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Chris Matthews of Hardball discusses faith, service, and America's current political dysfunction with Rev. Bob McElroy
University of San Francisco
March 18, 2014
Photos by Carly Dahl
Leo T. McCarthy Center
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Here Dr Tahira Rubab Hafeez is explaining the facts that sexual problems, well, there are so many individuals, a couple, who suffer from this problem nowadays. It is pretty frequent too. However, it becomes a big concern when it impacts both your health and your sexual life! So, yes, we're taking an effort to give extensive information about the most prevalent sexual difficulties and treatments.
What are Sexual Issues?
A sexual issue is defined as a difficulty that occurs throughout any stage of the sexual response cycle and inhibits an individual or couple from receiving satisfaction from their sexual engagement. There are four stages in the sexual response cycle: stimulation, plateau, climax, and resolution. I am talking about these issues in this video series.
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Here Dr Tahira Rubab Hafeez is explaining the facts that it is critical for both parties to secure their own and each other's physical, psychological, and relational well-being in order to have a mutually satisfying sexual encounter.
It is generally stated that sex occurs between the two ears rather than between the two legs, and so sexual troubles frequently arise from the mind. Of course, certain disorders may necessitate medical intervention or the services of a professional sexologist or relationship counselor. But for now, let's look at some of the most frequent sexual challenges that couples have and how to deal with them. In these videos I am talking about these topics in detail.
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Breaking Banality: The Dysfunction of Remediation
Photographs by Evan La Londe
PNCA’s Feldman Gallery Presents Eva and Franco Mattes
Portland, OR, October 23, 2014 — The Philip Feldman Gallery + Project Space at Pacific Northwest
College of Art (PNCA) presents Breaking Banality: The Dysfunction of Remediation, an exhibition by Eva and Franco Mattes, opening with a reception on First Thursday, November 6, 2014 and running through
January 10, 2015. For the exhibition, whose title was created by an online random exhibition title generator, the Brooklyn-based Italian duo will present ten reiterations of one performance from their series
“BEFNOED – By Everyone, For No One, Every Day,” for which they commission anonymous workers to realize webcam performances. The Mattes’ hire performers through online crowdsourcing services and post the resulting videos to many of the more obscure social networks around the world. The artists regularly post links to new videos at befnoed.tumblr.com. These works are in the lineage of Fluxus event scores and more recently Hans Ulrich Obrist’s instruction-based project, “Do It.” For this exhibition, to view the videos, visitors will be forced in awkward positions, becoming themselves, if just for a few seconds, performers, and underlying how the act of viewing is in itself performative.
For another work in the show, an image, resulting from an internet search for the words “worn out,” was printed by online services on various objects. The objects were then delivered by mail directly to the venue, so neither the artists nor the curator have seen the final works.
The duo’s provocative digital works have previously included a staged suicide filmed by webcam, a slideshow of 10,000 photos stolen from personal computers, and reenactments of well-known performance art works in online videogames.
“Eva and Franco Mattes’ subversive conceptual works delve into the obscure corners and more grim aspects of the internet and the ways it both connects and distances users,” says Mack McFarland, Director of Exhibitions at PNCA. “We are thrilled to be working with two of the cardinal Net Art practitioners and expect the exhibition to ignite valuable conversations around our digitally fabricated and recorded selves and the ways we interact at a distance now.”
Exhibition trailer - Eva and Franco Mattes, Breaking Banality, PNCA’s Feldman Gallery from Eva and
Franco Mattes on Vimeo.
Eva and Franco Mattes (1976) (a.k.a. 0100101110101101.ORG) are an artist duo originally from Italy, working in New York. Their medium is a combination of performance, video and the Internet, for which they are perhaps best known. Their work explores ethical and moral issues when people interact at distance, especially through social media, creating situations where it is difficult to distinguish reality from a simulation.
Melissa Gronlund, editor of Afterall Magazine, described Mattes’ work as follows: “Whether by obscuring the name of the author, hiding information from the public or presenting false information to (often unwitting) participants in the works they create, the Mattes set up situations in which the viewer’s mistaken assumptions and actions create the form of the work itself”.
Mattes’ work has been exhibited at the Minneapolis Institute of Arts (2013); Site Santa Fe (2012);
Sundance Film Festival (2012); PS1, New York (2009); Performa, New York (2007, 2009); ARoS Aarhus
Kunstmuseum (2009); National Art Museum of China, Beijing (2008); The New Museum, New York
(2005) and Manifesta 4, Frankfurt (2002). In 2001 they were among the youngest artists ever included in the Venice Bienniale.
They have also held conferences at universities, festivals and museums, including Columbia University,
New York; RISD, Providence; New York University; Carnegie Mellon, Pittsburgh; College Art Association, New York; Museo Reina Sofia, Madrid; MAXXI, Rome and Musee d’Art Moderne, Paris.
They are founders and co-directors of the international festival The Influencers, held annually at the CCCB,
Barcelona, Spain (2004-ongoing).
The Mattes have received grants from the Walker Art Center, Minneapolis; The Museum of Contemporary
Art, Roskilde; ICC, Tokyo, and were awarded the New York Prize 2006 from the Italian Academy at
Columbia University.
You can find more herbal erection oil at www.ayurvedresearch.com/penis-massage-oil.htm
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Here Dr Tahira Rubab Hafeez is explaining that it's not something you ever want to have to confront as a married couple, yet sexual issues in marriage may arise. You want to collaborate in order to figure out what is going on. You should strive to identify the most serious issues.
Having the awareness and willingness to attempt to solve any sex difficulties in marriage is the first and most crucial step. You can actually cure these sex difficulties in marriage, but only if you are both dedicated to doing so and making this aspect of your relationship work. I am going to help you in this area by providing relevant information that will dramatically improve your relationships.
Breaking Banality: The Dysfunction of Remediation
Photographs by Evan La Londe
PNCA’s Feldman Gallery Presents Eva and Franco Mattes
Portland, OR, October 23, 2014 — The Philip Feldman Gallery + Project Space at Pacific Northwest
College of Art (PNCA) presents Breaking Banality: The Dysfunction of Remediation, an exhibition by Eva and Franco Mattes, opening with a reception on First Thursday, November 6, 2014 and running through
January 10, 2015. For the exhibition, whose title was created by an online random exhibition title generator, the Brooklyn-based Italian duo will present ten reiterations of one performance from their series
“BEFNOED – By Everyone, For No One, Every Day,” for which they commission anonymous workers to realize webcam performances. The Mattes’ hire performers through online crowdsourcing services and post the resulting videos to many of the more obscure social networks around the world. The artists regularly post links to new videos at befnoed.tumblr.com. These works are in the lineage of Fluxus event scores and more recently Hans Ulrich Obrist’s instruction-based project, “Do It.” For this exhibition, to view the videos, visitors will be forced in awkward positions, becoming themselves, if just for a few seconds, performers, and underlying how the act of viewing is in itself performative.
For another work in the show, an image, resulting from an internet search for the words “worn out,” was printed by online services on various objects. The objects were then delivered by mail directly to the venue, so neither the artists nor the curator have seen the final works.
The duo’s provocative digital works have previously included a staged suicide filmed by webcam, a slideshow of 10,000 photos stolen from personal computers, and reenactments of well-known performance art works in online videogames.
“Eva and Franco Mattes’ subversive conceptual works delve into the obscure corners and more grim aspects of the internet and the ways it both connects and distances users,” says Mack McFarland, Director of Exhibitions at PNCA. “We are thrilled to be working with two of the cardinal Net Art practitioners and expect the exhibition to ignite valuable conversations around our digitally fabricated and recorded selves and the ways we interact at a distance now.”
Exhibition trailer - Eva and Franco Mattes, Breaking Banality, PNCA’s Feldman Gallery from Eva and
Franco Mattes on Vimeo.
Eva and Franco Mattes (1976) (a.k.a. 0100101110101101.ORG) are an artist duo originally from Italy, working in New York. Their medium is a combination of performance, video and the Internet, for which they are perhaps best known. Their work explores ethical and moral issues when people interact at distance, especially through social media, creating situations where it is difficult to distinguish reality from a simulation.
Melissa Gronlund, editor of Afterall Magazine, described Mattes’ work as follows: “Whether by obscuring the name of the author, hiding information from the public or presenting false information to (often unwitting) participants in the works they create, the Mattes set up situations in which the viewer’s mistaken assumptions and actions create the form of the work itself”.
Mattes’ work has been exhibited at the Minneapolis Institute of Arts (2013); Site Santa Fe (2012);
Sundance Film Festival (2012); PS1, New York (2009); Performa, New York (2007, 2009); ARoS Aarhus
Kunstmuseum (2009); National Art Museum of China, Beijing (2008); The New Museum, New York
(2005) and Manifesta 4, Frankfurt (2002). In 2001 they were among the youngest artists ever included in the Venice Bienniale.
They have also held conferences at universities, festivals and museums, including Columbia University,
New York; RISD, Providence; New York University; Carnegie Mellon, Pittsburgh; College Art Association, New York; Museo Reina Sofia, Madrid; MAXXI, Rome and Musee d’Art Moderne, Paris.
They are founders and co-directors of the international festival The Influencers, held annually at the CCCB,
Barcelona, Spain (2004-ongoing).
The Mattes have received grants from the Walker Art Center, Minneapolis; The Museum of Contemporary
Art, Roskilde; ICC, Tokyo, and were awarded the New York Prize 2006 from the Italian Academy at
Columbia University.
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If you liked this video, then please subscribe to our YouTube Channel to get updates of other useful health video tutorials. You can also find us on Facebook, Twitter and Google+.
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Spent a lot of time here as a child in the 1980's. It's all gone now. Had an incredibly empty feeling taking these pics. This is such a waste of space. It could be so much more.
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Shepard Fairey's May Day, a Houston & Bowery Mural Project presented by Deitch Projects and Goldman Properties, incorporates several of the images and themes that can be found in his most recent fine art and street art work. In this public piece, Fairey tackles an array of subjects including the reclamation of the U.S. flag as a multi-dimensional symbol, global warming, health care, free speech, activism, and the dysfunction of the two-party system in Washington. Fairey's mural addresses contemporary political themes, but also pays tribute to some of the Pop artists who have influenced him. The American flag and the target reference the iconic paintings of Jasper Johns who is also the subject of a portrait in the May Day exhibition. The newspaper and the May Day megaphone advertisement pay tribute to Warhol's early painted renditions of common subject matter. The mural also weaves in many smaller images and decorative patterns, which supplement the aesthetic and themes of the larger images.
OBEY Giant is a street art campaign by artist and guerrilla marketer Shepard Fairey. The campaign originated with the André the Giant Has a Posse sticker that Fairey created in 1986 in Charleston, South Carolina. Distributed by the skater community, the stickers began showing up everywhere. In 1989, while a student at RISD (Rhode Island School of Design), Fairey released his manifesto and the Obey Giant campaign was born. The campaign, an "experiment in phenomenology" pushed primarily through stickers and prints, has a mission to attempts to stimulate curiosity and bring people to question both the campaign and their relationship with their surroundings. Because people are not used to seeing advertisements or propaganda for which the motive is not obvious, frequent and novel encounters with Obey propaganda provoke thought and possible frustration, nevertheless revitalizing the viewer's perception and attention to detail. Over time the artwork has been reused in a number of ways, most famously in with his "Hope" campaign poster for Barack Obama in the 2008 United States Presidential election.
The Goldman Wall was first covered with streetart in the summer of 1982 by Keith Haring. Goldman Properties, owned by real-estate developer and art enthusiast Tony Goldman, acquired the wall in 1984, using it for advertisements for two decades. In celebration of what would have been Haring's 50th birthday in 2008, Goldman donated the wall to his friend and curator, Jeffrey Deitch and Deitch Projects. The two commissioned a recreation of Haring's 1982 classic, establishing a relationship that resulted in a series of sanctioned murals on the space from a rotating group of artists and that would ultimately carry over to Miami's Wynwood Walls.
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www.medilaw.tv - rheumatology illustrations, Shows rheumatoid sub-axial subluxation in lateral external and cross-section views. The pathology illustrated includes synovitis, joint subluxation and spinal cord stenosis.
RHEUMATOID ARTHRITIS
Rheumatoid arthritis is a long-term inflammatory disease of the whole body. The cause is unknown, but theories include combinations of viral infection, genetic predisposition, psychological stress, hormone interactions and autoimmune dysfunction - where a person's immune system begins to attack their own body. Rheumatoid arthritis primarily involves the knuckle joints of the feet and hands. The next most commonly affected region is the cervical spine. The thoracic and lumbar spine are rarely affected. Rheumatoid spondylitis refers to the inflammation and destruction of synovial joints and the adjacent ligaments and bone in the spine.
Rheumatoid spondylitis can affect any level of the cervical spine and begins early, with 80% of clients developing cervical instability within two years of the onset of the disease.
Damage to the supporting joint surfaces, ligaments and muscles allows abnormal movement of the spine joints. This instability or lack of proper alignment between adjacent vertebrae places pressure on the spinal cord or the nerves as they leave the spinal cord. This can cause pain, numbness or weakness that is the major medical concern for clients with rheumatoid spondylitis.
Rheumatoid spondylitis starts with the cells in the synovial membrane, or synovium, lining the synovial joints. When stimulated, the cells produce a substance that triggers an inflammatory response from the body, causing it to attack the synovium. This inflammatory response in turn causes the growth of swollen granulation tissue, known as rheumatoid pannus, within the synovium.
The pannus makes enzymes that destroy adjacent cartilage, ligaments, tendons, and bone. Their destruction leads to loose or ruptured ligaments and bony erosion, which combined with muscle weakness and tendinitis, leads to joint instability and the incorrect alignment of joint surfaces, known as subluxationEventually, little articular cartilage remains and osteoarthritis develops. This condition can be accompanied with thinning of the adjacent bone, known as osteopenia.
Rheumatoid spondylitis can lead to :
erosive synovitis -- where the inflamed synovium destroys the adjacent articular cartilage, the underlying bone and the adjacent ligaments
ligamentous subluxation -- where the stretched and ruptured ligaments fail to support the joint, and the two joint surfaces slide across each other in an abnormal way
osteopenia -- where the underlying bone thins and loses its strength, and
vertebral body fracture -- where the weakened bone fractures, often under minimal stress.
DEFORMITIES
Rheumatoid deformities of the cervical spine can be categorized in three groups:
atlanto-axial subluxation or instability
cranial settling (also known as superior migration of the odontoid, pseudobasilar invagination, vertical / upward translocation of the odontoid)
subaxial subluxation.
Any combination of these deformities can occur.
Subaxial subluxation occurs when erosion of the facet joints, intervertebral discs and interspinous ligaments of the third to seventh cervical vertebrae leads to slipping and mal-alignment between adjacent vertebrae. This happens in up to 20% of rheumatoid spondylitis patients, and can occur at multiple levels, producing a stepladder deformity of adjacent vertebra.
While neck pain is seen in up to 90% of people with rheumatoid spondylitis, only a third develop nerve impairment due to pressure on the spinal cord or spinal nerves. Spinal cord or nerve compression are the main reasons for surgery, which is used to remove the tissues compressing the nerves and return the spinal alignment to normal.
SYMPTOMS
The symptoms of rheumatoid disease in the cervical spine may include
neck pain and stiffness, although some people have marked neck damage and instability with little pain
compression of the spinal cord or nerves in the neck, which can cause face or ear pain, headaches, limb weakness, hand paresthesias or pins and needles, loss of fine dexterity of the hand, decreased endurance, walking difficulty, urinary retention or incontinence
compression of blood vessels to the brain, which can cause vertigo or dizziness, visual disturbances, tinnitus or ringing in the ears, dysphagia or difficulty swallowing
What Is HRT for Men?
It's never easy when you find yourself facing uncomfortable issues such as fatigue, depression, or erectile dysfunction. It can be hard to admit these problems to yourself and even harder to bring them up with a doctor. Blaming yourself for symptoms such as these may seem like the easy thing to do, but the truth of the matter is that there could be a lot more going on.
Believe it or not, hormonal issues are often to blame when it comes to low libido, insomnia, and even mood swings in men. When testosterone, in particular, begins to dwindle, the problems can be significant and far reaching. Fortunately, however, a solution does exist, namely testosterone replacement therapy from a licensed medical doctor like Dr. Mikhail Berman.
When testosterone levels diminish with age, it could be a sign of andropause, or male menopause, that is marked by low libido, mood swings, fatigue, and even bone or muscle weakness. While significant stigma was once attached to this period in a man's life, that has started to change. Today, more and more men are facing these problems head on and pursuing treatment from a testosterone specialist like Dr. Berman.
How Does Male Hormone Replacement Work?
At your initial consultation, Dr. Berman will conduct a thorough physical examination and will order the blood tests necessary to determine your body's levels of testosterone, thyroid hormones, estradiol, estrogen, prolactin, and progesterone. By so doing, the goal is to better understand both your blood count and the composition of your blood and hormone levels so that proper action can be made to correct any issues.
While there are a number of factors that can affect testosterone levels, including height and weight, the fact is that there is often little a man can do by himself to boost testosterone and eliminate symptoms associated with testosterone deficiency. Instead, the help of a male hormone replacement specialist is often required.
The endocrine system is a complex and intricate system that is operated in a series of feedback loops that require proper hormone levels to function. When disruption occurs, the results are often serious and difficult to correct without low t therapy. Fortunately for those in need of testosterone therapy in the Palm Beach Gardens area, Dr. Berman is there to serve.
Schedule a Consultation
While helpful, hormone replacement therapy is not a treatment that should be entered into without thought. Dr. Berman is a physician who has significant experience working with men who are dealing with low testosterone and are looking for a way to experience relief from symptoms of low t.
Since the body is so dependent upon proper hormone levels, it's all too common for the body to experience problems when a disruption occurs. However, far too many men tend to ignore the symptoms and/or not properly identify their cause. That's why it's so imperative to seek out a hormone replacement specialist like Dr. Berman.
Over his 30 years of experience, he has seen and worked with many men who are dealing with everything from weight gain and gynecomastia to erectile dysfunction and low libido. With each of his patients, he takes the time to understand their symptoms and needs in order to offer the best possible care. After performing a thorough consultation with a full physical and blood tests, Dr. Berman is better able to offer testosterone injections and dietary guidance intended to help restore hormone levels and health to both the body and mind.
If you're one of the many men in the Palm Beach Gardens area who is living with symptoms of low testosterone, don't wait; call the office of Dr. Berman today to schedule a consultation. Call us today at (561) 841-1837.
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Breaking Banality: The Dysfunction of Remediation
Photographs by Evan La Londe
PNCA’s Feldman Gallery Presents Eva and Franco Mattes
Portland, OR, October 23, 2014 — The Philip Feldman Gallery + Project Space at Pacific Northwest
College of Art (PNCA) presents Breaking Banality: The Dysfunction of Remediation, an exhibition by Eva and Franco Mattes, opening with a reception on First Thursday, November 6, 2014 and running through
January 10, 2015. For the exhibition, whose title was created by an online random exhibition title generator, the Brooklyn-based Italian duo will present ten reiterations of one performance from their series
“BEFNOED – By Everyone, For No One, Every Day,” for which they commission anonymous workers to realize webcam performances. The Mattes’ hire performers through online crowdsourcing services and post the resulting videos to many of the more obscure social networks around the world. The artists regularly post links to new videos at befnoed.tumblr.com. These works are in the lineage of Fluxus event scores and more recently Hans Ulrich Obrist’s instruction-based project, “Do It.” For this exhibition, to view the videos, visitors will be forced in awkward positions, becoming themselves, if just for a few seconds, performers, and underlying how the act of viewing is in itself performative.
For another work in the show, an image, resulting from an internet search for the words “worn out,” was printed by online services on various objects. The objects were then delivered by mail directly to the venue, so neither the artists nor the curator have seen the final works.
The duo’s provocative digital works have previously included a staged suicide filmed by webcam, a slideshow of 10,000 photos stolen from personal computers, and reenactments of well-known performance art works in online videogames.
“Eva and Franco Mattes’ subversive conceptual works delve into the obscure corners and more grim aspects of the internet and the ways it both connects and distances users,” says Mack McFarland, Director of Exhibitions at PNCA. “We are thrilled to be working with two of the cardinal Net Art practitioners and expect the exhibition to ignite valuable conversations around our digitally fabricated and recorded selves and the ways we interact at a distance now.”
Exhibition trailer - Eva and Franco Mattes, Breaking Banality, PNCA’s Feldman Gallery from Eva and
Franco Mattes on Vimeo.
Eva and Franco Mattes (1976) (a.k.a. 0100101110101101.ORG) are an artist duo originally from Italy, working in New York. Their medium is a combination of performance, video and the Internet, for which they are perhaps best known. Their work explores ethical and moral issues when people interact at distance, especially through social media, creating situations where it is difficult to distinguish reality from a simulation.
Melissa Gronlund, editor of Afterall Magazine, described Mattes’ work as follows: “Whether by obscuring the name of the author, hiding information from the public or presenting false information to (often unwitting) participants in the works they create, the Mattes set up situations in which the viewer’s mistaken assumptions and actions create the form of the work itself”.
Mattes’ work has been exhibited at the Minneapolis Institute of Arts (2013); Site Santa Fe (2012);
Sundance Film Festival (2012); PS1, New York (2009); Performa, New York (2007, 2009); ARoS Aarhus
Kunstmuseum (2009); National Art Museum of China, Beijing (2008); The New Museum, New York
(2005) and Manifesta 4, Frankfurt (2002). In 2001 they were among the youngest artists ever included in the Venice Bienniale.
They have also held conferences at universities, festivals and museums, including Columbia University,
New York; RISD, Providence; New York University; Carnegie Mellon, Pittsburgh; College Art Association, New York; Museo Reina Sofia, Madrid; MAXXI, Rome and Musee d’Art Moderne, Paris.
They are founders and co-directors of the international festival The Influencers, held annually at the CCCB,
Barcelona, Spain (2004-ongoing).
The Mattes have received grants from the Walker Art Center, Minneapolis; The Museum of Contemporary
Art, Roskilde; ICC, Tokyo, and were awarded the New York Prize 2006 from the Italian Academy at
Columbia University.
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If you liked this video, then please subscribe to our YouTube Channel to get updates of other useful health video tutorials. You can also find us on Facebook, Twitter and Google+.
Google+: plus.google.com/+HolisticAyurvedaIndia
Facebook: www.facebook.com/holisticayurvedaindia
Twitter: twitter.com/holisticayush
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There seems to be a lot of this in the thread so I'm piling on the horror with a homily about checking your trees for previously extinct killer lizards before letting your kids loose on the seasonal sugar canes.
We're Here are facing the Xmas dysfunctions that afflict us all.
Tripod-mounted & macro loaded though I ended up deliberately putting the 'creature' close to get the shallow DoP while keeping the f11 & upping the ISO to compensate as only a single remote-triggered Speedlite on a stick was used.
I'm shooting lots of indoor stuff because it's dark & 'orrible outside so sorry about that... ;-)
Breaking Banality: The Dysfunction of Remediation
Photographs by Evan La Londe
PNCA’s Feldman Gallery Presents Eva and Franco Mattes
Portland, OR, October 23, 2014 — The Philip Feldman Gallery + Project Space at Pacific Northwest
College of Art (PNCA) presents Breaking Banality: The Dysfunction of Remediation, an exhibition by Eva and Franco Mattes, opening with a reception on First Thursday, November 6, 2014 and running through
January 10, 2015. For the exhibition, whose title was created by an online random exhibition title generator, the Brooklyn-based Italian duo will present ten reiterations of one performance from their series
“BEFNOED – By Everyone, For No One, Every Day,” for which they commission anonymous workers to realize webcam performances. The Mattes’ hire performers through online crowdsourcing services and post the resulting videos to many of the more obscure social networks around the world. The artists regularly post links to new videos at befnoed.tumblr.com. These works are in the lineage of Fluxus event scores and more recently Hans Ulrich Obrist’s instruction-based project, “Do It.” For this exhibition, to view the videos, visitors will be forced in awkward positions, becoming themselves, if just for a few seconds, performers, and underlying how the act of viewing is in itself performative.
For another work in the show, an image, resulting from an internet search for the words “worn out,” was printed by online services on various objects. The objects were then delivered by mail directly to the venue, so neither the artists nor the curator have seen the final works.
The duo’s provocative digital works have previously included a staged suicide filmed by webcam, a slideshow of 10,000 photos stolen from personal computers, and reenactments of well-known performance art works in online videogames.
“Eva and Franco Mattes’ subversive conceptual works delve into the obscure corners and more grim aspects of the internet and the ways it both connects and distances users,” says Mack McFarland, Director of Exhibitions at PNCA. “We are thrilled to be working with two of the cardinal Net Art practitioners and expect the exhibition to ignite valuable conversations around our digitally fabricated and recorded selves and the ways we interact at a distance now.”
Exhibition trailer - Eva and Franco Mattes, Breaking Banality, PNCA’s Feldman Gallery from Eva and
Franco Mattes on Vimeo.
Eva and Franco Mattes (1976) (a.k.a. 0100101110101101.ORG) are an artist duo originally from Italy, working in New York. Their medium is a combination of performance, video and the Internet, for which they are perhaps best known. Their work explores ethical and moral issues when people interact at distance, especially through social media, creating situations where it is difficult to distinguish reality from a simulation.
Melissa Gronlund, editor of Afterall Magazine, described Mattes’ work as follows: “Whether by obscuring the name of the author, hiding information from the public or presenting false information to (often unwitting) participants in the works they create, the Mattes set up situations in which the viewer’s mistaken assumptions and actions create the form of the work itself”.
Mattes’ work has been exhibited at the Minneapolis Institute of Arts (2013); Site Santa Fe (2012);
Sundance Film Festival (2012); PS1, New York (2009); Performa, New York (2007, 2009); ARoS Aarhus
Kunstmuseum (2009); National Art Museum of China, Beijing (2008); The New Museum, New York
(2005) and Manifesta 4, Frankfurt (2002). In 2001 they were among the youngest artists ever included in the Venice Bienniale.
They have also held conferences at universities, festivals and museums, including Columbia University,
New York; RISD, Providence; New York University; Carnegie Mellon, Pittsburgh; College Art Association, New York; Museo Reina Sofia, Madrid; MAXXI, Rome and Musee d’Art Moderne, Paris.
They are founders and co-directors of the international festival The Influencers, held annually at the CCCB,
Barcelona, Spain (2004-ongoing).
The Mattes have received grants from the Walker Art Center, Minneapolis; The Museum of Contemporary
Art, Roskilde; ICC, Tokyo, and were awarded the New York Prize 2006 from the Italian Academy at
Columbia University.
www.medilaw.tv - rheumatology art, Shows rheumatoid cranial settling in lateral external and cross-section views. The pathology illustrated includes synovitis, pannus formation, osteopenia, joint subluxation and spinal cord stenosis.
RHEUMATOID ARTHRITIS
Rheumatoid arthritis is a long-term inflammatory disease of the whole body. The cause is unknown, but theories include combinations of viral infection, genetic predisposition, psychological stress, hormone interactions and autoimmune dysfunction - where a person's immune system begins to attack their own body. Rheumatoid arthritis primarily involves the knuckle joints of the feet and hands. The next most commonly affected region is the cervical spine. The thoracic and lumbar spine are rarely affected. Rheumatoid spondylitis refers to the inflammation and destruction of synovial joints and the adjacent ligaments and bone in the spine.
Rheumatoid spondylitis can affect any level of the cervical spine and begins early, with 80% of clients developing cervical instability within two years of the onset of the disease.
Damage to the supporting joint surfaces, ligaments and muscles allows abnormal movement of the spine joints. This instability or lack of proper alignment between adjacent vertebrae places pressure on the spinal cord or the nerves as they leave the spinal cord. This can cause pain, numbness or weakness that is the major medical concern for clients with rheumatoid spondylitis.
Rheumatoid spondylitis starts with the cells in the synovial membrane, or synovium, lining the synovial joints. When stimulated, the cells produce a substance that triggers an inflammatory response from the body, causing it to attack the synovium. This inflammatory response in turn causes the growth of swollen granulation tissue, known as rheumatoid pannus, within the synovium.
The pannus makes enzymes that destroy adjacent cartilage, ligaments, tendons, and bone. Their destruction leads to loose or ruptured ligaments and bony erosion, which combined with muscle weakness and tendinitis, leads to joint instability and the incorrect alignment of joint surfaces, known as subluxationEventually, little articular cartilage remains and osteoarthritis develops. This condition can be accompanied with thinning of the adjacent bone, known as osteopenia.
Rheumatoid spondylitis can lead to :
erosive synovitis -- where the inflamed synovium destroys the adjacent articular cartilage, the underlying bone and the adjacent ligaments
ligamentous subluxation -- where the stretched and ruptured ligaments fail to support the joint, and the two joint surfaces slide across each other in an abnormal way
osteopenia -- where the underlying bone thins and loses its strength, and
vertebral body fracture -- where the weakened bone fractures, often under minimal stress.
DEFORMITIES
Rheumatoid deformities of the cervical spine can be categorized in three groups:
atlanto-axial subluxation or instability
cranial settling (also known as superior migration of the odontoid, pseudobasilar invagination, vertical / upward translocation of the odontoid)
subaxial subluxation.
Any combination of these deformities can occur.
Subaxial subluxation occurs when erosion of the facet joints, intervertebral discs and interspinous ligaments of the third to seventh cervical vertebrae leads to slipping and mal-alignment between adjacent vertebrae. This happens in up to 20% of rheumatoid spondylitis patients, and can occur at multiple levels, producing a stepladder deformity of adjacent vertebra.
While neck pain is seen in up to 90% of people with rheumatoid spondylitis, only a third develop nerve impairment due to pressure on the spinal cord or spinal nerves. Spinal cord or nerve compression are the main reasons for surgery, which is used to remove the tissues compressing the nerves and return the spinal alignment to normal.
SYMPTOMS
The symptoms of rheumatoid disease in the cervical spine may include
neck pain and stiffness, although some people have marked neck damage and instability with little pain
compression of the spinal cord or nerves in the neck, which can cause face or ear pain, headaches, limb weakness, hand paresthesias or pins and needles, loss of fine dexterity of the hand, decreased endurance, walking difficulty, urinary retention or incontinence
compression of blood vessels to the brain, which can cause vertigo or dizziness, visual disturbances, tinnitus or ringing in the ears, dysphagia or difficulty swallowing.
It's kind of ironic that I spent so much of my youth trying to be "grown up," yet as an adult, I find myself constantly indulging my inner child. Childhood is often painted as the most innocent care free time in our lives, when our biggest concerns revolve around petty schoolyard drama and our toys. In a lot of ways, I can't relate to that feeling. As far back as I remember, I struggled with being painfully self aware and majorly insecure. Yes, even in preschool, I have faint memories of feeling like I didn't belong, and of not relating to the cheerful spirits of my peers. I also was forced to grow up fast, due to life circumstances that were nobody's fault, like my mom's cancer diagnosis and all the family dysfunction that ensued after her passing. By the time I was eleven, I felt like my true childhood was well behind me. So I don't exactly share the sentiment as many other adults do, viewing my youth with rose tinted glasses. In fact, you couldn't pay me to get into a time machine and relive those days (maybe I'd go back for an afternoon, but no more than that). For me, dolls helped me cling to the remnants of a broken, lost childhood...even when I was technically still a kid. I suppose that ultimately still resonates with me when it comes to the dolly collecting hobby.
After my mom died in 2002, my whole world was turned upside down. It was hardest on my dad by far, and I saw the changes in him immediately. I know that he tried his best, but there were many times he failed me and my sister. He often forgot just how young I was, entrusting me with responsibilities that were his (like having me hold onto all his important paperwork). The older I grew, the more and more burdens were placed on my shoulders. I tried my best to take it in stride, but deep down I mourned the innocence of youth that I so jealously watched other kids enjoy. The only moments from that time I remember feeling like a kid, like the parent/child balance had been restored, always centered around dolls. I recall how Dad's warm brown eyes would soften as he walked into the toy aisle and saw me ogling a doll. That one instance in Target, when I was thirteen and the 2005 Bratz Collector's Edition pack had been issued, stands out the most to me. Colleen was at home, toiling over a school project, so it was just me and Dad that evening. When I saw the Bratz set in the doll aisles, I fell in love right away. Dad was always generous when it came to opening his wallet, but that was especially true with Bratz. Despite the cost of the four pack, he didn't hesitate to ask me if I wanted it, when he returned to the aisle after getting what he needed. In that fleeting moment in time, he was my old dad and I was just a kid without a care in the world. There were countless occasions that mirror the same sentiment, many that involve Bratz specifically.
After a five year break from dolls, Dad and I were quick to reestablish that same bond. He would come home from visiting friends, often with a doll in tow. There was that time he found me miniature Disney books at a yard sale, that he thought would be perfect for my displays. I was nineteen by then, dealing with his cancer diagnosis and the crushing financial crisis that came along with it. The word carefree wasn't even in my vocabulary then. But those small gestures Dad made for my collection, or even the larger ones like spending Christmas Eve 2011 hunting for Party Cloe, reignited my inner child. After he passed away in 2012, I admit that my dolly innocence was tainted. I dabbled in the online collecting community. The negative voices of others, paired with my desire to fit in, changed how I viewed my dolls. Additionally, I let the stress and sadness of losing my dad rot me from the inside out. What should have been my form of escape, became another weight for me to carry. Luckily, I have always been self reflective (even to my own detriment in many cases). So it didn't take long for me to figure out my mistakes, and to correct the situation. Since 2014, I have fully embraced a positive, carefree attitude towards collecting.
And so here I am in 2023, still finding myself as a 32 year old woman, trying to nurture her inner child. Connecting with younger me has been a form of therapy all on its own. In some weird way, it makes up for all the time that was lost/stolen. I don't care how weird that may seem to other people, perhaps other collectors even. I still talk to my dolls--venting to them about my day. And when I need an extra pick me up? Cradling my beloved Baby Otis is a surefire way to feel better. My sister and I have even found ways to reconnect with doll play...the traditional way. Some of our childhood characters have returned for videos, but there are new personalities too (who we've grown to love just the same). I often find myself questioning whether "12 year old Shelly" would be proud. I think she would be. First of all, younger me would approve of my vast American Girl collection, and how the dolls still look cozy around my room. I think she would have enjoyed the videos I make now, and the photos/posts we make on Flickr. In fact, I KNOW 12 year old me would be ecstatic to see my social media, because I spent an awful lot of time perusing Katti's Dolls website back then. Funnily enough, somehow my younger self predicted that I would grow up to be a collector. I was careful not to throw out damaged dolls, or do quick fixes...sensing that one day in the future I would have the knowledge and skills to do it right. When my most cherished doll, Josefina, got a tatty, frizzy wig, I refused to trim off the damaged portions. I told myself that one day I would find a technique to fix it. The same happened with Alison, Cool Times Barbie, who unfortunately was given a pixie cut at Shelly's Salon. I started hoarding shed Barbie hair from my doll brushes, somehow knowing that I would find a way to implant it back into her head. Sure enough, one of my first orders of business as an adult collector was honing the re-rooting technique for Miss Alison (although I bought new hair for her). Regardless of the years that have gone and the new experiences that have shaped me, I still very much feel connect to younger me. Whenever I see a new doll series or collection, I can always pinpoint which ones would have spoken to my kid self. Those dolls in particular tend to mean even more to me. And of course, there are those childhood fantasies we all have, that get fulfilled when we become adult collectors. This photo was inspired by one of those dreams--Colleen and I used to ogle the American Girl spreads, creating stories based on the outfits, accessories, and dolls we admired. I never take it for granted when I can make a childhood desire into a reality. I have come to see that my dolls, in their own way, are like the warm hug my inner child needs, and that's why I cherish each and every one.
Written by my sister:
It was the beginning of 1997 and Mom presented me with my first ever American Girl catalog. I'm assuming it was the one my parents received when they purchased my first American Girl, Molly, for Christmas 1996. My tenth birthday was coming up and Mom was probably trying to get ideas. I loved that catalog--cover to cover, not just the Molly pages (although those were my favorite, obviously). I remember feeling really confused by the section at the back labeled "Girl of Today." I thought, at first, maybe it was a section to purchase modern clothes for your favorite historical character to wear if you felt like it--some of the girls at the back bore a strong resemblance to Molly, Addy, Kirsten, and Samantha. But others were distinctly different. I remember loving the birthday party page with the grill and the dolly hamburgers. Apart from Molly's spread, it was probably my favorite page. About a year later, I remember a new outfit being added, making the page all that more exciting--the "Lawn Party Outfit" or "Birthday Outfit." I could've cared less about the croquet set it was marketed with. I loved the adorable purple jumper bedecked in fruit! Over the course of the next year, our collection expanded--Addy became Molly's first like-sized companion when Shelly picked her for her birthday in August 1997, followed by Samantha the next August, and I chose Josefina for a good report card present a few months after that. Two years after I'd gotten Molly, we finished the then-historical collection with Felicity and Kirsten. But Shelly, of course, wanted to get another doll. We started to seriously contemplate the Girl of Today dolls. I'd fantasized, but not thinking it would ever really come to fruition, of the doll modeling the Lawn Party fashion, all year. But then Shelly and I each picked a favorite doll--she picked the blonde who was advertised the most and I, naturally, chose the girl modeling the Lawn Party outfit--to make up a story about that we'd talk about every day. We talked about where the girls--who we dubbed Angela and Valerie--were going, what they were doing, and, most importantly, what they'd be wearing. We discussed getting the "sisters" for Christmas 1999 and opening them together like we did Felicity and Kirsten in 1998. But I chickened out. Honestly, I cared more about the Lawn Party outfit than the doll, wasn't even really sure what number she was to order (the pictures were all very grainy, square, and small on the page that showed all the choices), and wasn't really sure I wanted to actually get "Valerie." But, less than two months later, I decided to get Valerie for my birthday. If you've read my personal fun fact on Molly McIntire, you've heard about this pivotal moment in my life as a doll collector before. Valerie did not live up to my rose colored dreams--probably because she wasn't modeling the ever-important Lawn Party jumper. (I think you could put that jumper on anybody and it would still be the best thing ever.) I felt remorseful. I suddenly wished I'd stuck to just Molly. Kirsten and Josefina never disappointed me the way Valerie did, but I didn't connect with them the way I did with Molly either. I took Molly into bed with me, and sang Shania Twain's "You're Still the One" to her. (Dramatic? Yes.) From that point on, it became just me and Molly and, when I moved to the pink room downstairs the following September, I hid all three of the other AG dolls behind my bureau mirror (over the course of the next couple years, Shelly would pull them out and adopt them one at a time). In Christmas 2004, Molly was...falling apart quite literally. So, Dad bought me another Molly. Although my second Molly didn't feel like family at first the way my old one did, she was a new, shiny Molly who actually fit Molly's 1944 Swimsuit (old Molly's bum was too distorted at the time). So we grew to be close friends by the end of high school (I got her for Christmas my junior year). This was followed by two more Molly's, then Emily--who, let's face it, is an extension of Molly. Was it technically still "just me and Molly?" No, by the end of 2015, I had five American Girls--which is more than I had in 2000 when Valerie was my fourth--but they were all still part of Molly's world. In 2014, when the historical line was revamped for BeForever, I began to fall in love with, gasp, someone not connected to Molly! Rebecca Rubin. That purple outfit really made her stick out in the line up. (I'm thinking the theme here is I like dolls wearing purple?) However, I'd always liked the idea of Rebecca--perhaps not as strongly as we liked the idea of Melody Ellison and Kavi Sharma prior to their releases, but I liked the idea of Rebecca. She reminded me of a paper doll from an American Girl magazine. Her name was Liana Katz. Liana had a Jewish heritage and her wardrobe encompassed a modern outfit and several outfits reflecting what her ancestors wore. I swear, her pink dress with the white boots with black buttons would NOT look out of place in Rebecca's collection! But Rebecca was a three-D model and all her clothes were all from around the time period of my favorite Liana fashion. Of course, I always liked her! But I was afraid to get her--afraid that I'd feel just as let down, that she wouldn't live up to my fantasy (of course, brand new Rebecca dolls were being sold in the fashion I first fell in love with her wearing...so at least that was a start). I waited FIVE years (and got another Molly). But Rebecca, unlike Valerie (who still lives with my sister) did NOT disappoint me. No, my only regret? That I'd waited so long and didn't get to enjoy her for those five years that she was just a fantasy! (Valerie was more fun as a fantasy than the real doll I guess.) I realized, in my 30s, that I could very much enjoy another doll besides Molly, and not just "it's my sister's doll and I love to dress her", but to call her my own. (I tried to get Shelly to buy Rebecca for herself so I could play with her at one point.) So, a year later, when a grainy stock image of Courtney Moore caught my eye, I only wasted five minutes telling Shelly that SHE should get the doll so that I could play with her and decided I absolutely had to have her. Me and Courtney...our bond isn't like my bond with Molly exactly (though the fixation is pretty close). It's more like Shelly's bond with Corinne Tan--a grainy stock image led to instantaneous desire, the actual doll did NOT disappoint, and she's been an obsession ever since!
I think, after that, I realized just how much my younger self (both our younger selves actually--I vividly recall 2004, when Shelly came, sobbing, into my room late at night to tell me she wished she'd asked Dad for Kit instead of Samantha) WAY overthought dolls. In my years as an adult collector, even when the only dolls living in my room were the three Mollys (the third joined my collection shortly after we got back into dolls in 2011), I got so much joy dressing ALL Shelly's dolls, including the three that used to live in my room. They all felt like family. I remember how much we both worried when we sent our beloved Kirsten away to the doll hospital to have her eyes replaced (heck, it was hard with our Felicity named Emerald in 2021 and we'd only known her for a week when we sent her off). What I love the MOST about how we collect all dolls in general, but especially American Girls now? Back in the 90s and early 2000s, a new American Girl could not be purchased except by having Dad dial a number and place an order (we didn't have internet access at home back then). She could not be found at select retailers, an American Girl doll (even not an 18 inch doll but a Bitty Baby or another one of their fine products) could only arrive by UPS and it was a HUGE occasion. We would often take old dolls (favorites like Molly and Addy) and have them join us in opening a new friend or opening a new outfit or accessory set. We would take new members of the dolly family around the home to see things and, most importantly, introduce her to all the other American Girls in our home. Nowadays, things are a lot more mass-produced. We bought Isabelle on a very cold weekend at the AG Place in our state--something we'd never done before and would never do again (our nearest store closed around 2020). We have found a LOT of American Girls secondhand at flea markets and thrift stores, something that never happened when we were kids. At the end of 2022, a friend of mine gave me THREE of her daughter's old dolls (including the Julie pictured here, who we call Jolene). But, even though access to American Girl is SO much easier for us (largely in part to sites like ebay and, even more so, because now Shelly and I are wholly in charge of the purse strings), we don't treat it like it's a casual, every day occurrence (even though the number of dolls added to our collection in 2022 and 2023 is staggering). We still view it as a special moment, because it is. We still will take our dolls out to open new arrivals with us (Shelly told Rebecca about the 2023 Christmas surprise long before I knew about it) and we always give our new plastic friends a tour and introduction to all the other members of our AG family! Whether it is a doll we spent a very long time looking for and had to make a big effort to track down--like Cecile--or a doll who literally just showed up at our door (due to a few generous people, quite a few actually have!). Whether she (or he, we've got a couple Bitty Twin boys) is old and shabby or new and shiny, a new American Girl is always greeted with the same excitement that Addy was upon arrival over 25 years ago! While looking at one of our newest additions, Joynomi, earlier, it crossed my mind that an American Girl--any American Girl--makes me feel warm and fuzzy. Perhaps it's my deep love for Molly that makes me love them all or maybe just because we both love dolls so much. But either way, I have learned so much from my sister, who was always so much more willing to love more than one doll and so much more willing to accept the new. I have decided to wholeheartedly embrace my love for dolls--both new and old, large and small. For too many years, even as a kid, I worried too much about things being perfect or having a theme to a collection. However, in the last couple of years, I have been able to let go of unnecessary worries and set my inner child free!
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www.medilaw.tv - rheumatology presentations, Shows rheumatoid atlanto-axial subluxation in lateral external and cross-section views. The pathology illustrated includes synovitis, pannus formation, joint subluxation and spinal cord stenosis.
RHEUMATOID ARTHRITIS
Rheumatoid arthritis is a long-term inflammatory disease of the whole body. The cause is unknown, but theories include combinations of viral infection, genetic predisposition, psychological stress, hormone interactions and autoimmune dysfunction - where a person's immune system begins to attack their own body. Rheumatoid arthritis primarily involves the knuckle joints of the feet and hands. The next most commonly affected region is the cervical spine. The thoracic and lumbar spine are rarely affected. Rheumatoid spondylitis refers to the inflammation and destruction of synovial joints and the adjacent ligaments and bone in the spine.
Rheumatoid spondylitis can affect any level of the cervical spine and begins early, with 80% of clients developing cervical instability within two years of the onset of the disease.
Damage to the supporting joint surfaces, ligaments and muscles allows abnormal movement of the spine joints. This instability or lack of proper alignment between adjacent vertebrae places pressure on the spinal cord or the nerves as they leave the spinal cord. This can cause pain, numbness or weakness that is the major medical concern for clients with rheumatoid spondylitis.
Rheumatoid spondylitis starts with the cells in the synovial membrane, or synovium, lining the synovial joints. When stimulated, the cells produce a substance that triggers an inflammatory response from the body, causing it to attack the synovium. This inflammatory response in turn causes the growth of swollen granulation tissue, known as rheumatoid pannus, within the synovium.
The pannus makes enzymes that destroy adjacent cartilage, ligaments, tendons, and bone. Their destruction leads to loose or ruptured ligaments and bony erosion, which combined with muscle weakness and tendinitis, leads to joint instability and the incorrect alignment of joint surfaces, known as subluxationEventually, little articular cartilage remains and osteoarthritis develops. This condition can be accompanied with thinning of the adjacent bone, known as osteopenia.
Rheumatoid spondylitis can lead to :
erosive synovitis -- where the inflamed synovium destroys the adjacent articular cartilage, the underlying bone and the adjacent ligaments
ligamentous subluxation -- where the stretched and ruptured ligaments fail to support the joint, and the two joint surfaces slide across each other in an abnormal way
osteopenia -- where the underlying bone thins and loses its strength, and
vertebral body fracture -- where the weakened bone fractures, often under minimal stress.
DEFORMITIES
Rheumatoid deformities of the cervical spine can be categorized in three groups:
atlanto-axial subluxation or instability
cranial settling (also known as superior migration of the odontoid, pseudobasilar invagination, vertical / upward translocation of the odontoid)
subaxial subluxation.
Any combination of these deformities can occur.
Subaxial subluxation occurs when erosion of the facet joints, intervertebral discs and interspinous ligaments of the third to seventh cervical vertebrae leads to slipping and mal-alignment between adjacent vertebrae. This happens in up to 20% of rheumatoid spondylitis patients, and can occur at multiple levels, producing a stepladder deformity of adjacent vertebra.
While neck pain is seen in up to 90% of people with rheumatoid spondylitis, only a third develop nerve impairment due to pressure on the spinal cord or spinal nerves. Spinal cord or nerve compression are the main reasons for surgery, which is used to remove the tissues compressing the nerves and return the spinal alignment to normal.
SYMPTOMS
The symptoms of rheumatoid disease in the cervical spine may include
neck pain and stiffness, although some people have marked neck damage and instability with little pain
compression of the spinal cord or nerves in the neck, which can cause face or ear pain, headaches, limb weakness, hand paresthesias or pins and needles, loss of fine dexterity of the hand, decreased endurance, walking difficulty, urinary retention or incontinence
compression of blood vessels to the brain, which can cause vertigo or dizziness, visual disturbances, tinnitus or ringing in the ears, dysphagia or difficulty swallowing.
Breaking Banality: The Dysfunction of Remediation
Photographs by Evan La Londe
PNCA’s Feldman Gallery Presents Eva and Franco Mattes
Portland, OR, October 23, 2014 — The Philip Feldman Gallery + Project Space at Pacific Northwest
College of Art (PNCA) presents Breaking Banality: The Dysfunction of Remediation, an exhibition by Eva and Franco Mattes, opening with a reception on First Thursday, November 6, 2014 and running through
January 10, 2015. For the exhibition, whose title was created by an online random exhibition title generator, the Brooklyn-based Italian duo will present ten reiterations of one performance from their series
“BEFNOED – By Everyone, For No One, Every Day,” for which they commission anonymous workers to realize webcam performances. The Mattes’ hire performers through online crowdsourcing services and post the resulting videos to many of the more obscure social networks around the world. The artists regularly post links to new videos at befnoed.tumblr.com. These works are in the lineage of Fluxus event scores and more recently Hans Ulrich Obrist’s instruction-based project, “Do It.” For this exhibition, to view the videos, visitors will be forced in awkward positions, becoming themselves, if just for a few seconds, performers, and underlying how the act of viewing is in itself performative.
For another work in the show, an image, resulting from an internet search for the words “worn out,” was printed by online services on various objects. The objects were then delivered by mail directly to the venue, so neither the artists nor the curator have seen the final works.
The duo’s provocative digital works have previously included a staged suicide filmed by webcam, a slideshow of 10,000 photos stolen from personal computers, and reenactments of well-known performance art works in online videogames.
“Eva and Franco Mattes’ subversive conceptual works delve into the obscure corners and more grim aspects of the internet and the ways it both connects and distances users,” says Mack McFarland, Director of Exhibitions at PNCA. “We are thrilled to be working with two of the cardinal Net Art practitioners and expect the exhibition to ignite valuable conversations around our digitally fabricated and recorded selves and the ways we interact at a distance now.”
Exhibition trailer - Eva and Franco Mattes, Breaking Banality, PNCA’s Feldman Gallery from Eva and
Franco Mattes on Vimeo.
Eva and Franco Mattes (1976) (a.k.a. 0100101110101101.ORG) are an artist duo originally from Italy, working in New York. Their medium is a combination of performance, video and the Internet, for which they are perhaps best known. Their work explores ethical and moral issues when people interact at distance, especially through social media, creating situations where it is difficult to distinguish reality from a simulation.
Melissa Gronlund, editor of Afterall Magazine, described Mattes’ work as follows: “Whether by obscuring the name of the author, hiding information from the public or presenting false information to (often unwitting) participants in the works they create, the Mattes set up situations in which the viewer’s mistaken assumptions and actions create the form of the work itself”.
Mattes’ work has been exhibited at the Minneapolis Institute of Arts (2013); Site Santa Fe (2012);
Sundance Film Festival (2012); PS1, New York (2009); Performa, New York (2007, 2009); ARoS Aarhus
Kunstmuseum (2009); National Art Museum of China, Beijing (2008); The New Museum, New York
(2005) and Manifesta 4, Frankfurt (2002). In 2001 they were among the youngest artists ever included in the Venice Bienniale.
They have also held conferences at universities, festivals and museums, including Columbia University,
New York; RISD, Providence; New York University; Carnegie Mellon, Pittsburgh; College Art Association, New York; Museo Reina Sofia, Madrid; MAXXI, Rome and Musee d’Art Moderne, Paris.
They are founders and co-directors of the international festival The Influencers, held annually at the CCCB,
Barcelona, Spain (2004-ongoing).
The Mattes have received grants from the Walker Art Center, Minneapolis; The Museum of Contemporary
Art, Roskilde; ICC, Tokyo, and were awarded the New York Prize 2006 from the Italian Academy at
Columbia University.
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The Mobile Emergency Room is a project by Thierry Geoffroy/Colonel, a participating artist of the Maldives Pavilion working with art formats developed around the notion of emergency. www.emergencyrooms.org
Emergency Room is a format providing space for artists to engage in urgent debates, address societal dysfunctions and express emergencies in the now, today, before it is too late. Geoffroy’s approach allows immediate artistic intervention and displaces the contemporary to the status of delayed comment on yesterday’s world.
Taking as point of departure climate change and the Maldives, Geoffroy developed a scenario of disappearance and translated actual emergencies and hospitality needs into artistic interventions. In this context he activated his penetration format in order to transform “rigid exhibition spaces” into “elastic and generous exhibition spaces”.
An intervention facilitated by curator Christine Eyene, the Mobile Emergency Room was set up at the Zimbabwe Pavilion during the opening week of the biennale with the hospitality of commissioner Doreen Sibanda and curator Raphael Chikukwa. The first pieces presented in this room consisted in Geoffroy’s tent and an installation by Polish artist Christian Costa. Since then it has been animated online and has extended from being a space for artists expressing emergencies about climate change, to encompassing various emergency topics.
From 24 to 28 August, Geoffroy was in Venice collaborating with Danish artists Nadia Plesner, Mads Vind Ludvigsen, who created new work everyday, raising various emergencies and concerns, with a daily change of exhibition (“passage”) at 3.00 pm.
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the Emergency Room Mobile at the Zimbabwe pavilion / Venice Biennale has now been completed with some work from the The Delay Museum ,Please visit the pavilion when you go the Venice Biennale this is part of the PENETRATIONS formats ( the Zimbabwe pavilion gave hopsitality for a period of several monthes ) the displayed art works in the Delay Museum are still "boiling " as they are from last week . ( Nadia Plesner / Mads Vind Ludvigsen , COLONEL ) ( this project is a convergence with BIENNALIST / Emergency Room ) more on Christine Eyene blog as she facilated and work within ....This penetration was in connection with my participation in the Maldives pavilion " CAN A NATION WELCOME ANOTHER NATION ?"CAN EMERGENCIES BE RANKED " .Thank you also for the work by David Marin , @Guillaume Dimanche and Christian Costa
venice-biennale-biennalists.blogspot.dk/2013/09/recents-w...
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VENICE BIENNALE / VENEZIA BIENNIAL 2013 : BIENNALIST
www.emergencyrooms.org/biennalist.html
Biennalist is an Art Format by Thierry Geoffroy / Colonel debating with artistic tools on Biennales and other cultural managed events . Often those events promote them selves with thematics and press releases faking their aim . Biennalist take the thematics of the Biennales very seriously , and test their pertinance . Artists have questioned for decade the canvas , the pigment , the museum ... since 1989 we question the Biennales .Often Biennalist converge with Emergency Room providing a burning content that cannot wait ( today before it is too late )
please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk
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Countries( nations ) that participate at the Venice Biennale 55 th ( 2013 Biennale di Venezia ) in Italy ( at Giardini or Arsenale or ? ) , Encyclopedic Palace is curated by Massimiliano Gioni : Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria,
Costa Rica, Croatia, Cuba, Cyprus, Czech , Slovenia, South Africa, Spain, Canada, Chile, China, Congo,
Slovak Republic, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia,
Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore
Sweden, Switzerland, Syrian Arab Republic, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Zimbabwe
the Bahamas, the Kingdom of Bahrain, the Republic of Kosovo, Kuwait, the Maldives, Côte d'Ivoire, Nigeria and Paraguay
Eight countries participate for the first time in next year's biennale: the Bahamas, the Kingdom of Bahrain, the Republic of Kosovo, Kuwait, the Maldives, Côte d'Ivoire, Nigeria and Paraguay
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www.medilaw.tv - rheumatology movies, Shows the natural progression of cervical facet joint rheumatoid spondylitis. The pathology illustrated includes synovitis, joint effusion, pannus formation and ingrowth, articular cartilage degradation, osteopenia, peri-articular bone cysts and joint subluxation.
RHEUMATOID ARTHRITIS
Rheumatoid arthritis is a long-term inflammatory disease of the whole body. The cause is unknown, but theories include combinations of viral infection, genetic predisposition, psychological stress, hormone interactions and autoimmune dysfunction - where a person's immune system begins to attack their own body. Rheumatoid arthritis primarily involves the knuckle joints of the feet and hands. The next most commonly affected region is the cervical spine. The thoracic and lumbar spine are rarely affected. Rheumatoid spondylitis refers to the inflammation and destruction of synovial joints and the adjacent ligaments and bone in the spine.
Rheumatoid spondylitis can affect any level of the cervical spine and begins early, with 80% of clients developing cervical instability within two years of the onset of the disease.
Damage to the supporting joint surfaces, ligaments and muscles allows abnormal movement of the spine joints. This instability or lack of proper alignment between adjacent vertebrae places pressure on the spinal cord or the nerves as they leave the spinal cord. This can cause pain, numbness or weakness that is the major medical concern for clients with rheumatoid spondylitis.
Rheumatoid spondylitis starts with the cells in the synovial membrane, or synovium, lining the synovial joints. When stimulated, the cells produce a substance that triggers an inflammatory response from the body, causing it to attack the synovium. This inflammatory response in turn causes the growth of swollen granulation tissue, known as rheumatoid pannus, within the synovium.
The pannus makes enzymes that destroy adjacent cartilage, ligaments, tendons, and bone. Their destruction leads to loose or ruptured ligaments and bony erosion, which combined with muscle weakness and tendinitis, leads to joint instability and the incorrect alignment of joint surfaces, known as subluxationEventually, little articular cartilage remains and osteoarthritis develops. This condition can be accompanied with thinning of the adjacent bone, known as osteopenia.
Rheumatoid spondylitis can lead to :
erosive synovitis -- where the inflamed synovium destroys the adjacent articular cartilage, the underlying bone and the adjacent ligaments
ligamentous subluxation -- where the stretched and ruptured ligaments fail to support the joint, and the two joint surfaces slide across each other in an abnormal way
osteopenia -- where the underlying bone thins and loses its strength, and
vertebral body fracture -- where the weakened bone fractures, often under minimal stress.
DEFORMITIES
Rheumatoid deformities of the cervical spine can be categorized in three groups:
atlanto-axial subluxation or instability
cranial settling (also known as superior migration of the odontoid, pseudobasilar invagination, vertical / upward translocation of the odontoid)
subaxial subluxation.
Any combination of these deformities can occur.
Subaxial subluxation occurs when erosion of the facet joints, intervertebral discs and interspinous ligaments of the third to seventh cervical vertebrae leads to slipping and mal-alignment between adjacent vertebrae. This happens in up to 20% of rheumatoid spondylitis patients, and can occur at multiple levels, producing a stepladder deformity of adjacent vertebra.
While neck pain is seen in up to 90% of people with rheumatoid spondylitis, only a third develop nerve impairment due to pressure on the spinal cord or spinal nerves. Spinal cord or nerve compression are the main reasons for surgery, which is used to remove the tissues compressing the nerves and return the spinal alignment to normal.
While neck pain is seen in up to 90% of people with rheumatoid spondylitis, only a third develop nerve impairment due to pressure on the spinal cord or spinal nerves. Spinal cord or nerve compression are the main reasons for surgery, which is used to remove the tissues compressing the nerves and return the spinal alignment to normal.
SYMPTOMS
The symptoms of rheumatoid disease in the cervical spine may include
neck pain and stiffness, although some people have marked neck damage and instability with little pain
compression of the spinal cord or nerves in the neck, which can cause face or ear pain, headaches, limb weakness, hand paresthesias or pins and needles, loss of fine dexterity of the hand, decreased endurance, walking difficulty, urinary retention or incontinence
compression of blood vessels to the brain, which can cause vertigo or dizziness, visual disturbances, tinnitus or ringing in the ears, dysphagia or difficulty swallowing.
Shepard Fairey's May Day, a Houston & Bowery Mural Project presented by Deitch Projects and Goldman Properties, incorporates several of the images and themes that can be found in his most recent fine art and street art work. In this public piece, Fairey tackles an array of subjects including the reclamation of the U.S. flag as a multi-dimensional symbol, global warming, health care, free speech, activism, and the dysfunction of the two-party system in Washington. Fairey's mural addresses contemporary political themes, but also pays tribute to some of the Pop artists who have influenced him. The American flag and the target reference the iconic paintings of Jasper Johns who is also the subject of a portrait in the May Day exhibition. The newspaper and the May Day megaphone advertisement pay tribute to Warhol's early painted renditions of common subject matter. The mural also weaves in many smaller images and decorative patterns, which supplement the aesthetic and themes of the larger images.
OBEY Giant is a street art campaign by artist and guerrilla marketer Shepard Fairey. The campaign originated with the André the Giant Has a Posse sticker that Fairey created in 1986 in Charleston, South Carolina. Distributed by the skater community, the stickers began showing up everywhere. In 1989, while a student at RISD (Rhode Island School of Design), Fairey released his manifesto and the Obey Giant campaign was born. The campaign, an "experiment in phenomenology" pushed primarily through stickers and prints, has a mission to attempts to stimulate curiosity and bring people to question both the campaign and their relationship with their surroundings. Because people are not used to seeing advertisements or propaganda for which the motive is not obvious, frequent and novel encounters with Obey propaganda provoke thought and possible frustration, nevertheless revitalizing the viewer's perception and attention to detail. Over time the artwork has been reused in a number of ways, most famously in with his "Hope" campaign poster for Barack Obama in the 2008 United States Presidential election.
The Goldman Wall was first covered with streetart in the summer of 1982 by Keith Haring. Goldman Properties, owned by real-estate developer and art enthusiast Tony Goldman, acquired the wall in 1984, using it for advertisements for two decades. In celebration of what would have been Haring's 50th birthday in 2008, Goldman donated the wall to his friend and curator, Jeffrey Deitch and Deitch Projects. The two commissioned a recreation of Haring's 1982 classic, establishing a relationship that resulted in a series of sanctioned murals on the space from a rotating group of artists and that would ultimately carry over to Miami's Wynwood Walls.
Breaking Banality: The Dysfunction of Remediation
Photographs by Evan La Londe
PNCA’s Feldman Gallery Presents Eva and Franco Mattes
Portland, OR, October 23, 2014 — The Philip Feldman Gallery + Project Space at Pacific Northwest
College of Art (PNCA) presents Breaking Banality: The Dysfunction of Remediation, an exhibition by Eva and Franco Mattes, opening with a reception on First Thursday, November 6, 2014 and running through
January 10, 2015. For the exhibition, whose title was created by an online random exhibition title generator, the Brooklyn-based Italian duo will present ten reiterations of one performance from their series
“BEFNOED – By Everyone, For No One, Every Day,” for which they commission anonymous workers to realize webcam performances. The Mattes’ hire performers through online crowdsourcing services and post the resulting videos to many of the more obscure social networks around the world. The artists regularly post links to new videos at befnoed.tumblr.com. These works are in the lineage of Fluxus event scores and more recently Hans Ulrich Obrist’s instruction-based project, “Do It.” For this exhibition, to view the videos, visitors will be forced in awkward positions, becoming themselves, if just for a few seconds, performers, and underlying how the act of viewing is in itself performative.
For another work in the show, an image, resulting from an internet search for the words “worn out,” was printed by online services on various objects. The objects were then delivered by mail directly to the venue, so neither the artists nor the curator have seen the final works.
The duo’s provocative digital works have previously included a staged suicide filmed by webcam, a slideshow of 10,000 photos stolen from personal computers, and reenactments of well-known performance art works in online videogames.
“Eva and Franco Mattes’ subversive conceptual works delve into the obscure corners and more grim aspects of the internet and the ways it both connects and distances users,” says Mack McFarland, Director of Exhibitions at PNCA. “We are thrilled to be working with two of the cardinal Net Art practitioners and expect the exhibition to ignite valuable conversations around our digitally fabricated and recorded selves and the ways we interact at a distance now.”
Exhibition trailer - Eva and Franco Mattes, Breaking Banality, PNCA’s Feldman Gallery from Eva and
Franco Mattes on Vimeo.
Eva and Franco Mattes (1976) (a.k.a. 0100101110101101.ORG) are an artist duo originally from Italy, working in New York. Their medium is a combination of performance, video and the Internet, for which they are perhaps best known. Their work explores ethical and moral issues when people interact at distance, especially through social media, creating situations where it is difficult to distinguish reality from a simulation.
Melissa Gronlund, editor of Afterall Magazine, described Mattes’ work as follows: “Whether by obscuring the name of the author, hiding information from the public or presenting false information to (often unwitting) participants in the works they create, the Mattes set up situations in which the viewer’s mistaken assumptions and actions create the form of the work itself”.
Mattes’ work has been exhibited at the Minneapolis Institute of Arts (2013); Site Santa Fe (2012);
Sundance Film Festival (2012); PS1, New York (2009); Performa, New York (2007, 2009); ARoS Aarhus
Kunstmuseum (2009); National Art Museum of China, Beijing (2008); The New Museum, New York
(2005) and Manifesta 4, Frankfurt (2002). In 2001 they were among the youngest artists ever included in the Venice Bienniale.
They have also held conferences at universities, festivals and museums, including Columbia University,
New York; RISD, Providence; New York University; Carnegie Mellon, Pittsburgh; College Art Association, New York; Museo Reina Sofia, Madrid; MAXXI, Rome and Musee d’Art Moderne, Paris.
They are founders and co-directors of the international festival The Influencers, held annually at the CCCB,
Barcelona, Spain (2004-ongoing).
The Mattes have received grants from the Walker Art Center, Minneapolis; The Museum of Contemporary
Art, Roskilde; ICC, Tokyo, and were awarded the New York Prize 2006 from the Italian Academy at
Columbia University.
First Thursday, November 6, 2014.
Photographs By Jennifer Hughes
PNCA presents a variety of exhibitions on campus:
Eva and Franco Mattes: Breaking Banality: The Dysfunction of Remediation
Nov 6, 2014 – Jan 10, 2015
Portland, OR, October 23, 2014 — The Philip Feldman Gallery + Project Space at Pacific Northwest College of Art (PNCA) presents Breaking Banality: The Dysfunction of Remediation, an exhibition by Eva and Franco Mattes, opening with a reception on First Thursday, November 6, 2014 and running through January 10, 2015. For the exhibition, whose title was created by an online random exhibition title generator, the Brooklyn-based Italian duo will present ten reiterations of one performance from their series “BEFNOED – By Everyone, For No One, Every Day,” for which they commission anonymous workers to realize webcam performances. The Mattes’ hire performers through online crowdsourcing services and post the resulting videos to many of the more obscure social networks around the world. The artists regularly post links to new videos at befnoed.tumblr.com. These works are in the lineage of Fluxus event scores and more recently Hans Ulrich Obrist’s instruction-based project, “Do It.” For this exhibition, to view the videos, visitors will be forced in awkward positions, becoming themselves, if just for a few seconds, performers, and underlying how the act of viewing is in itself performative.
Last Call: 2014 PNCA Staff Exhibition: Swigert Commons
Nov 6, 2014 – Nov 22, 2014
The artists and designers who make up the staff at Pacific Northwest College of Art (PNCA) are among the Portland’s most dedicated practitioners. While as a group they are diverse in their creative endeavors, they are united in their drive for a continual exploration of creative practice. The Staff Exhibition celebrates and showcases the rigor, invention, and excellence of those explorations in an exhibition that highlights the diversity and collective nature of the PNCA staff.
PNCA's Veterans Exhibition: Higgins Gallery
Nov 6, 2014 – Nov 23, 2014
PNCA’s first ever exhibition of its current students, staff, and faculty who served in the United States Military. A diverse group in their chosen mediums and topics, this exhibition showcases a variety works made from PNCA’s Veterans. Held in connection with the November 11th Veterans Day holiday.
Roger Peet: Traps, Flows, Echoes: Gallery 214
Nov 6, 2014 – Nov 28, 2014
Portland artist Roger Peet will open a show of new installation, video and print work in Gallery 214 at PNCA on the 6th November. The show, entitled “Traps, Flows, Echoes” focuses on the idea of the trap, in both the physical and cultural realms. Much of the show will focus on Peet’s relationship to the Democratic Republic of Congo, where he has worked for several seasons to promote community conservation through art. Some of the work addresses Peet’s complex relationship with his father, who faked his death to go AWOL from the British Air Force and to fly helicopters for the CIA’s interventions in Congo in the 1960’s, an event which Peet recreates in a video collaboration with Portland director Jodi Darby. In his travels and work in Congo, Peet experienced first hand the disastrous consequences of the history his father had helped to shape, and this show will contain vivid and evocative print, installation, and sound pieces that evoke the trauma and brutality of that trap of history, as well as the ways that he and the friends that he made in Congo are trying to get out of it. The work also features sound collages and poetry by Portland MC Mic Crenshaw.
Roger Peet is an artist, writer and printmaker in Portland, Oregon. His art focuses on civilized bad ideas, evolution and extinction, predator-prey relationships, and the contemporary crisis of biodiversity and what can and can’t be done about it. He is a member of the Justseeds Artists’ Cooperative (justseeds.org), a group of socially and environmentally engaged North American artists, and collaborates with activists, artists and scientists across the globe in the service of a more generous and a wilder world. His website is TooSphexy.com.
This project was produced with the generous assistance of the Regional Arts and Culture Council.