View allAll Photos Tagged connotation
Benin is the centre of Voodoun religion, which is in fact found throughout Sub-Saharan Africa.. Voodoun is known in the West as voodoo or black magic. Despite negative connotations, the practice promotes love and respect for tradition. In fetish markets, different animal parts can be found for use in voodoo ceremonies. A visit to the fetish market is not for those with a weak stomach.
Renowned contemporary artist Kerry James Marshall, known for his paintings, drawings and sculptures that are rich with art-historical references, from Renaissance painting to American folk art spoke at the annual Barbra and Andrew Rothschild Lecture at the Nasher Museum of Art at Duke University. In his work, Marshall investigates the visibility of black people in society and the connotations associated with darkness. Before his discussion he visited the museum and signed his work in our permanent collection "Portrait of the Artist & a Vacuum." Photos by J Caldwell
wow, i forgot how flickr sharpens images to a ridiculous extent!
view in lightbox!!! click L.
i love seeing red in photos (and all forms of imagery actually), and i am fascinated by how much it pops out of the image and draws the eye immediately. i also love the connotations it holds and the messages it can imply within an image. i would have preferred to have a whole dress in red, and i think i will try to look for one for future photos, because i love how it can just make an image.
Project 365
Day 34
03/02/2011
Empty. A label given to many things ---like a person who is vain and naive, or dumb and stupid; like a tank that simply has nothing left, or a bank with nothing to offer; or a glass lacking half its contents. Empty often has a rather negative connotation. Empty is almost always a bad word, especially to those who are lacking. The fridge is empty, the account is empty, my email inbox is empty!
Empty can be a good thing though. Empty can be much like potential energy (in physics). Empty can be a vessel waiting for its contents. Like a child going to school for the first time, or a hotel with a room opening up, or a seat in your buddy's car on your way up to whistler.
In this case, it's the latter. It's the portion of space devoted to a known species but not yet filled with specimens. In this case, it is lit by fiber optic cables from above, shot through a new Sigma 50mm f/1.4 paired with a gorgeous FF camera.
If someone calls you empty, don't necessarily take it as a bad thing. You could very simply be innocent. Empty your mind of hate and suffering, and fill it with peace and love.
Cheers,
Canon 5D MK II
Sur Real/Reality Process
#captureyourgrief
Day 6 RITUALS
This has proved a very challenging topic as for me this word comes with religious connotations and I am not a believer. I have also not found (or looked actually) for any rituals to offer comfort.
I was about ready to give up on today when I happened upon an idea (during a conversation with my Mother).
This picture is of the bookshelf in my sons bedroom.
There are a few rituals in my day, mainly the sort that you put in place as part of a small childs daily routine to give them some predictable security in their day to day life. One such ritual is the reading of a bedtime story once Toby is bathed and tucked up in bed. This is something both he and I enjoy a great deal.
Throughout the latter stages of my pregnancy with Cooper I noticed that he was almost always active at this time of day, kicking, wriggling and generally showing his appreciation for whatever book Jason or I were reading. It was and is my belief that he enjoyed this daily ritual as much as toby and I do. I was of course looking forward to witnessing his response to it from outside my tummy.
However, I will always be grateful that I was able to read Cooper some bedtime stories. And he is always in my thoughts when I read to Toby each night.
"Physical" is a 1981 song written by Steve Kipner and Terry Shaddick and performed by Olivia Newton-John. Recorded in early 1981, it first rose to number one on the Billboard Hot 100 in America in November 1981 and stayed there for ten weeks, until the end of January 1982. In terms of chart placement, it was the most popular single of her career, as well as her final number-one (to date). Billboard ranked it as the number one pop single of 1982 (since the chart year for 1982 actually began in November of 1981), and it was also the most successful song on the Hot 100 during the entire decade of the 1980s.
The single, slightly edgier than she had been known for in the past (such as her songs from Grease and her ballad "I Honestly Love You"), proved to be immensely popular both in America and in the United Kingdom, despite the fact that the song was censored and even banned by some radio stations, particularly Adult Contemporary stations; in spite of Newton-John's status as the reigning queen of soft-rock music at the time, "Physical" peaked at only number twenty-nine on the AC chart (its follow-up, the slightly softer-edged "Make a Move on Me," found more acceptance at AC radio and went to number six AC as well as number five pop.) The song was a big dance hit and spawned a music video. The revamped acoustic version of the song was released on the 2002 Olivia duet album as a bonus track.
The video featured a lusty Olivia, dressed in a tight leotard, working out in a gym with several muscular young men who, despite her best efforts, continue to ignore her. The gym setting may have been partly an attempt to divert attention from the overt sexual connotations of the term "physical". This was further emphasised by the twist comedy ending of the video, when the men who had been oblivious to Newton-John's advances are ultimately revealed to be gay (this was also a source of controversy; MTV frequently cut the ending when it aired the video, and the sometimes sensuous nature of the video also led to it being banned outright by some broadcasters in Canada and the United Kingdom). The video won a Grammy Award for Video Of The Year in 1983. The song Physical was banned in South Africa for its suggestive lyrics.
Like her first number-one single, "Physical" sold over two million copies, being certified platinum.
Watch this video on Vimeo. Video created by JANUS MUSIC.
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.
Jiang Tou Village is located in the north of Guilin and about 32 km always from Downtown Guilin. It is a very famous ancient village with the history of 600 years, The building s built in Ming & Qing Dynasties survived and they are preserved very well .
There are 158 families with population of 680. The family’s name of all the villagers is Zhou, because their ancestor is Dun Yizhou, a famous philosopher of Northern song Dynasty (over 1000 years ago), whose essay “on lotus—loving” is so famous that nearly all the Chinese students can recite it.Zhou gave lotus the connotation of a virtue of honesty. Here he intended to exhort his later generations to keep honest in performing their official duties.
Ghosting No. 2 Department International for Shabazz Projects. Department International's curation of Ghosting No. 2 is an exploration of thought, with the overarching concept of Contrast and Illumination. Illumination (in essence) is the creation of contrast. This idea lends itself to having many connotations, and can take on many visual interpretations. The only requirement for the artists was to unapologetiaclly follow the direction they resonate with most, whether metaphorically, historically, or through technique. Featuring original and archival works from:Elisabeth Schulze, Benjamin Niznik, Killian Loddo, Robert Seyrig, Swindle & Hawks, Benjamin Clark, Marcello Velho, Tommaso Sartori, Anders Naero Tangen, Nicholas Feldmeyer and Brian Metcalf. Department International is a collaborative design practice run by the duo Brian & Bobby, works in print, digital, and identity design with an aesthetic that rooted in Postmodernism.
7 x 7 in. / 22 pages / edition of 100
The "Lumpenproletariat" is a word stemming from the German word "lump" which denotes scabs, rag, canker, sore, and scoundrel. Its connotations include a series of "undesirable" members of a society, and these lumpens are portrayed as the "undeserving poor" to be utilized as a source of an argument for the pro-capitalistic agendas.
This photograph in particular presents the photographer himself in the traditional proletariat aesthetic; the motorcycle jacket, the unbuttoned shirt, the messy hair even with the use of pomade, and the hand-rolled cigarette. Originally, cigarettes were created by the proletariat as they scrapped up the left-over tobacco from the cigars of the bourgeoisie, and the cigarette smoke sets the real-yet-dry tone of this photograph. The partisans of the Lumpenproletariat class are then written all over the photograph in specific words that are used to label them to provoke a level of discomfort amongst the audience, mimicking the same discomfort that the audience feels when they interact with a lumpenproletariat in their everyday lives. The figure of the image consists of two overlays of movement and stillness; this screening process visualizes the duality that lies between the reality the lumpenproletariat have to live and the reality of the prejudices against them.
The big text says: "Don't (chatter / blather)"
The smaller text says (roughly) "Walls can have ears, and (chatter/blather)ing is the first step to being an informant."
The word (chatter/blather) is kind of interesting. My russian coworker says that it means "speak with strangers" but it has the connotation of giving away information.
The Hmong (RPA: Hmoob/Moob, IPA: [m̥ɔ̃ŋ]) are an ethnic group from the mountainous regions of China, Vietnam, Laos, and Thailand. Hmong are also one of the sub-groups of the Miao ethnicity (苗族) in southern China. Hmong groups began a gradual southward migration in the 18th century due to political unrest and to find more arable land.
During the first and second Indochina Wars, France and the United States recruited thousands of Hmong people in Laos to fight against forces from north and south Vietnam and communist Pathet Lao insurgents, known as the Secret War, during the Vietnam War and the Laotian Civil War. Hundreds of thousands of Hmong refugees fled to Thailand seeking political asylum. Thousands of these refugees have resettled in Western countries since the late 1970s, mostly the United States, but also in Australia, France, French Guiana, Canada, and Argentina. Others have returned to Laos under United Nations-sponsored repatriation programs.
SUBCULTURES
Hmong people have their own terms for their subcultural divisions. Hmong Der and Hmong Leng are the terms for two of the largest groups in America and Southeast Asia. In the Romanized Popular Alphabet, developed in the 1950s in Laos, these terms are written Hmoob Dawb (White Hmong) and Moob Leeg/Moob Ntsuab (Blue/Green Mong). The final consonants indicate with which of the eight lexical tones the word is pronounced.
White Hmong and Green Hmong speak mutually intelligible dialects of the Hmong language with some differences in pronunciation and vocabulary. One of the most characteristic differences is the use of the voiceless /m̥/ in White Hmong, indicated by a preceding "H" in Romanized Popular Alphabet. Voiceless nasals are not found in the Green Hmong dialect. Hmong groups are often named after the dominant colors or patterns of their traditional clothing, style of head-dress, or the provinces from which they come.
VIETNAM
Vietnamese Hmong women continuing to wear 'traditional' clothing tend to source much of their clothing as 'ready to wear' cotton (as opposed to traditional hemp) from markets, though some add embroidery as a personal touch. In SaPa, now with a 'standardised' clothing look, Black Hmong sub-groups have differentiated themselves by adopting different headwear; those with a large comb embedded in their long hair (but without a hat) call themselves Tao, those with a pillbox hat name themselves Giay, and those with a checked headscarf are Yao. For many, such as Flower Hmong, the heavily beaded skirts and jackets are manufactured in China.
NOMENCLATURE
In Southeast Asia, Hmong people are referred to by other names, including: Vietnamese: Mèo or H'Mông; Lao: ແມ້ວ (Maew) or ມົ້ງ (Mong); Thai: แม้ว (Maew) or ม้ง (Mong); Burmese: မုံလူမျိုး (mun lu-myo). The xenonym, "Mèo", and variants thereof, are considered highly derogatory by many Hmong people and are infrequently used today outside of Southeast Asia.
The Hmong people were also referred to by some European writers as the "Kings of the Jungle," because they used to live in the jungle of Laos. Because the Hmong lived mainly in the highland areas of Southeast Asia and China, the French occupiers of Southeast Asia gave them the name Montagnards or "mountain people", but this should not be confused with the Degar people of Vietnam, who were also referred to as Montagnards.
HMONG, MONG AND MIAO
Some non-Chinese Hmong advocate that the term Hmong be used not only for designating their dialect group, but also for the other Miao groups living in China. They generally claim that the word "Miao" or "Meo" is a derogatory term, with connotations of barbarism, that probably should not be used at all. The term was later adapted by Tai-speaking groups in Southeast Asia where it took on especially insulting associations for Hmong people despite its official status.
In modern China, the term "Miao" does not carry these negative associations and people of the various sub-groups that constitute this officially recognized nationality freely identify themselves as Miao or Chinese, typically reserving more specific ethnonyms for intra-ethnic communication. During the struggle for political recognition after 1949, it was actually members of these ethnic minorities who campaigned for identification under the umbrella term "Miao"-taking advantage of its familiarity and associations of historical political oppression.
Contemporary transnational interactions between Hmong in the West and Miao groups in China, following the 1975 Hmong diaspora, have led to the development of a global Hmong identity that includes linguistically and culturally related minorities in China that previously had no ethnic affiliation. Scholarly and commercial exchanges, increasingly communicated via the Internet, have also resulted in an exchange of terminology, including Hmu and A Hmao people identifying as Hmong and, to a lesser extent, Hmong people accepting the designation "Miao," within the context of China. Such realignments of identity, while largely the concern of economically elite community leaders, reflect a trend towards the interchangeability of the terms "Hmong" and "Miao."
HISTORY
The Hmong claim an origin in the Yellow River region of China. According to Ratliff, there is linguistic evidence to suggest that they have occupied the same areas of southern China for at least the past 2,000 years. Evidence from mitochondrial DNA in Hmong-Mien-speaking populations supports the southern origins of maternal lineages even further back in time, although Hmong-speaking populations show more contact with Han than Mien populations. Chinese sources describe that area being inhabited by 'Miao' people, a group with whom Hmong people are often identified.
The ancient town of Zhuolu, is considered to be the legendary birthplace of the Miao. Today, a statue of Chi You, widely proclaimed as the first Hmong king, has been erected in the town. The Guoyu book, considers Chi You’s Jui Li tribe to be related to the ancient ancestors of the Hmong, the San Miao people
CULTURE
The Hmong culture usually consists of a dominant hierarchy within the family. Males hold dominance over females and thus, a father is considered the head in each household. Courtships take place during the night when a man goes to visit a woman at her house and tries to woo her with sweet-talks through the thin walls of the house where the woman's bedroom may be located. If a man kidnaps an unwilling woman as a bride, she would have to marry him or risk having a tarnished reputation.
Today, bridenapping is uncommon because those marriages can end in divorce since women are no longer afraid of a tarnished reputation. During a marriage, the man pays the woman's family for taking away a daughter who is economically essential to her parents. Hmong women retain their own maiden names following marriage, but attends to the ancestors of their husbands. The children they bear take their husbands' clan names. Consequently, the Hmong favour having sons over daughters because sons perpetuate the clan.
The Hmong practice shamanism and ancestor worship. Like other animists, they also believe that all things are endowed with spiritual beings and so should be respected.
See Anne Fadiman's ethnography: The Spirit Catches You and You Fall Down for more info.
Hmong families in Thailand, Vietnam, and Laos practice subsistence agriculture, supplemented by hunting and some foraging. Although they have chickens, pigs and cows, the traditional staple of the Hmong consists mostly of vegetable dishes and rice. Domestic animals are highly valued and killed for consumption only during special events such as the New Year's Festival or during events such as a birth, marriage, or funeral ritual.
GEOGRAPHY
Roughly 95% of the Hmong live in Asia. Linguistic data show that the Hmong of the Peninsula stem from the Miao of southern China as one among a set of ethnic groups belonging to the Hmong–Mien language family. Linguistically and culturally speaking, the Hmong and the other sub-groups of the Miao have little in common.
In China the majority of the Hmong today live in Guizhou, Sichuan and Yunnan. The Hmong population is estimated at 3 million. No precise census data exist on the Hmong in China since China does not officially recognise the ethnonym Hmong and instead, clusters that group within the wider Miao group (8,940,116 in 2000). A few centuries ago, the lowland Chinese started moving into the mountain ranges of China's southwest. This migration, combined with major social unrest in southern China in the 18th and 19th century, served to cause some minorities of Guizhou, Sichuan and Yunnan to migrate south. A number of Hmong thus settled in the ranges of the Indochina Peninsula to practise subsistence agriculture.
Vietnam, where their presence is attested from the late 18th century onwards, is likely to be the first Indochinese country into which the Hmong migrated. During the colonization of 'Tonkin' (north Vietnam) between 1883 and 1954, a number of Hmong decided to join the Vietnamese Nationalists and Communists, while many Christianized Hmong sided with the French. After the Viet Minh victory, numerous pro-French Hmong had to fall back to Laos and South Vietnam.
At the 2009 national census, there were 1,068,189 Hmong living in Vietnam, the vast majority of them in the north of the country. The traditional trade in coffin wood with China and the cultivation of the opium poppy – both prohibited only in 1993 in Vietnam – long guaranteed a regular cash income. Today, converting to cash cropping is the main economic activity. As in China and Laos, there is a certain degree of participation of Hmong in the local and regional administration. In the late 1990s, several thousands of Hmong have started moving to the Central Highlands and some have crossed the border into Cambodia, constituting the first attested presence of Hmong settlers in that country.
In 2005, the Hmong in Laos numbered 460,000. Hmong settlement there is nearly as ancient as in Vietnam. After decades of distant relations with the Lao kingdoms, closer relations between the French military and some Hmong on the Xieng Khouang plateau were set up after World War II. There, a particular rivalry between members of the Lo and Ly clans developed into open enmity, also affecting those connected with them by kinship. Clan leaders took opposite sides and as a consequence, several thousand Hmong participated in the fighting against the Pathet Lao Communists, while perhaps as many were enrolled in the People's Liberation Army. As in Vietnam, numerous Hmong in Laos also genuinely tried to avoid getting involved in the conflict in spite of the extremely difficult material conditions under which they lived during wartime.
After the 1975 Communist victory, thousands of Hmong from Laos had to seek refuge abroad. Approximately 30 percent of the Hmong left, although the only concrete figure we have is that of 116,000 Hmong from Laos and Vietnam together seeking refuge in Thailand up to 1990.
In 2002 the Hmong in Thailand numbered 151,080. The presence of Hmong settlements there is documented from the end of the 19th century. Initially, the Siamese paid little attention to them. But in the early 1950s, the state suddenly took a number of initiatives aimed at establishing links. Decolonization and nationalism were gaining momentum in the Peninsula and wars of independence were raging. Armed opposition to the state in northern Thailand, triggered by outside influence, started in 1967 while here again, many Hmong refused to take sides in the conflict. Communist guerrilla warfare stopped by 1982 as a result of an international concurrence of events that rendered it pointless. Priority is since given by the Thai state to sedentarizing the mountain population, introducing commercially viable agricultural techniques and national education, with the aim of integrating these non-Tai animists within the national identity.
Burma most likely includes a modest number of Hmong (perhaps around 2,500) but no reliable census has been conducted there recently.
As result of refugee movements in the wake of the Indochina Wars (1946–1975), in particular in Laos, the largest Hmong community to settle outside Asia went to the United States where approximately 100,000 individuals had already arrived by 1990. California became home to half this group, while the remainder went to Minnesota, Wisconsin, Washington, Pennsylvania, Montana, and North Carolina. By the same date, 10,000 Hmong had migrated to France, including 1,400 in French Guyana. Canada admitted 900 individuals, while another 360 went to Australia, 260 to China, and 250 to Argentina. Over the following years and until the definitive closure of the last refugee camps in Thailand in 1998, additional numbers of Hmong have left Asia, but the definitive figures are still to be produced.
WIKIPEDIA
The William Beaver House. Yes, that really is the name. And don't think the developer hasn't hyped the obvious connotations: it's got what's quite possibly the first webpage for an apartment building inspired by the three-way scene in Kubrick's A Clockwork Orange. Falls within the newly-established Wall Street Historic District.
National Register Number:
Wall Street Historic District: 07000063
Analyse this image using the principles of semiotics (denotation and connotation) that we covered during the first lesson. Try to look at every element of the image and consider what meanings are conveyed. Your analysis should be hand written and presented to your teacher as instructed. When analysing the image you should pay particular attention to
Type of Location
Body Language and Facial Expression
Clothing and Make Up
The Position of the Camera
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.
Artist's Florentijn Hofman (The Netherlands)
The Rubber Duck knows no frontiers, it doesn’t discriminate and doesn’t have a political connotation. The friendly, floating, four-story-high Rubber Duck has healing properties: it can relieve mondial tensions as well as define them. The duck has been on display in Amsterdam, Lommel (Belgium), Osaka, Sydney Harbour, Sao Paulo and Hong Kong and arrives in the US for the first time for the Pittsburgh International Festival of Firsts
Renowned contemporary artist Kerry James Marshall, known for his paintings, drawings and sculptures that are rich with art-historical references, from Renaissance painting to American folk art spoke at the annual Barbra and Andrew Rothschild Lecture at the Nasher Museum of Art at Duke University. In his work, Marshall investigates the visibility of black people in society and the connotations associated with darkness. Before his discussion he visited the museum and signed his work in our permanent collection "Portrait of the Artist & a Vacuum." Photos by J Caldwell
Judith Leyster. Dutch, 1609-1660. "One of the few women painters of Holland's golden age. Judith Leyster was remarkable for her time. She was the only female member of the painters' guild known to have had a workshop, and the only woman painter whose attests to an active role in the art market. Two men and a woman have gathered around a tric-trac, or backgammon board. The woman smilingly offers a pipe to her opponent. The Dutch slang phrase "to pipe" had a sexual connotation then as now. As he reaches for his playing piece, the young man looks out as if to invite our involvement. Leyster uses a single lamp and darkened background to concentrate on the relationship of the players. There may be another game at play here; the scene is perhaps a brothel. The game of tric-trac stood for the dangers of idleness.
"jump in" or "jump into"?
The phrases have different connotations.
#GrammarMatters
KathySteinemann.com
Commonly associated with fraternity brothers (and whatever connotation that provides you), the collar is left straight and point up and outwards.
Renowned contemporary artist Kerry James Marshall, known for his paintings, drawings and sculptures that are rich with art-historical references, from Renaissance painting to American folk art spoke at the annual Barbra and Andrew Rothschild Lecture at the Nasher Museum of Art at Duke University. In his work, Marshall investigates the visibility of black people in society and the connotations associated with darkness. Before his discussion he visited the museum and signed his work in our permanent collection "Portrait of the Artist & a Vacuum." Photos by J Caldwell
The general public often claims being late to work is the result of "being held up by a train." For foamers, that expression has a slightly different connotation - yeah, I was held up by a train all right, but that's only because I was out shooting it. It was my choice.
So, while I have been (ahem) held up by a train on many occasions, today's experience was a first: I was held up by a track. Not the whole track exactly, but by rail. A truckload of 39-foot lengths of rail. A disabled truckload, which blocked the entire right lane of I94 by the stadium.
O, why not just ship this rail... by rail?
Pen and brown ink and watercolour, over graphite, heightened with white opaque watercolour
This portrait is drawn over a list of articles written by Fuseli between May 1788 and November 1790 for the Analytical Review, a monthly magazine published by his close friend Joseph Johnson.
His wife Sophia here personifies two conflicting notions of femininity. While her painted lips, bared teeth, visible nipples and overly complex hairstyle carried traditional connotations of sexual immorality, the sewing basket acted as a sign of virtuous domesticity. The same basket may also allude to the ancient Greek myth of Pandora, who by opening her notorious box unleashed a host of misfortunes onto humankind.
[The Courtauld]
Taken in the Exhibition
Fuseli and the Modern Woman: Fashion, Fantasy, Fetishism
(October 2022 – January 2023)
One of the most original and eccentric artists of the 18th century, the Swiss-born Henry Fuseli (1741–1825) is the subject of a new exhibition at The Courtauld.
Fuseli spent most of his career in London, where he established himself as one of 18th century Europe’s most controversial artists. He deliberately courted notoriety with his most famous painting The Nightmare and other sensationalistic images inspired by a wide range of literature and his own imagination.
Fuseli was praised by some as a creative genius, while others dismissed his works as ‘shockingly mad’. But much admired by his colleagues, he became the Royal Academy’s Professor of Painting and Keeper of its premises at Somerset House, in what is now The Courtauld Gallery, where he and his wife Sophia Rawlins (1762/3–1832) lived from 1805 until his death.
This exhibition focuses on Fuseli’s numerous private drawings of the modern woman. Blending observed realities with elements of fantasy, these studies present one of the finest draughtsmen of the Romantic period at his most original and provocative. Here, the fashionable women of the period appear as powerful figures of dangerous erotic allure, whom the artist regards with a mix of fascination and mistrust. Perhaps as problematic then as now, this visually compelling body of work provides an insight into anxieties about gender, identity, and sexuality at a time of acute social instability, as the effects of the first modern revolutions – in America and in France – swept across Britain and the Continent. Many of those anxieties still speak vividly to us today.
[The Courtauld]
With the growth of dense settlement, humans designed ways of identifying houses and/or parcels of land. Individual houses sometimes acquire proper names; and those names may acquire in their turn considerable emotional connotations.
This is the house of VA.
I love my brothers and sisters and ive learned alot from my fellow comrades in arms. My reasons for being in a crew are not to blow up a name but to learn things from each and grow as artists together.
That is the true meaning to being an artist. to always grow and learn. Everyday i learn something new with my brothers and sisters at my side they help me stay strong and wise in this path we call life......
Its easy to be selfish. its harder to give something back. I hope i can give something back to my peers and this community.
Visual Assault crew
SKAM
Mr. Say
Dr. Rasterbator
Princess Daddy
Just 1
The Lost Cause
Peel Your Face Off
Always
ABNR
Magical
Mitsy
Black & white
Rx Skulls
A series of images taken inside Salisbury Cathedral where a temporary exhibition of individual sculptures were being shown. The interest for me when photographing sculpture is in the relationship the piece has with the space in which it is displayed. Walking around and trying different view points enabled me to see the connotations that were possible to create.
all copyrights reserved ©2013 Art Hutchins ~ Art's Eye photographic©.http://artseyephotographic.zenfolio.com/
Renowned contemporary artist Kerry James Marshall, known for his paintings, drawings and sculptures that are rich with art-historical references, from Renaissance painting to American folk art spoke at the annual Barbra and Andrew Rothschild Lecture at the Nasher Museum of Art at Duke University. In his work, Marshall investigates the visibility of black people in society and the connotations associated with darkness. Before his discussion he visited the museum and signed his work in our permanent collection "Portrait of the Artist & a Vacuum." Photos by J Caldwell
Renowned contemporary artist Kerry James Marshall, known for his paintings, drawings and sculptures that are rich with art-historical references, from Renaissance painting to American folk art spoke at the annual Barbra and Andrew Rothschild Lecture at the Nasher Museum of Art at Duke University. In his work, Marshall investigates the visibility of black people in society and the connotations associated with darkness. Before his discussion he visited the museum and signed his work in our permanent collection "Portrait of the Artist & a Vacuum." Photos by J Caldwell
A series of images taken at Salisbury Cathedral on the green where a temporary exhibition of individual sculptures were being shown. The interest for me when photographing sculpture is in the relationship the piece has with the place in which it is displayed. Walking around and trying different view points enabled me to see the connotations that were possible to create.
Sculptor Helaine Bloomenfeld.
all copyrights reserved ©2013 Art Hutchins ~ Art's Eye photographic©.http://artseyephotographic.zenfolio.com/
For my Final Integrated project I am going to take photographs of highly stylized fashion portraits working in built up sets and using a large number of props and also having a model to interact in the situation. I have been looking at the work of Tim Walker and Denise Grunstein and was inspired by the scale and colour of their work.
The overall significance of these images is to illustrate and enhance the idea of a fantasy world, and to display its connotation can be found anywhere if we look hard enough. I took much influence from various types of media production, such as ‘Alice in Wonderland’ by Lewis Carroll.
Model - Cora Sumner
Magritte's unmistakable aesthetic combines a realistic design idiom with striking themes, creating surprising connotations through unusual juxtapositions.
He painted a pipe and then wrote 'Ceci n'est pas une
pipe: (This is not a pipe,) beneath it, for example, playing on the differing levels of reality between the world around us and our perception of it.
Kunsthaus, Zurich
Renowned contemporary artist Kerry James Marshall, known for his paintings, drawings and sculptures that are rich with art-historical references, from Renaissance painting to American folk art spoke at the annual Barbra and Andrew Rothschild Lecture at the Nasher Museum of Art at Duke University. In his work, Marshall investigates the visibility of black people in society and the connotations associated with darkness. Before his discussion he visited the museum and signed his work in our permanent collection "Portrait of the Artist & a Vacuum." Photos by J Caldwell
This beautifully adorned manuscript shows the opening phrases of a 15th-century abstract and commentary on Aristotle’s De Anima. Composed around 350 BC, De Anima formed the basis for later discussions of the sensorium and provided a hierarchy of the senses that remained influential, though not undisputed, until well until the early modern period. Primacy was almost universally given to visus (sight), followed by auditus (hearing), odoratus (smell), gustus (taste) and tactus (touch). Accordingly, medieval and early modern writers traditionally took up the Aristotelian model and presented sight as the ‘noblest of senses’, while attributing predominantly negative moral connotations to the lower senses of taste and touch.
University of Glasgow Library
Special Collections
Abstract & Commentary on Aristotle’s Physica and De Anima
MS Gen 335
This later changed to a European-Style Hair Salon. But...
(found near entrance A, Yong An Li Subway Station, Beijing)
free refills...
Or perhaps "let's make a pitstop" only has certain colloquial connotations in the Midwest.
"KAĶU MĀJA" means "Cat House" in Latvia, where one hopes the phrase lacks the shady connotation it carries in English.
Here's what I found out about it:
Not only does this charming, historic building offer a restaurant, but also a bistro, bar, bakery, pizzeria and a hotel. A pool table is available as is a menu of anything from Latvian dishes and steaks to fish and even vegetarian dishes. Cheaper dishes are available at the bistro and a shady terrace can be enjoyed in the summer.
Bistro "Kaķu māja", Pils iela 10, Sigulda, Siguldas pilsēta, LV-2150, Latvia.
A hookah' (hukkā or huqqah[1][2]),('هوكة) , also known as a waterpipe,[3] narghile, arghila, or qalyān, or Shisha (which refers specifically to Egyptian hookahs) is a single- or multi-stemmed instrument for vaporizing and smoking flavored tobacco called shisha in which the vapor or smoke is passed through a water basin (often glass-based) before inhalation. Depending on the placement of the coal above the shisha, a hookah can be used to produce smoke by burning the shisha or used to create water vapor by melting it at a lower temperature.[4] When a waterpipe is used to produce smoke (as is common in the Arab States of the Persian Gulf), it is usually referred to as a hookah, which means "jar" in Arabic. When the same device is used to vaporize shisha (as is common in India and the Levant), it is usually referred to as a nargile, which means "gourd" in Sanskrit. The vapor from a nargile looks similar enough to the smoke from a hookah as to cause both users and medical professionals to often confuse the two. The origin of the waterpipe is around the area which includes India,[5][6][7][8] and Persia,[7][9][10][11] or at a transition point between the two. The word hookah is a derivative of "huqqa", which is what the Arabs called it.[12][13] According to author Cyril Elgood (pp. 41, 110), who does not mention his source, it was Abul-Fath Gilani (d. 1588), a Persian physician at the Indian court of the Mughal emperor Akbar, who "first passed the smoke of tobacco through a small bowl of water to purify and cool the smoke and thus invented the hubble-bubble or hookah."[14] Nevertheless, a quatrain of Ahli Shirazi (d. 1535) refers to the use of the ḡalyān in Safavid Iran.[15] (Falsafī, II, p. 277; Semsār, 1963, p. 15). Smoking the hookah has gained popularity outside of its native region, in India, Pakistan and the Middle East, and is gaining popularity in North America, South America, Europe, Australia, Southeast Asia, Tanzania and South Africa.
Narjilah or nargileh (Arabic: نارجيلة but sometimes pronounced Argileh or Argilee) is the name most commonly used in Syria, Armenia, Turkey, Italy, Greece, Cyprus, Azerbaijan, Uzbekistan, Iraq, Jordan, Lebanon, Israel and Palestine. Nargile derives from the Persian word nārghile, meaning coconut, which in turn is from the Sanskrit word nārikela (नारिकेल), suggesting that early hookahs were hewn from coconut shells.[16][17] In Albania, the hookah is called "lula" or "lulava".
In Croatia, Serbia, Bosnia and Herzegovina, the Republic of Macedonia and Bulgaria, na[r]gile (на[р]гиле; from Persian nargile) is used to refer to the pipe. Šiša (шиша) refers to the tobacco that is smoked in it.[citation needed] The pipes there often have one or two mouth pieces. The flavored tobacco, created by marinating cuts of tobacco in a multitude of flavored molasses, is placed above the water and covered by pierced foil with hot coals placed on top, and the smoke is drawn through cold water to cool and filter it.
"Narguile",[18] is the common word in Spain used to refer to the pipe, although "cachimba"[19] is also used, along with "shisha" by Moroccan immigrants in Spain.
Sheesha (شيشة), from the Persian word shīshe (شیشه), meaning glass, is the common term for the hookah in Egypt, Sudan and countries of the Arab Peninsula (including Kuwait, Bahrain, Qatar, Oman, UAE, Yemen and Saudi Arabia), and in Algeria, Morocco, Tunisia and Somalia.[citation needed]
In Iran, hookah is called "Qalyān" (Persian:Qalyān). Persian qalyan is included in the earliest European compendium on tobacco, the tobacolgia written by Johan Neander and published in Dutch in 1622. It seems that over time water pipes acquired an Iranian connotation as in eighteenth-century Egypt the most fashionable pipes were called Karim Khan after the Iranian ruler of the day.[20] This is also the name used in Ukraine, Russia and Belarus.[citation needed]
In Uzbekistan and Afghanistan, a hookah is called chillim.[21]
In India and Pakistan the name most similar to the English hookah is used: huqqa (हुक़्क़ा /حقّہ).[22]
In Maldives, hookah is called "Gudugudaa".[23]
In Philippines, hookah is called "Hitboo" and normally used in smoking flavored marijuana.[24] The hookah pipe is also known as the "Marra pipe" in the UK, especially in the North East, where it is used for recreational purposes.[citation needed]
The widespread use of the Indian word "hookah" in the English language is a result of the British Raj, the British dominion of India (1858–1947), when large numbers of expatriate Britons first sampled the water pipe. William Hickey, shortly after arriving in Kolkata, India, in 1775, wrote in his Memoirs:
The most highly-dressed and splendid hookah was prepared for me. I tried it, but did not like it. As after several trials I still found it disagreeable, I with much gravity requested to know whether it was indispensably necessary that I should become a smoker, which was answered with equal gravity, "Undoubtedly it is, for you might as well be out of the world as out of the fashion. Here everybody uses a hookah, and it is impossible to get on without ...[I] have frequently heard men declare they would much rather be deprived of their dinner than their hookah.[25]
According to Cyril Elgood (PP.41, 110) in India the physician Irfan Shaikh, at the court of the Mughal emperor Akbar I (1542 - 1605 AD) invented the idea.[26][27][28][29] However, a quatrain of Ahlī Shirazi (d. 1535), a Persian poet, refers to the use of the ḡalyān (Falsafī, II, p. 277; Semsār, 1963, p. 15), thus dating its use at least as early as the time of the Shah Ṭahmāsp I. It seems, therefore, that Abu’l-Fath Gilani should be credited with the introduction of the ḡalyān, already in use in Persia, into India.[26]
Following the European introduction of tobacco to Persia and India, Hakim Abu’l-Fath Gilani, who came from Gilan, a province in the north of Iran, migrated to Hamarastan.[30] He later became a physician in the Mughal court and raised health concerns after smoking tobacco became popular among Indian noblemen.[31] He subsequently envisaged a system which allowed smoke to be passed through water in order to be 'purified'.[27] Gilani introduced the ḡalyān after Asad Beg, the ambassador of Bijapur, encouraged Akbar I to take up smoking.[27] Following popularity among noblemen, this new device for smoking soon became a status symbol for the Indian aristocracy and gentry.[27][29]
Culture
Middle East
In the Middle East and Arab world, people smoke waterpipe as part of their culture and traditions. Social smoking is done with a single or double hose hookah, and sometimes even triple or quadruple hose hookahs in the forms of parties or small get-togethers are used. When the smoker is finished, either the hose is placed back on the table signifying that it is available, or it is handed from one user to the next, folded back on itself so that the mouthpiece is not pointing at the recipient. Local names of waterpipe in the middle east are, ghalyan or ḡalyān, shisha, argila, nargile, nafas, ḥoqqa, čelam/čelīm)[26]
Most cafés in the Middle East offer shishas.[32] Cafés are widespread and are amongst the chief social gathering places in the Arab world (akin to public houses in Britain).[33] Some expatriate residents arriving in the Middle East adopt shisha cafés to make up for the lack of pubs in the region, especially where prohibition is in place.[citation needed]
Iran[edit source | editbeta]
Naser al-Din Shah Qajar smoking qalyan
Iranian woman with hookah (qalyan), 1900, Iran
The exact date of the first use of ḡalyān in Persia is not known. According to Cyril Elgood (pp. 41, 110), who does not mention his source, it was Abul-Fatḥ Gilani (d. 1588), a Persian physician at the court of the Mughal emperor Akbar I, who "first passed the smoke of tobacco through a small bowl of water to purify and cool the smoke and thus invented the hubble-bubble or hookah." However, a quatrain of Ahli Shirazi (d. 1535) refers to the use of the ḡalyān (Falsafī, II, p. 277; Semsār, 1963, p. 15), thus dating its use at least as early as the time of Tahmasp I (1524–76). It seems, therefore, that Abul-Fath Gilani should be credited with the introduction of the ḡalyān, already in use in Persia, to India.
Although the Safavid Shah ʿAbbās I strongly condemned tobacco use, towards the end of his reign smoking ḡalyān and čopoq (q.v.) had become common on every level of the society, women included. In schools, both teachers and students had ḡalyāns while lessons continued (Falsafī, II, pp. 278–80). Shah Safi of Persia (r. 1629-42) declared a complete ban on tobacco, but the income received from its use persuaded him to soon revoke the ban.[34] The use of ḡalyāns became so widespread that a group of poor people became professional tinkers of crystal water pipes. During the time of Abbas II of Persia (r. 1642-1666), use of the water pipe had become a national addiction (Chardin, tr., II, p. 899). The shah (king) had his own private ḡalyān servants. Evidently the position of water pipe tender (ḡalyāndār) dates from this time. Also at this time, reservoirs were made of glass, pottery, or a type of gourd. Because of the unsatisfactory quality of indigenous glass, glass reservoirs were sometimes imported from Venice (Chardin, tr., II, p. 892). In the time of Suleiman I of Persia (r. 1694-1722), ḡalyāns became more elaborately embellished as their use increased. The wealthy owned gold and silver pipes. The masses spent more on ḡalyāns than they did on the necessities of life (Tavernier apud Semsār, 1963, p. 16).
An emissary of Sultan Husayn (r.1722-32) to the court of Louis XV of France, on his way to the royal audience at Versailles, had in his retinue an officer holding his ḡalyān, which he used while his carriage was in motion (Herbette, tr. p. 7; Kasrawī, pp. 211–12; Semsār, 1963, pp. 18–19). We have no record indicating the use of ḡalyān at the court of Nader Shah, although its use seems to have continued uninterrupted. There are portraits of Karim Khan of the Zand dynasty of Iran and Fat′h-Ali Shah Qajar which depict them smoking the ḡalyān.[35] Iranians had a special tobacco called Khansar (خانسار, presumably name of the origin city, Khvansar). The charcoals would be put on the Khansar without foil. Khansar has less smoke than the normal tobacco.[citation needed]
Saudi Arabia[edit source | editbeta]
Saudi Arabia is in the process of implementing general smoking bans in public places and government offices. This includes shishas.[36] Additionally, the city of Riyadh has banned shisha cafes within city limits.
India[edit source | editbeta]
The intricate work on a Malabar Hookah
The concept of hookah is thought to have originated In India,[40] once the province of the wealthy, it was tremendously popular especially during Mughal rule. The hookah has since become less popular; however, it is once again garnering the attention of the masses, and cafés and restaurants that offer it as a consumable are popular. The use of hookahs from ancient times in India was not only a custom, but a matter of prestige. Rich and landed classes would smoke hookahs.
Tobacco is smoked in hookahs in many villages as per traditional customs. Smoking tobacco-molasses is now becoming popular amongst the youth in India. There are several chain clubs, bars and coffee shops in India offering a wider variety of mu‘assels, including non-tobacco versions. Hookah was recently banned in Bangalore. However, it can be bought or rented for personal usage or organized parties.[41]
Koyilandy, a small fishing town on the west coast of India, once made and exported hookahs extensively. These are known as Malabar Hookhas or Koyilandy Hookahs. Today these intricate hookahs are difficult to find outside of Koyilandy and are becoming difficult even to find in Koyilandy itself.
As hookah makes resurgence in India, there have been numerous raids and bans recently on hookah smoking, especially in Gujarat.[42]
Nepal[edit source | editbeta]
A hookah at a restaurant in Nepal
Hookahs (हुक़्क़ा), especially wooden ones, are popular in Nepal. Use of hookahs is considered to symbolize elite family throughout history.[citation needed] These days hookahs are also getting popular among younger people and tourists. The main tourists places like Kathmandu, Pokhara and Dharan are famous for Hookah Bars. You can smoke hookahs at the rate of 175 Rs Minimum [43]
Bangladesh[edit source | editbeta]
The hookah has been a traditional smoking instrument in Bangladesh, as it has been in India.[citation needed] However, flavored shisha was introduced in the early 2000s.[citation needed] Hookah lounges spread quite quickly between 2008–2011 and became very popular among young people as well as middle-aged people as a relaxation method.[citation needed] There have been allegations of a government crack-down on hookah bars to prevent illicit drug usage.[citation needed]
wikipedia..
Renowned contemporary artist Kerry James Marshall, known for his paintings, drawings and sculptures that are rich with art-historical references, from Renaissance painting to American folk art spoke at the annual Barbra and Andrew Rothschild Lecture at the Nasher Museum of Art at Duke University. In his work, Marshall investigates the visibility of black people in society and the connotations associated with darkness. Before his discussion he visited the museum and signed his work in our permanent collection "Portrait of the Artist & a Vacuum." Photos by J Caldwell
On a hill above the gorge is a sham castle overlooking Bristol, Avonmouth and the Avon Gorge, with views across to South Wales on a clear day. The architect was Robert Mylne and the date of building 1766; it is now believed that the design and the choice of the Gothic castle style may have had political connotations. Although referred to as a folly, it was inhabited well into the 20th century with sumptuous internal decoration. It is a grade II* listed building.
Today the colour saffron is associated with the fundamentalists.. thanks to them for the all the negative connotation associated the colour.
In Sanatan Dharma (Hinduism), the color saffron is associated with sacrifice and salvation.
What an irony to what it is thought today!
Shot @ Hampi
Kakalodaga is a bozo village. that is, the people living there are called "bozos." if i hadn't been traveling alone, i am sure it would have spawned a lot of jokes that day, but it was quickly apparent that neither mousa nor zakari had any sense of clown connotations with the word "bozo." incidentally, that's zakari off to the right
Renowned contemporary artist Kerry James Marshall, known for his paintings, drawings and sculptures that are rich with art-historical references, from Renaissance painting to American folk art spoke at the annual Barbra and Andrew Rothschild Lecture at the Nasher Museum of Art at Duke University. In his work, Marshall investigates the visibility of black people in society and the connotations associated with darkness. Before his discussion he visited the museum and signed his work in our permanent collection "Portrait of the Artist & a Vacuum." Photos by J Caldwell
Renowned contemporary artist Kerry James Marshall, known for his paintings, drawings and sculptures that are rich with art-historical references, from Renaissance painting to American folk art spoke at the annual Barbra and Andrew Rothschild Lecture at the Nasher Museum of Art at Duke University. In his work, Marshall investigates the visibility of black people in society and the connotations associated with darkness. Before his discussion he visited the museum and signed his work in our permanent collection "Portrait of the Artist & a Vacuum." Photos by J Caldwell
LASSUS, Jean (1973) - L'Illustration Byzantine du Livre des Rois. Vaticanus Graecus. Va, Livre IV, p. 83-84. Bibliotheque des Cahiers Archeologiques IX, Ed. Klincksieck, Paris. --- 2 King 2: And it came to pass, as they still went on, and talked, that, behold, there appeared a chariot of fire, and horses of fire, and parted them both asunder; and Elijah went up by a whirlwind into heaven. And Elisha saw it, and he cried, My father, my father, the chariot of Israel, and the horsemen thereof. And he saw him no more: and he took hold of his own clothes, and rent them in two pieces.
----
Biblical Interpretation in the Middle Ages and the Reformation - Dr. Kenneth Hagen [Bethany Lutheran College, S. C. Ylvisaker Fine Arts Center, Mankato, Minnesota, October 26 and 27, 2000.
We are going to take a ride on our chariot and see where it (she) takes us. The most common assertion about biblical interpretation in the Middle Ages and the Reformation is that medieval theologians employed the fourfold method of interpreting Scripture known as the quadriga and the reformers rejected it. The four senses were: history, allegory, tropology, and anagogy.
“The medieval quadriga” is the common coinage. But if you look in your classical Latin dictionary you will find that quadriga means “A chariot with its team of four horses running abreast,” or “a team of four chariot horses,” “four abreast,” “a four-horse team,” “four-horse chariot,” or just “chariot.” We might say a four-horse rig. Medieval and ecclesiastical Latin dictionaries continue defining quadriga as “chariot” or “wagon.” How do we go then from a four-horse rig to the four senses of Scripture? I had a colleague who always bugged me about where this quadriga came from. “Well, it’s medieval and comes from John Cassian,” I would reply; all histories of hermeneutics will tell you that. All medievals used a threefold or fourfold scheme to designate the multiple senses of Scripture. The fourfold scheme is the quadriga. Right? Well, it not only is not so easy; it may not be true. And then there is Luther; he rejected allegory and the whole quadriga, right? Well, here again it is not so easy and may not be true.
Data on Quadriga.
If you want to know the meaning and use of a word in medieval theology, you must know its usage in the Vulgate because the Latin of medieval theology is the Latin of the Bible. The Latin Vulgate permeated the style and vocabulary of most medieval literature and certainly all of medieval theology. Medieval theologians have been described as “walking concordances” because they carried the whole of Scripture in their heads and hearts. Melanchthon said that Luther had memorized the whole Bible.
Meaning of Quadriga in the Latin Bible.
The six instances of quadriga in the nominative singular in the Vulgate all translate “chariot.”
Zech. 6:1-5 is cited throughout the Middle Ages: NRSV Zech. 6:1. And again 1 looked up and saw four chariots coming out from between two mountains—mountains of bronze. The first chariot had red horses, the second chariot black horses, the third chariot white horses, and the fourth chariot dappled gray horses. Then I said to the angel who talked with me, “What are these, my lord?” The angel answered me, “These are the four winds of heaven going out, after presenting themselves before the Lord of all the earth.” There are eight instances of quadrigae in the plural, all mean chariots. Example: NRSV Isa. 66:15. For the LORD will come in fire, and his chariots like the whirlwind, to pay back his anger in fury, and his rebuke in flames of fire.
The four instances of quadrigam (in accusative singular) all mean chariot: NRSV Isa. 43:17. ...who brings out chariot and horse, army and warrior; they lie down, they cannot rise, they are extinguished, quenched like a wick.
The eleven instances of quadrigarum (genitive plural) all translate chariots: NRSV 1 Sam. 8:11. He said, “These will be the ways of the king who will reign over you: he will take your sons and appoint them to his chariots and to be his horsemen, and to run before his chariots.”
The four instances of quadrigas (accusative plural) mean chariots: NRSV 1 Chron. 18:4. David took from him one thousand chariots, seven thousand cavalry, and twenty thousand foot soldiers. David hamstrung all the chariot horses, but left one hundred of them.
Five instances of quadrigis (a blative plural), all chariots: NRSV 2 Chron. 16:8. Were not the Ethiopians and the Libyans a huge army with exceedingly many chariots and cavalry? Yet because you relied on the LORD, he gave them into your hand.
Conclusion regarding quadriga in the Vulgate: The thirty-eight instances of quadriga (in various case endings) in the Latin Vulgata all translate and mean chariot(s). Plain old rigs, all connoting horses, charioteers, battles, blood and guts. No connection to senses or meaning of anything, let alone Scripture. As I imagine sitting behind a “stinken” old four-horse team, what flies in my face is anything but the sweetness of Scripture.
What happens to the word “quadriga,” chariot, in the Middle Ages? In the Patrologia Latina Database (PLD) are 311 instances of quadriga in the nominative singular. There is some variation on quadriga in the Middle Ages. Beyond the biblical references to chariots on earth
engaged in battles, using horses and soldiers, the word “quadriga” takes on a figure of speech beyond the temporal world. To use Patristic language, it becomes an image, a symbol, a metaphor: Martyrs are carried away in chariots to glory (PLD, vol. 17). The New Testament—Matthew, Mark, Luke, and John—is the chariot of the Lord (vol. 22 and elsewhere). The Lord sits in the heavens in his chariot and the angels praise him (26). Lie (falsehood) is the chariot of the demons (39). Spousal obedience, you are a perfect ladder to heaven, you a chariot by which Elijah was carried to heaven, you are the gateway to paradise (40). Prudence, justice, temperance, fortitude—these are enclosed in the regions of heaven; you chariot as charioteer of Christ carries to the goal (30).
Virtues, four cardinal virtues: chariot of the virtues of heaven (46). Chariot of friends, full of love (100). Ancient customs are brought together into one chariot—Richard, Hugo, Willelmus, Hamo (163). The chariot of Christ (Quadriga Christi) is the Gospel; the four wheels are the four evangelists. The chariot of Aminadab are the four Gospels (172). Conclusions regarding quadriga in Scripture and the Middle Ages: In Scripture and throughout the Middle Ages, quadriga means chariot (singular or plural), a four-horse chariot. Most often in the Middle Ages, quadriga means one of the chariots of battle cited in Scripture. Less often but sometimes in the Middle Ages, quadriga takes on metaphoric usage, the four horses become four virtues, four vices, four Gospels. One could say that it would be a short step from quadriga as four Gospels to quadriga as the four senses of Scripture. The question is “Who first took that step and when?” The fourfold sense or meaning (quadrifariam) of Scripture goes back to the early period (Jerome, Cassian).
A threefold division goes back to Origen’s anthropology of body, soul, and spirit, hence historical, moral, and mystical senses of Scripture. Images of three and four a bound. One threefold, classic image, having to do with building a house, came from Gregory the Great and was used by Hugh of St. Victor: the historical sense is the foundation, the structure built thereon is the allegorical sense, the decoration is the tropological sense.
Configurations of four abound: four Gospels, four corners of the world, four winds, four rivers of paradise, four legs of the table in the temple. The fourfold division emerged as the dominant practice by the end of the Middle Ages. The fourfold meaning was put to rhyme, nobody knows exactly when for the first time, and called a “verse” by Lyra; Lyra refers to these four senses (istorum quatuor sensuum). The most comprehensive and respected survey of medieval exeges is by Henri De Lubac finds the earliest usage of the rhyme (distich) to come from a Dane, Augustine (Aage) of Denmark, in a document published around 1260. Lyra’s dates are 1270-1349. The verse (distich, a verse couplet) is as follows:
Littera gesta docet, quid credas allegoria,
Moralis quid agas, quo tendas anagogia.
The letter teaches what happened, the allegorical what you are to believe, the moral what you are to do,the anagogical where you are going. Jerusalem (literally) is the city; Jerusalem (allegorically) is the church; Jerusalem (morally) is the human soul; Jerusalem (anagogically) is heaven. Nobody up to Lyra applies the word “quadriga” to the well-known verse (from my research); neither does Lyra. Lyra says, “Sacred Scripture has quadruplicem sensum [fourfold meaning]” and later cites “the verse.” I think it is safe to say that if anyone were to assign the verse (distich) to quadriga the greatest biblical scholar of the age, Nicholas of Lyra, would have done so. Lyra, like Luther’s amanuensis Rörer, was a vacuumcleaner that sucked up the wealth of medieval biblical learning. Now mind you that Lyra is not just some fourteenth-century manuscript, though many copies were made of his commentaries (Postillae). Lyra was in the Bible, Luther’s Bible (literally!). That is, when the Great Froben Bibles were printed, starting in 1498 and continuing to 1508, Lyra’s commentaries occupied the whole right side of the page of the Bible. The Froben Bible (1506-1508) was the edition available to Luther in Wittenberg. So when Luther opened his Bible to his favorite Epistle, Galatians, there he saw Lyra say, “Sacred Scripture has quadruplicem sensum [fourfold meaning]”; quadruplex not quadriga.
Quadriga in Luther.
What we have then is that at the end of the Middle Ages the famous “verse” is given by the best-known and most influential biblical scholar, Lyra. The word used by everyone to describe this verse, quadriga, cannot be located and connected to the verse (before 1508). The first person to use the verse and the word “quadriga” is Luther (between 1517 and 1521). You might think that this is an acceptable solution, Luther put quadriga on the map; Luther is more well-known and more influential than Lyra. The problem with this is that when Luther does refer to “quadriga” he does so in a manner that seems to indicate it is a well-known word descriptive of the four senses. Furthermore, Luther’s use and comments about quadriga are not unequivocal (he vacillates somewhat): at first he is critical of quadriga, calling it a game and saying it does not lead to true understanding of Scripture. About two years later he is mildly supportive of quadriga. Then about two years later still he attacks quadriga. Then after 1521, he reverts to the medieval usage of quadriga as “chariot” in the biblical sense of the word and not the four senses of Scripture.
In 1516, as in 1513, Luther uses the traditional four senses, then in 1516 (On Galatians) he recites the verse (distich) as well. However, no word “quadriga” is attached. In his 1516 comments on Gal. 4:24, Luther introduces the distich with these words: Quadruplex sensus scripturae habetur in usu (there is a fourfold meaning of Scripture in use today).
Note that Luther says quadruple, not quadriga; quadruplex was the customary word (Lyra’s word). In 1516 he sees problems with the usual delimitation of the four senses as too narrow and too inconsistent. The first usage of “quadriga” comes in a Sermon on the Ten Commandments early in 1517. Here, he is negative, saying that the most impious deal with “that quadriga.” “The most impious” are called Scholastic doctors. Their most accurate name, however, is “stage actors,” “humorists,” and “mockers” because they make inept games out of the literal, allegorical, moral, and anagogical senses.
The word “that” (illam) denotes that famous quadriga, as though everyone knew what Luther was talking about. The demonstrative pronoun (that) puzzles me since I cannot (nor can anyone else) find “quadriga” as the “famous four fold meaning” in print. In 1519, when he gives mild approval, he refers again to “that quadriga” with a different demonstrative pronoun (ista) as though it is well-known (in this case he seems to use 'ista' with a negative connotation). In 1519 (on Gal. 4:24), Luther again knows and uses the word “quadriga” applied to the four senses of Scripture. He does so in a way that indicates that he is not making any of this up. He speaks of the usual interpretation of the four senses and even calls it a “game” played by some, which is okay if it is not used to the extreme and if it adds ornamentation to the legitimate sense. Often for Luther allegory means an example for the not well-instructed, or a “milky teaching.” Then Luther’s next point is: “That quadriga, though I do not disapprove of it, is not sufficiently supported by the authority of Scripture, by the custom of the Fathers, or by grammatical principles” (LW 27:311). The American Edition translates quadriga as “four-horse team” which makes no sense as translation but is correct as to its classical usage. Soon after 1519, in his second commentary on the Psalms from 1519-21, Luther has another thought about the quadriga, this time completely unfavorable. His concern here is with those who slice up Scripture into various pieces, going back to Origen and Jerome and continuing up to Scholasticism and the Antichrist.
Actually Luther’s term is very strong; he attacks those corrupters who “lace rate,” mangle, Scripture into four parts and “divide the robe of Christ.” To paraphrase, toward the end of the Operationes in Psalmos: Scripture began to be lacerated with the falling apart (down) of the Fathers and to deteriorate in succeeding generations. Then with the Universities and the reigning of the Antichrist, confirmed in the hand of the Roman Pontiff, came not the mystery of iniquity but iniquity itself in control and its abomination standing in the holy place openly, as Christ and his Apostles became extinct. Soon Saint Thomas with Lyra and his kind began to publish to the world quadrigam illam sensuum scripturae, literalem, tropologicum, allegoricum et anagogicum, and thus divide the robe of Christ into four parts; and all the authors, doctors, inquistors were audacious corrupters of Scripture.
Luther sees the “quadriga” to be so named (made known to the world) by Thomas, then Lyra and others. He goes on to repeat that the Scholastics in their lacerations of Scripture know nothing of the legitimate meaning of Scripture. What we may have here I have seen elsewhere in medieval theology, namely, that some position is attributed to someone and that attribution continues to be repeated without any basis in fact. I cannot see where quadriga in Thomas is used in any way other than chariots and horses.
These three references, 1517, 1519, 1521, are the only three references in all of Luther’s works where he connects quadriga with the four senses of Scripture; otherwise, in thirteen other uses “quadriga” refers to chariot(s); except in one place where it means “fourfold meaning of sins.”
Something tells me that I must conclude that Luther in 1517 is the first to use quadriga in print as applied to the fourfold meaning of Scripture. You could even say the four-horse chariot has become the fourfold meaning of Scripture, a logical extension of medieval metaphor. Now mind you that Luther is not terribly excited about the fourfold meaning (now called quadriga by him), and says that it cannot be used to establish a doctrine of faith (which is Aquinas’s position as well). Plus he says that the distinctions among the four senses are not clearly and consistently made among the Fathers. Nevertheless, Luther uses the three spiritual senses off and on throughout his life, not for doctrine but for example and ornamentation.
Day 32/365 Self Portraits - 1st February 2010
Today's photo is pretty lame, but today wasn't too great because I had to travel back to Essex. Essex has so many negative connotations for me right now: job that I don't enjoy and don't get any satisfaction from (and it totally does not use my degree at all).. that's just the start of it.
So this photo was taken on the train; table seat facing the right way (score!), watching the digital copy of (500) Days of Summer. I always try to watch something to take my mind off things on my way back.
I'm slowly catching up with my uploads, still two to go!
East Wall reliefs
Deceased fowling in the marshes
The east wall houses the entrance to the shrine, as well as two large depictions of Khnumhotep II hunting in the marshes, one on the north side and the other on the south side. To the south he is harpooning two fishes and to the north he is fowling with a throwing stick. These hunting in the marshes scenes help protect the deceased in the afterlife as well as guarantee his rebirth through connotations of sexuality. Beneath him, north of the door, there are pictures of several people fishing and beneath him on the south side are representations of fighting boatmen. Collectively this wall represents the perpetual renewal of Khnumhotep I.
Despite the French connotation of the name ("amour" is the French word for "love", but you all know that, don't you? ;)), the river is anything but romantic. Maybe it was the dull sky. Or the factories on the shore. Or the muddy taint of the water. Or the kitch funfair on the shore.
It's an vast and impressive river nonethless, with this amazing motorway and railway bridge crossing it. Trendy people from Khabarovsk sometimes take a boat in the morning and go shopping the whole day in China, 50km away.
See the whole set: www.flickr.com/photos/popiet/sets/72157624645931186/
See also:
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.
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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.
Not a rude connotation but the black lady on the right was wearing a very arresting outfit, almost reminiscent of some blaxploitation rather than a town in North East Kent.
Renowned contemporary artist Kerry James Marshall, known for his paintings, drawings and sculptures that are rich with art-historical references, from Renaissance painting to American folk art spoke at the annual Barbra and Andrew Rothschild Lecture at the Nasher Museum of Art at Duke University. In his work, Marshall investigates the visibility of black people in society and the connotations associated with darkness. Before his discussion he visited the museum and signed his work in our permanent collection "Portrait of the Artist & a Vacuum." Photos by J Caldwell
The name "Damien" sounds vaguely like the English "demon," but is not at all etymologically related. It is interesting that since the original Omen movie came out, Damien has become a name with powerful evil connotations, despite the fact that historically it is associated with many saintly figures. Damien is the French form of the English name Damian (Latin Damianus), popular as the name of a martyred Christian saint of the third century (see Saints Cosmas and Damian). Another prominent Damien was Father Damien of Hawaii, who died while establishing leper colonies there. Damien is also the first name of Father Karras in The Exorcist.
The otaku 御宅族 - an urban tribe, and many of them in the area near Harajuku 原宿 JR station (Sunday PM). Definition: People with strong interests, particularly anime, manga, and video games. Have read a lot about them - well youngsters with strong needs to express themselves. I asked a Japanese friend: Would you let you kids to be one of them? Guess the answers?
The term OTAKU has evolved over time and it does not carry the negative connotation that it used to be. It can be taken as either a compliment or the opposite, depending on the recipient and the overall context. I personally take it positively -- to me it is just how a youth put up a statement about him or herself .. right?