassing the expectations of 2.8 million foreign tourists. Forecasts for 2013 are at 3.1 million.

 

Based on Bank Indonesia survey in May 2013, 34.39 percent of tourists are upper-middle class with spending between $1,286 to $5,592 and dominated by Australia, France, China, Germany and the US with some China tourists move from low spending before to higher spending currently. While 30.26 percent are middle class with spending between $662 to $1,285.

 

SEX TOURISM

In the twentieth century the incidence of tourism specifically for sex was regularly observed in the era of mass tourism in Indonesia In Bali, prostitution is conducted by both men and women. Bali in particular is notorious for its 'Kuta Cowboys', local gigolos targeting foreign female tourists.

 

Tens of thousands of single women throng the beaches of Bali in Indonesia every year. For decades, young Balinese men have taken advantage of the louche and laid-back atmosphere to find love and lucre from female tourists—Japanese, European and Australian for the most part—who by all accounts seem perfectly happy with the arrangement.

 

By 2013, Indonesia was reportedly the number one destination for Australian child sex tourists, mostly starting in Bali but also travelling to other parts of the country. The problem in Bali was highlighted by Luh Ketut Suryani, head of Psychiatry at Udayana University, as early as 2003. Surayani warned that a low level of awareness of paedophilia in Bali had made it the target of international paedophile organisations. On 19 February 2013, government officials announced measures to combat paedophilia in Bali.

 

TRANSPORTATION

The Ngurah Rai International Airport is located near Jimbaran, on the isthmus at the southernmost part of the island. Lt.Col. Wisnu Airfield is found in north-west Bali.

 

A coastal road circles the island, and three major two-lane arteries cross the central mountains at passes reaching to 1,750m in height (at Penelokan). The Ngurah Rai Bypass is a four-lane expressway that partly encircles Denpasar. Bali has no railway lines.

 

In December 2010 the Government of Indonesia invited investors to build a new Tanah Ampo Cruise Terminal at Karangasem, Bali with a projected worth of $30 million. On 17 July 2011 the first cruise ship (Sun Princess) anchored about 400 meters away from the wharf of Tanah Ampo harbour. The current pier is only 154 meters but will eventually be extended to 300–350 meters to accommodate international cruise ships. The harbour here is safer than the existing facility at Benoa and has a scenic backdrop of east Bali mountains and green rice fields. The tender for improvement was subject to delays, and as of July 2013 the situation remained unclear with cruise line operators complaining and even refusing to use the existing facility at Tanah Ampo.

 

A Memorandum of Understanding has been signed by two ministers, Bali's Governor and Indonesian Train Company to build 565 kilometres of railway along the coast around the island. As of July 2015, no details of this proposed railways have been released.

 

On 16 March 2011 (Tanjung) Benoa port received the "Best Port Welcome 2010" award from London's "Dream World Cruise Destination" magazine. Government plans to expand the role of Benoa port as export-import port to boost Bali's trade and industry sector. The Tourism and Creative Economy Ministry has confirmed that 306 cruise liners are heading for Indonesia in 2013 – an increase of 43 percent compared to the previous year.

 

In May 2011, an integrated Areal Traffic Control System (ATCS) was implemented to reduce traffic jams at four crossing points: Ngurah Rai statue, Dewa Ruci Kuta crossing, Jimbaran crossing and Sanur crossing. ATCS is an integrated system connecting all traffic lights, CCTVs and other traffic signals with a monitoring office at the police headquarters. It has successfully been implemented in other ASEAN countries and will be implemented at other crossings in Bali.

 

On 21 December 2011 construction started on the Nusa Dua-Benoa-Ngurah Rai International Airport toll road which will also provide a special lane for motorcycles. This has been done by seven state-owned enterprises led by PT Jasa Marga with 60% of shares. PT Jasa Marga Bali Tol will construct the 9.91 kilometres toll road (totally 12.7 kilometres with access road). The construction is estimated to cost Rp.2.49 trillion ($273.9 million). The project goes through 2 kilometres of mangrove forest and through 2.3 kilometres of beach, both within 5.4 hectares area. The elevated toll road is built over the mangrove forest on 18,000 concrete pillars which occupied 2 hectares of mangroves forest. It compensated by new planting of 300,000 mangrove trees along the road. On 21 December 2011 the Dewa Ruci 450 meters underpass has also started on the busy Dewa Ruci junction near Bali Kuta Galeria with an estimated cost of Rp136 billion ($14.9 million) from the state budget. On 23 September 2013, the Bali Mandara Toll Road is opened and the Dewa Ruci Junction (Simpang Siur) underpass is opened before. Both are ease the heavy traffic congestion.

 

To solve chronic traffic problems, the province will also build a toll road connecting Serangan with Tohpati, a toll road connecting Kuta, Denpasar and Tohpati and a flyover connecting Kuta and Ngurah Rai Airport.

 

DEMOGRAPHICS

The population of Bali was 3,890,757 as of the 2010 Census; the latest estimate (for January 2014) is 4,225,384. There are an estimated 30,000 expatriates living in Bali.

 

ETHNIC ORIGINS

A DNA study in 2005 by Karafet et al. found that 12% of Balinese Y-chromosomes are of likely Indian origin, while 84% are of likely Austronesian origin, and 2% of likely Melanesian origin. The study does not correlate the DNA samples to the Balinese caste system.

 

CASTE SYSTEM

Bali has a caste system based on the Indian Hindu model, with four castes:

 

- Sudra (Shudra) – peasants constituting close to 93% of Bali's population.

- Wesia (Vaishyas) – the caste of merchants and administrative officials

- Ksatrias (Kshatriyas) – the kingly and warrior caste

- Brahmana (Bramhin) – holy men and priests

 

RELIGION

Unlike most of Muslim-majority Indonesia, about 83.5% of Bali's population adheres to Balinese Hinduism, formed as a combination of existing local beliefs and Hindu influences from mainland Southeast Asia and South Asia. Minority religions include Islam (13.3%), Christianity (1.7%), and Buddhism (0.5%). These figures do not include immigrants from other parts of Indonesia.

 

Balinese Hinduism is an amalgam in which gods and demigods are worshipped together with Buddhist heroes, the spirits of ancestors, indigenous agricultural deities and sacred places. Religion as it is practised in Bali is a composite belief system that embraces not only theology, philosophy, and mythology, but ancestor worship, animism and magic. It pervades nearly every aspect of traditional life. Caste is observed, though less strictly than in India. With an estimated 20,000 puras (temples) and shrines, Bali is known as the "Island of a Thousand Puras", or "Island of the Gods". This is refer to Mahabarata story that behind Bali became island of god or "pulau dewata" in Indonesian language.

 

Balinese Hinduism has roots in Indian Hinduism and Buddhism, and adopted the animistic traditions of the indigenous people. This influence strengthened the belief that the gods and goddesses are present in all things. Every element of nature, therefore, possesses its own power, which reflects the power of the gods. A rock, tree, dagger, or woven cloth is a potential home for spirits whose energy can be directed for good or evil. Balinese Hinduism is deeply interwoven with art and ritual. Ritualizing states of self-control are a notable feature of religious expression among the people, who for this reason have become famous for their graceful and decorous behaviour.

 

Apart from the majority of Balinese Hindus, there also exist Chinese immigrants whose traditions have melded with that of the locals. As a result, these Sino-Balinese not only embrace their original religion, which is a mixture of Buddhism, Christianity, Taoism and Confucianism, but also find a way to harmonise it with the local traditions. Hence, it is not uncommon to find local Sino-Balinese during the local temple's odalan. Moreover, Balinese Hindu priests are invited to perform rites alongside a Chinese priest in the event of the death of a Sino-Balinese. Nevertheless, the Sino-Balinese claim to embrace Buddhism for administrative purposes, such as their Identity Cards.

 

LANGUAGE

Balinese and Indonesian are the most widely spoken languages in Bali, and the vast majority of Balinese people are bilingual or trilingual. The most common spoken language around the tourist areas is Indonesian, as many people in the tourist sector are not solely Balinese, but migrants from Java, Lombok, Sumatra, and other parts of Indonesia. There are several indigenous Balinese languages, but most Balinese can also use the most widely spoken option: modern common Balinese. The usage of different Balinese languages was traditionally determined by the Balinese caste system and by clan membership, but this tradition is diminishing. Kawi and Sanskrit are also commonly used by some Hindu priests in Bali, for Hinduism literature was mostly written in Sanskrit.

 

English and Chinese are the next most common languages (and the primary foreign languages) of many Balinese, owing to the requirements of the tourism industry, as well as the English-speaking community and huge Chinese-Indonesian population. Other foreign languages, such as Japanese, Korean, French, Russian or German are often used in multilingual signs for foreign tourists.

 

CULTURE

Bali is renowned for its diverse and sophisticated art forms, such as painting, sculpture, woodcarving, handcrafts, and performing arts. Balinese cuisine is also distinctive. Balinese percussion orchestra music, known as gamelan, is highly developed and varied. Balinese performing arts often portray stories from Hindu epics such as the Ramayana but with heavy Balinese influence. Famous Balinese dances include pendet, legong, baris, topeng, barong, gong keybar, and kecak (the monkey dance). Bali boasts one of the most diverse and innovative performing arts cultures in the world, with paid performances at thousands of temple festivals, private ceremonies, or public shows.

 

The Hindu New Year, Nyepi, is celebrated in the spring by a day of silence. On this day everyone stays at home and tourists are encouraged to remain in their hotels. On the day before New Year, large and colourful sculptures of ogoh-ogoh monsters are paraded and finally burned in the evening to drive away evil spirits. Other festivals throughout the year are specified by the Balinese pawukon calendrical system.

 

Celebrations are held for many occasions such as a tooth-filing (coming-of-age ritual), cremation or odalan (temple festival). One of the most important concepts that Balinese ceremonies have in common is that of désa kala patra, which refers to how ritual performances must be appropriate in both the specific and general social context. Many of the ceremonial art forms such as wayang kulit and topeng are highly improvisatory, providing flexibility for the performer to adapt the performance to the current situation. Many celebrations call for a loud, boisterous atmosphere with lots of activity and the resulting aesthetic, ramé, is distinctively Balinese. Often two or more gamelan ensembles will be performing well within earshot, and sometimes compete with each other to be heard. Likewise, the audience members talk amongst themselves, get up and walk around, or even cheer on the performance, which adds to the many layers of activity and the liveliness typical of ramé.

 

Kaja and kelod are the Balinese equivalents of North and South, which refer to ones orientation between the island's largest mountain Gunung Agung (kaja), and the sea (kelod). In addition to spatial orientation, kaja and kelod have the connotation of good and evil; gods and ancestors are believed to live on the mountain whereas demons live in the sea. Buildings such as temples and residential homes are spatially oriented by having the most sacred spaces closest to the mountain and the unclean places nearest to the sea.

 

Most temples have an inner courtyard and an outer courtyard which are arranged with the inner courtyard furthest kaja. These spaces serve as performance venues since most Balinese rituals are accompanied by any combination of music, dance and drama. The performances that take place in the inner courtyard are classified as wali, the most sacred rituals which are offerings exclusively for the gods, while the outer courtyard is where bebali ceremonies are held, which are intended for gods and people. Lastly, performances meant solely for the entertainment of humans take place outside the walls of the temple and are called bali-balihan. This three-tiered system of classification was standardised in 1971 by a committee of Balinese officials and artists to better protect the sanctity of the oldest and most sacred Balinese rituals from being performed for a paying audience.

 

Tourism, Bali's chief industry, has provided the island with a foreign audience that is eager to pay for entertainment, thus creating new performance opportunities and more demand for performers. The impact of tourism is controversial since before it became integrated into the economy, the Balinese performing arts did not exist as a capitalist venture, and were not performed for entertainment outside of their respective ritual context. Since the 1930s sacred rituals such as the barong dance have been performed both in their original contexts, as well as exclusively for paying tourists. This has led to new versions of many of these performances which have developed according to the preferences of foreign audiences; some villages have a barong mask specifically for non-ritual performances as well as an older mask which is only used for sacred performances.

 

Balinese society continues to revolve around each family's ancestral village, to which the cycle of life and religion is closely tied. Coercive aspects of traditional society, such as customary law sanctions imposed by traditional authorities such as village councils (including "kasepekang", or shunning) have risen in importance as a consequence of the democratisation and decentralisation of Indonesia since 1998.

 

WIKIPEDIA

Lavender Place Community Gardens next to the Hexagon in Reading. Photos taken on 30th June 2019 at the Food4families 10th birthday celebrations.

 

Thames Valley Police in partnership with Food4families and working with volunteers from Reading Food Growing Network, pupils from Deemway Montessori School and students from Activate Learning Reading College have been creating a temporary community garden on the site of former Civic Offices until it is re-developed.

 

Study of the Victorian maps of the area that was demolished to make way for Civic Offices, Courts and Police Station show that there were many courtyards with edible connotations: Wine Court, Lavender Place, Cherry Court, Plum Court, Grape Passage. This may be an indication of small holdings in the area

Kontejner - www.kontejner.org/

 

Festival

Touch Me Festival 2008 - Feel better!

Feel better! Art at intersection of technology and science

19.12.2008. - 23.12.2008.

Student Center, Zagreb

 

This year’s festival has a name with connotations of pleasure − Feel Better!. Touch me festival is still testing out how the individual can be bound into the network of mechanical, electro-mechanical, electronic and cybernetic aids and biotechnology, and the non-critical attitude of society towards ethical issues that the changes in contemporary technological reality open up. The topic of this edition of the international festival is related to the imperatives of happiness, pleasure and hedonism, and draws upon paradigms that explain how in the contemporary social and political system the issue of stability and control has been diverted from the area of power and repression

to the area of happiness and fun. It starts off from the proposition that being down, gloomy, depressive, uninterested is equivalent to being socially unacceptable. Some of the pieces in the festival thus attempt to cheer the visitors up, to shift them into a state of short-lasting hedonism, provide them with all kinds of sensual and sensory pleasures, known and unknown.

The Victoria Industrial School for Boys officially opened to great fanfare on May 16, 1887 when a six-car train arrived at Mimico, festooned with flags and flowers, and carrying the governor general, Lord Lansdowne, and 350 other dignitaries and citizens.

 

This new residential school was built “to provide a place where vagrant boys can be taken care of, trained, and improved, instead of being sent to gaol to be hardened and made vicious among older criminals.”

 

Superintendent W.J. Hendrie made it clear the school differed from a reformatory in that there were no bars or cells like a prison. The boys were not criminals, but needed help by “acquiring a home feeling and habits of industry and obedience in the kindly atmosphere of the School.”

 

It was the first institution of its kind in Canada.

 

The students were typically aged 10 to 14, and came to the school through the Toronto School Board Truancy Department. The boys lived in three or four-storey “cottages” where a matron acted as “mother” and a guard as “father”. The guards also taught the boys trades, such as carpentry, printing, farming, baking and tailoring. Eventually, the school had six cottages, a farm with greenhouses, a hospital, a school with an assembly hall, a skating rink, a gym with a swimming pool, workshops and an administrative building.

 

Operated on a military model, the boys wore gray and red uniforms, and each day was highly structured, typically consisting of 9.5 hours of sleep, 4.5 hours of work, 3.5 hours of school, three hours of recreation/play, two hours in the cottage and 1.5 hours for meals. Teachers were provided by the Toronto School Board, and on Sundays the boys attended local churches.

 

However, attitudes and methods for dealing with problems change over time. The school gradually changed into a place that housed more hardened boys with criminal histories. In 1928, Victoria Industrial School was renamed Mimico Reform School, with all of the criminal connotations that new name implied.

 

There were accusations that the school was “barbarous and antiquated.”

 

In October 1934, provincial minister of welfare, David Croll, announced the Mimico facility was being closed and all boys transferred to the Bowmanville Boys’ School, thereby removing “a largely artificial distinction between types of youths who have been sent to one or the other institution.” By December, the facility was vacant and the property turned over to the adult Ontario Reformatory, which had been located to the west of the school since 1913, and which has its own story to tell one day.

ETERNAL TELETHON documentation from the exhibition WORK AFTER WORK at the MAK CENTER's Mackey Apartments Garage

 

USC Roski School of Fine Arts, Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere is pleased to announce Work After Work, an exhibition of artworks and documents by:

 

Michael Asher

Eternal Telethon

Andrea Fraser

...Alex Israel

Sharon Lockhart

Yvonne Rainer

State of the Arts

Kenneth Tam

Anton Vidokle

Carey Young

 

Work After Work is an exhibition and program of events exploring issues of artistic production and labor, and is motivated by a keen awareness of how the current economic situation applies particular pressures on the many connotations of artistic “work.” It is a crucial moment to reexamine the shifting value, both economic and cultural, of artistic labor and to explore the ways in which artists navigate, resist, and reproduce these values. Each of the participating artists in the exhibition implement distinct methodologies for transforming the economic conditions of their artistic activities: from reflections on artistic practice as labor and entrepreneurial venture; to developing practical contracts that enforce artist fee structures; to resisting the speculative art market by offering unlimited multiples; to conceptualizations of artistic service provision, among others. Beyond evidencing economic models, the exhibition aims to reveal the shifts in political and social dynamics that artists face when negotiating the conditions of the production, reception, and consumption of art.

 

In conjunction with the exhibition, there is a program of artist conversations, panel discussions, screenings, and performances:

 

Thursday, April 28, 6-9pm:

Opening Reception

 

Saturday, April 30:

Instruction of Yvonne Rainer’s Trio A by Sara Wookey, 3pm

A conversation with Yvonne Rainer and Sara Wookey, 5pm

 

Sunday, May 1:

A conversation with Alex Israel, 1pm

Negotiating Institutional Relationships: A discussion with W.A.G.E., Sue Bell Yank and Robby Herbst, 3pm

 

Saturday, May 7, 11am:

Eternal Telethon: Performance and Online Broadcast, www.eternaltelethon.com/

 

Sunday, May 8, 12pm: Film Screening: Sharon Lockhart, Lunch Break (2008), 80 minutes

 

Work After Work will be accompanied by a fully illustrated catalogue featuring essays by Joshua Decter, Chloe Flores, Melinda Guillen, and Eric Golo Stone. In addition, each contributer in the exhibition is represented by a short biographical text. Design is by Eric Roinestad. The catalogue will be available free of charge throughout the duration of the exhibition.

 

-----------------------------------------------------

 

Garage Top at the Mackey Apartment Building, Mak Center for Art and Architecture is located at 1137 S. Cochran, Mid-City Los Angeles. Work After Work will be open April 28 – May 8 from 11 a.m. to 6 p.m. There is no charge for admission.

 

Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere

The Master of Public Art Studies Program: Art/Curatorial Practices in the Public Sphere at USC's Roski School of Fine Arts is a unique platform to research art, architecture and other modes of cultural production, as well as models of curatorial practice/exhibition making, in relation to the material/social conditions of public space.

roski.usc.edu/pas/

1933-1945

The outer castle gate was 1933/1934 converted into a war memorial. In the 30s it became common practice to use the space for mass events, the speakers most of the time speaking from the balcony of the New Castle to the crowd of people (1932 rally during the visit of Hermann Goring, 1934 rally of the Fatherland Front, 1938 Nazi rally for Adolf Hitler [whereby the Heroe's square internationally became the synonym for Annexation; the play "Heldenplatz" by Thomas Bernhard (premiere November 4, 1988 at the Burgtheater) in this context before and after the premiere caused heated discussions]). During the Second World War at Heldenplatz were held outdoor exhibitions (for example, "The victory in the West", 1940).

Second Republic

1945-1953 the Heldenplatz by the Soviet Element of the Allied Council (which had housed his "officers' house" and other facilities in the Hofburg) was used for events which one wanted to give a military context. From 31 October 1953 followed on Heldenplatz the ceremony for the handover of the command of the Vienna Inter Allied Command, taking place monthly; until its dissolution this practice was continued. Furthermore, the space has been used for large gatherings and events (for example, 1983 rally to mark the visit of Pope John Paul II, 1984 rally against the construction of the Danube power plant Hainburg, 1993 final rally of the campaign "SOS Fellow Human Being" ["Sea of ​​Light"]). - Military Celebration of the Armed Forces (compilation of Martin Senekowitsch [according to Guard Chronicle of Guard Battalion]): The Heldenplatz was in the Second Republic often the scene of military celebrations. From November 2, 1955 every year: Heroes ceremony for the fallen soldiers of both World Wars at the crypt of the Castle gate. March 13, 1963: commemoration of the "Anschluss" of Austria in 1938. 18 October 1963: 300th anniversary of Prince Eugene. February 12, 1964: commemoration of February 1934. April 27, 1965: commemoration of the victims of the Nazi regime. 16 May 1965, 14 May 1966, 15 May, 1967 to 1970: Big Tattoo. 8 July 1974 and 8 July 1980: Swearing-in of Federal President Dr Rudolf Kirchschläger. September 6, 1975: Big tattoo (20 years Garrison Wien). April 27, 1981: Republic Celebration. July 7, 1986: Big Tattoo (departure of President Rudolf Kirchschläger). July 8, 1986 respectively July 6, 1992: Big Tattoo (swearing-in respectively departure of Federal President Dr Kurt Waldheim). July 8, 1992: Swearing-in of Federal President Dr Thomas Klestil.

Symbolic meaning

The Heroes Square already by the Habsburgs was laid out as a place of political representation. In the First Republic it served the Nazis before being banned as a symbolic parade ground. This was opposed by the Dolfuss-Schuschnigg regime holding the pan-German Catholics Day 1933 and other celebrations. However, a particular importance gained the Heldenplatz on March 15, 1938 after the Nazi takeover. On this day, Adolf Hitler as part of a mass event announced "the entry of my homeland into the German Reich". Due to this symbolic charging, the Heldenplatz also in the Second Republic in the collective memory remained connected with the "Annexation", although there was no lack of attempts of a new symbolic connotation. Artistic expression this found in the play by Thomas Bernhard entitled "Heldenplatz" and premiered in 1988 and in a poem by Ernst Jandl. From the 1990s, however, events as the Sea of Light of the action "Fellow Human Being" on January 23, 1993 as well as the demonstration against the new government of ÖVP (Austrian People's Party) and FPÖ (Freedom Party of Austria) on February 19, 2000 increased who saw themselves as counterpoints to March 15, 1938.

 

1933-1945

Das Äußere Burgtor wurde 1933/1934 zu einem Heldendenkmal umgestaltet. In den 30er Jahren begann es sich einzubürgern, den Platz für Massenveranstaltungen zu benutzen, wobei die Redner meist vom Balkon der Neuen Burg zur Menge sprachen (1932 Kundgebung beim Hermann-Göring-Besuch, 1934 Kundgebung der Vaterländischen Front, 1938 nationalsozialistische Kundgebung für Adolf Hitler [wodurch der Heldenplatz international zu einem Synonym für den "Anschluss" wurde; das Stück "Heldenplatz" von Thomas Bernhard (Uraufführung 4. November 1988 im Burgtheater) sorgte in diesem Zusammenhang vor und nach der Premiere für erregte Diskussionen]). Während des Zweiten Weltkriegs wurden auf dem Heldenplatz Freiluftausstellungen veranstaltet (beispielsweise "Der Sieg im Westen", 1940).

Zweite Republik

1945-1953 wurde der Heldenplatz vom sowjetrussischen Element des Alliierten Rats (das in der Hofburg sein "Offiziershaus" und andere Einrichtungen untergebracht hatte) für Veranstaltungen genutzt, denen man einen militärischen Rahmen geben wollte. Ab 31. Oktober 1953 erfolgte auf dem Heldenplatz die monatlich stattfindende Zeremonie der Kommandoübergabe der Wiener Interalliierten Kommandantur; bis zu deren Auflösung wurde an dieser Praxis festgehalten. Weiterhin wurde der Platz für große Versammlungen und Veranstaltungen genutzt (beispielsweise 1983 Kundgebung anlässlich des Besuchs Papst Johannes Pauls II., 1984 Kundgebung gegen den Bau des Donaukraftwerks Hainburg, 1993 Abschlusskundgebung der Aktion "SOS Mitmensch" ["Lichtermeer"]). - Militärische Feiern des Bundesheeres (Zusammenstellung von Martin Senekowitsch [laut Gardechronik des Gardebataillons]): Der Heldenplatz war in der Zweiten Republik oftmals Schauplatz militärischer Feierlichkeiten. Ab 2. November 1955 jedes Jahr: Heldenehrung für die Gefallenen beider Weltkriege bei der Krypta des Äußeren Burgtors. 13. März 1963: Gedenkfeier anlässlich des "Anschlusses" Österreichs 1938. 18. Oktober 1963: 300. Geburtstag des Prinzen Eugen. 12. Februar 1964: Gedenken an den Februar 1934. 27. April 1965: Gedenken an die Opfer des NS-Regimes. 16. Mai 1965, 14. Mai 1966, 15. Mai 1967-1970: Großer Zapfenstreich. 8. Juli 1974 und 8. Juli 1980: Angelobung von Bundespräsident Dr. Rudolf Kirchschläger. 6. September 1975: Großer Zapfenstreich (20 Jahre Garnison Wien). 27. April 1981: Republikfeier. 7. Juli 1986: Großer Zapfenstreich (Verabschiedung von Bundespräsident Rudolf Kirchschläger). 8. Juli 1986 beziehungsweise 6. Juli 1992: Großer Zapfenstreich (Angelobung beziehungsweise Verabschiedung von Bundespräsident Dr. Kurt Waldheim). 8. Juli 1992: Angelobung von Bundespräsident Dr. Thomas Klestil.

Symbolische Bedeutung

Der Heldenplatz wurde schon von den Habsburgern als Ort der politischen Repräsentation angelegt. In der Ersten Republik diente er vor deren Verbot den Nationalsozialisten als symbolischer Aufmarschplatz. Dem setzte das Dolfuss-Schuschnigg-Regime die Abhaltung des gesamtdeutschen Katholikentages 1933 und andere Feiern dagegen. Eine besondere Bedeutung erhielt der Heldenplatz jedoch am 15.3.1938 nach der NS-Machtübernahme. An diesem Tag verkündete Adolf Hitler im Rahmen einer Massenveranstaltung "den Eintritt meiner Heimat in das Deutsche Reich". Auf Grund dieser symbolischen Aufladung blieb der Heldenplatz auch in der Zweiten Republik im kollektiven Gedächtnis mit dem "Anschluss" verbunden, obwohl es nicht an Versuchen einer symbolischen Neubestzung des Ortes fehlte. Künstlerischen Ausdruck fand dies auch im 1988 uraufgeführten Theaterstück Thomas Bernhards mit dem Titel "Heldenplatz" und in einem Gedicht von Ernst Jandl. Ab den 1990er Jahren mehrten sich allerdings Veranstaltungen wie das Lichtermeer der Aktion Mitmensch" am 23.1.1993 sowie die Demonstration gegen die Regierungsbildung von ÖVP und FPÖ am 19.2.2000 die sich als Kontrapunkte zum 15.3.1938 verstanden haben.

www.wien.gv.at/wiki/index.php?title=Heldenplatz

ETERNAL TELETHON documentation from the exhibition WORK AFTER WORK at the MAK CENTER's Mackey Apartments Garage

 

USC Roski School of Fine Arts, Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere is pleased to announce Work After Work, an exhibition of artworks and documents by:

 

Michael Asher

Eternal Telethon

Andrea Fraser

...Alex Israel

Sharon Lockhart

Yvonne Rainer

State of the Arts

Kenneth Tam

Anton Vidokle

Carey Young

 

Work After Work is an exhibition and program of events exploring issues of artistic production and labor, and is motivated by a keen awareness of how the current economic situation applies particular pressures on the many connotations of artistic “work.” It is a crucial moment to reexamine the shifting value, both economic and cultural, of artistic labor and to explore the ways in which artists navigate, resist, and reproduce these values. Each of the participating artists in the exhibition implement distinct methodologies for transforming the economic conditions of their artistic activities: from reflections on artistic practice as labor and entrepreneurial venture; to developing practical contracts that enforce artist fee structures; to resisting the speculative art market by offering unlimited multiples; to conceptualizations of artistic service provision, among others. Beyond evidencing economic models, the exhibition aims to reveal the shifts in political and social dynamics that artists face when negotiating the conditions of the production, reception, and consumption of art.

 

In conjunction with the exhibition, there is a program of artist conversations, panel discussions, screenings, and performances:

 

Thursday, April 28, 6-9pm:

Opening Reception

 

Saturday, April 30:

Instruction of Yvonne Rainer’s Trio A by Sara Wookey, 3pm

A conversation with Yvonne Rainer and Sara Wookey, 5pm

 

Sunday, May 1:

A conversation with Alex Israel, 1pm

Negotiating Institutional Relationships: A discussion with W.A.G.E., Sue Bell Yank and Robby Herbst, 3pm

 

Saturday, May 7, 11am:

Eternal Telethon: Performance and Online Broadcast, www.eternaltelethon.com/

 

Sunday, May 8, 12pm: Film Screening: Sharon Lockhart, Lunch Break (2008), 80 minutes

 

Work After Work will be accompanied by a fully illustrated catalogue featuring essays by Joshua Decter, Chloe Flores, Melinda Guillen, and Eric Golo Stone. In addition, each contributer in the exhibition is represented by a short biographical text. Design is by Eric Roinestad. The catalogue will be available free of charge throughout the duration of the exhibition.

 

-----------------------------------------------------

 

Garage Top at the Mackey Apartment Building, Mak Center for Art and Architecture is located at 1137 S. Cochran, Mid-City Los Angeles. Work After Work will be open April 28 – May 8 from 11 a.m. to 6 p.m. There is no charge for admission.

 

Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere

The Master of Public Art Studies Program: Art/Curatorial Practices in the Public Sphere at USC's Roski School of Fine Arts is a unique platform to research art, architecture and other modes of cultural production, as well as models of curatorial practice/exhibition making, in relation to the material/social conditions of public space.

roski.usc.edu/pas/

ETERNAL TELETHON documentation from the exhibition WORK AFTER WORK at the MAK CENTER's Mackey Apartments Garage

 

USC Roski School of Fine Arts, Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere is pleased to announce Work After Work, an exhibition of artworks and documents by:

 

Michael Asher

Eternal Telethon

Andrea Fraser

...Alex Israel

Sharon Lockhart

Yvonne Rainer

State of the Arts

Kenneth Tam

Anton Vidokle

Carey Young

 

Work After Work is an exhibition and program of events exploring issues of artistic production and labor, and is motivated by a keen awareness of how the current economic situation applies particular pressures on the many connotations of artistic “work.” It is a crucial moment to reexamine the shifting value, both economic and cultural, of artistic labor and to explore the ways in which artists navigate, resist, and reproduce these values. Each of the participating artists in the exhibition implement distinct methodologies for transforming the economic conditions of their artistic activities: from reflections on artistic practice as labor and entrepreneurial venture; to developing practical contracts that enforce artist fee structures; to resisting the speculative art market by offering unlimited multiples; to conceptualizations of artistic service provision, among others. Beyond evidencing economic models, the exhibition aims to reveal the shifts in political and social dynamics that artists face when negotiating the conditions of the production, reception, and consumption of art.

 

In conjunction with the exhibition, there is a program of artist conversations, panel discussions, screenings, and performances:

 

Thursday, April 28, 6-9pm:

Opening Reception

 

Saturday, April 30:

Instruction of Yvonne Rainer’s Trio A by Sara Wookey, 3pm

A conversation with Yvonne Rainer and Sara Wookey, 5pm

 

Sunday, May 1:

A conversation with Alex Israel, 1pm

Negotiating Institutional Relationships: A discussion with W.A.G.E., Sue Bell Yank and Robby Herbst, 3pm

 

Saturday, May 7, 11am:

Eternal Telethon: Performance and Online Broadcast, www.eternaltelethon.com/

 

Sunday, May 8, 12pm: Film Screening: Sharon Lockhart, Lunch Break (2008), 80 minutes

 

Work After Work will be accompanied by a fully illustrated catalogue featuring essays by Joshua Decter, Chloe Flores, Melinda Guillen, and Eric Golo Stone. In addition, each contributer in the exhibition is represented by a short biographical text. Design is by Eric Roinestad. The catalogue will be available free of charge throughout the duration of the exhibition.

 

-----------------------------------------------------

 

Garage Top at the Mackey Apartment Building, Mak Center for Art and Architecture is located at 1137 S. Cochran, Mid-City Los Angeles. Work After Work will be open April 28 – May 8 from 11 a.m. to 6 p.m. There is no charge for admission.

 

Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere

The Master of Public Art Studies Program: Art/Curatorial Practices in the Public Sphere at USC's Roski School of Fine Arts is a unique platform to research art, architecture and other modes of cultural production, as well as models of curatorial practice/exhibition making, in relation to the material/social conditions of public space.

roski.usc.edu/pas/

ETERNAL TELETHON documentation from the exhibition WORK AFTER WORK at the MAK CENTER's Mackey Apartments Garage

 

USC Roski School of Fine Arts, Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere is pleased to announce Work After Work, an exhibition of artworks and documents by:

 

Michael Asher

Eternal Telethon

Andrea Fraser

...Alex Israel

Sharon Lockhart

Yvonne Rainer

State of the Arts

Kenneth Tam

Anton Vidokle

Carey Young

 

Work After Work is an exhibition and program of events exploring issues of artistic production and labor, and is motivated by a keen awareness of how the current economic situation applies particular pressures on the many connotations of artistic “work.” It is a crucial moment to reexamine the shifting value, both economic and cultural, of artistic labor and to explore the ways in which artists navigate, resist, and reproduce these values. Each of the participating artists in the exhibition implement distinct methodologies for transforming the economic conditions of their artistic activities: from reflections on artistic practice as labor and entrepreneurial venture; to developing practical contracts that enforce artist fee structures; to resisting the speculative art market by offering unlimited multiples; to conceptualizations of artistic service provision, among others. Beyond evidencing economic models, the exhibition aims to reveal the shifts in political and social dynamics that artists face when negotiating the conditions of the production, reception, and consumption of art.

 

In conjunction with the exhibition, there is a program of artist conversations, panel discussions, screenings, and performances:

 

Thursday, April 28, 6-9pm:

Opening Reception

 

Saturday, April 30:

Instruction of Yvonne Rainer’s Trio A by Sara Wookey, 3pm

A conversation with Yvonne Rainer and Sara Wookey, 5pm

 

Sunday, May 1:

A conversation with Alex Israel, 1pm

Negotiating Institutional Relationships: A discussion with W.A.G.E., Sue Bell Yank and Robby Herbst, 3pm

 

Saturday, May 7, 11am:

Eternal Telethon: Performance and Online Broadcast, www.eternaltelethon.com/

 

Sunday, May 8, 12pm: Film Screening: Sharon Lockhart, Lunch Break (2008), 80 minutes

 

Work After Work will be accompanied by a fully illustrated catalogue featuring essays by Joshua Decter, Chloe Flores, Melinda Guillen, and Eric Golo Stone. In addition, each contributer in the exhibition is represented by a short biographical text. Design is by Eric Roinestad. The catalogue will be available free of charge throughout the duration of the exhibition.

 

-----------------------------------------------------

 

Garage Top at the Mackey Apartment Building, Mak Center for Art and Architecture is located at 1137 S. Cochran, Mid-City Los Angeles. Work After Work will be open April 28 – May 8 from 11 a.m. to 6 p.m. There is no charge for admission.

 

Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere

The Master of Public Art Studies Program: Art/Curatorial Practices in the Public Sphere at USC's Roski School of Fine Arts is a unique platform to research art, architecture and other modes of cultural production, as well as models of curatorial practice/exhibition making, in relation to the material/social conditions of public space.

roski.usc.edu/pas/

Tikkun olam (‫תיקון עולם‬‎) is a Hebrew phrase that means "repairing the world" (or "healing and restoring the world") which suggests humanity's shared responsibility (with the Creator) "to heal, repair and transform the world." In Judaism, the concept of tikkun olam originated in the early rabbinic period. The concept was given new meanings in the kabbalah of the medieval period and further connotations in modern Judaism.

 

According to this spiritual concept, God created the world by forming vessels of light to hold the Divine Light. But as God poured the Light into the vessels, they catastrophically shattered, tumbling down toward the realm of matter. Thus, our world consists of countless shards of the original vessels entrapping sparks of the Divine Light. Humanity’s great task involves helping God by freeing and reuniting the scattered Light, raising the sparks back to Divinity and restoring the broken world.

 

Similar concepts are present in other religions too. Christ promised to return with the coming of the Kingdom of Heaven and exhorted people to prepare through love, wakefulness, and charity. In Buddhism, the Bodhisattva vows to forgo final liberation until all beings have been freed from suffering. The Gnostics held that a spark of Divinity resides entrapped within the soul of humans. The third pillar upon which the faith if Islam is built is the obligation to almsgiving, or “Zakat”. It literally means giving back to Allah (God) a portion of His bounty. Zakat is an act of beneficence of right-doing and a charitable act in the moral sense and represents fundamental requirement of the faith.

 

Herod's Gate, Jerusalem

 

April 2011

Lavender Place Community Gardens next to the Hexagon in Reading. Photos taken on 30th June 2019 at the Food4families 10th birthday celebrations.

 

Thames Valley Police in partnership with Food4families and working with volunteers from Reading Food Growing Network, pupils from Deemway Montessori School and students from Activate Learning Reading College have been creating a temporary community garden on the site of former Civic Offices until it is re-developed.

 

Study of the Victorian maps of the area that was demolished to make way for Civic Offices, Courts and Police Station show that there were many courtyards with edible connotations: Wine Court, Lavender Place, Cherry Court, Plum Court, Grape Passage. This may be an indication of small holdings in the area

An ID booklet measuring 60x90mm for the Socialist Alliance of The Working People of Yugoslavia, Bosnia & Herzegovina branch. It is stamped and signed by the representative of Logavina, in Sarajevo, but has not been made out to anyone. Although the Bosnia & Herzegovina logo is reproduced in Serbian Cyrillic and Latin script, the document itself is in Cyrillic.

 

The organisation was founded in 1945 as the People's Front, changing its name in 1953. It was formed with the aim of involving as many people as possible in activities on the party agenda, without the restrictions and negative connotations of direct party control. It ceased to exist in 1990 following the break up of Yugoslavia and its descent into bloody civil war between the ethnic factions.

First of all, I divorce myself from any unflattering connotations I may have ascribed to my reputation from taking this photo. I am not a "stoner," nor am I a "burn-out;" I am a student, I am a writer, I am an artist, a dreamer -- I am all of these things, and I just so happen to be a marijuana user. Next time you look down upon someone who reeks of incense and Woodstock, just think of how many of us are in your nation's colleges, learning the skills we need to survive in an empire in decline.

 

Many people know that I use cannabis to alleviate symptoms of chronic pain. Though I'd be selfishly overjoyed if Wisconsin's JRMMA were to pass, it'd mean a lot more to me knowing that patients like Jacki Rickert had legal, safe, secure access to the medication that worked for them. Think: how many people do you know would be able to live their lives to the fullest if only they were able to physically?

 

I would be overjoyed, not just for those whose symptoms are directly alleviated by marijuana use -- but also for those whose final days are wearing thin, and just want to be able to use a medication that puts them in a peaceful, comfortable position. If we allow the terminally-ill to be put on morphine -- a powerful opiate which often causes serious side effects -- for their final days, why don't we allow marijuana?

 

This is an issue I feel quite strongly about -- all from moral, ethical, personal, and medical perspectives. If you like this photo, please visit jrmma.org and immly.org for more information.

OBJECTS OF WONDER: A PRIVATE EUROPEAN KUNSTKAMMER

Southern German, late 17th/ early 18th century

PERSONIFICATION OF DEATH WITH A SCYTHE

Southern German, late 17th/ early 18th century

PERSONIFICATION OF DEATH WITH A SCYTHE

fruitwood and metal

36.2cm., 14¼in

Representations of memento mori motifs – reminders of the fleetingness of life – gained currency in the Renaissance, particularly in Reformation-led Germany. Acting as moral guardians with connotations of sin, decay, and the afterlife, such objects were valued equally as curiosities, satisfying the Renaissance obsession with human anatomy and the grotesque. The early 16th century saw the rise of skeletons personifying death – so-called Tödlein ('little deaths') – as an independent genre in Southern German small-scale sculpture. Perhaps the earliest of these is a figure by the Bavarian sculptor Hans Leinberger of circa 1520 (Beck, op. cit., fig. 63), which defines the type as a skeletal body in an advanced state of decomposition, with remnants of skin acting as stand-in clothing, and equipped with death-bringing attributes such as a bow and arrow or an hour glass. Further 16th-century examples following this scheme are illustrated in Bange (op. cit., pls. 72-73).

 

The present skeleton dates from the 17th century, when the popularity of this type of carving was renewed by sculptors within the Dürer Revival movement (Beck, op. cit.). While it relates to other known Tödleine in the characteristic attributes of a bow and quiver, our figure introduces the scythe as a less common motif and exhibits a menacingly long-limbed physique. The ornate base covered with trophies is not seen in known examples dated to the first half of the 17th century, indicating perhaps a later dating.

 

RELATED LITERATURE

E. F. Bange, Die Kleinplastik der Deutschen Renaissance in Holz und Stein, Florence and Munich, 1928, pls. 72-73; H. Beck and B. Decker (eds.), Dürers Verwandlung in der Skulptur zwischen Renaissance und Barock, exh. cat. Liebieghaus, Frankfurt am Main, 1981, pp. 298-304

www.sothebys.com/en/auctions/ecatalogue/2017/old-master-s...

ETERNAL TELETHON documentation from the exhibition WORK AFTER WORK at the MAK CENTER's Mackey Apartments Garage

 

USC Roski School of Fine Arts, Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere is pleased to announce Work After Work, an exhibition of artworks and documents by:

 

Michael Asher

Eternal Telethon

Andrea Fraser

...Alex Israel

Sharon Lockhart

Yvonne Rainer

State of the Arts

Kenneth Tam

Anton Vidokle

Carey Young

 

Work After Work is an exhibition and program of events exploring issues of artistic production and labor, and is motivated by a keen awareness of how the current economic situation applies particular pressures on the many connotations of artistic “work.” It is a crucial moment to reexamine the shifting value, both economic and cultural, of artistic labor and to explore the ways in which artists navigate, resist, and reproduce these values. Each of the participating artists in the exhibition implement distinct methodologies for transforming the economic conditions of their artistic activities: from reflections on artistic practice as labor and entrepreneurial venture; to developing practical contracts that enforce artist fee structures; to resisting the speculative art market by offering unlimited multiples; to conceptualizations of artistic service provision, among others. Beyond evidencing economic models, the exhibition aims to reveal the shifts in political and social dynamics that artists face when negotiating the conditions of the production, reception, and consumption of art.

 

In conjunction with the exhibition, there is a program of artist conversations, panel discussions, screenings, and performances:

 

Thursday, April 28, 6-9pm:

Opening Reception

 

Saturday, April 30:

Instruction of Yvonne Rainer’s Trio A by Sara Wookey, 3pm

A conversation with Yvonne Rainer and Sara Wookey, 5pm

 

Sunday, May 1:

A conversation with Alex Israel, 1pm

Negotiating Institutional Relationships: A discussion with W.A.G.E., Sue Bell Yank and Robby Herbst, 3pm

 

Saturday, May 7, 11am:

Eternal Telethon: Performance and Online Broadcast, www.eternaltelethon.com/

 

Sunday, May 8, 12pm: Film Screening: Sharon Lockhart, Lunch Break (2008), 80 minutes

 

Work After Work will be accompanied by a fully illustrated catalogue featuring essays by Joshua Decter, Chloe Flores, Melinda Guillen, and Eric Golo Stone. In addition, each contributer in the exhibition is represented by a short biographical text. Design is by Eric Roinestad. The catalogue will be available free of charge throughout the duration of the exhibition.

 

-----------------------------------------------------

 

Garage Top at the Mackey Apartment Building, Mak Center for Art and Architecture is located at 1137 S. Cochran, Mid-City Los Angeles. Work After Work will be open April 28 – May 8 from 11 a.m. to 6 p.m. There is no charge for admission.

 

Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere

The Master of Public Art Studies Program: Art/Curatorial Practices in the Public Sphere at USC's Roski School of Fine Arts is a unique platform to research art, architecture and other modes of cultural production, as well as models of curatorial practice/exhibition making, in relation to the material/social conditions of public space.

roski.usc.edu/pas/

ETERNAL TELETHON documentation from the exhibition WORK AFTER WORK at the MAK CENTER's Mackey Apartments Garage

 

USC Roski School of Fine Arts, Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere is pleased to announce Work After Work, an exhibition of artworks and documents by:

 

Michael Asher

Eternal Telethon

Andrea Fraser

...Alex Israel

Sharon Lockhart

Yvonne Rainer

State of the Arts

Kenneth Tam

Anton Vidokle

Carey Young

 

Work After Work is an exhibition and program of events exploring issues of artistic production and labor, and is motivated by a keen awareness of how the current economic situation applies particular pressures on the many connotations of artistic “work.” It is a crucial moment to reexamine the shifting value, both economic and cultural, of artistic labor and to explore the ways in which artists navigate, resist, and reproduce these values. Each of the participating artists in the exhibition implement distinct methodologies for transforming the economic conditions of their artistic activities: from reflections on artistic practice as labor and entrepreneurial venture; to developing practical contracts that enforce artist fee structures; to resisting the speculative art market by offering unlimited multiples; to conceptualizations of artistic service provision, among others. Beyond evidencing economic models, the exhibition aims to reveal the shifts in political and social dynamics that artists face when negotiating the conditions of the production, reception, and consumption of art.

 

In conjunction with the exhibition, there is a program of artist conversations, panel discussions, screenings, and performances:

 

Thursday, April 28, 6-9pm:

Opening Reception

 

Saturday, April 30:

Instruction of Yvonne Rainer’s Trio A by Sara Wookey, 3pm

A conversation with Yvonne Rainer and Sara Wookey, 5pm

 

Sunday, May 1:

A conversation with Alex Israel, 1pm

Negotiating Institutional Relationships: A discussion with W.A.G.E., Sue Bell Yank and Robby Herbst, 3pm

 

Saturday, May 7, 11am:

Eternal Telethon: Performance and Online Broadcast, www.eternaltelethon.com/

 

Sunday, May 8, 12pm: Film Screening: Sharon Lockhart, Lunch Break (2008), 80 minutes

 

Work After Work will be accompanied by a fully illustrated catalogue featuring essays by Joshua Decter, Chloe Flores, Melinda Guillen, and Eric Golo Stone. In addition, each contributer in the exhibition is represented by a short biographical text. Design is by Eric Roinestad. The catalogue will be available free of charge throughout the duration of the exhibition.

 

-----------------------------------------------------

 

Garage Top at the Mackey Apartment Building, Mak Center for Art and Architecture is located at 1137 S. Cochran, Mid-City Los Angeles. Work After Work will be open April 28 – May 8 from 11 a.m. to 6 p.m. There is no charge for admission.

 

Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere

The Master of Public Art Studies Program: Art/Curatorial Practices in the Public Sphere at USC's Roski School of Fine Arts is a unique platform to research art, architecture and other modes of cultural production, as well as models of curatorial practice/exhibition making, in relation to the material/social conditions of public space.

roski.usc.edu/pas/

Sergiyev Posad (Russian: Се́ргиев Поса́д) is a city and the administrative center of Sergiyevo-Posadsky District of Moscow Oblast, Russia. It grew in the 15th century around one of the greatest of Russian monasteries, the Trinity Lavra established by St. Sergius of Radonezh. The town status was granted to it in 1742. As the town's name, alluding to St. Sergius, had strong religious connotations, the Soviet authorities changed first to just Sergiyev in 1919, and then to Zagorsk in 1930, in memory of the revolutionary Vladimir Zagorsky. The original name was restored in 1991. Population: 110,878 (2010 Census preliminary results);[1] 113,581 (2002 Census);[2] 114,696 (1989 Census).[4]

 

Tourism associated with the Golden Ring plays a role in the regional economy. There is also an important factory of toys.

 

The Moscow–Yaroslavl railway and highway pass through the town. Sergiyev Posad Bus Terminal is located in the city.

 

en.wikipedia.org/wiki/Sergiyev_Posad

or "Wishing you a prosperous new year !" This greeting is traditionally accompanied by the hand gesture of clasping of one fist with the other hand, as Rouen has demonstrated.

 

Notice another interesting detail? The Chinese word for "blessing", or "福" is sometimes hung upside down. The Chinese word for "upside down" sounds like "come", so the entire connotation would have symbolised that blessings have come!

A great deal of boudoir; is now created in the photographer's studio or in luxury hotel suites, where it has become very fashionable to create a set of sensual images for women in boudoir style. This often takes the shape of partly clothed images or images in lingerie, and has become more than just a passing fad for brides to surprise their future husbands. Although in the past there were many negative connotations associated with boudoir photography, in recent years the trend has begun to gain momentum, and the entire look of boudoir photography has begun to change...

Lavender Place Community Gardens next to the Hexagon in Reading. Photos taken on 30th June 2019 at the Food4families 10th birthday celebrations.

 

Thames Valley Police in partnership with Food4families and working with volunteers from Reading Food Growing Network, pupils from Deemway Montessori School and students from Activate Learning Reading College have been creating a temporary community garden on the site of former Civic Offices until it is re-developed.

 

Study of the Victorian maps of the area that was demolished to make way for Civic Offices, Courts and Police Station show that there were many courtyards with edible connotations: Wine Court, Lavender Place, Cherry Court, Plum Court, Grape Passage. This may be an indication of small holdings in the area

There's something rather nice about the juxtaposition of a style of clothing intended to meet religious sensibilities combined with a material that has distinctly kinky connotations. :)

You have a dangerous face, and an illegal taste... This is relevant.

 

Oh look, another non-animal photo! WHAT IS MY STREAM COMING TO!?

 

I went through my computer to find photos to demonize/vampirize (to celebrate being able to use photoshop again! YAY!) and did a few that way, but I wasn't really happy with them. SO then I set up a photoshoot and got quite a few photos I liked (this is rare) and I edited a couple of them. This is one of them.

 

The eyes could use a little work to make them better, but whatever.

 

This was partly inspired by the demons on the TV show Supernatural, but mostly inspired by Mitchell in the show Being Human (UK), which I am currently watching. I only have 3 episodes left and I don't want to watch them because I don't want it to end! I like having something to look forward to and if I watch all the episodes then I'll have nothing! Mitchell is such a fascinating character - so vitally flawed but still lovable and redeemable. I adore him. Oh, and the eyes were at least a little inspired by a trio of barred owls I saw watching me a little less than a year ago.

 

FYI, fake blood tastes toxic and stains skin.

My RA already thinks I'm a freak (which is fine by me - I'd rather be that than boring and ordinary, like her), so meeting her in the bathroom with blood dripping down my face was oh so fun. She's very straight-laced and doesn't quite know what to do with me.

 

I really wish I could make my eyes do that for real sometimes (but only if I could control it...). It'd be incredibly useful.

 

I don't know why I have such a thing with monsters; I'm such a scaredy cat. Or at least I used to be.

My roommate and I practically live in the dark (when we turn on our overhead light the fire alarm goes off...so we just don't turn it on), though, so I guess it's applicable! I do like biting and blood poetically (meaning...I like it in poems and fiction and photos...I like how it keeps us alive and all the symbolism and imagery and connotations associated with it), though, so I guess it's suitable. I also think it's interesting how monsters, traditionally something horrendous, have recently been romanticized by the media. Vampires I get, for the most part. They're sexy...but this is nothing new. Goes back to Dracula. Werewolves...a natural offshoot. But I just learned that they're making a show about ZOMBIE ROMANCE. I had a good laugh after finding out about that one!

 

Oh, and special thanks to Travis for picking this one for me, even though in order to do so he had to look at them and they're pretty disturbing and he dislikes it when I'm creepy! ;)

There's something rather nice about the juxtaposition of a style of clothing intended to meet religious sensibilities combined with a material that has distinctly kinky connotations. :)

Kontejner - www.kontejner.org/

 

Festival

Touch Me Festival 2008 - Feel better!

Feel better! Art at intersection of technology and science

19.12.2008. - 23.12.2008.

Student Center, Zagreb

 

This year’s festival has a name with connotations of pleasure − Feel Better!. Touch me festival is still testing out how the individual can be bound into the network of mechanical, electro-mechanical, electronic and cybernetic aids and biotechnology, and the non-critical attitude of society towards ethical issues that the changes in contemporary technological reality open up. The topic of this edition of the international festival is related to the imperatives of happiness, pleasure and hedonism, and draws upon paradigms that explain how in the contemporary social and political system the issue of stability and control has been diverted from the area of power and repression

to the area of happiness and fun. It starts off from the proposition that being down, gloomy, depressive, uninterested is equivalent to being socially unacceptable. Some of the pieces in the festival thus attempt to cheer the visitors up, to shift them into a state of short-lasting hedonism, provide them with all kinds of sensual and sensory pleasures, known and unknown.

ETERNAL TELETHON documentation from the exhibition WORK AFTER WORK at the MAK CENTER's Mackey Apartments Garage

 

USC Roski School of Fine Arts, Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere is pleased to announce Work After Work, an exhibition of artworks and documents by:

 

Michael Asher

Eternal Telethon

Andrea Fraser

...Alex Israel

Sharon Lockhart

Yvonne Rainer

State of the Arts

Kenneth Tam

Anton Vidokle

Carey Young

 

Work After Work is an exhibition and program of events exploring issues of artistic production and labor, and is motivated by a keen awareness of how the current economic situation applies particular pressures on the many connotations of artistic “work.” It is a crucial moment to reexamine the shifting value, both economic and cultural, of artistic labor and to explore the ways in which artists navigate, resist, and reproduce these values. Each of the participating artists in the exhibition implement distinct methodologies for transforming the economic conditions of their artistic activities: from reflections on artistic practice as labor and entrepreneurial venture; to developing practical contracts that enforce artist fee structures; to resisting the speculative art market by offering unlimited multiples; to conceptualizations of artistic service provision, among others. Beyond evidencing economic models, the exhibition aims to reveal the shifts in political and social dynamics that artists face when negotiating the conditions of the production, reception, and consumption of art.

 

In conjunction with the exhibition, there is a program of artist conversations, panel discussions, screenings, and performances:

 

Thursday, April 28, 6-9pm:

Opening Reception

 

Saturday, April 30:

Instruction of Yvonne Rainer’s Trio A by Sara Wookey, 3pm

A conversation with Yvonne Rainer and Sara Wookey, 5pm

 

Sunday, May 1:

A conversation with Alex Israel, 1pm

Negotiating Institutional Relationships: A discussion with W.A.G.E., Sue Bell Yank and Robby Herbst, 3pm

 

Saturday, May 7, 11am:

Eternal Telethon: Performance and Online Broadcast, www.eternaltelethon.com/

 

Sunday, May 8, 12pm: Film Screening: Sharon Lockhart, Lunch Break (2008), 80 minutes

 

Work After Work will be accompanied by a fully illustrated catalogue featuring essays by Joshua Decter, Chloe Flores, Melinda Guillen, and Eric Golo Stone. In addition, each contributer in the exhibition is represented by a short biographical text. Design is by Eric Roinestad. The catalogue will be available free of charge throughout the duration of the exhibition.

 

-----------------------------------------------------

 

Garage Top at the Mackey Apartment Building, Mak Center for Art and Architecture is located at 1137 S. Cochran, Mid-City Los Angeles. Work After Work will be open April 28 – May 8 from 11 a.m. to 6 p.m. There is no charge for admission.

 

Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere

The Master of Public Art Studies Program: Art/Curatorial Practices in the Public Sphere at USC's Roski School of Fine Arts is a unique platform to research art, architecture and other modes of cultural production, as well as models of curatorial practice/exhibition making, in relation to the material/social conditions of public space.

roski.usc.edu/pas/

ETERNAL TELETHON documentation from the exhibition WORK AFTER WORK at the MAK CENTER's Mackey Apartments Garage

 

USC Roski School of Fine Arts, Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere is pleased to announce Work After Work, an exhibition of artworks and documents by:

 

Michael Asher

Eternal Telethon

Andrea Fraser

...Alex Israel

Sharon Lockhart

Yvonne Rainer

State of the Arts

Kenneth Tam

Anton Vidokle

Carey Young

 

Work After Work is an exhibition and program of events exploring issues of artistic production and labor, and is motivated by a keen awareness of how the current economic situation applies particular pressures on the many connotations of artistic “work.” It is a crucial moment to reexamine the shifting value, both economic and cultural, of artistic labor and to explore the ways in which artists navigate, resist, and reproduce these values. Each of the participating artists in the exhibition implement distinct methodologies for transforming the economic conditions of their artistic activities: from reflections on artistic practice as labor and entrepreneurial venture; to developing practical contracts that enforce artist fee structures; to resisting the speculative art market by offering unlimited multiples; to conceptualizations of artistic service provision, among others. Beyond evidencing economic models, the exhibition aims to reveal the shifts in political and social dynamics that artists face when negotiating the conditions of the production, reception, and consumption of art.

 

In conjunction with the exhibition, there is a program of artist conversations, panel discussions, screenings, and performances:

 

Thursday, April 28, 6-9pm:

Opening Reception

 

Saturday, April 30:

Instruction of Yvonne Rainer’s Trio A by Sara Wookey, 3pm

A conversation with Yvonne Rainer and Sara Wookey, 5pm

 

Sunday, May 1:

A conversation with Alex Israel, 1pm

Negotiating Institutional Relationships: A discussion with W.A.G.E., Sue Bell Yank and Robby Herbst, 3pm

 

Saturday, May 7, 11am:

Eternal Telethon: Performance and Online Broadcast, www.eternaltelethon.com/

 

Sunday, May 8, 12pm: Film Screening: Sharon Lockhart, Lunch Break (2008), 80 minutes

 

Work After Work will be accompanied by a fully illustrated catalogue featuring essays by Joshua Decter, Chloe Flores, Melinda Guillen, and Eric Golo Stone. In addition, each contributer in the exhibition is represented by a short biographical text. Design is by Eric Roinestad. The catalogue will be available free of charge throughout the duration of the exhibition.

 

-----------------------------------------------------

 

Garage Top at the Mackey Apartment Building, Mak Center for Art and Architecture is located at 1137 S. Cochran, Mid-City Los Angeles. Work After Work will be open April 28 – May 8 from 11 a.m. to 6 p.m. There is no charge for admission.

 

Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere

The Master of Public Art Studies Program: Art/Curatorial Practices in the Public Sphere at USC's Roski School of Fine Arts is a unique platform to research art, architecture and other modes of cultural production, as well as models of curatorial practice/exhibition making, in relation to the material/social conditions of public space.

roski.usc.edu/pas/

ETERNAL TELETHON documentation from the exhibition WORK AFTER WORK at the MAK CENTER's Mackey Apartments Garage

 

USC Roski School of Fine Arts, Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere is pleased to announce Work After Work, an exhibition of artworks and documents by:

 

Michael Asher

Eternal Telethon

Andrea Fraser

...Alex Israel

Sharon Lockhart

Yvonne Rainer

State of the Arts

Kenneth Tam

Anton Vidokle

Carey Young

 

Work After Work is an exhibition and program of events exploring issues of artistic production and labor, and is motivated by a keen awareness of how the current economic situation applies particular pressures on the many connotations of artistic “work.” It is a crucial moment to reexamine the shifting value, both economic and cultural, of artistic labor and to explore the ways in which artists navigate, resist, and reproduce these values. Each of the participating artists in the exhibition implement distinct methodologies for transforming the economic conditions of their artistic activities: from reflections on artistic practice as labor and entrepreneurial venture; to developing practical contracts that enforce artist fee structures; to resisting the speculative art market by offering unlimited multiples; to conceptualizations of artistic service provision, among others. Beyond evidencing economic models, the exhibition aims to reveal the shifts in political and social dynamics that artists face when negotiating the conditions of the production, reception, and consumption of art.

 

In conjunction with the exhibition, there is a program of artist conversations, panel discussions, screenings, and performances:

 

Thursday, April 28, 6-9pm:

Opening Reception

 

Saturday, April 30:

Instruction of Yvonne Rainer’s Trio A by Sara Wookey, 3pm

A conversation with Yvonne Rainer and Sara Wookey, 5pm

 

Sunday, May 1:

A conversation with Alex Israel, 1pm

Negotiating Institutional Relationships: A discussion with W.A.G.E., Sue Bell Yank and Robby Herbst, 3pm

 

Saturday, May 7, 11am:

Eternal Telethon: Performance and Online Broadcast, www.eternaltelethon.com/

 

Sunday, May 8, 12pm: Film Screening: Sharon Lockhart, Lunch Break (2008), 80 minutes

 

Work After Work will be accompanied by a fully illustrated catalogue featuring essays by Joshua Decter, Chloe Flores, Melinda Guillen, and Eric Golo Stone. In addition, each contributer in the exhibition is represented by a short biographical text. Design is by Eric Roinestad. The catalogue will be available free of charge throughout the duration of the exhibition.

 

-----------------------------------------------------

 

Garage Top at the Mackey Apartment Building, Mak Center for Art and Architecture is located at 1137 S. Cochran, Mid-City Los Angeles. Work After Work will be open April 28 – May 8 from 11 a.m. to 6 p.m. There is no charge for admission.

 

Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere

The Master of Public Art Studies Program: Art/Curatorial Practices in the Public Sphere at USC's Roski School of Fine Arts is a unique platform to research art, architecture and other modes of cultural production, as well as models of curatorial practice/exhibition making, in relation to the material/social conditions of public space.

roski.usc.edu/pas/

In 1936, only five years after beginning production, SS Cars startled the motoring public with the Jaguar 2.5-liter saloon, the company’s first car to feature overhead valves. The engine was the robust seven-bearing, six-cylinder unit built by Standard, but with a new cylinder head designed by Harry Weslake and Bill Heynes. With 104 bhp, smoothly delivered, flowing lines, a gearbox which made the best of the power, and a new chassis, it was the model which made the company’s reputation. Jaguar was then only a model name, but it was adopted as the company’s name after “SS” had acquired unfortunate connotations during the war.

If the Jaguar saloon epitomized excitement, it was as nothing compared to the Jaguar SS 100. No sports car better epitomizes the late 1930s, which is why it has been the model for so many modern “nostalgia” cars. It looked right from every angle and age has not withered its beauty.

Every aspect was in harmony. Stone guards over the large headlights, the long louvered bonnet and large wire wheels were aggressive, yet the flowing lines were silkily feline. It has the grace of a prowling cat. At Brooklands in 1936 a tuned and lightened version lapped at 104.1 mph, but normally owners tended not to race them. Instead they appeared in the rallies, trials and sprints which formed the bulk of British motorsport and they were successful because of their superb power-to-weight ratio, gearbox, brakes and handling. They were great all-rounders.

Chassis number 39030 was originally dispatched to Glovers, the early SS Jaguar dealers for Ripon on January 13, 1938. The Jaguar Daimler Heritage Trust, who have issued a Heritage Certificate for the car, record that it was originally delivered finished in lavender with blue trim. Purchased from Coys of Kensington in 1975, this beautiful example subsequently spent twenty years with a French enthusiast, before returning to home shores in the late 1990s. During its spell in France it underwent a comprehensive restoration by specialists Le Coq, in which the chassis and fittings were meticulously overhauled. The car comes with its original 3.5-liter engine and gearbox, although it is currently fitted with a competition power unit and uprated gearbox. These items were assembled in the vendor’s own workshops, specifically for competitive motoring and detail work included gas flowing of the cylinder head, the fitment of bronze liners to guides and conversion to use unleaded fuel. Further work was subsequently carried out to the suspension and shock absorbers as well as the gearbox by SS Jaguar specialists TRAC at a cost of over $6,400. Much attention was paid to detail, so that components such as the body tub and petrol tank were carefully and discreetly flexibly mounted to avoid damage on the arduous road rallies in which 39030 has become a competitor.

By any usage, the SS 100 must be considered a true classic. It is rare, lovely, iconic, and best of all, enjoyable. Only 118 of these cars were ever built and yet so many still survive that it is a rare classic car gathering that doesn’t have at least one out for the day. Above all, they are cars that are used and enjoyed by their owners rather than being kept in hermetically-sealed display cases. And they are practical. Even with the original four-speed gearbox, the seven-bearing engine can stand long distances at modern highway speeds without undue risk. Speeds over 80 mph are not excessive, though one must bear in mind that the car will be brought to a stop with rod-operated drum brakes slowing narrow tires.

This example is not particularly original in its detailing. One specialist noted incorrect chroming used on many pieces and substitutions of modern parts for some components. However, this car was restored to stand up to challenging secondary roads rather than straw-hatted concours scrutineers. The substitution of a competition-built engine (probably from a 3.5-liter Jaguar saloon) and a modern five-speed gearbox are in keeping with this intention, though the original drivetrain was included. If the new owner had the same intention of driving this car hard and enjoying its rugged power, then the price for this attractive, event-proven car was reasonable. It can easily be enjoyed for a season or two of vintage rallying and then cleaned up and sold, with very little net cost to the owner

 

Traditionally called Bushmen, these indigenous peoples of southern Africa are also known as San, Khwe, Sho, and Basarwa. However, these terms have been used by outsiders to refer to them, often with pejorative connotations. Western anthropologists adopted San extensively in the 1970s, where it remains preferred in academic circles. The term Bushmen is widely used, but opinions vary on whether it is appropriate because it is sometimes viewed as pejorative. In Botswana, the officially used term is Basarwa.

Yanking staples out of the skull of an old doll.

 

Yeah, I viciously ripped apart the last of those old nun dolls.

 

A couple of my insightful online contacts made a couple of insightful points.

 

One suggested that maybe the nun dolls weren't "loved" so much as kept out of a sense of obligation and that the connotations surrounding them were not positive but negative.

 

Another observed that using the dolls, or parts of the dolls, would offer a creative outlet, which is more use than the nun dolls have received for decades, and that either the original owners or the families of those owners no longer care about them.

 

Of course, one person agreed about keeping at least one of them in original condition and treasure it for what it is.

 

I decided to scavenge the costumes. This may have been a good move. The staples in the doll with the white costume were already quite rusty. The rust would eventually have stained the fabric. The staples were on the verge of rusting through and breaking, which would create sharp edges which might tear the fabric or rend flesh and present a tetanus hazard.

 

I will either donate the doll bodies to a local charity shop or list them for sale online. Perhaps somebody will crochet new outfits for them.

 

17 February - A Doll A Day 2025

A great deal of boudoir; is now created in the photographer's studio or in luxury hotel suites, where it has become very fashionable to create a set of sensual images for women in boudoir style. This often takes the shape of partly clothed images or images in lingerie, and has become more than just a passing fad for brides to surprise their future husbands. Although in the past there were many negative connotations associated with boudoir photography, in recent years the trend has begun to gain momentum, and the entire look of boudoir photography has begun to change...

A great deal of boudoir; is now created in the photographer's studio or in luxury hotel suites, where it has become very fashionable to create a set of sensual images for women in boudoir style. This often takes the shape of partly clothed images or images in lingerie, and has become more than just a passing fad for brides to surprise their future husbands. Although in the past there were many negative connotations associated with boudoir photography, in recent years the trend has begun to gain momentum, and the entire look of boudoir photography has begun to change...

There's something rather nice about the juxtaposition of a style of clothing intended to meet religious sensibilities combined with a material that has distinctly kinky connotations. :)

For the start of ZOOM-OUT , the Canal Basin in Hasselt (Belgium) was the perfect place for his giant rubber duck. Measuring 12 m in height, it may look like the favourite toy of Sesame Street’s Ernie, but it’s too big to fit into anyone’s bath- and impossible to ignore. According to the artist, the ‘Canard de bain’ crosses all bounderies, it does not discriminate and does not have a political connotation. The friendly, floating Rubber Duck has healing properties, it can relieve tensions as well as define them.

Reuze badeend in Kanaalkom

Hij was je misschien al opgevallen: een enorme, polyester badeend die ronddobbert op de Hasseltse kanaalkom. Deze ligt er sinds 30 mei. Als je hem nog niet gezien hebt, maak je niet ongerust: hij blijft er nog een tijdje liggen.

 

De komst van de eend betekent het startschot voor Z-out, een ambitieus project rond kunst in de publieke ruimte in Limburg. Wie graag een genummerd en door de kunstenaar gesigneerd badeentje heeft, kan mailen naar info@z33.be met vermelding ‘badeend’.

 

As-Salaam Palace is located on the site of the former Republican Guard Headquarters, which was destroyed in Operation Desert Storm. Construction of the Palace began shortly after the conclusion of the war. The destroyed Republican Guard was built in 1928 by the British as the home for the King of Iraq.

 

Begun while sanctions were in effect, construction of the four-story palace and lush grounds was completed in September 1999 at a cost of about $100 million. It was used primarily to house foreign dignitaries, and was located just off the Qadissiya Expressway which runs from the airport to the IZ area. The 814,000- square meter complex included orchards (orange, lime, date and other fruit trees), a series of artificial pools, lakes, and ponds, outdoor patios with freestanding hearths, and related out-buildings.

 

The United States attacked the palace by air in 2003, hitting it with seven guided bombs. The evidence of those strikes is readily apparent today in the ravaged dome and upper floors. Looters struck next, making off with everything including the toilets.

 

In mid-September 2004, as part of an Army-wide effort to give its facilities around Baghdad friendlier connotations, and try to resolve the issue of constantly-changing facility names, the old name Camp Highlander was renamed FOB Prosperity, with its Arabic equivalent "Camp al-Izdehar".

 

(From "A VISITOR’S GUIDE TO BAGHDAD’S INTERNATIONAL ZONE" by Richard H. Houghton III and Patrick J. McDonald, 1 May 2006)

  

Kontejner - www.kontejner.org/

 

Festival

Touch Me Festival 2008 - Feel better!

Feel better! Art at intersection of technology and science

19.12.2008. - 23.12.2008.

Student Center, Zagreb

 

This year’s festival has a name with connotations of pleasure − Feel Better!. Touch me festival is still testing out how the individual can be bound into the network of mechanical, electro-mechanical, electronic and cybernetic aids and biotechnology, and the non-critical attitude of society towards ethical issues that the changes in contemporary technological reality open up. The topic of this edition of the international festival is related to the imperatives of happiness, pleasure and hedonism, and draws upon paradigms that explain how in the contemporary social and political system the issue of stability and control has been diverted from the area of power and repression

to the area of happiness and fun. It starts off from the proposition that being down, gloomy, depressive, uninterested is equivalent to being socially unacceptable. Some of the pieces in the festival thus attempt to cheer the visitors up, to shift them into a state of short-lasting hedonism, provide them with all kinds of sensual and sensory pleasures, known and unknown.

ETERNAL TELETHON documentation from the exhibition WORK AFTER WORK at the MAK CENTER's Mackey Apartments Garage

 

USC Roski School of Fine Arts, Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere is pleased to announce Work After Work, an exhibition of artworks and documents by:

 

Michael Asher

Eternal Telethon

Andrea Fraser

...Alex Israel

Sharon Lockhart

Yvonne Rainer

State of the Arts

Kenneth Tam

Anton Vidokle

Carey Young

 

Work After Work is an exhibition and program of events exploring issues of artistic production and labor, and is motivated by a keen awareness of how the current economic situation applies particular pressures on the many connotations of artistic “work.” It is a crucial moment to reexamine the shifting value, both economic and cultural, of artistic labor and to explore the ways in which artists navigate, resist, and reproduce these values. Each of the participating artists in the exhibition implement distinct methodologies for transforming the economic conditions of their artistic activities: from reflections on artistic practice as labor and entrepreneurial venture; to developing practical contracts that enforce artist fee structures; to resisting the speculative art market by offering unlimited multiples; to conceptualizations of artistic service provision, among others. Beyond evidencing economic models, the exhibition aims to reveal the shifts in political and social dynamics that artists face when negotiating the conditions of the production, reception, and consumption of art.

 

In conjunction with the exhibition, there is a program of artist conversations, panel discussions, screenings, and performances:

 

Thursday, April 28, 6-9pm:

Opening Reception

 

Saturday, April 30:

Instruction of Yvonne Rainer’s Trio A by Sara Wookey, 3pm

A conversation with Yvonne Rainer and Sara Wookey, 5pm

 

Sunday, May 1:

A conversation with Alex Israel, 1pm

Negotiating Institutional Relationships: A discussion with W.A.G.E., Sue Bell Yank and Robby Herbst, 3pm

 

Saturday, May 7, 11am:

Eternal Telethon: Performance and Online Broadcast, www.eternaltelethon.com/

 

Sunday, May 8, 12pm: Film Screening: Sharon Lockhart, Lunch Break (2008), 80 minutes

 

Work After Work will be accompanied by a fully illustrated catalogue featuring essays by Joshua Decter, Chloe Flores, Melinda Guillen, and Eric Golo Stone. In addition, each contributer in the exhibition is represented by a short biographical text. Design is by Eric Roinestad. The catalogue will be available free of charge throughout the duration of the exhibition.

 

-----------------------------------------------------

 

Garage Top at the Mackey Apartment Building, Mak Center for Art and Architecture is located at 1137 S. Cochran, Mid-City Los Angeles. Work After Work will be open April 28 – May 8 from 11 a.m. to 6 p.m. There is no charge for admission.

 

Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere

The Master of Public Art Studies Program: Art/Curatorial Practices in the Public Sphere at USC's Roski School of Fine Arts is a unique platform to research art, architecture and other modes of cultural production, as well as models of curatorial practice/exhibition making, in relation to the material/social conditions of public space.

roski.usc.edu/pas/

ETERNAL TELETHON documentation from the exhibition WORK AFTER WORK at the MAK CENTER's Mackey Apartments Garage

 

USC Roski School of Fine Arts, Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere is pleased to announce Work After Work, an exhibition of artworks and documents by:

 

Michael Asher

Eternal Telethon

Andrea Fraser

...Alex Israel

Sharon Lockhart

Yvonne Rainer

State of the Arts

Kenneth Tam

Anton Vidokle

Carey Young

 

Work After Work is an exhibition and program of events exploring issues of artistic production and labor, and is motivated by a keen awareness of how the current economic situation applies particular pressures on the many connotations of artistic “work.” It is a crucial moment to reexamine the shifting value, both economic and cultural, of artistic labor and to explore the ways in which artists navigate, resist, and reproduce these values. Each of the participating artists in the exhibition implement distinct methodologies for transforming the economic conditions of their artistic activities: from reflections on artistic practice as labor and entrepreneurial venture; to developing practical contracts that enforce artist fee structures; to resisting the speculative art market by offering unlimited multiples; to conceptualizations of artistic service provision, among others. Beyond evidencing economic models, the exhibition aims to reveal the shifts in political and social dynamics that artists face when negotiating the conditions of the production, reception, and consumption of art.

 

In conjunction with the exhibition, there is a program of artist conversations, panel discussions, screenings, and performances:

 

Thursday, April 28, 6-9pm:

Opening Reception

 

Saturday, April 30:

Instruction of Yvonne Rainer’s Trio A by Sara Wookey, 3pm

A conversation with Yvonne Rainer and Sara Wookey, 5pm

 

Sunday, May 1:

A conversation with Alex Israel, 1pm

Negotiating Institutional Relationships: A discussion with W.A.G.E., Sue Bell Yank and Robby Herbst, 3pm

 

Saturday, May 7, 11am:

Eternal Telethon: Performance and Online Broadcast, www.eternaltelethon.com/

 

Sunday, May 8, 12pm: Film Screening: Sharon Lockhart, Lunch Break (2008), 80 minutes

 

Work After Work will be accompanied by a fully illustrated catalogue featuring essays by Joshua Decter, Chloe Flores, Melinda Guillen, and Eric Golo Stone. In addition, each contributer in the exhibition is represented by a short biographical text. Design is by Eric Roinestad. The catalogue will be available free of charge throughout the duration of the exhibition.

 

-----------------------------------------------------

 

Garage Top at the Mackey Apartment Building, Mak Center for Art and Architecture is located at 1137 S. Cochran, Mid-City Los Angeles. Work After Work will be open April 28 – May 8 from 11 a.m. to 6 p.m. There is no charge for admission.

 

Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere

The Master of Public Art Studies Program: Art/Curatorial Practices in the Public Sphere at USC's Roski School of Fine Arts is a unique platform to research art, architecture and other modes of cultural production, as well as models of curatorial practice/exhibition making, in relation to the material/social conditions of public space.

roski.usc.edu/pas/

Jaguar Cars Ltd., better known simply as Jaguar is a British luxury car manufacturer, headquartered in Coventry, England.

Jaguar was founded as the Swallow Sidecar Company by Sir William Lyons in 1922, originally making motorcycle sidecars before switching to passenger cars. The name was changed to Jaguar after World War II due to the unfavourable connotations of the SS initials.

The Jaguar D-Type, like its predecessor the C-Type, was a factory-built race car. Although it shared the basic straight-6 XK engine design (initially 3.4L and eventually uprated to 3.8 litres in the late fifties) with the C-Type, the majority of the car was radically different. Perhaps its most ground-breaking innovation was the introduction of a monocoque chassis, which not only introduced aircraft-style engineering to competition car design, but also an aeronautical understanding of aerodynamic efficiency. The D-Type was introduced purely for competition, but after Jaguar withdrew from racing, the company offered the remaining, unfinished chassis as the roadgoing Jaguar XKSS, by making changes to the racers: adding an extra seat, another door, a full-width windshield and primitive folding top, as concessions to practicality. However, on the evening of 12 February 1957, a fire broke out at the Browns Lane plant destroying nine of the twenty five cars that had already been completed or in semi-completion. Production is thought to have included 53 customer D-Types, 18 factory team cars, and 16 XKSS versions.

The Jaguar XKSS was a road-going version of the Jaguar D-Type racing car.

After Jaguar withdrew from racing the company offered the remaining, unfinished chassis as the roadgoing Jaguar XKSS, by making changes to the racers: adding an extra seat, another door, a full-width windshield and folding top, as concessions to practicality. However, on the evening of 12 February 1957, a fire broke out at the Browns Lane plant destroying nine of the twenty-five cars that had already been completed or were semi-completed. Production is thought to have included 53 customer D-types, 18 factory team cars, and 16 XKSS versions.

Following Jaguar's withdrawal from competition at the end of the 1955 season, a number of completed and partially complete D-types remained unsold at the Browns Lane factory. In an attempt to recoup some of the investment made in building these unused chassis, and to exploit the lucrative American market for high-performance European sports cars, Sir William Lyons decided to convert a number to full road-going specification. Only minor changes were made to the basic D-type structure: the addition of a passenger side door, the removal of the large fin behind the driver's seat, and the removal of the divider between passenger and driver seats. In addition, changes were made for cosmetic, comfort and legal reasons: a full-width, chrome-surrounded windscreen was added; sidescreens were added to both driver and passenger doors; a rudimentary, folding, fabric roof was added for weather protection; chromed bumpers were added front and rear (a styling cue later used on the E-type); XK140 rear light clusters mounted higher on the wings; and thin chrome strips added to the edge of the front light fairings. In total 16 XKSS variants were made, with most being sold in the USA, before the Browns Lane fire destroyed the remaining chassis.

The American actor Steve McQueen owned a Jaguar XKSS for personal use.

 

A deliberate departure from literal interpretation. The effect was achieved through a simple short exposure camera swipe. I appreciate that this connotative approach is not everyone's cup of tea. Takes a bit of experimentation to maintain a sense of composition but this one works (for me at least) in expressing a sense of forest fairly far removed from documentary portrayal.

 

(www.robert-garrigus.com)

 

Cheers!

 

Bob G.

Visually translating the connotations of a flower into 'human' form.

This place is a public danchi (large apartment building) called Kaigan-dori Danchi, very close to Minato mirai in Yokohama. Unlike in the US, I don't think public housing in Japan has quite the same awful connotation. This building isn't dangerous or in a bad area; it's just old, because it was built in the 1960s.

 

Here's a web page about it with a directory of more public danchi: www.danchibar.com/catalog/kaigandori/1.htm

 

I know I'm weird, but this is one of my favorite buildings I've found anywhere. Its scale and its incongruity next to the brand-new Minato mirai are really awesome.

An ID booklet measuring 60x90mm for the Socialist Alliance of The Working People of Yugoslavia, Bosnia & Herzegovina branch. It is stamped and signed by the representative of Logavina, in Sarajevo, but has not been made out to anyone. Although the Bosnia & Herzegovina logo is reproduced in Serbian Cyrillic and Latin script, the document itself is in Cyrillic.

 

The organisation was founded in 1945 as the People's Front, changing its name in 1953. It was formed with the aim of involving as many people as possible in activities on the party agenda, without the restrictions and negative connotations of direct party control. It ceased to exist in 1990 following the break up of Yugoslavia and its descent into bloody civil war between the ethnic factions.

Really, I wanted to call this "The Colonel" simply because this bird looks so stately. Then I realized that this bird also looks a bit like a chicken and that "Colonel" has connotations of KFC. In the end, I think that Stately works. Besides that, this duck decided to share its pose with me in exchange for some bread crumbs.

Conversation

 

The tumult in the heart

keeps asking questions.

And then it stops and undertakes to answer

in the same tone of voice.

No one could tell the difference.

 

Uninnocent, these conversations start,

and then engage the senses,

only half-meaning to.

And then there is no choice,

and then there is no sense;

 

until a name

and all its connotation are the same.

 

Elizabeth Bishop

   

With all the Black Friday hype that seems to grow every year, it's nice to see at least one retailer has an old-fashioned looking Black Friday ad at least! And it even appears Jo-Ann will be closed for Thanksgiving, avoiding the annoying recent tactic of retailers opening after dinner (or earlier) on Thanksgiving itself to try and get the jump on the competition. At the current rate, Black Friday will start after trick or treat time on Halloween a few years from now!

 

The term Black Friday originated in Philadelphia in the early 60's, and carried a negative connotation back then: en.wikipedia.org/wiki/Black_Friday_%28shopping%29#Origin_... Hmmm, negative connotation? So in other words, nothing's really changed in all these years!

_________________________________________________

Images of Thanksgiving 2013: Jo-Ann Black Friday ad

This group of frescoes was discovered in 1880, during excavations conducted for the construction of Palazzo delle Esposizioni in Via Nazionale, facing the current Via Milano. The building containing them - probably intended for private use, given the strong residential connotation of the area - was completely destroyed immediately after the detachment of the frescoes.

 

Thanks to these watercolors executed at the time of the discovery, it was possible to recognize an elongated rectangular room, probably a corridor, covered by a succession of ribbed vaults and opening onto a marble-stepped staircase. The watercolour also reproduces a large part of the pictorial decoration, thus allowing the repositioning within the original decorative scheme of many of the surviving parts of the large fresco exhibited here. The frescoes date back to the early 3rd century CE.

 

The fresco fragment of the sheep on the left can be seen in my previous post at flic.kr/p/2pD2Z1G.

 

Watercolor by Antonio Arieti (1872-1924)

History and Meaning of Pink Roses

 

Primary Significance: Love, Gratitude, Appreciation

 

Above all, roses are a symbol for love and gratitude. As the pink rose was the most prevalent among the old garden roses, it was most strongly associated with these sentiments. While different roses may have more specific meanings, these are still the underlying message of any color rose. Pink roses also now carry a connotation of grace and elegance, as well as sweetness and poetic romance. Different shades of pink also carry their own significance. Dark pink roses are symbolic of gratitude and appreciation, and are a traditional way to send a message of thanks. Light pink roses are associated with gentleness and admiration, and can also be used as an expression of sympathy.

18 August 2007

 

In Aabenraa, a town on a fjord, there was an inexplicable gathering of Danes dressed like coyboys. They were into American dance and were wearing American costumes. Many of them added pins featuring American and Conderate flags.

 

When I spoke to some of them about the Confederate flags, they seemed unaware about the civil war or the racist connotations associated with the flag. flustered, some of them tried to explain that they loved America. I tried comaring it to the Nazi flag, but second language skills go to hell when folks are stressed.