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The market influences us, we don't influence the market.
Isnt that scary?
By dint of clever PR-methods they give us the point of views they want us to have.
We don't have no Freewill, not only because of the newest findings of the neurologists, but also because of their artful actions, that turn people into puppets costumes.
This piece of art, I think, is a good expression of the words above.
florian.b,2006
The Springfield Art Association will host an opening reception for a nationally juried ceramic exhibition entitled Shapes of Influence on Friday evening, August 3rd, from 5:30-7:30 PM. Awards and a gallery talk by juror Simon Levin will occur at 6:45 PM.
The show will be on display in the SAA's M.G. Nelson Family Gallery from August 3-September 1 and features work from over two dozen states and Canada.
Juried artists include Morgan Barton, Kenneth Baskin, Casey Beck, Irina Bondarenko, Robert Bruch, Danielle Callahan, Michelle Coakes, John Cohorst, Louis Colomarini, John Costanza, Paula Diaz-Sylvester, Auguste Elder, Karen Ellis-Phillips, Curtis and Karen Frederick, Verne Funk, John Gargano, Kaitlyn Getz, Sarah Gross, Lois Harbaugh, Ian Hazard-Bill, Jason Hess, Jennifer Holt, Drew Ippoliti, Iskra Ivanova, Anna Kats, Patty Kochaver, Robert Kokenyesi, Lucien Koonce, Joe Kraft, Annie Lee, Andrew Mcintyre, Jessie Martin, Paul McCoy, Avra Messe, Molly Morning-glory, Matthew Patton, Sara Prigodich, Jenny Reed, Masa Sasaki, Jessica Sallay-Carrington, Kourtney Stone, Suzanne Storer, Sam Thompson, Austin Wieland, Nicole Winning, Matthew Wright, Kensuke Yamada, Lisa York, and David Zahn.
Invited artists include Dan Anderson, Kahil Irving, Peter Pincus, and Kelsie Rudolph.
The M.G. Nelson Gallery is open to the public M-F from 9 AM-5 PM and Saturdays from 10 AM-3 PM.
Rather than illustrate someone else "under the influence," I thought about what influences me artistically. What influences do you see? (I've written a bit more here).
Influence-w
The funeral has taken place in Londonderry of the Rt Revd Dr James Mehaffey, a former Bishop of Derry and Raphoe, whose friendship and joint peacebuilding with his Roman Catholic counterpart, the late Bishop Edward Daly, inspired many during some of the most violent years of the Troubles.
Bishop Mehaffey’s immediate predecessor, Lord Eames, and his two successors, Bishop Ken Good and Rt Rev’d Andrew Forster, took part in Saturday afternoon’s Service of Thanksgiving for the late bishop’s life, which was led by the Dean of Derry, the Very Revd Raymond Stewart, assisted by Canon John Merrick. The Roman Catholic Bishop of Derry, Dr Donal McKeown, the Moderator of the Derry and Donegal Presbytery, the Revd Colin McKibbin, and the Methodist Superintendent, the Revd Richard Johnston, also took part.
The Lord Lieutenant of the City of Londonderry, Dr Angela Garvey; Deputy Lieutenant, Mrs Stella Burnside (representing the Lord Lieutenant of the County of Londonderry); former Lord Lieutenant for the County, Sir Denis Desmond; the Duke of Abercorn; and the Deputy Mayor, Cllr Cara Hunter, were in the congregation. Also present were Lord Hay of Ballyore, the Olympic gold medallist Dame Mary Peters, former PSNI Assistant Chief Constable Peter Sheridan, East Londonderry MP Gregory Campbell, Sinn Féin MEP Martina Anderson, former SDLP leader Mark Durkan, Mrs Pat Hume, former Church of Ireland Primate the Most Revd Alan Harper and the Bishop of Mahajanga in Madagascar, the Rt Revd Hall Speers.
The Archbishop of Armagh, the Most Revd Dr Richard Clarke, was unable to attend in person and Bishop Andrew Forster read out a tribute from Dr Clarke in which he described Bishop Mehaffey as “a powerful influence for good”.
“Of course, we all have our own individual memories of Jim,” the Archbishop said, “but all of us will recall with particular admiration his work – in company with Bishop Edward Daly – not only for peace but also for reconciliation in this city. Together they brought hope and light into communities where there was precious little of either. We all saw in Bishop Jim a gracious composure coupled with a steely resolve – the sense that this work for peace and harmony between communities so long divided was work for the Kingdom of God, and it would not be thwarted, from whatever quarter.”
The address during the Service was delivered by the Rt Revd The Lord Eames, another former Primate of the Church of Ireland, who recalled Dr Mehaffey’s advice to colleagues on the Church of Ireland’s Priorities Committee to remember why they were there.
“If there is a hallmark as he moved to this city to be your Bishop,” Lord Eames said, “if there is a hallmark that I would have as part of his legacy, it is those words: ‘Hold on, you’ve lost sight of why we’re here.’ You’ve lost sight that the reconciliation in our community which was so fostered by Edward Daly and James Mehaffey must never be lost sight of. You’ve lost sight of the wonderful rewards of reconciliation or in reaching out hands of friendship. And within the Church, you’ve lost sight at times of your roots – the roots that have given you the commission of God to be alive for all sorts and conditions of people.
“For Bishop Jim, this was his priority as he worked with Edward and other leaders to bind up the broken, to heal the wounds of the lost, to make people remember why you’re here, that in the short gift of a lifespan you must grasp every opportunity to do things for the good of all – across the barriers, across the river and across the divisions.
“This was his ministry as a Bishop. It was a ministry exercised in those dark days of suffering, misunderstanding, suspicion; and it was a ministry which was being true to the commission given to him in September 1980: ‘Hold up the weak, heal the sick, bind up the broken, bring again the outcasts, seek the lost.’”
Before the Service, Bishop Mehaffey’s wife, Thelma, their daughter Wendy and son Tim welcomed the many hundreds of people from across the community who had come to sympathise with the family in their loss. And Wendy read out an emotional tribute to her father, during which she spoke of her love and gratitude to her “beautiful dad”.
She said her father’s love of people came into its own after he was appointed Bishop, as he sought friendships across the city. There was challenge in this role, Wendy said, but he remained steadfast in his belief and faith. “During his last spell in hospital,” she said, “there was a day when, in a moment of brilliant and characteristic clarity, Dad said: ‘One helps the other.’ May that be the profound message that we each take away from our gathering today.”
Photography by Lorcan Doherty
The Springfield Art Association will host an opening reception for a nationally juried ceramic exhibition entitled Shapes of Influence on Friday evening, August 3rd, from 5:30-7:30 PM. Awards and a gallery talk by juror Simon Levin will occur at 6:45 PM.
The show will be on display in the SAA's M.G. Nelson Family Gallery from August 3-September 1 and features work from over two dozen states and Canada.
Juried artists include Morgan Barton, Kenneth Baskin, Casey Beck, Irina Bondarenko, Robert Bruch, Danielle Callahan, Michelle Coakes, John Cohorst, Louis Colomarini, John Costanza, Paula Diaz-Sylvester, Auguste Elder, Karen Ellis-Phillips, Curtis and Karen Frederick, Verne Funk, John Gargano, Kaitlyn Getz, Sarah Gross, Lois Harbaugh, Ian Hazard-Bill, Jason Hess, Jennifer Holt, Drew Ippoliti, Iskra Ivanova, Anna Kats, Patty Kochaver, Robert Kokenyesi, Lucien Koonce, Joe Kraft, Annie Lee, Andrew Mcintyre, Jessie Martin, Paul McCoy, Avra Messe, Molly Morning-glory, Matthew Patton, Sara Prigodich, Jenny Reed, Masa Sasaki, Jessica Sallay-Carrington, Kourtney Stone, Suzanne Storer, Sam Thompson, Austin Wieland, Nicole Winning, Matthew Wright, Kensuke Yamada, Lisa York, and David Zahn.
Invited artists include Dan Anderson, Kahil Irving, Peter Pincus, and Kelsie Rudolph.
The M.G. Nelson Gallery is open to the public M-F from 9 AM-5 PM and Saturdays from 10 AM-3 PM.
This Book of Hours, ca. 1460, was completed for use of Rome and illuminated under the influence, if not the direct participation, of Willem Vrelant. There remain twenty-two extant marginal calendar illustrations, thirteen extant full-page miniatures (many of which are paired with opening suffrages, perhaps suggesting a certain amount of significance to the owner), and one historiated initial. The contemporary binding, signed Livinus Stuaert, is dated 1477 and is most likely of Bruges or Ghent origin. It is thought that the first owner was French due to the French headings throughout and prominent fleur-de-lis figurations decorating the binding. Further, the first owner was likely female, suggested by the ways in which the book was structured to facilitate legibility. This is evinced by the large size of the script and the lack of abbreviations. While much of the text is standard, there remains evidence of personal significance and preference. This is seen in the chosen illuminations for those sections that are most significant to the owner. Most illuminations are paired with the opening page of staple Hours; however, many are accompanied by individual suffrages, constituting a large portion of the beginning of the manuscript. Personal preference is also shown in those sections of text that stray from the standard. The devotional sequence of this manuscript is notable for its sheer length and diversity of prayers as well as its inclusion of a French prayer not of official liturgy (fols. 215r-219v). The first collection of three prayers is headed and written in French. The prayer is attributed to St. Augustine and is described to guarantee a transformation of tribulation into joy through Christ's mercy, but only if the suppliant recites the prayer for thirty consecutive days. While it is not uncommon for evidence of an owner's predilections to surface in a Book of Hours, the particularly divergent features of this book allow readers to glean an intimate view of the patron.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
A repeat engagement of the Dartmouth Dance Theater Ensemble’s original dance-theater work Undue Influence examines the impulse, incidence and implications of sexual assault in a college social environment. Performances April 25-29, 2012, The Moore Theater, Hopkins Center.
(photo by Rob Strong)
New York-New York uses the New York City influence of its name in several ways. Its architecture is meant to evoke the New York City skyline; the hotel includes several towers configured to resemble New York City towers such as the Empire State Building and the Chrysler Building. In front of the property is a lake representing New York Harbor, with a 150-foot-tall (46 m) replica of the Statue of Liberty, and replicas of the Soldiers and Sailors Monument, the Whitney Museum of American Art, the Main Immigration Building on Ellis Island, and the Grand Central Terminal.
Within the resort, particular gambling areas, lounges, restaurants, and meeting rooms are named after New York City neighborhoods or landmarks. The main casino area, for example, is named after Central Park, while the shops are modeled after Greenwich Village.
The resort is located on the northwest corner of the Tropicana - Las Vegas Boulevard intersection. At street level, pedestrians are blocked from crossing by concrete barriers. Instead, New York-New York is linked by overhead pedestrian bridges to its neighboring casinos to the south (the Excalibur, across Tropicana Avenue) and to the east (the MGM Grand, across the Strip).
Kitty and the Bulldog explores the way in which British fashion – notably Victoriana, Punk and Gothic – has influenced the development of Japan’s ‘Lolita’ style, a cult fashion movement whose defining feature has been its preoccupation with cuteness, or ‘kawaii’. The display features nine outfits recently bought in Tokyo for the V&A's permanent collections.
Lolita fashion emerged during the 1990s as a radical form of street style born out of the Japanese taste for Hello Kitty cuteness. Whether dressed in pink, powder blue, red, white or black, Lolitas are immediately recognisable by their doll-like make-up, frilly skirts, fanciful headgear, ribbons and lace.
Although the term ‘Lolita’ has sexual connotations in Western culture due to the book of the same name by Vladimir Nabokov, in Japanese culture it refers to ‘cuteness’, ‘elegance’ and ‘modesty’ and has little to do with allure. It is more akin to a kind of aggressive femininity, is meant to be confrontational, and is often a reaction to the overtly sexualised representation of women in Japanese culture.
Lolita street fashion, particularly Gothic Lolita style, has been popularised by the Visual Kei (Visual System) movement in Japanese popular music. Visual Kei is a combination of a flamboyant style of dress, make-up and hair styles with a particular music genre, often inspired by Western glam and punk rock and heavy metal.
A striking feature of Lolita fashion is the extent to which it is influenced by British culture: Alice in Wonderland, Glam Rock, the New Romantics, Gothic, Punk and Vivienne Westwood. Although the attitude and aggression of Punk and Gothic have no place in the world of the Lolita, the movement represents a similarly powerful rebellion against the conventions of contemporary society.
The Lolita fashions held by the V&A were purchased in 2011 in preparation for 'Kitty and the Bulldog', a display that highlighted the connections between British and Japanese street style, complementing the exhibition British Design 1948-2012, 31 March-12 August 2012.
The Japanese Lolita look differs from its better-known Sweet, Gothic and Punk counterparts because its starting point is native rather than foreign dress traditions. At one end of the spectrum there is the demure kimono look explored by designers such as Mamechiyo Modern. At the opposite end there are the over-the-top creations of designers like Takuya Angel, for whom samurai armour and ideas of machismo are the main points of departure.
Mamechiyo of Mamechiyo Modern spent several years dealing in vintage kimono before establishing her own label in 2003. She has set out to reinvent the kimono as an affordable, everyday form of clothing, and to experiment with the incorporation of non-Japanese elements such as the headdress, choker and decorative lace collar that can be seen on the outfit displayed here.
Before every year ends and a new one begins, it’s important to recognize those that have already paved the way and those that are about too. It’s fitting, then, to recognize the up and comers, to understand their perspectives and compare them to our own. They serve a dual role in the SharePoint community: First as a source of new ideas and second as a check on the established guard.
Since SharePoint is quickly becoming a more strategic platform for businesses, administrators are looking for a wider variety of guidance. Whether it’s helping to develop a robust social solution, advising on adoption strategies, or discussing innovative approaches to solve business problems, these next generation influencers are providing much needed diversity.
Take a look at the top 15 people to watch in 2012.
John Bell presents to Ogilvy's 2010 Social Media summit meeting in Hong Kong for APAC 2010, bringing together members of the Digital Influence team from across the region.
Website:
english
The Royal Museum for Central Africa (RMCA) is an ethnographical and natural history museum in Tervuren, just outside Brussels, Belgium. It was first built to show off King Leopold II's Congo Free State for the 1897 World Exhibition. It focuses mainly on Congo, Belgium's former colony. The sphere of influence however (especially regarding to biological research) extends to the whole Congo River basin, Middle Africa, East Africa and West Africa, but tries to integrate Africa as a whole. First purely intended as a colonial museum, after 1960 it became more focused on ethnography and anthropology. Like in most museums, there is a research department and a public exhibit department. Not all research is pertaining to Africa, for example the research on the archaeozoology of Sagalassos. Some researchers have strong ties with the Royal Belgian Institute of Natural Sciences.
History
After the Congo Free State was recognized by the Berlin Conference of 1884-1885, King Léopold II decided he had to show the potential of the country in an exhibition. Economic investors had to be attracted and the public had to know this faraway country better. After considering other places, the king decided to have the exhibition in his royal estate at Tervuren. When the 1897 International Exposition was held in Brussels, a colonial section was built in Tervuren with two new transport connections to Brussels city centre, the Avenue de Tervuren and the tramway line. The 44 tram line (Brussels-Tervuren) was built at the same time as the original museum by King Leopold II of Belgium to bring the visitors from the 1897 World Exhibition to the exhibition of the Congo in Tervuren. The colonial section was hosted in the Palace of the Colonies (although there was only the one colony). It was designed by the Belgian architect Albert-Philippe Aldophe. In the main hall Georges Hobé designed a distinctive wooden Art Nouveau structure to evoke the forest, using Bilinga wood, an African tree. The exhibition displayed ethnographic objects, stuffed animals and in the "Hall of the Great Cultures" Congo's most important export products were displayed: coffee, cacao and tobacco. In the park, a copy of an African village was built, in which 60 Africans lived. The exposition was a huge success.
In 1898 the Palace of the Colonies became the Musée du Congo, and now the exhibits became permanent. It was then that the scientific research really took off. But due to the avid collecting of the scientists, the collection soon grew too large for the museum and enlargement was needed. Léopold II saw it big: he wanted not only an Africa Museum but also Chinese and Japanese pavilions, a congress centre, a World School and so forth. Tervuren became a rich suburb of Brussels. The new museum started construction in 1904 by the French architect Charles Girault in neoclassical "palace" architecture, reminiscent of Petit Palais, with large gardens extending into the Tervuren Forest, a part of the Sonian Forest. It was officially opened by King Albert I in 1910 and named The Museum of the Belgian Congo. In 1952 the adjective "Royal" was added. In 1957, for Expo '58, a large building was constructed to receive African personnel: the Centre d'Accueil du Personnel Africain (CAPA). In 1960 the museum had its name changed to The Royal Museum for Central Africa.
At present, the RMCA is struggling with modernisation. Some call it "a museum of a museum", as it shows how a museum looked like in the mid-twentieth century. For example, Expo '58 still showed a harmonious Belgian-Congolese relationship, while the country stood on the brink of independence. A more modern exhibition "The Memory of Congo" (February 4, 2005 - October 9, 2005), tried to tell the whole truth of what happened in the Congo Free State before it became Belgium's colony, a very sensitive subject in Belgium. It was put on after The Guardian reported in July 2002 that, after initial outrage by Belgian historians over King Leopold's Ghost by Adam Hochschild, the state-funded museum would finance an investigation into Hochschild's allegations. The investigatory panel, headed by Professor Jean-Luc Vellut, reported its findings in 2004. The exhibit based on them was set up the following year.
Critical of the museum was Adam Hochschild again, author of King Leopold's Ghost, who wrote an article for the New York Review of Books purporting to show 'distortions and evasions' in the special 2005 exhibition.
Collections
10,000,000 animals
250,000 rock samples
120,000 ethnographic objects
20,000 maps
56,000 wood samples
8,000 musical instruments
350 archives, including some of Henry Morton Stanley's journals
The herbarium collection of the Congo Museum was transferred to that of the National Botanic Garden of Belgium in 1934.
Português
Museu Real da África Central (RMCA) é um museu de história natural e etnografia, localizado em Tervuren, Bélgica. É especializado no conhecimento do antigo Congo Belga, ex-colônia que corresponde hoje à República Democrática do Congo.
Foi fundado a partir da Exposição Internacional de 1897. No ano seguinte, passou a ser chamado de "Museu do Congo", sendo posto a serviço do rei Leopoldo II, que foi proprietário particular do Estado Livre do Congo até 1908.
The Springfield Art Association will host an opening reception for a nationally juried ceramic exhibition entitled Shapes of Influence on Friday evening, August 3rd, from 5:30-7:30 PM. Awards and a gallery talk by juror Simon Levin will occur at 6:45 PM.
The show will be on display in the SAA's M.G. Nelson Family Gallery from August 3-September 1 and features work from over two dozen states and Canada.
Juried artists include Morgan Barton, Kenneth Baskin, Casey Beck, Irina Bondarenko, Robert Bruch, Danielle Callahan, Michelle Coakes, John Cohorst, Louis Colomarini, John Costanza, Paula Diaz-Sylvester, Auguste Elder, Karen Ellis-Phillips, Curtis and Karen Frederick, Verne Funk, John Gargano, Kaitlyn Getz, Sarah Gross, Lois Harbaugh, Ian Hazard-Bill, Jason Hess, Jennifer Holt, Drew Ippoliti, Iskra Ivanova, Anna Kats, Patty Kochaver, Robert Kokenyesi, Lucien Koonce, Joe Kraft, Annie Lee, Andrew Mcintyre, Jessie Martin, Paul McCoy, Avra Messe, Molly Morning-glory, Matthew Patton, Sara Prigodich, Jenny Reed, Masa Sasaki, Jessica Sallay-Carrington, Kourtney Stone, Suzanne Storer, Sam Thompson, Austin Wieland, Nicole Winning, Matthew Wright, Kensuke Yamada, Lisa York, and David Zahn.
Invited artists include Dan Anderson, Kahil Irving, Peter Pincus, and Kelsie Rudolph.
The M.G. Nelson Gallery is open to the public M-F from 9 AM-5 PM and Saturdays from 10 AM-3 PM.
Influence Editorial for Shiseido Men with Joan Pala in Barcelona #StartNowStayVibrant
captured by Vincent Fandos (@artofv)
talent Joan Pala (@joanpala)
realisation Anthony Pomes & Ykone Agency
read the full story : www.instagram.com/p/CclP_NbMJBk/
Steve Martini
A Jove book by The Berkley Publishing -1995 - 462 pages
Cover design: Corsillo/Manzone and Fred George
ISBN 0-515-12072-3
Price: 6,99 $
American Club
444 Highland Drive
Kohler, WI 53044
The American Club was built in 1918 as a boarding house for immigrants working in the Kohler factory.
Walter J. Kohler made these remarks upon the dedication of The American Club®, June 23, 1918:
“This building is not a temporary structure, to be razed within a generation, but its construction is such that it will last many years . . .” “If this Club, besides providing suitable living conditions, be also an influence in the Americanization of the foreign born, and serve as stimulus for a greater love of country and a desire for a higher citizenship, then its purpose will have been achieved.”
“The name, American Club, was decided upon as it was thought that, with high standards of living and clean healthful recreation, it would be a factor in inculcating in men of foreign antecedents a love for their adopted country.”
The American Club is owned and operated by the Kohler Company, a private Wisconsin based manufacturing company. The Kohler Company's hospitality and real estate group, Destination Kohler, oversees the management, marketing and tourism promotion for its golf courses, hotels, private clubs, shops and restaurants. The Kohler Company is best known for its Kohler brand kitchen and bath products, its other brands include Baker and McGuire furniture, Kallista faucets and Robern cabinets and vanities. The three-story, 36,000-square-foot Design Center, the former immigrant workers' recreation hall, showcases the latest advances in design and technology.
In 1981 the boarding house was renovated, and it now serves as one of the most luxurious resort hotels in the Midwest. The American Club presents a very striking first impression with its Tudor architecture and its soaring roof peaks and slate tile. The hotel is filled with traditional American heritage Baker and McGuire furnishings. Interior designer Frank Nicholson, based in Boston, designed the interior, and all 241 rooms have KOHLER fixtures in the bathroom.
The hotel has held the AAA Five-Diamond distinction since 1985, 31 consecutive years. Just 0.4 percent make the AAA Five Diamond list.
The 2012 hotel renovation saw that each hotel room bathroom was designed as the showpiece of the guest room integrating products from the Kohler portfolio. The guest room design incorporated rich colored draperies, dark wood accents and elegant furnishings. The mix of furniture with purposely mismatched finishes and styles mimics a cozy home. The guest room renovation incorporated plumbing, furniture and tile products from the following brands: Kohler, Kallista, Baker, Mark David, McGuire and Ann Sacks.
Five years after his father's death in 1900, 30-year-old Walter J. Kohler, Sr took over what would soon be called the Kohler Company. He also served as governor of Wisconsin from 1929-31. His son Walter Jodok Kohler Jr. served three terms as governor of Wisconsin from 1951-57. Today, the presidency of Kohler has been passed down from Herbert Kohler, Jr. (born February 20, 1939. grandson of the founder), to his son: K. David Kohler as of June 1, 2015.
Kohler's four 18-hole courses — 36 holes at Whistling Straits north of Sheboygan and 36 at Blackwolf Run in Kohler — brought a new standard of upscale golf to Wisconsin and have hosted major professional events. All four courses were designed by golf architect Pete Dye. Whistling Straits will play host to the Ryder Cup in 2020.
Michael Belot, a Kohler native who served as director of the 2012 Ryder Cup at Medinah Country Club in suburban Chicago, was appointed general manager of Destination Kohler, by the Kohler Co. in 2013. His responsibilities include The American Club resort hotel, the Inn on Woodlake and Riverbend, plus River Wildlife, Kohler Water Spas, Sports Core and all retail / commercial development. Michael Belot's first job in golf was driving a beverage cart at Whistling Straits shortly after the course opened in 1998.
The Springfield Art Association will host an opening reception for a nationally juried ceramic exhibition entitled Shapes of Influence on Friday evening, August 3rd, from 5:30-7:30 PM. Awards and a gallery talk by juror Simon Levin will occur at 6:45 PM.
The show will be on display in the SAA's M.G. Nelson Family Gallery from August 3-September 1 and features work from over two dozen states and Canada.
Juried artists include Morgan Barton, Kenneth Baskin, Casey Beck, Irina Bondarenko, Robert Bruch, Danielle Callahan, Michelle Coakes, John Cohorst, Louis Colomarini, John Costanza, Paula Diaz-Sylvester, Auguste Elder, Karen Ellis-Phillips, Curtis and Karen Frederick, Verne Funk, John Gargano, Kaitlyn Getz, Sarah Gross, Lois Harbaugh, Ian Hazard-Bill, Jason Hess, Jennifer Holt, Drew Ippoliti, Iskra Ivanova, Anna Kats, Patty Kochaver, Robert Kokenyesi, Lucien Koonce, Joe Kraft, Annie Lee, Andrew Mcintyre, Jessie Martin, Paul McCoy, Avra Messe, Molly Morning-glory, Matthew Patton, Sara Prigodich, Jenny Reed, Masa Sasaki, Jessica Sallay-Carrington, Kourtney Stone, Suzanne Storer, Sam Thompson, Austin Wieland, Nicole Winning, Matthew Wright, Kensuke Yamada, Lisa York, and David Zahn.
Invited artists include Dan Anderson, Kahil Irving, Peter Pincus, and Kelsie Rudolph.
The M.G. Nelson Gallery is open to the public M-F from 9 AM-5 PM and Saturdays from 10 AM-3 PM.
Peregrina 300gsm, embossed, with Foil (Silver) laminated to 300gsm Silk 2 Colour Print. Follow my work: timjarvis.com
Quando Quango was a Manchester, England based new wave dance project formed by The Haçienda DJ and Factory Records A&R man Mike Pickering, Hillegonda Rietveld and Reinier Rietveld. Their unique sound influenced the underground dance music scenes in New York and Chicago in the 1980s. Their first release was the "Go Exciting" twelve-inch single on Factory Records in 1982, and their last release of new music was the 1985 full-length album Pigs & Battleships (reissued in 2003).
Quando Quango is best known for its dance singles "Love Tempo," which reached number four on the Billboard Dance Chart, and "Atom Rock." Their sound was the result of an eclectic mix of Latin, jazz, reggae and disco, all in a pioneering New Wave context. Hillegonda Rietveld said, describing the group's music, "...Fela Kuti meets Kraftwerk somewhere between Manchester and Rotterdam, part of a new wave of post-punk electronica, with a whole lot of Mike Pickering's admirably broad knowledge of soul, disco, reggae and pop to stuff the gaps."
The group was formed in Rotterdam, The Netherlands in 1980 by Mancunian Mike Pickering and Rotterdam-based Gonnie Rietveld, supported on drums by her brother Reinier Rietveld. In 1982 they moved to Manchester, England, where Pickering's friend Rob Gretton was setting up The Haçienda nightclub. [4]
In 1983 Reinier Rietveld left the group to concentrate on his Rotterdam band Spasmodique. Soon after, former A Certain Ratio singer/trumpeter/percussionist Simon Topping joined as percussionist. Hillegonda Rietveld settled into her role programming their electronic music and Pickering continued to write lyrics and melodies.
The same year, Derek Johnson of fellow Factory act 52nd Street joined on bass, soon to be replaced by his brother Barry Johnson, formerly of Sweet Sensation, and later of Aswad.
After releasing a few singles that were minor dance club hits, the group collaborated with Manchester music legends Johnny Marr and Vini Reilly to create the full-length album Pigs & Battleships. Andy Connell of A Certain Ratio and Beverley McDonald of 52nd Street also contributed.
The group didn't last long after the album's release, but before their collapse they recorded more material with prominent guests. Lisa Stansfield sang on demos of "Bad Blood" and "Vision of America" in 1986. Stephen Morris of Joy Division and New Order contributed percussion to "What Price Beauty," which later became the M People track "Kiss It Better."
After the group's demise, Pickering went on to form dance duo T-Coy with Topping and, later, M People. Rietveld's connection with the Haçienda continued when she researched and co-edited the book The Haçienda Must Be Built!, which was edited by Jon Savage. After gaining her doctorate, Dr Rietveld single-authored This Is Our House: House Music, Cultural Spaces and Technologies, and is currently a Reader in Cultural Studies at London South Bank University, where she supervises postgraduate research projects in electronic dance music cultures.
en.wikipedia.org/wiki/Quando_Quango
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www.francisnaumann.com/EXHIBITIONS/DuchampChess/index.html
“Marcel Duchamp: The Art of Chess” is the first exhibition devoted to exploring the influence of Duchamp’s activities as a chess player on his artistic production. It debuted at the St. Louis University Museum of Art (May 6 – August 16, 2009), and the present gallery exhibition is an expanded version of that show. It will open at Francis M. Naumann Fine Art on September 10, 2009 (and run through October 31, 2009).
The exhibition features the magnificent early cubist drawing Study for Portrait of Chess Players (1911), which renders Duchamp’s two brothers—Raymond Duchamp-Villon and Jacques Villon—intently engaged in a game of chess; a large central “X” in the center of the composition represents the precise point where their minds meet, a cerebral focus common to much of Duchamp’s subsequent production. Among the highlights of the show will be an example of the readymade Trébuchet (1917/64), the coat rack that visitors to Duchamp’s studio were expected to trip over (the chess equivalent of a gambit offered in the opening of a game); the Nice chess poster (1925); regular and deluxe examples of his book on endgame strategy (1932); the Pocket Chess Set (1943); and Cupid (1943), a recently discovered original drawing for the announcement of a show at the Julien Levy Gallery (in which Duchamp seems to have embedded a hidden message). A number of photographs of Duchamp either playing chess or seated before a chessboard will also be displayed. A signed, limited edition photograph by Arnold Rosenberg of Marcel Duchamp moving chess pieces behind glass (1958) was issued to commemorate this exhibition.
Also included in the show will be works by a number of Duchamp’s contemporaries—Man Ray, Georges de Zayas, Max Ernst, Salvador Dalí, Leon Kelly, Beatrice Wood, Arman and Sarah Austin—that relate to Duchamp’s involvement with the game of chess, as well as a selection of works by contemporary artists—Charles Juhàsz Alvardo, Mike Bidlo, Donald Bradford, Russell Connor, Ingrid Evans, Mark Kostabi, Sophie Matisse, Daniel Meirom, James Meyer, Trong Gia Nguyen, Yoko Ono, Jennifer Shahade, Diana Thater, Douglas Vogel—some of whom have made works specially for inclusion in this show.
Accompanying the exhibition will be Marcel Duchamp: The Art of Chess, a book featuring essays by Francis M. Naumann and Bradley Bailey, both of which demonstrate that Duchamp’s identity as a chess player is so thoroughly interfused with his work as an artist that the two activities are aesthetically and conceptually inseparable. The book also includes the analyses of fifteen Duchamp games by Jennifer Shahade (two-time American Women’s Chess Champion). These games will be reenacted in the exhibition on a video monitor, on which visitors will be able to view the movement of the pieces, all laid out in the format of Duchamp’s Pocket Chess Set of 1943.
FRANCIS M. NAUMANN FINE ART
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Mostly a detailed critique of the role post modern theory played in creating the onset of the post truth landscape and how the post modern insistence on an aperspective world groomed the progressive Left to focus on identity politics. The resulting polarization of the nation is where we find ourselves now. That identity politics did this is not a new revelation, but the critique of post modernism was worth the journey for me.
Post modernist claim that all perspectives have equal value so there is no one truth. What’s true for me is true for me and what’s true for you is true for you. But no universal truth; no truth for us. Any attempt to force one truth is an act of oppression. This led to a backward slide into what basically came to be an ethnocentric perspective via identity politics; i.e. if you are not one of a designated special interest political identity then you have no real voice. Thus who controls the narrative is who determines what truth is heard becomes the guiding principle of post modernism. The author calls this an aperspectival madness.
The internet caters to dominant search words and phrases. If you google “Are all women…” it will offer you “Are all women evil?” as the most popular search. Same for if you google “Are Muslims…”. This has since been corrected. But algorithms continue to create information silos. And because people are already inclined to certain beliefs they easily fall into a rabbit hole of information that caters to those beliefs. (Especially young white men who feel they can do no right as they step into the entitlement they have been groomed for by history and the systemic racism built into social premises.)
For purposes of describing the terrain of American society the author breaks down the developmental stages of society into the following:
1) red—egoistic, self-serving, narcissistic
2) amber—ethnocentric, xenophobic, myth-religious based
3) orange—world centric, meritocratic, science based, emerged during the Enlightenment
4) green—pluralistic, equality (anti-oppression), environmental, post modernism, emerged in the ‘60s
5) turquoise—integrated, systemic. Integral meta theory, engages and embraces all previous stages.
This final integrated stage is the perspective from which the author, Ken Wilbur speaks. Integral theory is his personal innovation as a transpersonal psychologist. And he claims this stage has a 5% foothold at the time of writing.
The author reasons that as artificial Intelligence takes over more jobs from people there are fewer jobs for the general population. And because post modern progressives declare that everyone is equal resentment increases in this no jobs situation. (When progressives were informed by Marxism and it was all about the evils of capitalism this would have been pointed out.) Post modern progressives continue to fight oppression everywhere calling out those who do not use correct language or behavior. They rightly earn the moniker “politically correct”. This corrective approach becomes a kind of fundamentalist oppression devoid of perspective and humor. A marker for the author that the situation has reached the point of contentious divisive madness is that comedians refuse to play college campuses. If there is no outlet for people to tease you just a little bit, then the terrain becomes purely hostile.
As one who was raised in diplomatic circles this mutual hostility is what pains me most. Mistakes in protocol i.e. language and behavior are bound to be made by one party or another during the course of human interaction between diverse peoples. Learning and forgiveness is the beauty of such mixing. But if mistakes are met with hostility and overcorrecting do you really think you’ll make friends that way? I too may well refuse to speak at a college campus again or any group that professes to be all inclusive of diversity because likely they are not. Their anti-privilege bias and prejudice simmers just below the surface ready to jump out like the student led movement of the Red Guard that put teachers in prison for some bourgeoise crime.
The author argues that by declaring that every perspective is equal, post modern progressives have thrown out the baby with the bathwater. By rejecting dominator hierarchies (since all hierarchies result in an oppressor class), it also rejected the concept of developmental stages in human society i.e. a growth hierarchy which gives us the concept of development from egocentric to ethnocentric to world centric to fully integrated of all the stages. Rather than accept this developmental hierarchy as one would the developmental stages of a child some of whom become stuck at certain stages, post modern progressives treat those stuck in the ethnocentric stage as choosing to be in that perspective. This creates a situation where the more developed world centric view looks down upon the ethnocentric view in a hostile and corrective way. And by doing so it negates any ability to lead society forward and has come to a toxic stalemate mired in narcissism.
As has been seen this attitude just made those who were the target of the hostility defensive and hostile in return resulting in half the population hating the other half and their voting for Trump. The same could be said of the anti-immigrant sentiment that brought us Brexit. The language used by these leaders alone attracted the anti-political correctness crowd as if nectar was being fed to its ethnocentric soul. Such racist xenophobic messages attract those inclined especially in times of economic hardships. The author’s analysis of how the emerging green stage of development influenced and divided traditional politics leading to a broken progressive leading edge is convincing and worthy of consideration. His conclusion is that, among such a diverse group of voters, the most unifying factor of the Trump voters was their anti-political correctness.
Once Trump was in office he took the aperspective no-truth concept to the height of narcissism that such a perspective will lead to. No one in academia will ever claim that there is no truth again. The whole concept was silenced in one fell blow with all those who put forth this concept now backpedaling with simpering language about how some truths in the context of certain times in history are indeed actual truths. (This after 40 years of being in the grip of no truth logic). I enjoyed this part.
The author points out that it is the responsibility of the more evolved progressive camp to reach out to the ethnocentric camp with love and integrate their voices into the evolving conversation. I would agree with him here as it pains me to watch how progressives make fun of and deride those who take the hater stance against gays, gay marriage, women, Muslims, et al. The authors prediction that progressives will either double down on this derision or pause and reflect is playing out now.
This book was published in 2017 as an analysis of the socio-political terrain in the aftermath of a Trump win. It is admittedly a rant that grew from an essay. The author's analysis seems to skip over the more ingrained systemic influences of capitalism that has so damaged society, but its explanation of the socio-psychological aspect of society is a compelling one.
As the remaining Trump base becomes even more “deplorable” in this time of the Corona virus it has prompted even more hatred and derision from the progressive Left so it is near impossible now to swallow his advise that the broken green leading edge must stop this in order to heal. I would argue that its failure to do so before the outbreak and the resulting response from the Trump base is indicative of how little we have progressed in this direction.
The only remaining hope that this author has to offer is that the turquoise integral meta theory population with its 5% toehold will help society leapfrog the broken leading edge though he counsels that this brokenness must be healed to repair society as a whole. This is worth looking into. I see it in the baby steps of love memes being offered and the new perspective that we are now all under the same biological paradigm. Otherwise the polarization we are seeing renders democracy toxic and may result in violent street fighting between factions. A dangerous time for America.
Influencers church (Paradise) fireworks 19/12/2014
Carols and Fireworks.
Canon EOS 5D, 24-70L, ND2-400 Variable filter, 1 sec exposure and longer
2015
_MG_9059
The Springfield Art Association will host an opening reception for a nationally juried ceramic exhibition entitled Shapes of Influence on Friday evening, August 3rd, from 5:30-7:30 PM. Awards and a gallery talk by juror Simon Levin will occur at 6:45 PM.
The show will be on display in the SAA's M.G. Nelson Family Gallery from August 3-September 1 and features work from over two dozen states and Canada.
Juried artists include Morgan Barton, Kenneth Baskin, Casey Beck, Irina Bondarenko, Robert Bruch, Danielle Callahan, Michelle Coakes, John Cohorst, Louis Colomarini, John Costanza, Paula Diaz-Sylvester, Auguste Elder, Karen Ellis-Phillips, Curtis and Karen Frederick, Verne Funk, John Gargano, Kaitlyn Getz, Sarah Gross, Lois Harbaugh, Ian Hazard-Bill, Jason Hess, Jennifer Holt, Drew Ippoliti, Iskra Ivanova, Anna Kats, Patty Kochaver, Robert Kokenyesi, Lucien Koonce, Joe Kraft, Annie Lee, Andrew Mcintyre, Jessie Martin, Paul McCoy, Avra Messe, Molly Morning-glory, Matthew Patton, Sara Prigodich, Jenny Reed, Masa Sasaki, Jessica Sallay-Carrington, Kourtney Stone, Suzanne Storer, Sam Thompson, Austin Wieland, Nicole Winning, Matthew Wright, Kensuke Yamada, Lisa York, and David Zahn.
Invited artists include Dan Anderson, Kahil Irving, Peter Pincus, and Kelsie Rudolph.
The M.G. Nelson Gallery is open to the public M-F from 9 AM-5 PM and Saturdays from 10 AM-3 PM.
mirit ben nun woman women feminine female composition artistic artwork strong language influence idea powerful center of art human relations participate gallery exhibition vision work works muse leading art artist gallery museum paint painter painters painting paintings drawing draw drawings simple israel israeli media acrylic talented timeless dynamic emerging energetic exceptional expressive extreme fascinating figurative fresh hyper imaginative abstract aesthetic authentic inspiring the beautiful classic colorful conceptual contemporary creative decorative detailed participates in an exhibition powerful leading model diferent special art world talented virtual gallery stunning symbolic reclyced material an unexpected visual intuitive inventive layered like mature moving mysterious original personal pure refreshing remarkable looks good magical angle art sales drama positive red easy perfect minded eye fun funny natured someone special the gifted special diferent influent heart light happy colorful hardworking intellectual intelligent wish wonderful the drawings paintings draw colorful influence israeli reclycled material magnetic angelic accepting bright careful half main curious perfect work works picture those pictures working shape leading model first representing the wonders independent woman actress african american leading talented muse in the country solo exhibition leader subject group exhibition exhibit the subject look vision image outside country artist art sales sale acrylic canvas artworks modern contemporary original visual sculpture collection collector image images figurative exhibit exhibition abstract culture museum figurative decorative dealer
Feel free to use this photo for your website or blog as long as you include credit via the following do follow clickable hyper link:
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The Springfield Art Association will host an opening reception for a nationally juried ceramic exhibition entitled Shapes of Influence on Friday evening, August 3rd, from 5:30-7:30 PM. Awards and a gallery talk by juror Simon Levin will occur at 6:45 PM.
The show will be on display in the SAA's M.G. Nelson Family Gallery from August 3-September 1 and features work from over two dozen states and Canada.
Juried artists include Morgan Barton, Kenneth Baskin, Casey Beck, Irina Bondarenko, Robert Bruch, Danielle Callahan, Michelle Coakes, John Cohorst, Louis Colomarini, John Costanza, Paula Diaz-Sylvester, Auguste Elder, Karen Ellis-Phillips, Curtis and Karen Frederick, Verne Funk, John Gargano, Kaitlyn Getz, Sarah Gross, Lois Harbaugh, Ian Hazard-Bill, Jason Hess, Jennifer Holt, Drew Ippoliti, Iskra Ivanova, Anna Kats, Patty Kochaver, Robert Kokenyesi, Lucien Koonce, Joe Kraft, Annie Lee, Andrew Mcintyre, Jessie Martin, Paul McCoy, Avra Messe, Molly Morning-glory, Matthew Patton, Sara Prigodich, Jenny Reed, Masa Sasaki, Jessica Sallay-Carrington, Kourtney Stone, Suzanne Storer, Sam Thompson, Austin Wieland, Nicole Winning, Matthew Wright, Kensuke Yamada, Lisa York, and David Zahn.
Invited artists include Dan Anderson, Kahil Irving, Peter Pincus, and Kelsie Rudolph.
The M.G. Nelson Gallery is open to the public M-F from 9 AM-5 PM and Saturdays from 10 AM-3 PM.
What influences the career development of an individual? Is it his intelligence, technical skills, or their educational success? Are the forces that affect the future career success same for all generations – Baby Boomers, Generation X or Generation Y? All these questions have been researched t...
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