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SPOTLIGHT SESSION
The Mental Well-Being of the Next Generation: How We Can Support Young People’s Mental Health Amid Multiple Existential Threats
2:30 - 4:00 p.m. ET
Location: Mercury Ballroom
The COVID-19 pandemic has exacerbated an existing mental health crisis, particularly among children and young people. The emergence of “climate anxiety,” new and ongoing international conflicts, and widespread use of technology have added to the stressors impacting our youth across the globe. A study last year estimated that one in seven children and adolescents in sub-Saharan Africa have experienced significant psychological challenges, and almost 10 percent qualify for a psychiatric diagnosis. Overdose rates among teens in the United States are on the rise. Youth are facing cultural and infrastructural challenges – from stigma in seeking help to barriers in accessing support – in finding the tools and treatment they need.
This session will explore:
•How can organizations take action to directly support the mental health of young people in their communities and around the world?
•How can we develop and implement effective models for delivering mental health care in schools, clinics, and community settings?
•How can we leverage technology – which has exacerbated much of the mental health crisis among today’s youth – to reduce stigma and give youth easier access to support and treatment?
Speakers:
•Dr. Tia Dole, Executive Director, The Steve Fund
•Vice Admiral Vivek H. Murthy, U.S. Surgeon General
•Heather White, Author & Founder, OneGreenThing.org
•Tristan Harris, Co-Founder & President, Center for Humane Technolog
•Mahmoud Abdelwahab Khedr, Founder & CEO, FloraMind
•Dometi Pongo, Journalist, MTV News
NEW YORK, NEW YORK - SEPTEMBER 20: Spotlight Session at the Clinton Global Initiative September 2022 Meeting at New York Hilton Midtown on September 20, 2022 in New York City. (Photo by Noam Galai/Getty Images for Clinton Global Initiative)
SPOTLIGHT SESSION
The Mental Well-Being of the Next Generation: How We Can Support Young People’s Mental Health Amid Multiple Existential Threats
2:30 - 4:00 p.m. ET
Location: Mercury Ballroom
The COVID-19 pandemic has exacerbated an existing mental health crisis, particularly among children and young people. The emergence of “climate anxiety,” new and ongoing international conflicts, and widespread use of technology have added to the stressors impacting our youth across the globe. A study last year estimated that one in seven children and adolescents in sub-Saharan Africa have experienced significant psychological challenges, and almost 10 percent qualify for a psychiatric diagnosis. Overdose rates among teens in the United States are on the rise. Youth are facing cultural and infrastructural challenges – from stigma in seeking help to barriers in accessing support – in finding the tools and treatment they need.
This session will explore:
•How can organizations take action to directly support the mental health of young people in their communities and around the world?
•How can we develop and implement effective models for delivering mental health care in schools, clinics, and community settings?
•How can we leverage technology – which has exacerbated much of the mental health crisis among today’s youth – to reduce stigma and give youth easier access to support and treatment?
Speakers:
•Dr. Tia Dole, Executive Director, The Steve Fund
•Vice Admiral Vivek H. Murthy, U.S. Surgeon General
•Heather White, Author & Founder, OneGreenThing.org
•Tristan Harris, Co-Founder & President, Center for Humane Technolog
•Mahmoud Abdelwahab Khedr, Founder & CEO, FloraMind
•Dometi Pongo, Journalist, MTV News
NEW YORK, NEW YORK - SEPTEMBER 20: Spotlight Session at the Clinton Global Initiative September 2022 Meeting at New York Hilton Midtown on September 20, 2022 in New York City. (Photo by Noam Galai/Getty Images for Clinton Global Initiative)
Existentialism
I'll try and give this one meaning:
And there he stood, the late afternoon's sun streaming down him, trying to make sense of these two weird people with bigger eyes and noses than his three years on Earth have ever before introduced him to ;-).
PS: Of course, as per most kids, he looked at Mau next to me, not at me and the camera.
"Our reflection on the gifts of the Holy Spirit leads us today to speak of another important gift, piety. With it, the Spirit heals our hearts of every form of hardness, and opens them to tenderness towards God and our brothers and sisters.
Tenderness, as a truly filial attitude towards God, is expressed in prayer. The experience of one's own existential poverty, of the void which earthly things leave in the soul, gives rise to the need to have recourse to God in order to obtain grace, help and pardon. The gift of piety directs and nourishes such need, enriching it with sentiments of profound confidence in God; trusted as a good and generous Father. In this sense St Paul wrote: "God sent his Son,... that we might receive adoption. As proof that you are children, God sent the Spirit of his Son into our hearts, crying out, 'Abba, Father!' So you are no longer a slave but a son,..." (Gal 4: 4-7; cf. Rom 8: 15).
Tenderness, an authentically fraternal openness towards one's neighbour, is manifested in meekness. With the gift of piety the Spirit infuses into the believer a new capacity for love of the brethren, making his heart participate in some manner in the very meekness of the Heart of Christ. The "pious" Christian always sees others as children of the same Father, called to be part of the family of God which is the Church. He feels urged to treat them with the kindness and friendliness which are proper to a frank and fraternal relationship.
The gift of piety further extinguishes in the heart those fires of tension and division which are bitterness, anger and impatience, and nourishes feelings of understanding, tolerance, and pardon. Such a gift is, therefore, at the root of that new human community which is based on the civilization of love".
- Pope Blessed John Paul II.
Photo taken in St Dominic's priory church in Newcastle. June is the month of the Sacred Heart of Jesus, in whose mercy and compassion we trust.
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⚡ Intelligences : ️ Spatial Intelligence
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🌟 Taryn Elliott - A Waterfall Downpours To A River Valley
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"Existential Crisis 22: A Hole in One" Blaise Pascal said, "The eternal silence of these infinite spaces frightens me." I am an insignificant being, one with a hole at my core. And a black hole swallows the hole that is my essence. I am a vacuum inside a vacuum, nothing inside of nothingness. My dilemma "lies in not just staying alive, but in finding something to live for."*
*Fyodor Dostoyevsky, "The Brothers Karamazov"
Chiharu Shiota, site specific installation
Exhibition view "Francis Bacon and Existential Condition in Contemporary Art", CCC Strozzina, Palazzo Strozzi, Firenze
© photo Martino Margheri
The Land on the Other Side (1990)
Artist: Kjell Erik Killi Olsen (Norwegian - born 1952)
KilliOlsen became known for a hybrid style that mixed graffiti, kitsch and what is called bad painting. He often depicted dreamlike situations full of grotesque yet evidently human figures. Here, the 1980's interest in existential themes is given an unusual twist: bodies float about, merge with each other, are penetrated and amputated - for no apparent reason. The picture is typical of the artist's pictorial universe. Through thin veils of trickling paint, we are drawn into a world that seems to represent either dreams and delirium, or something extraterrestrial.
_______________________________________________
www.visitoslo.com/en/articles/national-museum/
On 11 June 2022 the new National Museum opened in Oslo. This is the largest museum in the Nordics. The new museum now consists of the collections of the former National Gallery, the Museum of Contemporary Art, and the Norwegian Museum of Decorative Arts and Design.
The new museum has a permanent exhibition of about 6 500 objects. Design, arts and crafts, fine art as well as contemporary art will be exhibited alongside each other. As such, the permanent exhibition highlights interesting connections between different collections that previously have been on show at three different museums. Additionally, audiences will be able to see the most famous paintings by the Norwegian painter Edvard Munch, including The Scream (1893) and Madonna (1894).
The building was designed by Kleihues + Schuwerk Gesellschaft von Architekten, with emphasis on dignity and longevity over sensationalist architecture. Great care was given to achieve a balance with the museum’s surroundings and the existing monuments in the area, such as Oslo City Hall and Akershus Fortress.
The most eye-catching feature of the new museum is the large, illuminated exhibition hall on top of the building. It will be used for temporary exhibitions.
The rooftop terrace offers a unique view of the inner Oslo fjord. The square in front of the main entrance has become an urban meeting place, with benches and a café that invites you in to take a rest.
www.nasjonalmuseet.no/en/visit/locations/the-national-mus...
news.artnet.com/opinion/new-national-museum-norway-2129606
www.forbes.com/sites/davidnikel/2022/06/14/what-to-expect...
...
Meshuggah
Live Music Club - Trezzo sull'Adda
16 Dicembre 2014
Ph. © Mairo Cinquetti
If you take for granted that music exists as an expression of the inner mortal psyche, life can turn into an infinitely captivating adventure when musical creation is placed in the hands of a singular breed of enigmatic perfectionists. When those graced with the rare gifts of astounding technical abilities and songwriting prowess are also fueled by a sacred trinity of creativity, originality, and self-belief, the results will always steer clear of any sub-genre categorization.
Formed in the college town of Umeå in northern Sweden in 1987, MESHUGGAH have spent the last twenty years and cumulative thirteen releases developing, exploring, and redefining their complex, inimitable approach on the art of expressing their collective Id. An entity that has not sounded like anyone else in over thirteen years, MESHUGGAH are one of the few purely and honestly lateral-thinking forces genuinely dedicated to pushing the boundaries of extreme music simply because doing so comes naturally to them. Unafraid to take risks and tackle new experiences, they create albums you can listen to six years later and still discover things you never noticed before. The mystical lore surrounding them pertains to their mathematical execution of odd-cycle time signatures shifting around common 4/4 time. As a result, it isn’t shocking to see some of the biggest names in metal standing in the wings at MESHUGGAH shows, shaking their heads at the band’s majestically demented, down-tuned, groove-laden, and precisely performed polyrhythms that never veer out of control. Devotees include Tool, The Deftones, Kirk Hammett & Lars Ulrich of Metallica, Rob Halford of Judas Priest, James LaBrie of Dream Theater, and Boston’s prestigious Berklee College of Music, which incorporates MESHUGGAH’s back catalogue into their curriculum, fortifying the belief that such perfectly calibrated music adds a crucial ingredient to a modern musical education. While the band’s self-assured beginnings speak plainly, they had no idea their future contributions to music would be the sonic equivalent of what Sir Isaac Newton did for the development of calculus.
In 1989, with a line-up that included Jens Kidman on vocals & guitar, Fredrik Thordendal on guitar, Peter Nordin on bass, and Niklas Lundgren on drums, MESHUGGAH’s self-titled thrashy, virgin release (which came to be known as Psykisk Testbild due to the album’s artwork) was self-released on vinyl and limited to 1,000 copies. Every copy sold. In 1991, their full-length debut album, Contradictions Collapse, heralded the arrival of drummer extraordinaire, Tomas Haake, and the band’s obvious nod to vintage Metallica was a potent indicator of the barely-contained violence fermented within. But it was in 1995 - one of Swedish metal’s most significant years in terms of influential releases – that the myth of MESHUGGAH gained momentum. Produced by a 21-year-old Daniel Bergstrand at Soundfront Studios in Uppsala, Sweden and consisting of equal parts instinct, inspiration, and natural talent, Destroy Erase Improve provided positive proof that the band had tapped a truly multi-dimensional, divergent vein. Joined by rhythm guitarist Mårten Hagström in 1994 for the recording of the None EP (freeing Kidman from those duties) and marking the beginning of the band’s own identity, DEI was released to the sound of dropping jaws among their growing number of fervent followers and was a literal showcase of how far the band could push their ideas. Subsequently, it has been lauded as one of heavy metal’s most masterfully evolutionary albums and hailed as MESHUGGAH’s finest hour. Drum! Magazine praised it for its “ridiculous, driving, brutal insanity.” Ranking #12 in Revolver Magazine’s “69 Greatest Hard Rock Albums Of All Time,” it recently became the 21st album inaugurated into Decibel Magazine’s pantheon of extreme metal – The Hall of Fame: “These mad scientists have obliterated the existing paradigms of death, thrash, and prog metal, upping the ante for heavy music to a level of mathematical profundity. A mind-bending masterpiece.”
“Intelligence,” states theoretical physicist Stephen Hawking, “is the ability to adapt to change.” When Peter Nordin developed an inner-ear nerve problem in 1995 that prevented him to continue with the group, MESHUGGAH recruited Gustaf Hielm to take over bass duties on 1997’s The True Human Design EP and 1998’s Chaosphere. The latter’s manic, bludgeoning rage collided head-on with blistering skill (“five technically virtuosic Scandinavian ogres using jackhammers to smash other jackhammers” cited Spin Magazine), and the result was a masterclass in aggression leading Rolling Stone to rank MESHUGGAH as one of music’s “10 Most Important Hard and Heavy Bands.” In 1999, MESHUGGAH played at the Milwaukee Metal Fest, a week of dates with Cannibal Corpse, toured supporting Slayer, and were then handpicked to play eleven shows as direct support for Tool’s U.S. arena tour in 2001. In a serendipitous, Hollywood-styled turn of events, music from Destroy Erase Improve aired during prime time television on MTV’s reality series The Osbournes (albeit for the sole purpose of tormenting their neighbors of obviously weaker musical constitution), courtesy of Jack Osbourne. While the Swedes prided themselves in not being a commercially accessible band, they were invited to be featured guests on Ozzfest 2002’s 2nd Stage. MESHUGGAH accepted, and the race was on to complete the new album.
After pushing the limits of heaviness with Chaosphere, there was only one place left to go: even heavier. Thordendal & Hagström made the leap to custom-built 8-string Nevborn guitars and thereby inherited a new musical vocabulary to work with. Abandoning the use of chords and almost exclusively utilizing single notes and slowing their pace to sub-aquatic meanderings, the subdued result was a lethal dose of self-professed “concentrated evil,” Morse-code solos courtesy of Thordendal, and a lot of low-end. Completed just two days prior to the band leaving Sweden to join Ozzfest, the darker, more sinister, and all-encompassing menacing vibe of Nothing was doused in accolades. “The magnum opus of controlled insanity,” wrote Terrorizer. “One of the most inventive metal albums to arrive in some time,” praised Guitar One. “Nothing,” boasted Tool drummer Danny Carey, “is another prime example of MESHUGGAH’s musical expertise and unique compositional style that continues to evolve and change the way people listen to music.” In light of the showers of praise, the Swedes were still not prepared when news broke of Nothing landing on the American Billboard Top 200 chart – a first for a band on Nuclear Blast’s roster and one of the most extreme albums ever to achieve that feat at the time. Following their participation on Ozzfest, MESHUGGAH once again hit the road with Tool, and ultimately sold 100,000 copies of their fourth full-length recording.
It would be three years before the next studio album surfaced, but in the interim, kudos for the band kept coming. In 2004, Alternative Press voted MESHUGGAH “The #1 Most Important Band In Metal.” “MESHUGGAH have carved out their own niche as one of the most innovative and challenging extreme acts of our generation.” That same year, Fredrik & Mårten ranked #35 in Guitar World’s list of “100 Greatest Metal Guitarists.” “Over the polyrhythmic percussive madness of drummer Tomas Haake, Hagström & Thordendal create crushing, machine-gun riffs that are convoluted rhythms in themselves, as well as fluid, sublime, Allan Holdsworth-style solos.”
Such furiously mesmerizing music obviously requires its share of discipline. Each year without a release becomes inversely proportional to the climbing expectations among MESHUGGAH fans for the band to out-do themselves. Tackling a dark musical landscape while addressing the subjects of contradiction, paradox, negation, and the inevitability of clashing opposites with all the tension that results from it, MESHUGGAH’s studio offering for 2005 was a 47 minute-long “uni-song” divided into four quasi-movements (or thirteen suites, depending on your personal interpretation). An audio exam in patience and endurance, Catch Thirty Three offered a reward only to those who were insistent on completing the journey through this warped, metaphoric dream state. Obviously mastering the 8-string guitars that were prototypes on the previous album, MESHUGGAH tapped into the hypnotic power of repetition, suggesting a lot of visual imagery and movement. Proudly cold and emotionless, this “concept album without a concept” with seemingly stream-of-consciousness vocals had the feel of a philosophical journey through life and death, not excluding the soul-gutting ponderations. Again, the praise was incessant. “Catch Thirty Three could be the soundtrack to the darkest, strangest, heaviest movie never made,” held Revolver. “Catch Thirty Three lifts MESHUGGAH’s work to unreachable levels,” commended Guitar World. “One of the most brilliant metal discs in recent years,” raved Guitar One. It went on to become Terrorizer Magazine’s Album of the Year for 2005. What’s more, while the band’s discography underwent scholarly analysis at the 34th Annual Meeting of The Music Theory Society of New York State in 2006, MESHUGGAH remixed and remastered Nothing at their own Fear And Loathing Studio in Stockholm, Sweden to finally re-offer it to fans sounding “the way we always wanted it to!” In the latter half of 2007, the article “Re-casting Metal: Rhythm and Meter in the Music of MESHUGGAH,” appeared in a volume of Music Theory Spectrum, the journal of The Society for Music Theory.
Mercifully, the wait for the sixth installment in MESHUGGAH’s quest to a) continuously experiment; b) avoid predictability; and c) offer a dose of consistency will only clock in at 1,015 days. Recorded and mixed at Fear And Loathing Studio and featuring artwork by Joachim Luetke (Dimmu Borgir, Arch Enemy, Kreator), 2008’s detonation of consciousness, obZen is an unapologetic statement of where the Swedes stand now as a band, and there simply aren’t enough adjectives, expletives, or theories to describe the album’s enthralling, auditory physics.
With stand-alone lyrics worthy of their own book of prose (which include the band’s latest contributions to the English language), MESHUGGAH play with the same jagged, abrupt ferocity intrinsic to their eccentric genius. Fueled by the percussive gymnastics of the drummer’s drummer Tomas Haake (whose talent can simply be described as ‘Neil Peart on peyote’), the long, enrapturing bent notes of Thordendal & Hagström’s 8-string guitars hover like predators while the ceaseless rumblings of Dick Lövgren’s commandeering bass work are fodder for Kidman’s authoritative and handsomely corroded vocals. The unmerciful pummelings of “Bleed” and “obZen” are yet another ode to the band’s rhythmic eccentricity; the howling precision & apocalyptic aggression of “Combustion,” the compounded prog-matism of “Dancers To A Discordant System,” the hypnotic soul-searching of “Pineal Gland Optics,” and asymmetrical signatures of “Pravus” & “Electric Red” all attest to why the band are massively influential among their peers, and why fans of this extremely aggressive rhythm-based genre of metal pledge their support to the ongoing evolution of a discipline that shakes the very foundations of convention.
Change breeds change. Change fosters growth. Growth is life. MESHUGGAH’s music may never be known for its instant appeal, but it will forever maintain its long-time love affair with metric insanity. obZen has widened, expanded, and improved the road MESHUGGAH have been traveling on since their inception. Dedicated to the continual exploration of the infinite structures and (di)versions of the 4/4 standard, obZen’s emotive contemplations have the ability to infiltrate the psyche after repeated listens to flip an inner-switch triggering an epiphany, lulling you into a deepening quandary of existential explorations. An expression of a duplicitous serene/violent consciousness, obZen can be used as a meditation to travel deeply within or leave your body behind as you listen to it; it can become your permission slip to deviate from the chains of mortal predictability, to change, to grow, to evolve, and show evidence of life. Like the thunderous pulsations of the heart incessantly beating to get us through this menial existence we call life, MESHUGGAH excels at revealing that all paths leading to syncopated bliss are paved with arrhythmia.
Le Soleil
Le long du vieux faubourg, où pendent aux masures
Les persiennes, abri des sécrètes luxures,
Quand le soleil cruel frappe à traits redoublés
Sur la ville et les champs, sur les toits et les blés,
Je vais m'exercer seul à ma fantasque escrime,
Flairant dans tous les coins les hasards de la rime,
Trébuchant sur les mots comme sur les pavés
Heurtant parfois des vers depuis longtemps rêvés.
Ce père nourricier, ennemi des chloroses,
Eveille dans les champs les vers comme les roses;
II fait s'évaporer les soucis vers le ciel,
Et remplit les cerveaux et les ruches de miel.
C'est lui qui rajeunit les porteurs de béquilles
Et les rend gais et doux comme des jeunes filles,
Et commande aux moissons de croître et de mûrir
Dans le coeur immortel qui toujours veut fleurir!
Quand, ainsi qu'un poète, il descend dans les villes,
II ennoblit le sort des choses les plus viles,
Et s'introduit en roi, sans bruit et sans valets,
Dans tous les hôpitaux et dans tous les palais.
— Charles Baudelaire
The Sun
Along the old street on whose cottages are hung
The slatted shutters which hide secret lecheries,
When the cruel sun strikes with increased blows
The city, the country, the roofs, and the wheat fields,
I go alone to try my fanciful fencing,
Scenting in every corner the chance of a rhyme,
Stumbling over words as over paving stones,
Colliding at times with lines dreamed of long ago.
This foster-father, enemy of chlorosis,
Makes verses bloom in the fields like roses;
He makes cares evaporate toward heaven,
And fills with honey hives and brains alike.
He rejuvenates those who go on crutches
And gives them the sweetness and gaiety of girls,
And commands crops to flourish and ripen
In those immortal hearts which ever wish to bloom!
When, like a poet, he goes down into cities,
He ennobles the fate of the lowliest things
And enters like a king, without servants or noise,
All the hospitals and all the castles.
Walking on foot brings you down to the very stark, naked core of existence. We travel too much in airplanes and cars. It’s an existential quality that we are losing. It’s almost like a credo of religion that we should walk.
There is, of course, something inherently romantic—if not heroic—about the extreme solitary explorer enveloped by nature. The very image of Herzog on foot recalls the iconic 19th-century paintings of Caspar David Friedrich, especially his Wanderer Above the Sea of Fog, with its lone figure staring out at the wide vista above the clouds.
'Truth itself wanders through the forests,' Herzog writes near the end. Yet here he embroiders his memories for effect: The vast swath of geography between Munich and Paris is littered with industrial towns and cities.
Once he comes out on the other end, traversing the deforested Champs-Élysées (“We were close to what they call the breath of danger”), Herzog emerges victorious.
― Of Walking in Ice: (Munich-Paris, 23 November–14 December 1974)
by Werner Herzog
My existential dread flared up again and my mood sank. Doing this quick photo edit helped a bit. On the bright side, my hands have been drawing with more precision.
Meet the Diablo GT, done by Kyosho in 1/43rd scale. A lovely effort and as usual, it can be found still for a reasonable price.
It also has an opening engine cover!
I'm beginning to see that I gravitate toward this angle on a lot of my models.
WH: Existential
Well, someone cleaned out their bookshelf and dumped it at our local park. I guess they were done learning about farts. See far left yellow and red book.
Walking on foot brings you down to the very stark, naked core of existence. We travel too much in airplanes and cars. It’s an existential quality that we are losing. It’s almost like a credo of religion that we should walk.
There is, of course, something inherently romantic—if not heroic—about the extreme solitary explorer enveloped by nature. The very image of Herzog on foot recalls the iconic 19th-century paintings of Caspar David Friedrich, especially his Wanderer Above the Sea of Fog, with its lone figure staring out at the wide vista above the clouds.
'Truth itself wanders through the forests,' Herzog writes near the end. Yet here he embroiders his memories for effect: The vast swath of geography between Munich and Paris is littered with industrial towns and cities.
Once he comes out on the other end, traversing the deforested Champs-Élysées (“We were close to what they call the breath of danger”), Herzog emerges victorious.
― Of Walking in Ice: (Munich-Paris, 23 November–14 December 1974)
by Werner Herzog
APRIL 13, 2023 WASHINGTON DC. WORLD BANK GROUP/ INTERNATIONAL MONETARY FUND 2023 SPRING MEETINGS.
Accelerating Development in an Age of Global Crisis
The existential threat of climate change, impacts of the COVID-19 pandemic, the Russian invasion of Ukraine, persistent high inflation and increased fragility have injected volatility and uncertainty into the global economy – a reality that may continue for a while. The panel of speakers explore central questions around what it will take to address some of the most critical issues of our time including climate change, food insecurity, pandemics, and increasing fragility and poverty.
Axel van Trotsenburg, Senior Managing Director, Development Policy and Partnerships, World Bank Group; Amina Mohammed, Deputy Secretary-General, United Nations; José Antonio Ocampo, Minister of Finance and Public Credit, Colombia; Leila Benali, Minister of Energy Transition and Sustainable Development, Morocco; Ahmed Ogwell Ouma, Acting Director, Africa Centres for Disease Control and Prevention (CDC); Daniel Zelikow, Chair of the Governing Board, Development Finance Institution, J.P. Morgan. Photo: World Bank / Simone D. McCourtie
Pride and Prejudice: on Raphael Perez's Artwork
Raphael Perez, born in 1965, studied art at the College of Visual Arts in Beer Sheva, and from 1995 has been living and working in his studio in Tel Aviv. Today Perez plays an important role in actively promoting the LGBT (lesbian, gay, bisexual and transsexual) art and culture in Tel Aviv, and the internet portal he set up helps artists from the community reach large audiences in Israel and abroad. Hundreds of his artworks are part of private collections in Israel and abroad, and his artworks were shown in several group exhibitions: in Tel Aviv Museum of Art, "Zman Le'Omanut" art gallery, Camera Obscura, The Open House in Jerusalem, Ophir Gallery, The Haifa Forum and other private businesses and galleries.
In 2003-4 his paintings and studio appeared in a full-length movie, three student films and two graduation films.
Raphael Perez is the first Israeli artist to express his lifestyle as a Gay. His life and the life of the LGBT community are connected and unfold over hundreds of artwork pieces. His art creation is rare and extraordinary by every Israeli and international artistic standard. His sources of inspiration are first and foremost life events intertwined in Jewish and Israeli locality as well as influences and quotes from art history (David Hockney, Matisse). This uniqueness has crossed international borders and has succeeded in moving the LGBT and art communities around the world.
This is the first time we meet an Israeli artist who expresses all of his emotions in a previously unknown strength. The subjects of the paintings are the everyday life of couples in everyday places and situations, along with the aspiration to a homosexual relationship and family, equality and public recognition. Perez's works bring forward to the cultural space and to the public discourse the truth about living as LGBT and about relationships, with all of their aspects – casual relationships and sex, the yearning for love, the everyday life and the mundane activities that exist in every romantic relationship – whether by describing two men in an intimate scene in the bathroom, the bedroom or the toilet, a male couple raising a baby or the homosexual version of the Garden of Eden, family dinners, relationship ups and downs, the complexity in sharing a life as well as mundane, everyday life competing with the aspiration to self realization – through Perez's life.
Perez's first artworks are personal diaries, which he creates at 14 years of age. He makes sure to hide these diaries, as in them he keeps a personal journal describing his life events in the most genuine way. In these journals he draws thousands of drawings and sketches, next to which he alternately writes and erases his so-called "problematic texts", texts describing his struggle with his sexual orientation. His diaries are filled with obsessive cataloging of details, daily actions, friends and work, as well as repeating themes, such as thoughts, exhibits he has seen, movies, television, books and review of his work.
When he is done writing, Perez draws on his diaries. Each layer is done from beginning to end all along the journal. In fact, the work on the diaries never ends.
This struggle never ends, and when the emotion is passed on to paper, and it ends its role and becomes meaningless in a way, the visual-graphic side becomes dominant, due to the need to hide the written text, according to Perez. In books and diaries this stands out even more – when he chooses to draw in a style influenced by children's drawings, the characters are cheerful, happy, naïve and do not portray any sexuality, and when he tries drawing as an adult the sketches became more depressed and somber. During these years Perez works with preschool children, teaching them drawing and movement games. Perez says that during this period he completely abandoned the search for a relationship, either with a woman or a man, and working with children has given him existential meaning. This creation continues over 10 years, and Perez creates about 60 books-personal journals in various sizes (notepads, old notebooks, atlases and even old art books).
In his early paintings (1998-1999) the transition from relationships with women to relationships with men can be seen, from restraint to emotional outburst in color, lines and composition. Some characters display strong emotional expression. The women are usually drawn in restraint and passiveness, while a happy and loving emotional outburst is expressed in the colors and style of the male paintings.
"I fantasized that in a relationship with a woman I could fly in the sky, love, fly. However, I felt I was hiding something; I was choked up, hidden behind a mask, as if there was an internal scream wanting to come out. I was frustrated, I felt threatened…"
His first romance with a man in 1999 has drawn out a series of naïve paintings dealing with love and the excitement of performing everyday actions together in the intimate domestic environment.
"The excitement from each everyday experience of doing things together and the togetherness was great, so I painted every possible thing I liked doing with him."
From the moment the self-oppression and repression stopped, Perez started the process of healing, which was expressed in a burst of artworks, enormous in their size, amount, content and vivid colors – red, pink and white.
In 2000 Perez starts painting the huge artworks describing the hangouts of the LGBT community (The Lake, The Pool) and the Tel Avivian balcony paintings describing the masculine world, which, according to him, becomes existent thanks to the painting. Perez has dedicated this year to many series of drawings and paintings of the experience of love, in which he describes his first love for his new partner, and during these months he paints from morning to night. These paintings are the fruit of a long dialogue with David Hockney, and the similarity can be seen both in subjects and in different gestures.
In 2001 Perez creates a series of artworks, "Portraits from The Community". Perez describes in large, photorealistic paintings over 20 portraits of active and well-known members of the LGBT community. The emphasis is on the achievements that reflect the community's strong standing in Tel Aviv.
As a Tel-Avivian painter, in the past two years Perez has been painting urban landscapes of central locations in his city. Perez wanders around the city and chooses familiar architectural and geographical landmarks, commerce and recreation, and historical sites, and paints them from a homosexual point of view, decorated with the rainbow flag, which provide a sense of belonging to the place. His artworks are characterized by a cheerful joie de vivre and colors, and they also describe encounters and meetings. The touristic nature of his paintings makes them a declaration of Tel Aviv's image as a place where cultural freedom prevails.
Perez's Tel Aviv is a city where young families and couples live and fill the streets, the parks, the beach, the houses and the balconies – all the city's spaces. The characters in his paintings are similar, which helps reinforcing the belonging to the LGBT community in Tel Aviv. The collective theme in Perez's artwork interacts with the work of the Israeli artist Yohanan Simon, who dealt with the social aspects of the Kibbutz. Simon, who lived and worked in a Kibbutz, expressed the human model of the Kibbutznik (member of a Kibbutz) and the uniqueness of the Kibbutz members as part of a group where all are equal. Simon's works, and now Perez's, have contributed to the Israeli society what is has been looking for endlessly, which is a sense of identity and belonging.
Perez maps his territory and marks his boundaries, and does not forget the historical sites. Unlike other Tel Avivian artists, Perez wishes to present the lives of the residents of the city and the great love in their hearts. By choosing the historical sites in Tel Aviv, he also pays tribute to the artist Nachum Gutman, who loved the city and lived in it his whole life. In his childhood Gutman experienced historical moments (lighting the first oil lamp, first concert, first pavement), and as an adult he recreated the uniqueness of those events while keeping the city's magic.
Like Gutman, Perez has also turned the city into an object of love, and it has started adorning itself in rich colors and supplying the energy of a city that wishes to be "the city that never sleeps", combining old and new. Perez meticulously describes the uniqueness and style of the Bauhaus houses and balconies along the modern glass and steel buildings, all from unusual angles in a rectangular format that wishes to imitate the panorama of a diverse city in its centennial celebrations.
Daniel Cahana-Levensohn, curator.
Interview with the painter Raphael Perez about his family artist book
An interview with the painter Raphael Perez about an artist's book he created about his family, the Peretz family from 6 Nissan St. Kiryat Yuval Jerusalem
Question: Raphael Perez, tell me about the family artist book you created
Answer: I created close to 40 artist books, notebooks, diaries, sketch books and huge books. I dedicated one of the books to my dear family, a book in which I took a childhood photograph of my family, my parents and brothers and sisters.. I pasted the photographs inside a book (the photograph is 10 percent of the total painting) and I drew with acrylic paints, markers and ink on the book and the photograph, so that the image of the photograph was an inspiration to me Build the story that includes page by page..
Question: Tell me when you were born, where, and a little about your family
Answer: I was born on March 4, 1965 in the Kiryat Yuval neighborhood in Jerusalem
I have a twin brother named Miki Peretz and we are seven brothers and sisters, five boys and two girls
Question: Tell us a little about your parents
Answer: My parents were new immigrants from Morocco, both immigrated young.
My mother's name before the wedding was Alice - Aliza ben Yair and my father's name was Shimon Peretz,
My mother was born in the Atlas Mountains and was orphaned at a young age and was later adopted by my father's family at the age of 10, so that my mother and father spent childhood and adolescence together....
They had a beautiful and happy relationship but sometimes when they argued my mother would say "even when she was a child she was like that..." This means that their acquaintance and relationship dates back to childhood..
Question: What did your parents Shimon and Aliza Peretz work for?
Answer: My father, Shimon Perez, born in 1928 - worked in a building in his youth and then for thirty years worked as a receptionist at Hadassah Ein Kerem Hospital in Jerusalem... My father's great love was actually art, he loved to draw as a hobby, write, read, solve crossword puzzles and research Regarding the issue of medicinal plants, as a breadwinner he could not fulfill his dream of becoming an artist, in order to support and feed seven children. But we are the next generation, his children are engaged in the world of creativity and education, a field in which both of my parents were engaged during their lives. My father died at the age of 69
My mother, Alice Aliza Perez, born in 1934, worked as an assistant to a kindergarten teacher, and later took care of a baby at home. She is a woman of wholehearted giving and caring for children and people, a warm, generous and humble woman.. and took care of us in our childhood for every emotional and physical deficiency.. My mother is right For the year 2023, the 89-year-old is partly happy and happy despite the difficulties of age.. May you have a long life..
My mother really loved gardening and nature and both of them together created a magnificent garden, my parents have a relatively large garden so they could grow many types of special and rare medicinal plants and my father even wrote a catalog (unpublished) of medicinal plants and we even had botany students come to us who were interested in the field... today they They also grow ornamental plants, and fruit trees...
Question: A book about the brothers and sisters
Answer: My elder brother David Perez repented in his mid-twenties.. He was a very sharp, opinionated, curious and very charismatic guy who brought many people back to repentance, and also helped people with problems through the yeshiva and the synagogue to return to the normal path of life, he died young at the age of 56
Hana Peretz: My lovely sister, raised eight children, worked in the field of education, a kindergarten teacher, and child care.
She has a very large extended family of grandchildren, great-grandchildren and great-great-grandchildren...
My brother Avi (Abraham) Peretz studied in Israel at the University of Philosophy and Judaism, he married a wonderful woman named Mira Drumi, a nurse by profession, and together they had three wonderful children, when they moved to the United States in their mid-twenties, where my brother Avi Peretz completed his master's degree in education, worked in the field Education and for the last twenty years is A conservative rabbi
The fourth brother is Asher Peretz - a great man of the world, very fond of traveling and has been to magical places all over the world, engaged in the creation of jewelry with two children.
I am Rafi Peretz english raphael perez the fifth and after fifteen minutes my twin brother was born
My mother still gets confused and can't remember who was born first :-)
My twin brother Miki micky - Michael Peretz, a beloved brother (everyone is beloved), a talented industrial designer, he has three children, his wife Revital Peretz Ben, who is a well-known art curator, active and responsible for the art field in Tel Aviv, they are a dynamic and talented couple, full of talents and action
The lovely little sister Shlomit Peretz - has been involved in the Bezeq telephone company for almost three decades, and is there in management positions, raising her lovely and beloved child.
The art book I dedicated to my family is colorful, rich in details, shows a very intense childhood, happy, cheerful, colorful, ... We were taught to be diligent and to be happy in our part and to see the glass half full in life, to have emotional intelligence and to put the relationship and love at the center with self-fulfillment in work that will interest you us and you will give us satisfaction.
Each of us is different in our life decisions and my family is actually a mosaic of the State of Israel that includes both religious and secular people from the entire political spectrum who understand that the secret to unity is mutual respect for each other... when my mother these days is also the family glue in everyone's gatherings on Shabbat and holidays..
The personification of the flower couple paintings by the Israeli painter Raphael Perez
Raphael Perez, also known as Rafi Peretz, is an Israeli painter who
explores his personal and sexual identity through his flower paintings. He created a series of flower paintings from 1995 to 1998, when he was in his early thirties and still in relationships with women, despite feeling gay. His flower paintings reflect his emotional turmoil and his struggle with his sexual orientation. He painted two flowers, one blooming and one wilting, to represent the contrast and conflict between his heterosexual relationships and his true self. He also painted single flowers or two flowers in their prime, to express his longing for a harmonious relationship that matches his nature. He chose sunflowers, white lilies, and red lilies as symbols of expression, purity, and joy, respectively. He painted from real flowers, using different styles and light to create drama and mood. Perez’s paintings of the flower couples are minimalist and focused on the theme of the complex relationship. He omitted any background or context, leaving only the canvas and the drawing of the flower couples. In some of the paintings, he added a very airy abstract surface with thin oil paints that give an atmosphere of watercolors. He also made drawings of flowers in ink, markers and gouache on paper. Later on, he created large acrylic paintings of flowers and still life. Perez’s flower paintings are not mere illustrations or decorations. They are autobiographical and psychological expressions of his inner state and his struggle with his sexuality. He wanted to reveal his loneliness, distress and concealment through these paintings, and to connect with people who are in a similar situation. He deliberately chose only two flowers and no more to intensify the engagement in the charged and complex relationship. Perez also painted and drew couples of men and women with charged psychological states, as well as states of desire for connection and realization of a heterosexual relationship that did not succeed. He used hyperrealism and expressive styles to convey his frozen and calculated state, as well as his mental stress. He used harsh lighting to create contrast and drama, with one side very bright and the other side darker. Perez was influenced by some of the famous artists who painted flowers, such as Van Gogh, who also used sunflowers as a symbol of expression. He also used white lilies and red lilies to convey freshness, cleanliness, purity, color, joy, movement, eruption, and splendor. Perez also painted some single flowers or two flowers in their prime, to show his aspiration for a future where he will have a harmonious relationship. Today, he is 58 years old and in a happy relationship for 10 years with his partner Assaf Henigsberg. He is surrounded by female friends and soulmates and not conflicted with heterosexual relationships as he used to be. He occasionally paints flowers in pots to symbolize home, stability, and peace. Sometimes I paint flowers in pots, which represent home, stability, and solid ground for me. I don’t paint just a couple of flowers, but pots full of flowers that overflow with life. This means that we also have a supportive network of family, friends, and peers around us. We live in a rich, supportive, and protective world. These paintings are a personification of my psychological state, when I had no words to express my feelings to myself. The painting began In 35 years of my creation (starting in 1998), you can read more about how my art and style evolved over time. Perez’s flower paintings are a unique and extraordinary artistic creation that reveals his personal journey and his sexual identity. His work is honest, expressive, and emotional, as well as beautiful and vibrant.
The characteristics of the naive painting of the painter Raphael Perez
A full interview with the Israeli painter Raphael Perez (Hebrew name: Rafi Peretz) about the ideas behind the naive painting, resume, personal biography and curriculum vitae Question: Raphael Perez Tell us about your work process as a naive painter? Answer: I choose the most iconic and famous buildings in every city and town that are architecturally interesting and have a special shape and place the iconic buildings on boulevards full of trees, bushes, vegetation, flowers. Question: How do you give depth in your naive paintings? Answer: To give depth to the painting, I build the painting with layers of vegetation, after those low famous buildings, followed by a tall avenue of trees, and behind them towers and skyscrapers, in the sky I sometimes put innocent signs of balloons, kites. A recurring motif in some of my paintings is the figure of the painter who is in the center of the boulevard and paints the entire scene unfolding in front of him, also there are two kindergarten teachers who are walking with the kindergarten children with the state flags that I paint, and loving couples hugging and kissing and family paintings of mother, father and child walking in harmony on the boulevard. Question: Raphael Perez, what characterizes your naive painting? Answer: Most naive paintings have the same characteristics (Definition as it appears in Wikipedia) • Tells a simple story to absorb from everyday life, usually with humans. • The representation of the painter's idealization to reality - the mapping of reality. • Failure to maintain perspective - especially details even in distant details. • Extensive use of repeating patterns - many details. • Warm and bright colors. • Sometimes the emphasis is on outlines. • Most of the characters are flat, lack volume • No interest in texture, expression, correct proportions • No interest in anatomy. • There is not much use of light and shade, the colors create a three-dimensional effect. I find these definitions to be valid for all my naive paintings Question: Raphael Perez, why do you choose the city of Tel Aviv? Answer: I was born in Jerusalem, the capital city which I love very much and also paint, I love the special Bauhaus buildings in Tel Aviv, the ornamental buildings that were built a century ago in the 1920s and 1930s, the beautiful boulevards, towers and modern skyscrapers give you the feeling of the hustle and bustle of a large metropolis and there are quite a few low and tall buildings that are architecturally fascinating in their form the special one Also, the move to Tel Aviv, which is the capital of culture, freedom, and secularism, allowed me to live my life as I chose, to live in a relationship with a man, Jerusalem, which is a traditional city, it is more complicated to live a homosexual life, also, the art world takes place mainly in the city of Tel Aviv, and it is possible that from a professional point of view, this allows I can support myself better in Tel Aviv than in any other city in Israel. Question: Raphael Perez, are the paintings of the city of Tel Aviv different from the paintings of the city of Jerusalem? Answer: Most of the paintings of Jerusalem have an emphasis on the color yellow, gold, the color of the old city walls, the subjects I painted in Jerusalem are mainly a type of idealization of a peaceful life between Jews and Arabs and paintings that deal with the Jewish religious world, a number of paintings depict all shades of the currents of Judaism today In contrast, the Tel Aviv paintings are more colorful, with skyscrapers, the sea, balloons and more secular motifs Question: Raphael Perez, tell me about which buildings and their architects you usually choose in your drawings of cities Answer: My favorite buildings are those that have a special shape that anyone can recognize and are the symbols of the city and you will give several examples: In the city of Tel Aviv, my favorite buildings are: the opera building with its unusual geometric shape, the Yisrotel tower with its special head, the Hail Bo Shalom tower that for years was the symbol of the tallest building in Tel Aviv, the Levin house that looks like a Japanese pagoda, the burgundy-colored Nordeau hotel with the special dome at the end of the building, A pair of Alon towers with the special structure of the sea, Bauhaus buildings typical of Tel Aviv with the special balconies and the special staircase, the Yaakov Agam fountain in Dizengoff square appears in a large part of the paintings, many towers that are in the stock exchange complex, the Aviv towers and other tall buildings on Ayalon, in some of the paintings I took plans An outline of future buildings that need to be built in the city and I drew them even before they were built in reality, In the paintings of Jerusalem, I mainly chose the area of the Old City and East Jerusalem, a painting of the walls of the Old City, the Western Wall, the Church of the Holy Sepulcher, the El Akchea Mosque, the Tower of David, most of the famous churches in the city, the right hand of Moses, in most of the paintings the Jew is wearing a blue shirt with a red male cord I was in the youth movement and the Arab with a galabia, and in the paintings of the religious public then, Jews with black suits and white shirts, tallitas, kippahs, special hats, synagogues and more I also created three paintings of the city of Haifa and one painting of Safed In the Haifa paintings I drew the university, the Technion, the famous Egged Tower, the Sail Tower, well-known hotels, of course the Baha'i Gardens and the Baha'i Temple, Haifa Port and the boats and other famous buildings in the city Question: Raphael Perez, have you created series of other cities from around the world? Answer: I created series of New York City with all the iconic and famous buildings such as: the Guggenheim Museum, the famous skyscrapers - the Chrysler Building, the Empire State Building, Lincoln Center, the famous synagogue in the city, the Statue of Liberty, the flags of the United States and other famous buildings Two paintings of London and all its famous sites, Big Ben, famous monuments, the Ferris wheel, Queen Elizabeth and her family, the double bus, the famous public telephone, palaces, famous churches, well-known monuments I created 4 naive paintings of cities in China, a painting of Shanghai, two paintings of the city of Suzhou and a painting of the World Park in the city of Beijing... I chose the famous skyline of Shanghai with all the famous towers, the famous promenade, temples and old buildings, two Paintings of the city of Suzhou with the famous canals, bridges, special gardens, towers and skyscrapers of the city Question: Raphael Perez What is the general idea that accompanies your paintings Answer: To create a good, beautiful, naive, innocent world in which we will see the innovation of the modern city through the skyscrapers in front of small and low buildings that bring the history and past of each country, all with an abundance of vegetation, boulevards, trees Resume, biography, CV of the painter Rafi Peretz and his family Question: When was Raphael Perez born in hebrew his name rafi peretz? Answer: Raphael Perez in Hebrew his name Rafi Peretz was born on March 4, 1965 Question: Where was Raphael Perez born? Answer: Raphael Perez was born in Jerusalem, Israel Question: What is the full name of Raphael Perez? Answer: His full name is Raphael Perez Question: Which art institution did Raphael Perez graduate from? Answer: Raphael Perez graduated from the Visual Arts Center in Be'er Sheva Question: When did Raphael Perez start painting? Answer: Raphael Perez started painting in 1989 Question: When did you start making a living selling art? Answer: Raphael Perez started making a living selling art in 1999 Question: Where does Raphael Perez live and work? Answer: Since 1995, Raphael Perez has been living and working from his studio in Tel Aviv Question: In which military framework did Raphael Perez serve in the IDF? Answer: Raphael Perez served in the artillery corps Question: Raphael Perez, what jobs did he work after his military service? Answer: Raphael Perez worked for 15 years in education in therapeutic settings for children and taught arts and movement Question: How many brothers and sisters does Raphael Perez, the Israeli painter, have? Answer: There are seven children in total, with the painter 5 sons and two daughters, that means the painter Raphael Perez has 4 more brothers and two sisters Question: What do the brothers and sisters of the painter Raphael Perez do? Answer: The elder brother David Peretz Perez was involved in the field of religious studies, the sister Hana Peretz Perez is involved in the field of education, a kindergarten teacher and child care, the brother Avi Peretz Perez who is in the United States today is a conservative rabbi but in the past was involved in education and therapy, the brother Asher Peretz Perez is involved in the fields of creativity and jewelry The twin brother Mickey Peretz Perez is a well-known industrial designer and seller. The younger sister Shlomit Peretz Perez works in a managerial position at Bezeq. Question: Tell me about the parents of the painter Raphael PerezAnswer: The painter Raphael Perez's parents are Shimon Perez Peretz and Eliza Alice Ben Yair, they were married in 1950 in Jerusalem, both were born in Morocco and immigrated to Israel in 1949, Shimon Peretz worked in a building in his youth and later as a receptionist at the Hadassah Ein Kerem Hospital, Eliza Alice Peretz dealt in child care Kindergarten, working in kindergartens and of course taking care of and raising her seven children
Managing Director Kristalina Greorgieva participates in an event with Jeff Sachs -- Climate Change: An Existential crisis.
IMF Photo/Kim Haughton
18 November 2021
Washington, DC, United States
Photo ref: KH211130022.jpg
APRIL 13, 2023 WASHINGTON DC. WORLD BANK GROUP/ INTERNATIONAL MONETARY FUND 2023 SPRING MEETINGS.
Accelerating Development in an Age of Global Crisis
The existential threat of climate change, impacts of the COVID-19 pandemic, the Russian invasion of Ukraine, persistent high inflation and increased fragility have injected volatility and uncertainty into the global economy – a reality that may continue for a while. The panel of speakers explore central questions around what it will take to address some of the most critical issues of our time including climate change, food insecurity, pandemics, and increasing fragility and poverty.
Axel van Trotsenburg, Senior Managing Director, Development Policy and Partnerships, World Bank Group; Amina Mohammed, Deputy Secretary-General, United Nations; José Antonio Ocampo, Minister of Finance and Public Credit, Colombia; Leila Benali, Minister of Energy Transition and Sustainable Development, Morocco; Ahmed Ogwell Ouma, Acting Director, Africa Centres for Disease Control and Prevention (CDC); Daniel Zelikow, Chair of the Governing Board, Development Finance Institution, J.P. Morgan. Photo: World Bank / Simone D. McCourtie
Exhibition view "Francis Bacon and Existential Condition in Contemporary Art", CCC Strozzina, Palazzo Strozzi, Firenze
© photo Martino Margheri
Had a slight existential crisis and unfortunately backed away from Tiona for a while. But a couple of days to myself and an attempt at being girly again has got my mojo back
Walking on foot brings you down to the very stark, naked core of existence. We travel too much in airplanes and cars. It’s an existential quality that we are losing. It’s almost like a credo of religion that we should walk.
There is, of course, something inherently romantic—if not heroic—about the extreme solitary explorer enveloped by nature. The very image of Herzog on foot recalls the iconic 19th-century paintings of Caspar David Friedrich, especially his Wanderer Above the Sea of Fog, with its lone figure staring out at the wide vista above the clouds.
'Truth itself wanders through the forests,' Herzog writes near the end. Yet here he embroiders his memories for effect: The vast swath of geography between Munich and Paris is littered with industrial towns and cities.
Once he comes out on the other end, traversing the deforested Champs-Élysées (“We were close to what they call the breath of danger”), Herzog emerges victorious.
― Of Walking in Ice: (Munich-Paris, 23 November–14 December 1974)
by Werner Herzog
Our 11 week old kitten sleeps with her eyes open. It took us a while to realise she wasn’t just having an existential crisis. -
Our 11 week old kitten sleeps with her eyes open. It took us a while to realise she wasn’t just having an existential crisis. – Cats, kittens and kittys, cute and adorable! Aww! (via ift.tt/29KELz0)
- via ift.tt/29KELz0. Cats, kittens and kittys, cute and adorable! Aww!
020
FORTUNE Brainstorm Health 2022
Los Angeles, CA
Wednesday, May 11th, 2022
9:15 AM
EXISTENTIAL THREATS: PREPARING FOR THE NEXT GLOBAL HEALTH CRISIS
In a hyperconnected world rife with virulent pathogens, preparedness is our best defense. After Ebola roared through West Africa and the novel coronavirus brought the world to its knees, the most pressing question for the safety of the global population is this: What have we learned—and how can we better prepare for the next hyper-contagious disease?
Dr. Sandro Galea, Dean and Robert A. Knox Professor, Boston University School of Public Health
Dr. Angela Rasmussen, Virologist, Department of Vaccine and Infectious Disease, University of Saskatchewan
Moderator: Clifton Leaf, Former FORTUNE Editor-in-Chief and Founder, Fortune Brainstorm Health
Photograph by Stuart Isett/Fortune
question: if a fluffy white dog plays in fluffy white snow, can it get dirty?
answer: yes, every single time.
please see daisy large, on white (naturally) :
Walking on foot brings you down to the very stark, naked core of existence. We travel too much in airplanes and cars. It’s an existential quality that we are losing. It’s almost like a credo of religion that we should walk.
There is, of course, something inherently romantic—if not heroic—about the extreme solitary explorer enveloped by nature. The very image of Herzog on foot recalls the iconic 19th-century paintings of Caspar David Friedrich, especially his Wanderer Above the Sea of Fog, with its lone figure staring out at the wide vista above the clouds.
'Truth itself wanders through the forests,' Herzog writes near the end. Yet here he embroiders his memories for effect: The vast swath of geography between Munich and Paris is littered with industrial towns and cities.
Once he comes out on the other end, traversing the deforested Champs-Élysées (“We were close to what they call the breath of danger”), Herzog emerges victorious.
― Of Walking in Ice: (Munich-Paris, 23 November–14 December 1974)
by Werner Herzog
020
FORTUNE Brainstorm Health 2022
Los Angeles, CA
Wednesday, May 11th, 2022
9:15 AM
EXISTENTIAL THREATS: PREPARING FOR THE NEXT GLOBAL HEALTH CRISIS
In a hyperconnected world rife with virulent pathogens, preparedness is our best defense. After Ebola roared through West Africa and the novel coronavirus brought the world to its knees, the most pressing question for the safety of the global population is this: What have we learned—and how can we better prepare for the next hyper-contagious disease?
Dr. Sandro Galea, Dean and Robert A. Knox Professor, Boston University School of Public Health
Dr. Angela Rasmussen, Virologist, Department of Vaccine and Infectious Disease, University of Saskatchewan
Moderator: Clifton Leaf, Former FORTUNE Editor-in-Chief and Founder, Fortune Brainstorm Health
Photograph by Stuart Isett/Fortune