View allAll Photos Tagged involves
The Postcard
A postcard that was published on behalf of the Royal Academy. The photography was by Anderson of Rome. On the back of the card is printed:
'Exhibition of Italian Art
Royal Academy London
1930.
Titian - Salome - Rome,
Collection of Prince
Doria Pamphili.'
The card was posted in South Kensington using stamps to the value of 2d. The postmark states 'Postage on Letters to Europe 4d.'
The card was sent on Monday the 7th. June 1954 to:
Mrs. Chanter,
Fort Hill,
Barnstaple,
North Devon.
The message on the divided back of the card was as follows:
"10, Courtfield Road,
SW7.
Whit Monday.
Dear Aunt Ann,
Thank you for your card.
I have been delayed in
London.
Nigel is leaving for the
Continent & it has been
necessary for me to stay
behind to help him with
his things.
I intend if I can to come
down tomorrow.
Please keep the parcel -
I wonder what it can be.
Love to you and Uncle
Edward.
Rob."
Salome With the Head of John the Baptist
90 x 73 cm; oil on canvas.
This early masterpiece shows that Titian’s personal style had already evolved , with a “sense of physical proximity and involvement of the viewer” (David Jaffé).
Salome was a Jewish princess, the daughter of Herod II and princess Herodias. In the New Testament, Salome demands and receives the head of John the Baptist.
The scene is scattered with refined lyricism, and represents Salome, given the presence of the maidservant and the silver platter on which John the Baptist’s head is laid.
Some scholars suggest that the head of the Baptist might be a self-portrait of the artist. It is usually dated about 1515. The picture’s early fame is demonstrated by the various copies that were made of it.
Iowa Class Battleships
So what else happened on the day that Rob posted the card to his aunt?
Well, on the 7th. June 1954, all four Iowa class battleships were together in one place for the only time in their history.
Alan Turing
The day also marked the death by suicide of Alan Turing.
Alan Mathison Turing, who was born on the 23rd. June 1912, was an English mathematician, computer scientist, logician, cryptanalyst, philosopher and theoretical biologist.
He was highly influential in the development of computer science, providing a formalisation of the concepts of algorithm and computation with the Turing machine, which can be considered a model of a general-purpose computer.
Turing is widely considered to be the father of theoretical computer science.
Born in London, Turing was raised in southern England. He graduated from King's College, Cambridge, and in 1938, earned a doctorate from Princeton University. During World War II, Turing worked for the Government Code and Cypher School at Bletchley Park, Great Britain's codebreaking centre that produced Ultra intelligence.
Alan led Hut 8, the section responsible for German naval cryptanalysis. Turing devised techniques for speeding the breaking of German ciphers, including improvements to the pre-war Polish bomba method, an electromechanical machine that could find settings for the Enigma machine.
He played a crucial role in cracking intercepted messages that enabled the Allies to defeat the Axis powers in many engagements, including the Battle of the Atlantic.
After the war, Turing worked at the National Physical Laboratory, where he designed the Automatic Computing Engine, one of the first designs for a stored-program computer.
In 1948, Turing joined Max Newman's Computing Machine Laboratory at the Victoria University of Manchester, where he helped develop the Manchester computers and became interested in mathematical biology.
Turing wrote on the chemical basis of morphogenesis, and predicted oscillating chemical reactions such as the Belousov–Zhabotinsky reaction, first observed in the 1960's.
However despite these accomplishments, Alan was never fully recognised during his lifetime, because much of his work was covered by the Official Secrets Act.
In 1952, Turing was prosecuted for homosexual acts. He accepted hormone treatment, a procedure commonly referred to as chemical castration, as an alternative to prison.
Turing died on the 7th. June 1954, aged 41, from cyanide poisoning. An inquest determined his death to be suicide, but the evidence is also consistent with accidental poisoning.
Following a campaign in 2009, British prime minister Gordon Brown made an official public apology for "the appalling way Turing was treated".
Queen Elizabeth II granted a pardon in 2013. The term "Alan Turing law" is used informally to refer to a 2017 law in the UK that retroactively pardoned men cautioned or convicted under historical legislation that outlawed homosexual acts.
Turing left an extensive legacy in mathematics and computing which today is recognised more widely, with statues and many things named after him, including an annual award for computing innovation.
Alan's portrait appears on the Bank of England £50 note, first released on the 23rd. June 2021 in order to coincide with his birthday. The audience vote in a 2019 BBC series named Turing the greatest person of the 20th century.
-- Alan Turing - The Early Years
Turing was born in Maida Vale, London, while his father, Julius Mathison Turing, was on leave from his position with the Indian Civil Service (ICS) of the British Raj government at Chatrapur.
Turing's father was the son of a clergyman, the Rev. John Robert Turing, from a Scottish family of merchants that had been based in the Netherlands and included a baronet.
Turing's mother was Ethel Sara Turing (née Stoney), daughter of Edward Waller Stoney, chief engineer of the Madras Railways. Julius and Ethel married on the 1st. October 1907 at St. Bartholomew's Church in Dublin.
Julius's work with the ICS brought the family to British India, where his grandfather had been a general in the Bengal Army. However, both Julius and Ethel wanted their children to be brought up in Britain, so they moved to Maida Vale, London, where Alan Turing was born.
His birth is recorded by a blue plaque on the outside of the house, later the Colonnade Hotel.
Turing had an elder brother, John Ferrier Turing, father of Sir John Dermot Turing, 12th. Baronet of the Turing baronets.
Turing's father's civil service commission was still active during Turing's childhood years, and his parents travelled between Hastings and India, leaving their two sons to stay with a retired Army couple.
At Hastings, Turing stayed at Baston Lodge, Upper Maze Hill, St. Leonards-on-Sea, now marked with a blue plaque.
Turing's parents purchased a house in Guildford in 1927, and Turing lived there during school holidays. The location is also marked with a blue plaque.
-- Alan Turing's Schooldays
Turing attended St. Michael's, a primary school at 20 Charles Road, St. Leonards-on-Sea, from the age of six to nine. The headmistress recognised his talent, noting that:
"We have had clever boys and
hardworking boys, but Alan is
a genius".
Between January 1922 and 1926, Turing was educated at Hazelhurst Preparatory School, an independent school in the village of Frant in Sussex.
In 1926, at the age of 13, Alan went on to Sherborne School, an independent boarding school in Sherborne in Dorset.
The first day of term coincided with the 1926 General Strike, but Turing was so determined to attend that he rode his bicycle unaccompanied 60 miles (97 km) from Southampton to Sherborne, stopping overnight at an inn.
Turing's natural inclination towards mathematics and science did not earn him respect from some of the teachers at Sherborne, whose definition of education placed more emphasis on the classics. His headmaster wrote to his parents:
"I hope he will not fall between two stools.
If he is to stay at public school, he must
aim at becoming educated.
If he is to be solely a Scientific Specialist,
he is wasting his time at a public school".
Despite this, Turing continued to show remarkable ability in the studies he loved, solving advanced problems in 1927 without having studied even elementary calculus.
In 1928, aged 16, Turing encountered Albert Einstein's work; not only did he grasp it, but it is possible that he managed to deduce Einstein's questioning of Newton's laws of motion from a text in which this was never made explicit.
-- Christopher Morcom
At Sherborne, Turing formed a significant friendship with fellow pupil Christopher Collan Morcom (1911 – 1930), who has been described as Turing's first love.
Their relationship provided inspiration in Turing's future endeavours, but it was cut short by Morcom's death, in February 1930, from complications of bovine tuberculosis, contracted after drinking infected cow's milk some years previously.
The event caused Turing great sorrow. He coped with his grief by working that much harder on the topics of science and mathematics that he had shared with Morcom. In a letter to Morcom's mother Turing wrote:
"I am sure I could not have found anywhere
another companion so brilliant and yet so
charming and unconceited. I regarded my
interest in my work, and in such things as
astronomy (to which he introduced me) as
something to be shared with him, and I think
he felt a little the same about me ...
I know I must put as much energy if not as
much interest into my work as if he were
alive, because that is what he would like
me to do."
Turing's relationship with Morcom's mother continued long after Morcom's death, with her sending gifts to Turing, and him sending letters, typically on Morcom's birthday. A day before the third anniversary of Morcom's death (13th. February 1933), he wrote to Mrs. Morcom:
"I expect you will be thinking of Chris when
this reaches you. I shall too, and this letter
is just to tell you that I shall be thinking of
Chris and of you tomorrow.
I am sure that he is as happy now as he
was when he was here.
Your affectionate Alan."
Some writers have speculated that Morcom's death was the cause of Turing's atheism and materialism. Apparently, at this point in his life he still believed in such concepts as a spirit, independent of the body and surviving death. In a later letter, also written to Morcom's mother, Turing wrote:
"Personally, I believe that spirit is really eternally
connected with matter, but certainly not by the
same kind of body ... as regards the actual
connection between spirit and body, I consider
that the body can hold on to a 'spirit', whilst the
body is alive and awake the two are firmly
connected.
When the body is asleep I cannot guess what
happens but when the body dies, the 'mechanism'
of the body, holding the spirit is gone and the
spirit finds a new body sooner or later, perhaps
immediately."
-- Alan Turing at University and his Work on Computability
After graduating from Sherborne, Turing applied for several Cambridge scholarships, including Trinity and King's, eventually earning an £80 per annum scholarship (equivalent to about £4,300 as of 2023) in order to study at the latter.
There, Turing studied the undergraduate course in a three-year Parts I and II of the Mathematical Tripos, with extra courses at the end of the third year from February 1931 to November 1934, at King's College, Cambridge, where he was awarded a first-class honours degree in mathematics.
His dissertation, On the Gaussian error function, written during his senior year and delivered in November 1934 (with a deadline date of the 6th. December) proved a version of the central limit theorem. It was finally accepted on the 16th. March 1935.
By the spring of 1935, Turing had started his master's course (Part III)—which he completed in 1937—and, at the same time, he published his first paper, a one-page article called Equivalence of Left and Right Almost Periodicity, featured in the tenth volume of the Journal of the London Mathematical Society.
Later that year, Turing was elected a Fellow of King's College on the strength of his dissertation where he served as a lecturer. However, and, unknown to Turing, this version of the theorem that he proved in his paper, had already been proven, in 1922, by Jarl Waldemar Lindeberg.
Despite this, the college committee found Turing's methods original and so regarded the work worthy of consideration for the fellowship. Abram Besicovitch's report for the committee went so far as to say that:
"If Turing's work had been published
before Lindeberg's, it would have
been an important event in the
mathematical literature of that year".
Between the springs of 1935 and 1936, at the same time as Alonzo Church, Turing worked on the decidability of problems, starting from Gödel's incompleteness theorems.
In mid-April 1936, Turing sent Max Newman the first draft typescript of his investigations. That same month, Church published his An Unsolvable Problem of Elementary Number Theory, with similar conclusions to Turing's then-yet unpublished work.
Finally, on the 28th. May of 1936, Alan finished and delivered his 36-page paper for publication called "On Computable Numbers, with an Application to the Entscheidungsproblem".
The paper was published in the Proceedings of the London Mathematical Society journal in two parts, the first on the 30th. November, and the second on the 23rd. December 1936.
In this paper, Turing reformulated Kurt Gödel's 1931 results on the limits of proof and computation, replacing Gödel's universal arithmetic-based formal language with the formal and simple hypothetical devices that became known as Turing machines.
The Entscheidungsproblem (Decision Problem) was originally posed by German mathematician David Hilbert in 1928. Turing proved that his "universal computing machine" would be capable of performing any conceivable mathematical computation if it were representable as an algorithm.
Alan went on to prove that there was no solution to the decision problem by first showing that the halting problem for Turing machines is undecidable: it is not possible to decide algorithmically whether a Turing machine will ever halt.
This paper has been called:
"Easily the most influential
math paper in history".
Although Turing's proof was published shortly after Church's equivalent proof using his lambda calculus, Turing's approach is considerably more accessible and intuitive than Church's.
It also included a notion of a 'Universal Machine' (now known as a Universal Turing Machine), with the idea that such a machine could perform the tasks of any other computation machine (as indeed could Church's lambda calculus).
According to the Church–Turing thesis, Turing machines and the lambda calculus are capable of computing anything that is computable. John von Neumann acknowledged that the central concept of the modern computer was due to Turing's paper.
To this day, Turing machines are a central object of study in the theory of computation.
From September 1936 to July 1938, Turing spent most of his time studying under Church at Princeton University. In addition to his purely mathematical work, Alan studied cryptology, and also built three of four stages of an electro-mechanical binary multiplier.
In June 1938, Alan obtained his PhD from the Department of Mathematics at Princeton; his dissertation, Systems of Logic Based on Ordinals, introduced the concept of ordinal logic and the notion of relative computing, in which Turing machines are augmented with so-called oracles, allowing the study of problems that cannot be solved solely by Turing machines.
John von Neumann wanted to hire Alan as his postdoctoral assistant, but he went back to the United Kingdom.
-- Turing's Return to Cambridge
When Turing returned to Cambridge, he attended lectures given in 1939 by Ludwig Wittgenstein about the foundations of mathematics. The lectures have been reconstructed verbatim, including interjections from Turing and other students, from students' notes.
Turing and Wittgenstein argued and disagreed, with Turing defending formalism and Wittgenstein propounding his view that mathematics does not discover any absolute truths, but rather invents them.
-- Alan Turing and Cryptanalysis
During the Second World War, Turing was a leading participant in the breaking of German ciphers at Bletchley Park. The historian and wartime codebreaker Asa Briggs has said:
"You needed exceptional talent,
you needed genius at Bletchley,
and Turing's was that genius."
From September 1938, Turing worked part-time with the Government Code and Cypher School (GC&CS), the British codebreaking organisation. He concentrated on cryptanalysis of the Enigma cipher machine used by Nazi Germany, together with Dilly Knox, a senior GC&CS codebreaker.
Soon after the July 1939 meeting near Warsaw at which the Polish Cipher Bureau gave the British and French details of the wiring of Enigma machine's rotors and their method of decrypting Enigma machine's messages, Turing and Knox developed a broader solution.
The Polish method relied on an insecure indicator procedure that the Germans were likely to change, which they in fact did in May 1940. Turing's approach was more general, using crib-based decryption for which he produced the functional specification of the bombe (an improvement on the Polish Bomba).
On the 4th. September 1939, the day after the UK declared war on Germany, Turing reported to Bletchley Park, the wartime station of GC&CS. Like all others who came to Bletchley, he was required to sign the Official Secrets Act, in which he agreed not to disclose anything about his work at Bletchley, with severe legal penalties for violating the Act.
Specifying the bombe was the first of five major cryptanalytical advances that Turing made during the war. The others were:
-- Deducing the indicator procedure used by the German navy.
-- Developing a statistical procedure dubbed Banburismus for making much more efficient use of the bombes.
-- Developing a procedure dubbed Turingery for working out the cam settings of the wheels of the Lorenz SZ 40/42 (Tunny) cipher machine.
-- Towards the end of the war, the development of a portable secure voice scrambler at Hanslope Park that was codenamed Delilah.
By using statistical techniques to optimise the trial of different possibilities in the code breaking process, Turing made an innovative contribution to the subject.
He wrote two papers discussing mathematical approaches, titled The Applications of Probability to Cryptography and Paper on Statistics of Repetitions, which were of such value to GC&CS and its successor GCHQ that they were not released to the UK National Archives until April 2012, shortly before the centenary of Alan's birth.
A GCHQ mathematician, who identified himself only as "Richard," said at the time that the fact that the contents had been restricted under the Official Secrets Act for some 70 years demonstrated their importance, and their relevance to post-war cryptanalysis.
Richard said:
"The fact that the contents has been restricted
shows what a tremendous importance it has in
the foundations of our subject.
The papers detailed using mathematical analysis
to try and determine which are the more likely
settings, so that they can be tried as quickly as
possible.
GCHQ has now "squeezed the juice" out of the
two papers, and is now happy for them to be
released into the public domain".
Turing had a reputation for eccentricity at Bletchley Park. He was known to his colleagues as "Prof," and his treatise on Enigma was known as the "Prof's Book". Jack Good, a cryptanalyst who worked with Turing, said of his colleague:
"In the first week of June each year he would
get a bad attack of hay fever, and he would
cycle to the office wearing a service gas mask
to keep the pollen off.
His bicycle had a fault: the chain would come
off at regular intervals. Instead of having it
mended, he would count the number of times
the pedals went round and would get off the
bicycle in time to adjust the chain by hand.
Another of his eccentricities is that he chained
his mug to the radiator pipes to prevent it
being stolen."
Peter Hilton recounted his experience working with Turing in Hut 8 in his "Reminiscences of Bletchley Park" from A Century of Mathematics in America:
"It is a rare experience to meet an authentic genius.
Those of us privileged to inhabit the world of
scholarship are familiar with the intellectual
stimulation furnished by talented colleagues.
We can admire the ideas they share with us, and are
usually able to understand their source; we may even
often believe that we ourselves could have created
such concepts and originated such thoughts.
However, the experience of sharing the intellectual
life of a genius is entirely different; one realizes that
one is in the presence of an intelligence, a sensibility
of such profundity and originality that one is filled with
wonder and excitement.
Alan Turing was such a genius, and those, like myself,
who had the astonishing and unexpected opportunity,
created by the strange exigencies of the Second World
War, to be able to count Turing as colleague and friend
will never forget that experience, nor can we ever lose
its immense benefit to us."
Hilton reported on the athletic side of Alan's life in the Nova PBS documentary Decoding Nazi Secrets:
"While working at Bletchley, Turing, who was a talented
long-distance runner, occasionally ran the 40 miles
(64 km) to London when he was needed for meetings,
and he was capable of world-class marathon standards.
Turing tried out for the 1948 British Olympic team, but
he was hampered by an injury. His tryout time for the
marathon was only 11 minutes slower than British silver
medallist Thomas Richards' Olympic race time of 2 hours
35 minutes.
He was Walton Athletic Club's best runner, a fact
discovered when he passed the group while running
alone. When asked why he ran so hard in training,
he replied:
'I have such a stressful job that the
only way I can get it out of my mind
is by running hard; it's the only way
I can get some release.'"
Due to the problems of counterfactual history, it is hard to estimate the precise effect that Ultra intelligence had on the war. However, official war historian Harry Hinsley estimated that this work shortened the war in Europe by more than two years, and saved over 14 million lives.
At the end of the war, a memo was sent to all those who had worked at Bletchley Park, reminding them that the code of silence dictated by the Official Secrets Act did not end with the war, but would continue indefinitely.
Thus, even though Turing was appointed an Officer of the Order of the British Empire (OBE) in 1946 by King George VI for his wartime services, his work remained secret for many years.
-- Bombe
Within weeks of arriving at Bletchley Park, Turing had specified an electromechanical machine called the bombe, which could break Enigma more effectively than the Polish bomba kryptologiczna, from which its name was derived.
The bombe, with an enhancement suggested by mathematician Gordon Welchman, became one of the primary tools, and the major automated one, used to attack Enigma-enciphered messages.
The first bombe was installed on the 18th. March 1940.
The bombe searched for possible correct settings used for an Enigma message (i.e., rotor order, rotor settings and plugboard settings) using a suitable crib: a fragment of probable plaintext.
For each possible setting of the rotors, which had on the order of 1019 states, the bombe performed a chain of logical deductions based on the crib, implemented electromechanically.
The bombe detected when a contradiction had occurred and ruled out that setting, moving on to the next. Most of the possible settings would cause contradictions and be discarded, leaving only a few to be investigated in detail.
A contradiction occured when an enciphered letter was turned back into the same plaintext letter, which was impossible with the Enigma.
-- The 'Action This Day' Memo
By late 1941, Turing and his fellow cryptanalysts Gordon Welchman, Hugh Alexander and Stuart Milner-Barry were frustrated.
Building on the work of the Poles, they had set up a good working system for decrypting Enigma signals, but their limited staff and bombes meant that they could not translate all the signals.
In the summer, they had considerable success, and shipping losses had fallen to under 100,000 tons a month; however, they badly needed more resources in order to keep abreast of German adjustments. They had tried to get more people and fund more bombes through the proper channels, but had failed.
On the 28th. October they wrote directly to Winston Churchill explaining their difficulties, with Turing as the first named. They emphasised how small their need was compared with the vast expenditure of men and money by the forces, and compared with the level of assistance they could offer to the forces.
As Andrew Hodges, biographer of Turing, later wrote:
"This letter had an electric effect."
Churchill wrote a memo to General Ismay, which read:
"ACTION THIS DAY. Make sure they
have all they want on extreme priority
and report to me that this has been
done."
On the 18th. November 1941, the chief of the secret service reported that every possible measure was being taken. The cryptographers at Bletchley Park did not know of the Prime Minister's response, but as Milner-Barry recalled:
"All that we did notice was that almost
from that day, the rough ways began
miraculously to be made smooth."
More than two hundred bombes were in operation by the end of the war.
-- Hut 8 and the Naval Enigma
Turing decided to tackle the particularly difficult problem of cracking the German naval use of Enigma:
"... because no one else was doing
anything about it, and I could have
it to myself".
In December 1939, Turing solved the essential part of the naval indicator system, which was more complex than the indicator systems used by the other services.
That same night, he also conceived of the idea of Banburismus, a sequential statistical technique to assist in breaking the naval Enigma. Alan noted:
"I was not sure that it would work
in practice, and was not, in fact,
sure until some days had actually
broken".
For this, he invented a measure of weight of evidence that he called the ban. Banburismus could rule out certain sequences of the Enigma rotors, substantially reducing the time needed to test settings on the bombes.
Later this sequential process of accumulating sufficient weight of evidence using decibans (one tenth of a ban) was used in cryptanalysis of the Lorenz cipher.
Turing travelled to the United States in November 1942 and worked with US Navy cryptanalysts on the naval Enigma and bombe construction in Washington. He also visited their Computing Machine Laboratory in Dayton, Ohio.
Turing's reaction to the American bombe design was far from enthusiastic:
"The American Bombe programme was to produce
336 Bombes, one for each wheel order. I used to
smile inwardly at the conception of Bombe hut
routine implied by this programme, but thought
that no particular purpose would be served by
pointing out that we would not really use them
in that way.
Their test (of commutators) can hardly be
considered conclusive as they were not testing
for the bounce with electronic stop finding devices.
Nobody seems to be told about rods or offiziers or
banburismus unless they are really going to do
something about it."
During this trip, Alan also assisted at Bell Labs with the development of secure speech devices. He returned to Bletchley Park in March 1943.
During his absence, Hugh Alexander had officially assumed the position of head of Hut 8, although Alexander had been de facto head for some time (Turing having little interest in the day-to-day running of the section). Turing became a general consultant for cryptanalysis at Bletchley Park.
Alexander wrote of Turing's contribution:
"There should be no question in anyone's mind that
Turing's work was the biggest factor in Hut 8's success.
In the early days, he was the only cryptographer who
thought the problem worth tackling, and not only was
he primarily responsible for the main theoretical work
within the Hut, but he also shared with Welchman and
Keen the chief credit for the invention of the bombe.
It is always difficult to say that anyone is 'absolutely
indispensable', but if anyone was indispensable to
Hut 8, it was Turing.
The pioneer's work always tends to be forgotten
when experience and routine later make everything
seem easy, and many of us in Hut 8 felt that the
magnitude of Turing's contribution was never fully
realised by the outside world."
-- Turingery
In July 1942, Turing devised a technique termed Turingery (or jokingly Turingismus) for use against the Lorenz cipher messages produced by the Germans' new Geheimschreiber (Secret Writer) machine.
This was a teleprinter rotor cipher attachment codenamed Tunny at Bletchley Park. Turingery was a method of wheel-breaking, i.e., a procedure for working out the cam settings of Tunny's wheels.
Alan also introduced the Tunny team to Tommy Flowers who, under the guidance of Max Newman, went on to build the Colossus computer, the world's first programmable digital electronic computer.
This replaced a simpler prior machine (the Heath Robinson), and its superior speed allowed the statistical decryption techniques to be applied usefully to the messages.
Some have mistakenly said that Turing was a key figure in the design of the Colossus computer. Turingery and the statistical approach of Banburismus undoubtedly fed into the thinking about cryptanalysis of the Lorenz cipher, but Alan was not directly involved in the Colossus development.
-- Delilah
Following his work at Bell Labs in the US, Turing pursued the idea of electronic enciphering of speech in the telephone system. In the latter part of the war, he moved to work for the Secret Service's Radio Security Service (later HMGCC) at Hanslope Park.
At the park, he further developed his knowledge of electronics with the assistance of REME officer Donald Bayley. Together they undertook the design and construction of a portable secure voice communications machine codenamed Delilah.
The machine was intended for different applications, but it lacked the capability for use with long-distance radio transmissions. In any case, Delilah was completed too late to be used during the war.
Though the system worked fully, with Turing demonstrating it to officials by encrypting and decrypting a recording of a Winston Churchill speech, Delilah was not adopted for use.
Turing also consulted with Bell Labs on the development of SIGSALY, a secure voice system that was used in the later years of the war.
-- Early Computers
Between 1945 and 1947, Turing lived in Hampton, London, while he worked on the design of the ACE (Automatic Computing Engine) at the National Physical Laboratory (NPL).
He presented a paper on the 19th. February 1946, which was the first detailed design of a stored-program computer.
Von Neumann's incomplete first draft of a report on the EDVAC had pre-dated Turing's paper, but it was much less detailed and, according to John R. Womersley, Superintendent of the NPL Mathematics Division:
"It contains a number of ideas
which are Dr. Turing's own".
Although ACE was a feasible design, the effect of the Official Secrets Act surrounding the wartime work at Bletchley Park made it impossible for Turing to explain the basis of his analysis of how a computer installation involving human operators would work.
This led to delays in starting the project, and he became disillusioned. In late 1947 he returned to Cambridge for a sabbatical year during which he produced a seminal work on Intelligent Machinery that was not published during his lifetime.
While he was at Cambridge, the Pilot ACE was being built in his absence. It executed its first program on the 10th. May 1950, and a number of later computers around the world owe much to it, including the English Electric DEUCE and the American Bendix G-15.
The full version of Turing's ACE was not built until after his death.
In 1948, Turing was appointed reader in Mathematics at the Victoria University of Manchester. A year later, he became deputy director of the Computing Machine Laboratory, where he worked on software for one of the earliest stored-program computers—the Manchester Mark 1.
Turing wrote the first version of the Programmer's Manual for this machine, and was recruited by Ferranti as a consultant in the development of their commercialised machine, the Ferranti Mark 1. He continued to be paid consultancy fees by Ferranti until his death.
-- The Turing Test
During this time, Alan continued to do more abstract work in mathematics, and in "Computing Machinery and Intelligence" (Mind, October 1950), Turing addressed the problem of artificial intelligence, and proposed an experiment that became known as the Turing Test.
The Turing Test was an attempt to define a standard for a machine to be called "intelligent". The idea was that a computer could be said to "think" if a human interrogator could not tell it apart, through conversation, from a human being.
In the paper, Turing suggested that rather than building a program to simulate the adult mind, it would be better to produce a simpler one to simulate a child's mind, and then to subject it to a course of education.
A reversed form of the Turing test is widely used on the Internet; the CAPTCHA test is intended to determine whether the user is a human or a computer.
In 1948, Turing, working with his former undergraduate colleague, D. G. Champernowne, began writing a chess program for a computer that did not yet exist. By 1950, the program was completed and dubbed the Turochamp.
In 1952, he tried to implement it on a Ferranti Mark 1, but lacking enough power, the computer was unable to execute the program. Instead, Turing "ran" the program by flipping through the pages of the algorithm and carrying out its instructions on a chessboard, taking about half an hour per move. The game was recorded.
According to Garry Kasparov, Turing's program "played a recognizable game of chess". The program lost to Turing's colleague Alick Glennie, although it is said that it won a game against Champernowne's wife, Isabel.
The Turing Test was a significant, characteristically provocative, and lasting contribution to the debate regarding artificial intelligence, which continues after more than half a century.
-- Pattern Formation and Mathematical Biology
When Turing was 39 years old in 1951, he turned to mathematical biology, finally publishing his masterpiece "The Chemical Basis of Morphogenesis" in January 1952.
Alan was interested in morphogenesis, the development of patterns and shapes in biological organisms. He suggested that a system of chemicals reacting with each other and diffusing across space, termed a reaction–diffusion system, could account for the main phenomena of morphogenesis.
He used systems of partial differential equations to model catalytic chemical reactions. For example, if a catalyst A is required for a certain chemical reaction to take place, and if the reaction produced more of the catalyst A, then we say that the reaction is autocatalytic, and there is positive feedback that can be modelled by nonlinear differential equations.
Turing discovered that patterns could be created if the chemical reaction not only produced catalyst A, but also produced an inhibitor B that slowed down the production of A.
If A and B then diffused through the container at different rates, then you could have some regions where A dominated, and some where B did.
In order to calculate the extent of this, Turing would have needed a powerful computer, but these were not freely available in 1951, so he had to use linear approximations to solve the equations by hand.
These calculations gave the right qualitative results, and produced, for example, a uniform mixture that oddly enough had regularly spaced fixed red spots.
The Russian biochemist Boris Belousov had performed experiments with similar results, but could not get his papers published because of the contemporary prejudice that any such thing violated the second law of thermodynamics.
Belousov was not aware of Turing's paper in the Philosophical Transactions of the Royal Society.
Although published before the structure and role of DNA was understood, Turing's work on morphogenesis remains relevant today, and is considered a seminal piece of work in mathematical biology.
-- Stripey Cats and Spotty Cats
One of the early applications of Turing's paper was the work by James Murray explaining spots and stripes on the fur of cats, large and small.
Further research in the area suggests that:
"Turing's work can partially explain the
growth of feathers, hair follicles, the
branching pattern of lungs, and even the
left-right asymmetry that puts the heart
on the left side of the chest".
In 2012, Sheth et al. found that in mice, removal of Hox genes causes an increase in the number of digits without an increase in the overall size of the limb, suggesting that Hox genes control digit formation by tuning the wavelength of a Turing-type mechanism.
Later papers were not available until the Collected Works of A. M. Turing was published in 1992.
A study conducted in 2023 confirmed Turing's mathematical model hypothesis. Presented by the American Physical Society, the experiment involved growing chia seeds in even layers within trays, later adjusting the available moisture.
Researchers experimentally tweaked the factors which appear in the Turing equations, and, as a result, patterns resembling those seen in natural environments emerged.
This is believed to be the first time that experiments with living vegetation have verified Turing's mathematical insight.
-- Alan Turing's Personal Life
-- Lost Treasure
In the 1940's, Turing became worried about losing his savings in the event of a German invasion. In order to protect them, he bought two silver bars weighing 3,200 oz (90 kg) and worth £250 (in 2022, £48,000) and buried them in a wood near Bletchley Park.
Upon returning to dig them up, Turing found that he was unable to break his own code describing where exactly he had hidden them. This, along with the fact that the area had been renovated, meant that he never regained the silver.
-- The Engagement of Alan Turing
In 1941, Turing proposed marriage to Hut 8 colleague Joan Clarke, a fellow mathematician and cryptanalyst, but their engagement was short-lived.
After admitting his homosexuality to his fiancée, who was reportedly "unfazed" by the revelation, Turing decided that he could not go through with the marriage.
-- Alan Turing's Homosexuality and Indecency Conviction
In December 1951, Turing met Arnold Murray, a 19-year-old unemployed man. Turing was walking along Manchester's Oxford Road when he met Murray just outside the Regal Cinema and invited him to lunch.
The two agreed to meet again, and in January 1952 began an intimate relationship. On the 23rd. January, Turing's house was burgled. Murray told Turing that he and the burglar were acquainted, and Turing reported the crime to the police.
During the investigation, he acknowledged a sexual relationship with Murray. Homosexual acts were criminal offences in the United Kingdom at that time, and both men were charged with "gross indecency" under the Criminal Law Amendment Act of 1885.
Initial committal proceedings for the trial were held on the 27th. February 1952 during which Turing's solicitor reserved his defence, i.e., did not argue or provide evidence against the allegations. The proceedings were held at the Sessions House in Knutsford.
Turing was later convinced by his brother and solicitor to enter a plea of guilty. The case, Regina v. Turing and Murray, was brought to trial on the 31st. March 1952.
Turing was convicted, and given a choice between imprisonment and probation. His probation would be conditional on his agreement to undergo hormonal physical changes designed to reduce libido, known as "chemical castration".
He accepted the option of injections of what was then called stilboestrol (now known as diethylstilbestrol or DES), a synthetic oestrogen; this feminization of his body was continued for the course of one year.
The treatment rendered Turing impotent and caused breast tissue to form. In a letter, Turing wrote that:
"No doubt I shall emerge from it all
a different man, but quite who I've
not found out".
Murray was given a conditional discharge.
-- Consequences of Alan Turing's Conviction
Turing's conviction led to the removal of his security clearance and barred him from continuing with his cryptographic consultancy for the Government Communications Headquarters (GCHQ), though he kept his academic job.
Alan's trial took place only months after the defection to the Soviet Union of Guy Burgess and Donald Maclean in summer 1951, after which the Foreign Office started to consider anyone known to be homosexual as a potential security risk.
Turing was denied entry into the United States after his conviction in 1952, but was free to visit other European countries.
In the summer of 1952 he visited Norway which was more tolerant of homosexuals. Among the various men he met there was one named Kjell Carlson. Kjell intended to visit Turing in the UK, but the authorities intercepted Kjell's postcard detailing his travel arrangements, and were able to intercept and deport him before the two could meet.
It was also during this time that Turing started consulting a psychiatrist, Dr Franz Greenbaum, with whom he got on well and who subsequently became a family friend.
-- The Death of Alan Turing
On the 8th. June 1954, Turing's housekeeper found him dead at his house at 43 Adlington Road, Wilmslow. A post mortem was held that evening; this determined that he had died the previous day at the age of 41, with cyanide poisoning cited as the cause of death.
When his body was discovered, an apple lay half-eaten beside his bed, and although the apple was not tested for cyanide, it was speculated that this was the means by which Turing had consumed a fatal dose.
Turing's brother, John, identified the body the following day and took the advice given by Dr. Greenbaum to accept the verdict of the inquest, as there was little prospect of establishing that the death was accidental.
The inquest was held the following day, which determined the cause of death to be suicide. Turing's remains were cremated at Woking Crematorium just two days later on the 12th. June 1954, with just his mother, brother, and Lyn Newman attending, and his ashes were scattered in the gardens of the crematorium, just as his father's had been.
Turing's mother was on holiday in Italy at the time of his death and returned home after the inquest. She never accepted the verdict of suicide.
Philosopher Jack Copeland has questioned various aspects of the coroner's historical verdict. He suggested an alternative explanation for the cause of Turing's death: the accidental inhalation of cyanide fumes from an apparatus used to electroplate gold onto spoons.
The potassium cyanide was used to dissolve the gold. Turing had such an apparatus set up in his tiny spare room. Copeland noted that the autopsy findings were more consistent with inhalation than with ingestion of the poison.
Turing's mother believed that the ingestion was accidental, resulting from her son's careless storage of laboratory chemicals.
Turing also habitually ate an apple before going to bed, and it was not unusual for the apple to be discarded half-eaten.
Furthermore, Turing had reportedly borne his legal setbacks and hormone treatment (which had been discontinued a year previously) "with good humour," and had shown no sign of despondency before his death.
He had even set down a list of tasks that he intended to complete upon returning to his office after the holiday weekend.
Turing's biographer Andrew Hodges theorised that Turing deliberately left the nature of his death ambiguous in order to shield his mother from the knowledge that he had killed himself.
Doubts on the suicide thesis have been also cast by John W. Dawson Jr. who, in his review of Hodges' book, recalls "Turing's vulnerable position in the Cold War political climate," and points out that:
"Turing was found dead by a maid, who
discovered him 'lying neatly in his bed'—
hardly what one would expect of a man
fighting for life against the suffocation
induced by cyanide poisoning."
Turing had given no hint of suicidal inclinations to his friends, and had made no effort to put his affairs in order.
Hodges and a later biographer, David Leavitt, have both speculated that Turing was re-enacting a scene from the Walt Disney film Snow White and the Seven Dwarfs (1937), his favourite fairy tale.
Both men noted that (in Leavitt's words):
"He took an especially keen pleasure
in the scene where the Wicked Queen
immerses her apple in the poisonous
brew".
It has also been suggested that Turing's belief in fortune-telling may have caused his depressed mood. As a youth, Turing had been told by a fortune-teller that he would be a genius.
In mid-May 1954, shortly before his death, Turing again decided to consult a fortune-teller during a day-trip to St. Annes-on-Sea with the Greenbaum family. According to the Greenbaums' daughter, Barbara:
"It was a lovely sunny day and Alan was in a
cheerful mood and off we went ... Then he
thought it would be a good idea to go to the
Pleasure Beach at Blackpool.
We found a fortune-teller's tent, and Alan
said he'd like to go in, so we waited around
for him to come back ...
And this sunny, cheerful visage had shrunk
into a pale, shaking, horror-stricken face.
Something had happened. We don't know
what the fortune-teller said, but he obviously
was deeply unhappy.
I think that was probably the last time we
saw him before we heard of his suicide."
-- Government Apology and Pardon
In August 2009, British programmer John Graham-Cumming started a petition urging the British government to apologise for Turing's prosecution as a homosexual. The petition received more than 30,000 signatures.
The prime minister, Gordon Brown, acknowledged the petition, releasing a statement on the 10th. September 2009 apologising, and describing the treatment of Turing as "appalling":
"Thousands of people have come together to
demand justice for Alan Turing and recognition
of the appalling way he was treated.
While Turing was dealt with under the law of the
time and we can't put the clock back, his treatment
was of course utterly unfair, and I am pleased to
have the chance to say how deeply sorry I and we
all are for what happened to him ...
So on behalf of the British government, and all
those who live freely thanks to Alan's work, I am
very proud to say: we're sorry, you deserved so
much better."
In December 2011, William Jones and his member of Parliament, John Leech, created an e-petition requesting that the British government pardon Turing for his conviction of gross indecency:
"We ask the HM Government to grant a pardon
to Alan Turing for the conviction of gross
indecency. In 1952, he was convicted of gross
indecency with another man, and was forced to
undergo so-called "organo-therapy"—chemical
castration.
Two years later, he killed himself with cyanide,
aged just 41.
Alan Turing was driven to a terrible despair and
early death by the nation he'd done so much to
save.
This remains a shame on the British government
and British history. A pardon can go some way to
healing this damage. It may act as an apology to
many of the other gay men, not as well-known as
Alan Turing, who were subjected to these laws."
The petition gathered over 37,000 signatures, and was submitted to Parliament by the Manchester MP John Leech, but the request was discouraged by Justice Minister Lord McNally, who said:
"A posthumous pardon was not considered
appropriate as Alan Turing was properly convicted
of what at the time was a criminal offence.
He would have known that his offence was against
the law, and that he would be prosecuted. It is tragic
that Alan Turing was convicted of an offence that
now seems both cruel and absurd—particularly
poignant given his outstanding contribution to the
war effort.
However, the law at the time required a prosecution
and, as such, long-standing policy has been to accept
that such convictions took place and, rather than trying to
alter the historical context and to put right what cannot
be put right, ensure instead that we never again return
to those times."
Nevertheless, John Leech, the MP for Manchester Withington (2005–15), submitted several bills to Parliament, and led a high-profile campaign to secure the pardon.
Leech made the case in the House of Commons that Turing's contribution to the war made him a national hero, and that it was "ultimately just embarrassing" that the conviction still stood. Leech continued to take the bill through Parliament and campaigned for several years, gaining the public support of numerous leading scientists, including Stephen Hawking.
At the British premiere of a film based on Turing's life, The Imitation Game, the producers thanked Leech for bringing the topic to public attention and securing Turing's pardon.
Leech is now regularly described as the "architect" of Turing's pardon, and subsequently the Alan Turing Law, which went on to secure pardons for 75,000 other men and women convicted of similar crimes.
On the 26th. July 2012, a bill was introduced in the House of Lords to grant a statutory pardon to Turing.
Late in the year in a letter to The Daily Telegraph, the physicist Stephen Hawking and 10 other signatories including the Astronomer Royal Lord Rees, President of the Royal Society Sir Paul Nurse, Lady Trumpington (who worked for Turing during the war) and Lord Sharkey (the bill's sponsor) called on Prime Minister David Cameron to act on the pardon request.
The government indicated that it would support the bill, and it passed its third reading in the House of Lords in October 2012.
However at the bill's second reading in the House of Commons on the 29th. November 2013, Conservative MP Christopher Chope objected to the bill, delaying its passage. The bill was due to return to the House of Commons on the 28th. February 2014, but before the bill could be debated in the House of Commons, the government elected to proceed under the royal prerogative of mercy.
On the 24th. December 2013, Queen Elizabeth II signed a pardon for Turing's conviction for gross indecency, with immediate effect. Announcing the pardon, Lord Chancellor Chris Grayling said:
"Turing deserves to be remembered and
recognised for his fantastic contribution
to the war effort, and not for his later
criminal conviction."
The Queen pronounced Turing to be pardoned in August 2014. It was only the fourth royal pardon granted since the conclusion of the Second World War. Pardons are normally granted only when the person is technically innocent, and a request has been made by the family or other interested party; neither condition was met in regard to Turing's conviction.
In September 2016, the government announced its intention to expand this retroactive exoneration to other men convicted of similar historical indecency offences, in what was described as an "Alan Turing law".
The Alan Turing law is now an informal term for the law in the United Kingdom, contained in the Policing and Crime Act 2017, which serves as an amnesty law to retroactively pardon men who were cautioned or convicted under historical legislation that outlawed homosexual acts.
On the 19th. July 2023, following an apology to LGBT veterans from the UK Government, Defence Secretary Ben Wallace suggested that Turing should be honoured with a permanent statue on the fourth plinth of Trafalgar Square, describing Turing as:
"Probably the greatest war hero, in my book,
of the Second World War, whose achievements
shortened the war, saved thousands of lives,
helped defeat the Nazis.
And his story is a sad story of a society and
how it treated him."
Gordon Welchman
For more interesting information relating to Gordon Welchman, please search for the tag 68HST77
Tommy Flowers
For more interesting information relating to Tommy Flowers, please search for the tag 89TBR42
- Wallpaper poster by Hanna Werning
- Black-eyed Susan print by Foxy & Winston
- Just visible behind the yellow vase... art print from Magic Jelly
- Throw from Ikea
- Big green vase, weave placemats, spot cushion and coloured cats from John Lewis
- Orange bottle from TK Maxx
- Many ceramics from Ebay
The University of Illinois Springfield hosted its annual Welcome Week Involvement Expo in an effort to get students active on August 29, 2012. The expo featured over 100 student organizations, clubs, community groups, and businesses.
The University of Illinois Springfield hosted its annual Welcome Week Involvement Expo in an effort to get students active on August 29, 2012. The expo featured over 100 student organizations, clubs, community groups, and businesses.
Healthy weight loss involves making sustainable lifestyle changes that promote gradual and consistent weight loss, rather than resorting to crash diets or extreme measures. Here are some key principles for achieving healthy weight loss:
1.Set Realistic Goals: Aim for a weight loss of 1-2 pounds per week. Rapid weight loss can be unhealthy and difficult to maintain.
2.Balanced Diet: Focus on consuming a balanced diet that includes a variety of nutrient-dense foods such as fruits, vegetables, whole grains, lean proteins, and healthy fats. Avoid or limit processed foods, sugary drinks, and high-calorie snacks.
3.Portion Control: Pay attention to portion sizes and practice mindful eating. Use smaller plates and be mindful of hunger and satiety cues to avoid overeating.
4.Regular Meals: Don't skip meals, especially breakfast. Eating regular, balanced meals throughout the day helps maintain stable blood sugar levels and prevents excessive hunger.
5.Hydration: Drink plenty of water throughout the day. Water can help control appetite, support metabolism, and keep you hydrated.
6.Physical Activity: Incorporate regular physical activity into your routine. Aim for a combination of cardiovascular exercises (such as brisk walking, running, or cycling) and strength training to build muscle and increase metabolism.
7.Gradual Changes: Make small, sustainable changes to your eating and exercise habits. Trying to overhaul your entire lifestyle overnight can be overwhelming and unsustainable.
8.Mindful Eating: Pay attention to your eating habits and emotions surrounding food. Eat slowly, savor each bite, and listen to your body's hunger and fullness signals.
9.Get Adequate Sleep: Aim for 7-9 hours of quality sleep each night. Sufficient sleep promotes a healthy metabolism, reduces cravings, and supports overall well-being.
10.Seek Support: Consider seeking support from a healthcare professional, registered dietitian, or a support group. They can provide guidance, accountability, and personalized advice based on your specific needs.
Remember, healthy weight loss is a gradual process that requires patience and consistency. It's important to focus on overall well-being rather than just a number on the scale. Consult with a healthcare professional before making any significant changes to your diet or exercise routine, especially if you have any underlying health conditions.
Slimcrystal, Slimcrystal Review, Slimcrystal Reviews, Slimcrystal Side Effects, Slimcrystal Ingredients, Slimcrystal Home Remedies, Slimcrystal Scam, Slimcrystal Legit, Slimcrystal Pills, Slimcrystal Consumer Report, Slimcrystal Amazon, Slimcrystal Walmart, Slimcrystal Price, Slimcrystal Customer Review
www.mid-day.com/brand-media/article/slimcrystal-reviews-c...
The Spring 2023 PantherPalooza/Student Involvement Fair was held on January 24, 2023, in the MLK Jr. University Union. (Brejona Hutchinson)
Colorado State University's Student Leadership Involvement and Community Engagement program organizes the 31st annual Cans Around the Oval food drive for the Food Bank for Larimer County, October 18, 2017.
The Spring 2023 PantherPalooza/Student Involvement Fair was held on January 24, 2023, in the MLK Jr. University Union. (Brejona Hutchinson)
Project Renewal, an effort to inspire community involvement to renovate local Boys and Girls Clubs in Delaware, is gaining momentum in the Greater Smyrna-Clayton area.
At an event on May 16th, event organizers Bill and Mary Jane Willis and Rick and Esther Downes brought together many of their friends and colleagues, including many from the Smyrna School District (including Superintendent of Schools Debbie Wicks) to raise awareness of the need to renovate the Club to better serve the children. Many of the kids who are members of the local Boys and Girls Club are also students in the Smyrna School District.
Rick Downes and Bill Willis have graciously agreed to co-chair a campaign to raise $350,000 within the greater Smyrna-Clayton community that will be matched dollar for dollar by the Boys and Girls Club statewide capital campaign effort.
The greater Smyrna-Clayton Boys and Girls Club is housed in a former Armory building that needs many improvements, including a new gym floor, electrical, HVAC, and lighting.
To get involved, please contact the Greater Smyrna-Clayton Boys and Girls Club: 302-659-5610.
The Student Involvement Fair, inside and outside of Social Hall, showcased the many opportunities for extra curricular enrichment both inside and outside of the NMH community.
kiln accident involving two guinomi. i had both on shells, one flew off during the firing and got stuck on the other. two guinomi is better than one !
This set involves a quick run we made down I35 in mid November. We were running late and decided that the quickest path was required for the day. This is the first time I've had the D600 on an I35 run. We are on the I35 now and D600 is impressing me with the ability to pull scenes shot I was never able to get with the D80.
For those interested in the shot setting be sure to check out the picture info section.
Enjoy
Luminance HDR 2.3.0 tonemapping parameters:
Operator: Mantiuk08
Parameters:
Luminance Level: Auto
Color Saturation: 1
Contrast Enhancement: 1
------
PreGamma: 0.64
Community-Based Fire Prevention and Peatland Restoration Phase 2. Kayu Ara Permai Village, Siak.
Photo by Perdana Putra/CIFOR-ICRAF
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and a.sanjaya@cgiar.org
Assignment: PCA04 - Juxtaposition
From: Katbphotos
Deadline: October 8, 2007
Mission:
Juxtaposition involves placing two elements within a photo for the purpose of comparing or contrasting them. Elements can be compared by placing side by side, on top or below each other, or layering them in the foreground, background or middleground. Juxtaposition is often a crucial element in street photography. And although this assignment isn't specifically about street photography, it's one of the most challenging ways to use juxtaposition because it cannot be staged.
In addition, I would also challenge each of you to create a photograph that not only satisfies the purpose of this assigment, but can also stand alone outside of the context of the assigment. I think my biggest criticism of the assigments so far is that while many of the photos fit the mission, they cannot stand alone.
explenation
Ok, so this assignment was hard. First for me because English is not my native language and I had never heard of the word Juxtaposition So I had to translate it first. To see what it ment. For the Dutch people who might read this it means Nevenschikking If you would say that in Dutch you would mean two objects in a frame that are the same. And at first I found the examples that were given more like contrasts. It felt like I could not solve it at all but with some heavy debates with some friends over here I guess I figured it out. Maybe it wasn't intended as a litterary translation. Maybe we (the Dutch) do not use the same word for what was ment. I got a lot of ideas in my head what I could photograph after that brainstrom session with my friends but this one just came yesterday morning when I was driving by. Yes, a typical Dutch seen in your eyes I think. The big windmill is the real one. It is a watermill for those who are interested and the small one is a model. This one is used for children to show them what heapens at the top of a windmill. So guys, did I pass or did I miss something in the translation?
Turkey Trip Day 01 - 01.05.2012
Driving from Istanbul involves passing Eastern Thrace (European Turkey) from its eastern extremity to its southwestern one, mostly closely following Marmara Sea coastline. Here’s a quick description of the route: First you should take D-100 or O-3/E80 (motorway/toll-road) to west, generally signed as the direction to ‘Edirne’ in or near Istanbul. Quit the motorway (if you are already on that) in Kınalı exit (follow ‘Tekirdağ’ signs) to D-100, and in the major intersection you’ll soon arrive, take straight road (D-110/E84, again follow ‘Tekirdağ’ signs). Within one and a half to two hours after you left Istanbul, you’ll reach Tekirdağ, the first major city on your route. Note that the blue signs to right (‘Malkara’/’Keşan’) immediately after you enter Tekirdağ will direct you to the ring road, which draws an arch around the city. If you plan to have a meal in this lovely coastal city, you should follow the white ‘Şehir Merkezi’ sign in order to drive through the city. You can find some decent restaurants near the harbour (there are traffic lights nearby). However, with the recent constructions, the ring road has been completely upgraded to motorway standards, so if you are short on time, follow those 'Malkara'/'Keşan' signs. After you left Tekirdağ behind, you’ll pass by Malkara and soon Keşan, in about one hour. In the major crossroad in Keşan, turn left (D-550/E87/E90, follow ‘Gelibolu’/’Çanakkale’ signs). You’ll drive through a mountain pass surrounded by some nice pine woods (slow down around here, as some of the curves are unexpectedly and unforeseenly stiff), and in about 45 minutes after you left Keşan, you’ll pass by Gelibolu town: Although a nice town in itself, this is not where you are heading off to, but rather the town which gave its name to the whole peninsula. In about half an hour after Gelibolu town, you’ll see road signs for the national park (Milli Park) towards right, before reaching Eceabat, which is a few kilometres away. Soon, you’ll arrive to the battlefields. Total dinstance is about 340 km. Expect to drive for at least 4 hours, breaks discluded.
As part of a unit involving Newton's Laws of Physics, eighth grade Get Fit students built cars that specifically worked on Newton's Third law. They had to build a car powered by only a balloon. They were not allowed to use normal wheels so they had to be creative and choose something to make it roll. The car had to go at least five meters. Along with the car they had to design an advertisement that included a bulletin board ad and a written ad that they would put in the newspaper to sell their car.
They will be judged on their salesmanship of their car and the design of the ad and car. The cars were then put to the test in a race in the school gym.
The University of Illinois Springfield hosted its annual Welcome Week Involvement Expo in an effort to get students active on August 29, 2012. The expo featured over 100 student organizations, clubs, community groups, and businesses.
The University of Illinois Springfield hosted its annual Welcome Week Involvement Expo in an effort to get students active on August 29, 2012. The expo featured over 100 student organizations, clubs, community groups, and businesses.
See the film The Curator Lifting Running Competition(2003) by Thierry Geoffroy/Colonel part of the Biennalist
The Curator Lifting Running Competition
23 April - 13 June 2004
Nikolaj, Copenhagen Contemporary Art Center, proudly presents the world premiere of Colonel’s film the curator lifting running competition.
Danish/French artist Colonel’s video from the Venice Biennale 2003 will be shown at Nikolaj’s Cinema. It presents the staging of a competition in which artists raced each other while carrying a curator on their backs. The prize was an admission ticket to the most prestigious party of the Biennale. During a major art event as the Venice Biennale, both artists and curators are subject to hidden rules and mechanisms which must be adhered to in order to obtain a good position in the hierarchy of the art world. With his energetic and humorous video Colonel focusses on these mechanisms and unveils a lobbyistic game which is not merely about creating exhibitions but also about preserving certain privileges.
On the plane:
It begins on the plane from Denmark where the art industry clique has booked the same flight. Colonel hands out flyers, already well underway with his campaign to recruit contestants for the competition.
New film concept:
Colonel uses people who simply happen to be there to film the situations which arise. In so doing they become both witnesses to and participants in the processes of uncovering the hidden mechanisms of the cultural event.
The press:
In Venice Colonel intensifies his endeavours and now involves the journalists so that they may help him spread the word about the upcoming event.
Participants for the competition:
In Venice Colonel goes on to invite artists as well as curators to be a part of the great race.
The party:
Colonel chases invitations to the most coveted parties in order to use them as the first prize of the curator lifting running competition.
The competititon:
During the competition the artist both symbolically and literally becomes the curator’s arms and legs.
For more information on this project, please visit www.colonel.dk
www.emergencyrooms.org/formats.html
About LA BIENNALE DI VENEZIA 2003
Theme:
Dreams and Conflicts. The Dictatorship of the Viewer.
Director:
Francesco Bonami
50. Venice Biennial
15 June - 2 November 2003
If the idea of the large international survey has always been conceived as a whole concept to be fragmented into the visions of the individuals artists, "Dreams and Conflicts" wants art from the autonomy of the different projects to seek in this complexity of ideas the unity that defines the language of contemporary art today.
In the contemporary society the viewers with their presence and absence controls the success of every exhibition and cultural enterprise; in "Dreams and Conflicts" they appear as one of the subjects that contribute to define the structure of the show, the artist, the curator, the viewer.
Along with the artist, the beholder is one of the poles that connecting produce the spark that activate the art work successfully in the social and cultural context.
The dream and the conflict, the total world opposed to its political and geographical fragmentation, the national aspirations in contrast with the international achievements are all elements that will contribute to the making of the Visual Arts Biennale.
"Dreams and Conflicts" will be an exhibition focused at the same time on art as a personal tool of a personal experience and conviviality. A show through which is possible to have access to the complexity of a world made by groups of individuals defined by multiple and diverse necessities. An exhibition constructed with multiple projects to test the strength of that ideal community where the creative process of the contemporary artist is active. Dreams and Conflicts will not be a show about political art but a reflection on the politics of art. The experience of the viewer facing the unique vision of the artist. Two contemporary subjects divided simply by a different gaze.
2003 Awards:
Golden Lion for the best work to Peter Fischli and David Weiss
Golden Lion for an artist under 35 years of age to Oliver Payne and Nick Relph
Prize for Young Italian Art to Avish Kheberhzadeh
Golden Lion for the best national participation to Luxembourg
Golden Lions for Lifetime Achievement to Michelangelo Pistoletto and Carol Rama
artists & participants
Adel Abdessemed, Etti Abergel, Franz Ackermann, Özge Ackkol, Emil Aleksiev, Brooke Alfaro, Victor Alimpiev, Darren Almond, Pawel Althamer, Kai Althoff, Carlos Amorales, Karin Mamma Andersson, Mamma Andersson, Emmanuelle Antille, Isabel Aquilizan, Alfredo & Isabel Aquilizan, Arahmaiani, Irma Arestizabal, Alessandra Ariatti, Art & Language, Micol Assael, Asymptote Architecture, Atelier Bow-Wow, Atelier Fcjz, Kader Attia, Charles Avery, Zeigam Azizov, Yiso BAHC, Maja Bajevic, John Baldessari, Shigeru Ban, Matthew Barney, Matteo Basile, Carlos Basualdo, Taysir Batniji, Ute Meta Bauer, Thomas Bayrle, Marie-Claude Beaud, Avner Ben-Gal, Samta Benyahia, Chiara Bertola, Ariane Beyn, Zarina Bhimji, Nuri Bilge Ceylan, Daniel Birnbaum, Dara Birnbaum, Sylvie Blocher, Stefano Boeri, Inaki Bonillas, Ecke Bonk, World Bookstore, Frank Bowling, Kristina Braein, Sergej Bratkow, Glenn Brown, Fernando Bryce, Angela Bulloch, Bettina M. Busse, Jean-Marc Bustamante, Pash Buzari, Pedro Cabrita Reis, Aline Caillet, Canton Express, Cao Fei, Maria Fernanda Cardoso, Jota Castro, Maurizio Cattelan, Ergin Cavusoglu, Carolina Caycedo, Tony Chakar, Nikos Charalambidis, Clifford Charles, Thompson Cheyney, Pitso Chinzima, Dadang Christanto, Santiago Cirugeda, Cliostraat, Paolo Colombo, Vitamin Creative Space, Alice Creischer, Abraham Cruzvillegas, Minerva Cuevas, Alexandre da Cunha, Beatrice Cussol, Boris Cvjetanovic, Josef Dabernig, Jonas Dahlberg, Colin Darke, Gabriela Dauerer, François Daune, Catherine David, Enrico David, Kate Davis, Verne Dawson, Berlinde De Bruyckere, Anna de Manincor, Amicale de Temoins, Tacita Dean, Jeremy Deller, Thomas Demand, Gu Dexin, Paola Di Bello, Fan Dian, Thea Djordjadze, Nico Dockx, Trisha Donnelly, Heri Dono, Stanislaw Drozdz, Dubossarsky & Vinogradov, Sam Durant, Jimmie Durham, Leif Elggren, Olafur Eliasson, Elizabeth Diller + Ricardo Scofidio, Michael Elmgreen, Elmgreen & Dragset, F5, Julia Fabenyi, Juan-Pedro Fabra Guemberena, Josette Faidit, Rotimi Fani-Kayode, Hassan Fathy, Didier Faustino, Flavio Favelli, Hans-Peter Feldmann, Urs Fischer, Fischli/Weiss, Vadim Fishkin, Ceal Floyer, Marina Fokidis, Alicia Framis, Yona Friedman, Jesus Fuenmayor, Meschac Gaba, Giuseppe Gabellone, Ellen Gallagher, Gego, Isa Genzken, Ghazel, Carmit Gil, Gilbert & George, Liam Gillick, Gimhongsoh, Massimiliano Gioni, Bruno Gironcoli, Felix Gmelin, Robert Gober, Leon Golub, Fernanda Gomes, Dominique Gonzalez-Foerster, Dryden Goodwin, Douglas Gordon, Amit Goren, Tomislav Gotovac, Dan Graham, Rodney Graham, Francesca Grassi, Hannah Greely, Joseph Grigely, Massimo Grimaldi, Caracas Group, Grupo de Arte Callejero, Gruppo A12, Hakan Gürsoytrak, Graham Gussin, Daniel Guzman, Thea Gvetadze, Veliswa Gwintsa, Hans Haacke, Henrik Håkansson, Mathew Hale, David Hammons, Kevin Hanley, Hou Hanru, Rachel Harrison, Yuko Hasegawa, Jeppe Hein, Michal Helfman, Heman Chong, Liu Heng, Jose Antonio Hernandez-Diez, Sandi Hilal, Nikolaus Hirsch, Thomas Hirschhorn, Damien Hirst, Candida Höfer, Hans Hollein, Carsten Höller, Karl Holmqvist, Katie Holten, Kim Hong-Hee, Roni Horn, Wong Hoy Cheong, Hu Fang, Alfons Hug, Carlos Hugo Levinton, Marine Hugonnier, Pierre Huyghe, Gül Ilgaz, IRWIN, Arata Isozaki, Joo Jae-Hwan, Piotr Janas, Koo Jeong-A, Jiang Zhi, Liu Jianhua, Duan Jianyu, Fu Jie, Yang Jiechang, Jin Jiangbo, Sture Johannesson, John M. Johansen, Liang Juhui, Jean-Paul Jungmann, Tamara K.E., Ilya Kabakov, Emilia Kabakov, Ilya & Emilia Kabakov, Momoya Kaijima, Xenia Kalpaktsoglou, Gülsün Karamustafa, David Kareyan, Avish Khebrehzadeh, Ian Kiaer, Abbas Kiarostami, Sora Kim, Martin Kippenberger, Eva Koch, Jakob Kolding, Michal Kolecek, Julius Koller, Rem Koolhaas, Valery Koshlyakov, Sakarin Krue-On, Erkki Kurenniemi, Gabriel Kuri, Surasi Kusolwong, Athanasia Kyriakakos, Kyupi-Kyupi, Luisa Lambri, Moshekwa Langa, Michel Lasserre, Laylah Ali, Chris Ledochowski, Daniel Lee, Lee Mingwei, Yan Lei And Fu Jie, Yuri Leiderman, Robert Leonard, Kamin Lertchaiprasert, Simon Leung, Mikael Levin, Borges Libreria, Lin Yilin, Armin Linke, Little Warsaw, Hilary Lloyd, Marcos Lora Read, Liisa Lounila, Sarah Lucas, Maria Luz Cardenas, M/M (Paris), Beral Madra, Marko Mäetamm, Janus Magazine, Calin Man, Dusan Mandic, Valerie Mannaerts, Marepe, Kerry James Marshall, Rosa Martinez, Bruce Mau, Lucy McKenzie, Steve McQueen, Cildo Meireles, Jonas Mekas, Salem Mekuria, Annette Messager, Gustav Metzger, Henry Meyric Hughes, Linda Michael, Beatriz Milhazes, Helen Mirra, Viktor Misiano, Miran Mohar, Andrei Monastyrski, Agnieszka Morawinska, Marco Moretti, Jean-Luc Moulene, Pavel Mrkus, Rabih Mroue, Sabah Naim, Deimantas Narkevicius, Monica Narula, Moataz Nasr, Molly Nesbit, Rivane Neuenschwander, Jun Nguyen-Hatsushiba, Carsten Nicolai, Charly Nijensohn, Ou Ning, Shelley Niro, Nils Norman, Hans Ulrich Obrist, Tomas Ochoa, Oda Projesi, Motohiko Odani, Chris Ofili, Kaido Ole, Antonio Ole, Oliver Payne & Nick Relph, Paulina Olowska, Roman Ondak, Mareaperto Onlus, Yoko Ono, Ana Opalic, Roman Opalka, Gabriel Orozco, Fernando Ortega, Damian Ortega, Olumuyiwa Olamide Osifuye, Tsuyoshi Ozawa, Alfred Pacquement, Lygia Pape, Claude Parent, Philippe Parreno, Jennifer Pastor, Oliver Payne, Yan Peiming, Marko Peljhan, Rafael Pereira, Alexandre Perigot, Manfred Pernice, Diego Perrone, Zsolt Petranyi, Alessandro Petti, Patricia Piccinini, Monica Pignatti Morano, Michelangelo Pistoletto, Paola Pivi, Magnus Plessen, Neriman Polat, Apinan Poshyananda, Marjetica Potrc, Bettina Pousttchi, Richard Prince, Florian Pumhösl, Tawatchai Puntusawasdi, Feng Qianyu, Ma Qingyun, Jorge Queiroz, Walid Raad, Edi Rama, Carol Rama, Raqs Media Collective, Charles Ray, Tobias Rehberger, Nick Relph, Rosangela Renno, Pedro Reyes, David Robbins, Pia Roenike, Fernando Romero, Martha Rosler, Sara Rossi, Natascha Rossi, Michal Rovner, Aida Ruilova, Ruri, Karl S. Chu, Walid Sadek, Anri Sala, Andrea Salvino, Tisna Sanjaya, Tomas Saraceno, Bojan Sarcevic, Günes Savas, Andrej Savski, Markus Schinwald, Christoph Schlingensief, Dana Schutz, Uwe Schwarzer, Paul Seawright, Tino Sehgal, Shuddhabrata Sengupta, Nebojsa Seric-Soba, Randa Shaath, Shirana Shahbazi, Michael Shaowanasai, Chen Shaoxiong, Wael Shawky, Lu Shengzhong, Shimabuku, Wang Shu, Shu Lea Cheang, Efrat Shvily, Andreas Siekmann, Santiago Sierra, Vasan Sitthiket, Andreas Slominski, Patti Smith, John Smith, Terry Smith, Robert Smithson, Nedko Solakov, Doron Solomons, Yutaka Sone, Sora Kim, Monika Sosnowska, Carola Spadoni, Nancy Spero, Manit Sriwanichpoom, S&P Stanikas, Simon Starling, Utopia Station, Urs Staub, Gerda Steiner & Jörg Lenzlinger, Jana Sterbak, Michael Stevenson, Mladen Stilinovic, Rudolf Stingel, Gio Sumbadze, SUPERFLEX, Viktor Sydorenko, Future Systems, Mika Taanila, Tadaso Takamine, Armando Tanzini, Javier Tellez, Nahum Tevet, The Atlas Group, The Blue Noses, David Thorp, Einer Thorsteinn, Rirkrit Tiravanija, Lincoln Tobier, Vicente Todoli, Milica Tomic, Chen Tong, Jaan Toomik, Nazif Topcuoglu, Rosemarie Trockel, Tatiana Trouve, Su-Mei Tse, Tsang Tsou-Choi, Nobuko Tsuchiya, Patrick Tuttofuoco, Uglycute, Piotr Uklanski, Roman Uranjek, Campement Urbain, Uteque, Jeanne van Heeswijk, Joep van Lieshout, Erik van Lieshout, Zaneta Vangeli, Marc Vog, Borut Vogelnik, Carl Michael von Hausswolff, Amelie von Wulffen, Richard Wentworth, Made Wianta, Fred Wilson, Rein Wolfs, Paul Wong, Richard Woods, Xu Tan, Paola Yacoub, Paola Yacoub & Michel Lasserre, Yan Lei, Yang Fudong, Yangjiang Group, Secil Yersel, Sha Yeya, Lu Yi, Yang Yong, Huang Yong Ping, Young-Hae Chang HEAVY INDUSTRIES, Yung Ho Chang, Tamas Zanko, Zeigam Azizov / Stuart Hall, Zhan Wang, Zhang Peili, Zheng Guogu, Zhu Jia, Marian Zhunin, Dolores Zinny & Juan Maidagan, Konstantin Zvezdochetov
curators
Miquel Barcelo , Louise Bourgeois , Alan Bowman , Enzo Cucchi , Wim Delvoye , Cerith Wyn Evans , Charlotte Ginsborg , Julian Heynen , Bethan Huws , Marja Kanervo , Kasper König , Oleg Kulik , Lois Renner , Jan Saudek , Shozo Shimamoto , Vittorio Urbani
—----
0th International Art Exhibition
18 special exhibitions:
venues: Arsenale, Giardini di Castello, Museo Correr
"Dreams and Conflicts. The dictatorship of the Viewer"
curators: Francesco Bonami, Carlos Basualdo, Daniel Birnbaum, Catherine David, Massimiliano Gioni, Hou Hanru, Molly Nesbit, Hans Ulrich Obrist, Gabriel Orozco, Gilane Tawadros, Rirkrit Tiravanija, Igor Zabel
"Bruchlinien: Zeitgenössische afrikanische Kunst und sich verschiebende Landschaften"
Laylah Ali, Kader Attia, Samta Benyahia, Zarina Bhimji, Frank Bowling, Clifford Charles, Pitso Chinzima, Rotimi Fani-Kayode, Hassan Fathy, Veliswa Gwintsa, Moshekwa Langa, Salem Mekuria, Moataz Nasr, Sabah Naim, Gilane Tawadros
"Z.O.U. - Zone of Urgency"
Yung Ho Chang amp; Atelier FCJZ, Adel Abdessemed, Alfredo Juan Aquilizan, Maria Isabel Aquilizan, Atelier Bow-Wow, Momoya Kaijima, Campement Urbain, Canton Express6nbsp;, Jota Castro, Young-Hae Chang, Heavy Industries, Shu Lea Cheang, Heri Dono, Gu Dexin, Huang Yong Ping, Joo Jae-Hwan, Sora Kim amp; Gimhongsoh, Surasi Kusolwong, Kyupi-Kyupi, Jun Nguyen-Hatsushiba, Tsuyoshi Ozawa, Tadaso Takamine, Tsang Tsou-choi, Wong Hoy Cheong, Yan Lei amp; Fu Jie, Yan Pei-Ming, Yang Zhengzhou, Zhang Peili, Zhu Jia / Hou Hanru
"Die Überlebensstruktur"
Grupo de Arte Callejero , Andreas Siekmann, Alice Creischer, Marepe, Yona Friedman, Muyiwa Osifuye, Rachel Harrison, Antonio Ole, Juan Maidagan, Dolores Zinny, Carolina Caycedo, Fernanda Gomes, Mikael Levin, Marjetica Potrc / Carlos Basualdo
"Contemporary Arab Representations"
The Atlas Group, Walid Ra´ad, Taysir Batniji, Tony Chakar, Bilal Khbeiz, Randa Shaath,Paula Yacoub , Michel Lasserre / Catherine David
"Das veränderte Alltägliche"
Abraham Cruzvillegas, Jimmie Durham, Daniel Guzman, Damian Ortega, Fernando Ortega, Jean Luc Moulene / Gabriel Orozco
"Utopia Station"
Molly Nesbit, Hans Ulrich Obrist, Rirkrit Tiravanija, Ariane Beyn, Elena Filopovic, Liz Linden, Francesca Grassi, Uwe Schwarzer
"Clandestines"
Francesco Bonami
"Individuelle Systeme"
Igor Zabel
"Verzögerungen und Revolutionen"
Francesco Bonami, Daniel Birnbaum
"Die Zone"
Massimiliano Gioni
country pavilions
Giardini di Castello: 55 National Pavilons
(artists / curators)
Australien: Patricia Piccinini, Kommissar: Victoria Lynn / Linda Michael
Belgien: Silvie Eyberg, Valerie Mannaerts, Thierry de Duve
Bosnien Herzegovina: Maja Bajevic, Edin Numankadic, Jusuf Hadzifeizovic, Nebojsa Seric-Soba, Edo Hozic, Enver Hadziomerspahic
Brasilien : Beatriz Milhazes, Rosangela Renno, Manoel Francisco Pires da Costa, Alfons Hug-China: Liu Jianhua, Lu Shengzhong, Wang Shu, Yang Fudong, Zhan Wang / Yan Dong , Fan Dian, Wang Yong
Kroatien: Boris Cvjetanovic, Ana Opalic, Leonida Kovac
Tschechische Republik und Slowakische Republik
Kamera skura and Kunst-Fu / Michal Kolecek
Dänemark:Olafur Eliasson, Gitte Orskou
Ägypten: Ahmed Nawar, Mostafa Abdel-Moity
Estland: John Smith, Marko Mäetamm, Kaido Ole, Andreas Härm
Frankreich: Jean-Marc Bustamante / Jean-Pierre Criqui, Alfred Pacquement
Mazedomien: Vana Urosevitch, Zaneta Vangeli / Emil Aleksiev
Georgien Thea Gvetadze amp; Tamara K.E., Levan Chogoshvili, George Gugushvili, Gio Sumbadze / Nana Kipiani, Renata Wiehager, Irena Popiashvili
Deutschland: Candida Höfer, Martin Kippenberger / Julian Heynen
Großbritannien: Chris Ofili / Andrea Rose mit Brendan Giggs, Colin Ledwith
Griechenland : Athanasia Kyriakakos, Dimitris Rotsios Intron / Marina Fokidis, Xenia Kalpaktsoglou, Evie Rotsios
Island: Ruri / Laufey Helgadóttir
Indonesien: Arahmaiani, Dadang Christanto, Tisna Sanjaya, Made Wianta / Sumarti Sarwono, Grace Anna Marie, Amit Sidharta
Iran: Behrooz Daresh, Abbas Kiarostami, Hossein Khosrojerdi, Ahmad Nadalian / Majid Karshenas, Reza Nami
Irland: Katie Holten / Valerie Connor -Israel: Michal Rovner / Mordecahi Omer
Italien: Charles Avery, Avish Khebrehzadeh, Sara Rossi, Carola Spadoni / Pio Baldi, Rudolf Stingel, Paolo Colombo, Monica Pignatti Morano
Japan: Motohiko Odani, Yutaka Sone / Yuko Hasegawa, Miki Okabe, Yoshimi Tsurumi
Kanada: Jana Sterbak / Gilles Godmer
Kenia: Richard Onyango, Armando Tanzini/ Ugo Simonetti
Lettland: Group F5 / LCC / Mara Traumane
Litauen: Samp;P Stanikas / Christian Caujolle, Svajone Stanikiene
Luxemburg: Su-Mei Tse / Marie-Claude Beaud
Niederlande: Carlos Amorales, Alicia Framis, Meschac Gaba, Jeanne van Heeswijk, Erik van Lieshout / Rein Wolfs
Neuseeland: Michael Stevenson / Jenny Gibbs, Boris Kremer, Robert Leonard
Nordische Länder Finnland, Norwegen, Schweden: Karin Mamma Andersson, Kristina Braein, Liisa Lounila / Ute Meta Bauer, Anne Karin Jortveit, Andreas Kroksnes
Österreich: Bruno Gironcoli / Kasper König, Bettina M. Busse
Polen: Stanislaw Drozdz / Agnieszka Morawinska, Pawel Sosnowski
Portugal: Pedro Cabrita Reis / João Fernandes, Vicente Todoli
Republik Armenien: David Kareyan, Eva Khachatrian / Edward Dalassanian
Republik Korea: Whang In Kie, Yiso BAHC, Chung Seoyoung / Kim Hong-Hee -
Republik Slowenien: Ziga Kari/ Jurij Krpan
Rumänien : Calin Man / kinema ikon, Calin Man, Raluca Velisar
Russland: Sergej Bratkow, Dubossarsky & Vinogradov, Valery Koshlyakov, Konstantin Zvezdochetov, Evgeniy Zyablov, Viktor Misiano
Serbien-Montenegro: Milica Tomic, International Exhibition of Modern Art featuring, Museum of Modern Art, New York, National Pavilion / Branislava Andjelkovic -Scotland: Kate Davis -Singapur: Heman Chong, Francis Ng, Swie-Hian Tan / Ching-Lee Goh, Sze-Wee Low
Spanien: Santiago Sierra / Rosa Martinez
Schweiz: Emmanuelle Antille, Gerda Steiner amp; Jörg Lenzlinger / Urs Staub
Thailand: Kamol Phaosavasdi, Tawatchai Puntusawasdi, Michael Shaowanasai, Vasan Sitthiket, Manit Sriwanichpoom, Montri Toemsombat, Sakarin Krue-On / Apinan Poshyananda
Türkei: Nuri Bilge Ceylan, Ergin Cavusoglu, Gül Ilgaz, Neriman Polat, Nazif Topcuoglu / Beral Madra
Ukraine: Viktor Sydorenko / Alexander Fedoruk, Viktor Sydorenko, Alexander Solovyov
Ungarn: Little Warsaw / Julia Fabenyi, Zsolt Petranyi
USA: Fred Wilson / Kathleen Goncharov
Uruguay: Pablo Atchugarry / Carlos Alejandro Barros, Luciano Caramel
Venezuela: Pedro Morales / Maria Luz Cardenas / Dolores Diaz-Benjumea
Italo-Latin-American Institute Irma Arestizabal
Argentinien: Charly Nijensohn
Chile: Eugenia Vargas
Kolumbien: Maria Fernanda Cardoso
Costa Rica: Marisel Jiménez Rittner, Rossella Matamoros, Joaquin Rodríguez del Paso Equador: Tomas Ochoa;
El Salvador: Muriel H. Hasbun; Panama: Brooke Alfaro, Haydee Victoria Suescum; Peru: Fernando Bryce, Gilda Mantella;
Dominikanische Republik: Marcos Lora Read
Zypern: Nikos Charalambidis, Loulli Michelidou, Henry Meyric Hughes
collateral events
"Absolut generations"
Kurator: Herve Landry (Hans Hollein, Lois Renner, Wim Delvoye, Beatrice Cussol, Olivier Gagnere, Rosemarie Troeckel, Thea Djordjadze, Richard Wentworth, Ruth Jarman, Joseph Gerhardt, Louise Bourgeois, Apassio Haronitaki, Enzo Cucchi, Andrea Salvino, Jan Saudek, Miquel Barcelo, Oleg Kulik, The Blue Noses Group, Dan Wolgers)
"Brain Academy Apartment"
Kuratoren: Guglielmo Di Mauro, Emilio Morandi(Shozo Shimamoto, Alan Bowman, Ph2, Klaus Groh, Grupo Sinestetico, Luigi Viola, Elisa Rossi …)
"The Dawn of Dimi"
(Mika Taanila, Pan sonic, Erkki Kurenniemi, Carl Michael von Hausswolff)
"Further: Artists from Wales"
Kurator: Patricia Fleming(Cerith Wyn Evans, Bethan Huws, Simon Pope, Paul Seawright)
"Hungry Ghost Fantasmi Affamati" Kurator: Elspeth Sage (Paul Wong)
"Ilya amp; Emilia Kabakov. Where is your Place?" Kurator: Chiara Bertola
"Inhabit" Kuratoren: Vittorio Urbani, Camilla Seibezzi (Marja Kanervo, Terry Smith)
"Italian Factory La Nuova Scena Artistica Italiana" Kurator: Alessandro Riva (Matteo Basile, Alessandro Bazan, Matteo Bergamasco, Paolo Cassara, Alberto Castelli, Chiara …)
"Limbo Zone" Kurator: Shu-min Lin (Shu Lea Cheang, Daniel Lee, Lee Mingwei, Yuan Goang-ming)
"Fabrio Mauri" Kuratoren: Vittorio Urbani, Gaetano Salerno, Camilla Seibezzi
"Navigating the Dot: Artists from Hong Kong" Kurator: ParaSite Art Space(ParaSite Art Space Collective)
"Pellerossasogna. The Shirt" (Shelley Niro)
"Radar. Contemporary Arts for European Cities" Kurator: Martha Crombie
(Claudia Losi, Scotto di Luzio, Active Men, Natascha Rossi, Steffi Jungling, George Linkov, Svetlana Mircheva, Daniel Banaczeck, Marta Firlet, Marcin Strzelecki, Wojciech Kolek, Anna Tsouloufi, Dionyssis Kavalieratos, Nicos Kanarellis, Angus Wyatt, Charlotte Ginsborg, Monica Biagiloi, Seetha Alagapan)
"The Snow Show" Kuratoren: Hilkka Liikkanen, Unto Käyhkö
"Il Sogno che Risorge dalla Vita" Kurator: Marie-Aimee Tirole (Babara Sillari, Gabriela Dauerer)
"Stopover" Kurator: David Thorp (Graham Gussin, Hilary Lloyd, Richard Woods)
---
Interesting publication for researches on running and art
14 Performances. Relation Work (1976 - 1980). Filmed by Paolo Cardazzo. Marina Abramović/ Ulay. Neuer Berliner Kunstverein, Berlin, Germany.
Abramović, Marina. Student Body: Workshops 1979 - 2003: Performances 1993 - 2003. Milano: ed. Charta, 2003.
Bergson, Henri. Creative Evolution. London: Macmillan and Co., 1911.
Bergson, Henri. Key Writings. Edited by Keith Ansell-Pearson and John Mullarkey. New York:
Continuum, 2002.
Bergson, Henri. Matter and Memory. New York: Zone Books, 1988.
Blaikie, William. “Common Sense Physical Training.” In Athletics and Health: Modern Achievement: Advice and Instruction upon the Conduct of Life, Principles of Business, Care of Health, Duties of Citizenship, etc. Edited by Edward Everett Hale. New York: P.F. Collier & Son, 1902.
Blaikie, William. How to Get Strong and How to Stay So. New York: Harper & Brothers Publishers, 1883.
Cunningham, Merce. Changes: Notes on Choreography. New York: Something Else Press, 1969.
de Balzac, Honoré. The Human Comedy. EBook: Project Gutenberg, 2010. de Balzac, Honoré. Théorie de la démarche. 1833, 1853.
de Biran, Maine. “Opposition du principe de Descartes avec celui d’une science de l’homme. Première base d’une division des faits psychologiques et physiologiques. Perception et sensation animale.” In Maine de Biran. Librairie Philosophique J. VRIN, 1990.
de Tocqueville, Alexis. The Old Regime and the Revolution. New York: Harper & Brothers, Publishers, 1856.
Delaumosne, M. L’Abbe. “The Delsarte System.” Translated by Frances A. Shaw. In Delsarte System of Oratory, 4th Ed. New York: Edgar S. Werner, 1893.
Descartes, René. Méditations metaphysiques. 1641.
Gropius, Walter, and Arthur S. Wensinger, eds. The Theater of the Bauhaus: Oskar Schlemmer, Laszlo Moholy-Nagy, Farkas Molnár. Translated by Arthur S. Wensinger. Middleton, Conn.: Wesleyan University, 1961.
Hahn, Archibald. How to Sprint: The Theory of Spring Racing. New York: American Sports Publishing Company, 1923.
Hegel, Georg Wilhelm Friedrich. Phenomenology of Spirit. Translated by A.V. Miller. Oxford: Oxford University Press, 1977.
Helmholtz, Hermann. “On the Facts Underlying Geometry.” In Epistemological Writings: Hermann von Helmholtz. Edited by R.S. Cohen and Y. Elkana. Boston: D. Reidel Publishing Company, 1977.
Helmholtz, Hermann. Théorie physiologique de la musique fondée sur l’étude des sensations auditives. Paris: Masson, 1868.
Helmholtz, Hermann. Treatise of Physiological Optics (Handbuch der physiologischen Optik) 1856. 3 Volumes. Translated by James P.C. Southall. Milwaukee, 1924.
Holmes, Oliver Wendall. Soundings from the Atlantic. Boston: Tickknor and Fields, 1864. James, William. The Principles of Psychology. New York: Henry Holt & Co, 1890, 1918.
James, William. Writings 1902 - 1910. Edited by Bruce Kuklick. New York: Literary Classics of the United States, 1987.
Kandinsky, Vasily. Über Das Geistige in der Kunst. Dritte Auflage. München: R. Piper&Co, 1912.
Kant, Immanuel. “Was ist Aufklärung?” 1784.
Laban, Rudolf. A Life for Dance: Reminiscences. Translated by Lisa Ullmann. London: Macdonald & Evans, 1975.
Laban, Rudolf. Choreographie. Jena: E. Diederichs, 1926.
Laban, Rudolf. Choreutics. Edited by Lisa Ullmann. London: Macdonald & Evans, 1939, 1966.
Laban, Rudolf. Effort: Economy in Body Movement. 2nd Edition. Boston: Plays, 1947, 1974.
Laban, Rudolf. Principles of Dance and Movement Notation. New York: A Dance Horizons Republication, 1956, 1970.
Laban, Rudolf. The Language of Movement: A Guidebook to Choreutics. Edited by Lisa Ullmann. Boston: Plays, Inc., 1974.
MacKaye, Percy. “Steele Mackaye, Dynamic Artist of the American Theatre; An Outline of his Life Work,” in The Drama. Edited by William Norman Guthrie and Charles Hubbard Sergel. Chicago: The Dramatic Publishing Company, 1911.
Marey, Étienne-Jules. La Machine Animale: Locomotion Terrestre et Aérienne. Paris: Librairie Germer Baillière, 1873.
Marey, Étienne-Jules. Le Vol des Oiseaux. Paris: Libraire de l’académie de médecine, 1890. Marey, Étienne-Jules. Movement. Translated by Eric Pritchard. New York: D. Appleton and
Company, 1895.
Michelet, Jules. The History of France. Volume I. Translated by Walter K. Kelly. London: Chapman and Hall, 1844.
Morgan, Anna. An Hour with Delsarte: A Study of Expression. New York: Edgar S. Werner Publisher, 1891.
Muybridge, Eadweard. Animal Locomotion: An Electro-photographic Investigation of Consecutive Phases of Animal Movements. Philadelphia: University of Pennsylvania and J. B. Lippincott Company, 1887.
Muybridge, Eadweard. Descriptive Zoopraxography, or the Science of Animal Locomotion. Philadelphia: University of Pennsylvania, 1893.
Muybridge, Eadweard. The Attitudes of Animals in Motion: A Series of Photographs Illustrating the Consecutive Positions assumed by Animals in Performing Various Movements; Executed at Palo Alto, California, in 1878 and 1879 (1881). Albumen, Library of Congress, Washington, D.C., Library of Congress.
Muybridge, Eadweard. The Human Figure in Motion. New York: Dover Publications, 1955. Ramsaye, Terry. A Million and One Nights: A History of the Motion Picture. U.K.: Simon and
Schuster, Inc., 1926, 1954.
Richer, Paul. Physiologie Artistique: De l’Homme en Mouvement. Paris: Aulanier et Cie, 1896.
Sanburn, Frederic. Delsartean Scrap-book: Health, Personality, Beauty, House-Decoration, Dress, etc. New York: United States Book Company, c. 1890.
Schlemmer, Oskar. Briefe und Tagebücher: The Letters and Diaries of Oskar Schlemmer. Edited by Tut Schlemmer. Translated by Krishna Winston. Middletown, Conn: Wesleyan University Press, 1972.
Schlemmer, Oskar, and Heimo Kuchling. Der Mensch, Unterricht am Bauhaus. Nachgelassene Aufzeichnungen. Mainz: F. Kupferberg, 1969.
Schuftan, Werner. Handbuch des Tanzes. Preface by Rudolf von Laban. Mannheim: Verlag Deutscher Chorsänger Verband und Tänzerbund, 1928.
Shearman, Sir Montague. Athletics and Football. London: Longmans, Green, and Co., 1888. Smith, Shawn Michelle. At the Edge of Sight: Photography and the Unseen. Durham: Duke
University Press, 2013.
Stebbins, Genevieve. Delsarte System of Expression, 5th Edition. New York: Edgar S. Werner, 1894; orig. 1885.
Talbot, Frederick A. Practical Cinematography and its Applications. London: William Heinemann, 1913.
Wigman, Mary. The Mary Wigman Book: Her Writings. Middletown, CT: Wesleyan University Press, 1975.
Abramović, Marina, et al. Marina Abramović: Seven Easy Pieces. New York: Charta 2007. Acconci, Vito. Language to Cover a Page: The Early Writings of Vito Acconci. Edited by Craig
Dworkin. Cambridge: MIT Press, 2006.
Adolphs, Volker, and Philip Norten. Gehen Bleiben: Bewegung, Körper, Ort in der Kunst der
Gegenwart. Bonn: Kunstmuseum Bonn, 2007.
Agamben, Giorgio. “Movement.” In Dance: Documents of Contemporary Art. Edited André
Lepecki. London: MIT Press and WhiteChapel Gallery, 2012.
Alberro, Alexander, and Blake Stimson, eds. Institutional Critique: An Anthology of Artists’
Writings. Cambridge: MIT Press, 2009.
Albers, Kate Palmer. “Abundant Images and the Collective Sublime.” Exposure. Volume 46,
Issue 2 (Fall 2013).
Allen, Beverly. Rape Warfare: The Hidden Genocide in Bosnia-Herzegovina and Croatia. Minneapolis: University of Minnesota Press, 1996.
Alloway, Lawrence. The Venice Biennale 1895 - 1968: from salon to goldfish bowl. Greenwich, CT: New York Graphic Society LTD., 1968.
Anderson, Ben. “Affect and Biopower: Towards a Politics of Life.” Transactions - Institute of British Geographers, Issue 1 (2011).
Andras, Edit, and Bojana Pejic, eds. Gender Check: Femininity and Masculinity in the Art of Eastern Europe. Cologne: Buchhandlung Walther König, 2009.
Antliff, Mark. Inventing Bergson: Cultural Politics and the Parisian Avant-Garde. Princeton: Princeton University Press, 1992.
Arendt, Hannah. The Human Condition, Second Edition. Chicago: University of Chicago Press, 1958, 1998.
Arendt, Hannah. On Violence. New York: Harcourt Brace, 1969.
Atkins, Dawn, ed. Looking Queer: Body Image and Identity in Lesbian, Bisexual, Gay, and
Transgender Communities. New York: The Haworth Press, 1998.
Ault, Julie, ed. Alternative Art, New York, 1965-1985: A Cultural Politics Book for the Social
Text Collective. Minneapolis: University of Minnesota Press, 2002.
Auslander, Philip. “Going with the Flow: Performance Art and Mass Culture.” TDR. Volume 33,
Number 2 (Summer 1989).
Auslander, Philip. “The Performativity of Performance Documentation.” PAJ 84 (2006).
Backstein, Joseph, and Daniel Birnbaum, Sven-Olov Wallenstein. Thinking Worlds - The Moscow Conference on Philosophy, Politics, and Art. Berlin: Sternberg Press, 2008.
Badovinac, Zdenka. Body and the East: From the 1960s to the Present. Cambridge, Mass.: MIT Press, 1999.
Baer, Ulrich. Spectral Evidence: The Photography of Trauma. Cambridge: MIT Press, 2002. Baker, George. “Entr’acte.” October. Volume 105 (Summer 2003).
Bale, John. Imagined Olympians: Body Culture and Colonial Representations in Rwanda. Minneapolis: University of Minnesota Press, 2002.
Bale, John. Running Cultures: Racing in Time and Space. London: Frank Cass, 2004. Banes, Sally. Democracy’s Body: Judson Dance Theatre, 1962 - 1964. Durham, NC: Duke
University Press, 1993.
Banes, Sally. Terpsichore in Sneakers: Post-Modern Dance, 2nd edition. Middletown, CT: Wesleyan University Press, 1987.
Bartenieff, Irmgard. Body Movement: Coping with the Environment. New York: Routledge, 2002.
Barthes, Roland. Camera Lucida: Reflections on Photography. Translated by Richard Howard. New York: Hill and Wang, 198, 2010.
Barthes, Roland. Mythologies. Translated by Annette Lavers. New York: Hill and Wang, 1972. Batchen, Geoffrey. Burning with Desire: The Conception of Photography. Cambridge: MIT
Press, 1997.
Baudelaire, Charles. The Parisian Prowler, Le Spleen de Paris Petits Poèmes en Prose. Translated by Edward K. Kaplan. Athens: The University of Georgia Press, 1989.
Bauer, M. W. and G. Gaskell. Biotechnology — the Making of a Global Controversy. Cambridge: Cambridge University Press, 2002.
Bayat, Asef. Life as Politics: How Ordinary People Change the Middle East. Amsterdam: Amsterdam University Press, 2010, 2015.
Belaief, Lynne. “Meanings of the Body.” Journal of the Philosophy of Sport. Volume 4, Issue 1 (1977).
Bell, Catherine. Ritual: Perspectives and Dimensions. New York: Oxford University Press, 1997.
Benjamin, Walter. Charles Baudelaire: A Lyric Poet in the Era of High Capitalism. Translated by Harry Zohn. London: Verso, 1997.
Benjamin, Walter. Selected Writings, Volumes 1 - 4. Edited by Howard Eiland and Michael W. Jennings. Cambridge: Belknap Press of Harvard University Press, 2003 - 2006.
Benjamin, Walter. “The Storyteller: Reflections on the Works of Nikolai Leskov.” In Illuminations. Edited by Hannah Arendt. Translated by Harry Zohn. New York: Schocken Books, 2007.
Bennett, Jill. Empathic Vision: Affect, Trauma, and Contemporary Art. Stanford, CA; Stanford University Press, 2005.
Berger, John. About Looking. New York: Pantheon Books, 1980.
Bergson, Henri. Laughter: An Essay on the Meaning of the Comic. Translated by Cloudesley Brereton and Fred Rothwell. New York: The Macmillan Company, 1914.
Bishop, Claire, and Marta Dziewańska, eds. 1968 - 1989: Political Upheaval and Artistic Change. Warsaw: Museum of Modern Art, 2009.
Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso, 2012.
Bishop, Claire. Radical Museology: or, What’s ‘Contemporary’ in Museums of Contemporary Art? London: Koenig Books, 2013.
Black, Graham. Transforming Museums in the Twenty-First Century. New York: Routledge, 2011.
Blaive, Muriel, and Christian Gerbel, Thomas Lindenberger, eds. Clashes in European Memory: The Case of Communist Repression and the Holocaust. Innsbruck: Studienverlag, 2011.
Blassnigg, Martha. Time, Memory, Consciousness and the Cinema Experience: Revisiting Ideas on Matter and Spirit. New York: Rodopi, 2009.
Bloomer, Kent C., and Charles Willard Moore. Body, Memory, and Architecture. New Haven: Yale University Press, 1977.
Boecker, Henning, et. al. “The Runner’s High: Opioidergic Mechanisms in the Human Brain.” Cerebral Cortex. Volume 18, Number 11 (2008).
Bougarel, Xavier, and Elissa Helms, Ger Duijzings, eds. The New Bosnian Mosaic: Identities, Memories and Moral Claims in a Post-War Society. Hampshire, England: Ashgate, 2007.
Bourdieu, Pierre. Outline of a Theory of Practice. Cambridge: Cambridge University Press, 1977.
Bourriaud, Nicolas. Relational Aesthetics. Dijon: Les Presses du réel, 1998, 2002.
Brandstetter, Gabriele. Poetics of Dance: Body, Image and Space in the Historical Avant- Gardes. Translated by Elena Polzer and Mark Franko. Oxford: Oxford University Press, 1995, 2015.
Braudy, Leo, and Marshall Cohen, eds. Film Theory and Criticism: Introductory Readings. New York: Oxford UP, 1999.
Braun, Marta. Eadweard Muybridge. London: Reaktion, 2010.
Braun, Marta. Picturing Time: The Work of Etienne-Jules Marey (1830 - 1904). Chicago:
University of Chicago Press, 1992, 1994.
Brettell, Richard R. Modern Art, 1851 - 1929: Capitalism and Representation. Oxford: Oxford University Press, 1999.
Brooke, J.D., and H.T.A. Whiting, eds. Human Movement - A Field of Study. London: Henry Kimpton Publishers, 1973.
Brown, Keith S., and Yannis Hamilakis, eds. The Usable Past: Greek Metahistories. Lanham, MD: Lexington Books, 2003.
Brunnbauer, Ulf, and Konrad Clewing, eds. Südost-Forschungen. Munich: R. Oldenbourg Verlag, 2008.
Bruno, Giuliana. Atlas of Emotion: Journeys in Art, Architecture, and Film. New York: Verso, 2002.
Bryzgel, Amy. Performing the East: Performance Art in Russia, Latvia, and Poland since 1980. London: I.B. Tauris, 2012.
Buchloh, Benjamin H. D. Neo-Avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975. Cambridge: MIT Press, 2001, 2003.
Buck-Morss, Susan. The Dialectics of Seeing: Walter Benjamin and the Arcades Project. Cambridge: MIT Press, 1991.
Burchell, Graham, and Colin Gordon, Peter Miller, eds. The Foucault Effect: Studies in Governmentality. Chicago: University of Chicago Press, 1991.
Bürger, Peter. Theory of the Avant-Garde. Translated by Michael Shaw. Minneapolis: University of Minnesota Press and Manchester University Press, 1974, 1984.
Butler, Judith. Bodies that Matter: On the Discursive Limits of Sex. New York: Routledge, 1993. Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge,
2006.
Butler, Samuel. Unconscious Memory: A Comparison between the Theory of Dr. Ewald Hering and the ‘Philosophy of the Unconscious’ of Dr. Edward von Hartmann. London: David Bogue, 1880.
Cage, John. Silence: Lectures and Writings. Middletown, CT: Wesleyan University Press, 1961. Campany, David, ed. The Cinematic: Documents of Contemporary Art. Cambridge: MIT Press,
2007.
Canales, Jimena. A Tenth of a Second: A History. Chicago: University of Chicago Press, 2009.
Careri, Francesco. Walkscapes: Walking as an Aesthetic Practice. Translated by Steve Piccolo and Paul Hammond. Barcelona: Editorial Gusavo Gili, 2002.
Carroll, Noël. Theorizing the Moving Image. Cambridge: Cambridge University Press, 1996. Cetinić, Ljiljana, and Ana Panić, eds. Štafete: Titova Štafeta - Štafeta Mladosti, 1945 - 1987.
Belgrade: Tipografik plus, 2008.
Chase, Stuart. Men and Machines. New York: Macmillan Co, 1929.
Christesen, Paul. Sport and Democracy in the Ancient and Modern Worlds. Cambridge: Cambridge University Press, 2012.
Christian, Mary. Marina Abramović: The Artist is Present. New York: The Museum of Modern Art, 2010.
Clark, Kenneth. The Nude: A Study in Ideal Form. New York: Pantheon Books, 1956. Coleman, Simon, and John Eade, eds. Reframing Pilgrimage: Cultures in Motion. London:
Routledge, 2004.
Connerton, Paul. The Spirit of Mourning: History, Memory and the Body. Cambridge: Cambridge University Press, 2011.
Cosgrove, Denis. Geography and Vision: Seeing, Imagining and Representing the World. New York: I.B. Tauris, 2008.
Cottington, David. Cubism in the Shadow of War: The Avant-Garde and Politics in Paris 1905- 1914. New Haven: Yale University Press, 1998.
Crane, Susan, ed. Museums and Memory. Stanford: Stanford University Press, 2000. Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth
Century. Cambridge: MIT Press, 1990.
Crow, Thomas. The Rise of the Sixties: American and European Art in the Era of Dissent.
London: Laurence King Publishing, 1996.
Csiksgentmihalyi, Mihaly. Creativity! Flow and psychology of discovery and invention. New York: Harper Collins, 1996.
Cumming, John. Runners & Walkers: A Nineteenth Century Sports Chronicle. Chicago: Regency Gateway, 1981.
Cvejić, Bojana, and Ana Vujanović. Public Sphere by Performance. Belgrade: b_books, TkH, 2012.
Dagg, Anne Innis. Running, Walking, and Jumping: The Science of Locomotion. New York: Crane, Russak & Company, Inc, 1977.
de Certeau, Michel. The Practice of Everyday Life. Translated by Steven Rendall. Berkeley: University of California Press, 1984, 1988.
de Certeau, Michel. The Writing of History. Translated by Tom Conley. New York: Columbia University Press, 1975, 1988.
de Groote, Pascale. Ballets Suédois: Jean Börlin. Ghent: University of Ghent, 2002.
de Waal, Frans. The Age of Empathy: Nature’s Lessons for a Kinder Society. New York:
Harmony Books, 2009.
Deleuze, Gilles. Cinema 1: The Movement-Image. Minneapolis: University of Minnesota Press, 1986.
Deleuze, Gilles, and Félix Guattari. A Thousand Plateaus. London: Continuum, 1980, 2008. Dewey, John. The Public and its Problems: An Essay in Political Inquiry. Edited by Melvin L.
Rogers. University Park, PA: The Pennsylvania State University, 2012.
di Giovanni, Janine. Madness Visible: A Memoir of War. London: Bloomsbury, 2005.
Djetelić, Pera, and Dragan Maršičević. Narodna Omladina i Jugoslovenski Kongres za Fizičku Kulturu. Beograd: Mladost, 1959.
Djurić, Dubravka, and Miško Šuvaković, eds. Impossible Histories: Historical Avant-gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918 - 1991. Cambridge: MIT Press, 2003.
Donawerth, Jane, ed. Rhetorical Theory by Women before 1900: An Anthology. Lanham, MD: Rowman & Littlefield Publishers, Inc, 2002.
Dörr, Evelyn. Rudolf Laban: The Dancer of the Crystal. Lanham, Maryland: The Rowman & Littlefield Publishing Group, Inc., 2008.
Drakulić, Slavenka. Balkan Express: Fragments from the Other Side of War. London: Hutchinson, 1993.
Drakulić, Slavenka. They Would Never Hurt a Fly: War Criminals on Trial in the Hague. New York: Penguin, 2005.
Drapag, Vesna. Constructing Yugoslavia: A Transnational History. London: Palgrave Macmillan, 2010.
Duncan, Carol. Civilizing Rituals: Inside Public Art Museums. Abingdon: Routledge, 1995. Eamon, Christopher. Rearview Mirror: New Art from Central and Eastern Europe. Edmonton:
Art Gallery of Alberta, 2011.
Eichberg, Henning, ed. Body Cultures: Essays on Sport, Space, and Identity. London, New York: Routledge, 1998.
Elias, Norbert. The Civilizing Process. Sociogenetic and Psychogenetic Investigations. Oxford: Blackwell, 1939, 2000.
Elias, Norbert, and Eric Dunning. Quest for Excitement: Sport and Leisure in the Civilising Process. Dublin: University of College Dublin Press, 2008.
Enwezor, Okwui. Archive Fever: Uses of the Document in Contemporary Art. Göttingen: Steidl Publishers, 2008.
Erjavec, Aleš, ed. Postmodernism and the Postsocialist Condition: Politicized Art under Late Socialism. Berkeley: University of California Press, 2003.
Fer, Briony, and David Batchelor, Paul Wood. Realism, Rationalism, Surrealism: Art Between the Wars. New Haven: Yale University Press, 1993.
Finn, David. How to Visit A Museum. New York: Abrams, 1985.
Fleming, Bruce. Running is Life: Transcending the Crisis of Modernity. Lanham: University
Press of America, Inc, 2010.
Forrester, Sibelan E.S., and Magdalena J. Zaborowska, Elena Gapova, eds. Over the Wall/After the Fall: Post-Communist Cultures Through an East-West Gaze. Bloomington: Indiana University Press, 2004.
Foster, Hal. The Return of the Real: The Avant-Garde at the End of the Century. Cambridge: MIT Press, 1996.
Foster, Hal. “What’s Neo about the Neo-Avant-Garde?” October. Volume 70, The Duchamp Effect (Autumn, 1994), 5 - 32.
Foucault, Michel. Discipline and Punish: The Birth of the Prison. Translated by Alan Sheridan. New York: Vintage Books, Random House, Inc, 1977, 1995.
Foucault, Michel. The History of Sexuality Volume 1. Translated by Robert Hurley. New York: Pantheon Books, 1978.
Foucault, Michel. Power/Knowledge: Selected Interviews & Other Writings, 1972 - 1977. Edited by Colin Gordon. New York: Pantheon Books,1972, 1980.
Fraleigh, Sondra Horton. Dance and the Lived Body: A Descriptive Aesthetics. Pittsburgh: University of Pittsburgh Press, 1987.
Frampton, Hollis. “Eadweard Muybridge: Fragments of a Tesseract.” In On the Camera Arts and Consecutive Matters: The Writings of Hollis Frampton. Cambridge: MIT Press, 2009.
Fried, Michael. Four Honest Outlaws: Sala, Ray, Marioni, Gordon. New Haven: Yale University Press, 2011.
Gallagher, Catherine, and Thomas Laqueur, eds. The Making of the Modern Body: Sexuality and Society in the Nineteenth Century. Berkeley: University of California Press, 1987.
Gamwell, Lynn, ed. Dreams Nineteen Hundred to Two Thousand: Science, Art, and the Unconscious Mind. Binghamton: State University of New York at Binghamton, 2000.
Gay, Peter. Savage Reprisals: Bleak House, Madame Bovary, Buddenbrooks. New York: W.W. Norton & Company, 2002.
Gehm, Sabine, and Pirkko Husemann, Katharina von Wilke, eds. Knowledge in Motion: Perspectives of Artistic and Scientific Research in Dance. Translated by Bettina von Arps- Aubert. Bielefeld: Transcript, 2007.
Genoways, Hugh H., ed. Museum Philosophy for the Twenty-First Century. Oxford: AltaMira Press, 2006.
Geoghegan, Bernard Dionysius. “After Kittler: On the Cultural Techniques of Recent German Media Theory.” Theory Culture Society (August 2013).
Gidal, Peter. Materialist Film. London: Routledge, 1989.
Giedion, Siegfried. Space, Time, and Architecture: The Growth of a New Tradition. Cambridge:
Harvard University Press, 1974.
Godard, Jean-Luc. Godard on Godard. Edited by Jean Narboni and Tom Milne. New York: The Viking Press, 1968, 1972.
Gödl, Doris. “Challenging the Past: Serbian and Croatian Aggressor-Victim Narratives.” International Journal of Sociology 37. No. 1 (2007).
Goldberg, Roselee. Performance: Live Art Since the ‘60s. London: Thames & Hudson, 2004.
Goldberg, Roselee. Performance Art: From Futurism to the Present. London: Thames & Hudson, 2001.
Goldberg, Vicki, ed. Photography in Print: Writings from 1816 to the Present. New York: Simon and Schuster, 1981.
Golding, Sue, ed. The Eight Technologies of Otherness. London: Routledge, 1997. Gotaas, Thor. Running: A Global History. London: Reaktion Books, 2009.
Grau, Andrée, and Stephanie Jordan. Europe Dancing: Perspectives on Theatre, Dance, and Cultural Identity. New York: Routledge, 2000.
Grigorov, Dimitar. “‘Рачунајте на нас.’ ‘Oдломак’ о Титовој штафети или Штафети младости.” In Друштвену историју. Belgrade: 2008.
Grimes, Ronald L. Beginnings in Ritual Studies. Columbia: University of South Carolina Press, 1995.
Groys, Boris. Introduction to Antiphilosophy. Translated by David Fernbach. London: Verso, 2012.
Groys, Boris. The Communist Postscript. Translated by Thomas Ford. London: Verso, 2010. Groys, Boris, and Ann von der Heiden, Peter Weibel, eds. Zurück aus der Zukunft.
Osteuropäische Kulturen im Zeitalter des Postkommunismus. Berlin: Suhrkamp, 2005.
Gržinić, Marina, and Günther Heeg, Veronika Darian. Mind the Map! History is not a Given: A
th th
Critical Anthology Based on the Symposium [Leipzig, 13 -16 October 2005]. Frankfurt:
Revolver, 2006.
Guttman, Allen. “Sport, Politics, and the Engaged Historian.” Journal of Contemporary History. Volume 38, Number 3 (2003).
Hardt, Michael, and Antonio Negri. Empire. Boston, Harvard University Press, 2001. Hargreaves, Jennifer, and Patricia Anne Vertinsky, eds. Physical Culture, Power, and the Body.
New York: Routledge, 2007.
Harris, Mary Emma. The Arts at Black Mountain College. Cambridge: MIT Press, 1987, 2002.
Harte, Jane L., et. al. “The effects of running and meditation on beta-endorphin, corticotropin- releasing hormone and cortisol in plasma, and on mood.” Biological Psychology. Volume 40, Issue 3 (June 1995).
Harte, Jane L., and Georg H. Eifert. “The effects of running, environment, and attentional focus on athletes’ catecholamine and cortisol levels and moods.” Psychophysiology. Volume 32, Issue 1 (January 1995).
Havránek, Vít, ed. Jiří Kovanda: Actions and Installations, 2005-1976. Zurich: Tranzit & JRP|Ringier, 2006.
Helme, Sirje. PopKunst Forever: Estonian Pop Art at the Turn of the 1960s and 1970s. Tallinn: Art Museum of Estonia - Kumu Art Museu, 2010.
Hemmings, Frederick William John, ed. The Age of Realism. Baltimore: Penguin Books, 1974. Hendricks, Gordon. Eadweard Muybridge: The Father of the Motion Picture. New York:
Grossman Publishers, of Viking Press, 1975.
Henning, Michelle. Museums, Media, and Cultural Theory. New York: Open University Press, 2006.
Hewitt, Andrew. Social Choreography: Ideology as Performance in Dance and Everyday Movement. Durham: Duke University Press, 2005.
Higgins, Steven. Still Moving: The Film and Media Collections of the Museum of Modern Art. New York: The Museum of Modern Art, 2006.
Hoberman, John M. “Sport and Political Ideology.” Journal of Sport and Social Issues. Volume 1, Number 2 (1977).
Hodgson, John. Mastering Movement: The Life and Work of Rudolf Laban. New York: Routledge, 2001.
Hoelzl, Ingrid, and Friedrich Tietjen, eds. Images in Motion. Burges: Die Keure, 2012. Husserl, Edmund. The Phenomenology of Internal Time-Consciousness. Edited by Martin
Heidegger. Translated by James S. Churchill. Bloomington: Indiana University Press, 1964.
IRWIN, ed. East Art Map: Contemporary Art and Eastern Europe. London: Afterall and MIT Press, 2006.
Ivey, Paul Eli. Radiance from Halcyon: A Utopian Experiment in Religion and Science. Minneapolis: University of Minnesota Press, 2013.
Jameson, Frederic. Postmodernism, or, The Cultural Logic of Late Capitalism. Durham: Duke University Press,1991.
Janevski, Ana, ed. As Soon as I Open My Eyes I See a Film: Experiment in the Art of Yugoslavia in the 1960s and 1970s. Warsaw: Museum of Modern Art, 2010.
Jarausch, Konrad H., and Michael Geyer. Shattered Past: Reconstructing German Histories. Princeton, NJ: Princeton University Press, 2003.
Jones, Amelia. Body Art/Performing the Subject. Minneapolis: University of Minnesota Press, 1998.
Jones, Amelia, and Adrian Heathfield. Perform, Repeat, Record: Live Art in History. Chicago: University of Chicago Press, 2012.
Jones, Amelia. “The Body and Technology.” Art Journal. Volume 60, Number 1 (Spring, 2001). Joseph, Brandon W. Random Order: Robert Rauschenberg and the Neo-avant-garde.
Cambridge: MIT Press, 2003.
Joy, Jenn. The Choreographic. Cambridge: MIT Press, 2014.
Jünger, Ernst. “War and Photography.” Translated by Anthony Nassar. New German Critique. Number 59 (Spring-Summer, 1993).
Kater, Michael H. Hitler Youth. Cambridge, Mass.: Harvard University Press, 2004. Kebo, Ozren. Sarajevo za početnike. Sarajevo: Dani, 1996.
Kelley, Jeff, ed. Essays on the Blurring of Art and Life. Berkley: University of California Press, 1993, 2003.
Kern, Stephen. The Culture of Time and Space. Cambridge, Mass: Harvard University Press, 1983.
Kester, Grant H. Conversation Pieces: Community and Communication in Modern Art. Berkley: University of California Press, 2004.
Kholeif, Omar. Moving Image. London: Whitechapel, 2015.
Kirkpatrick, Sidney. The Revenge of Thomas Eakins. New Haven: Yale University Press, 2006.
Kirn, Gal, and Dubravka Sekulić, Žiga Testen, eds. Surfing the Black: Yugoslav Black Wave Cinema and its Transgressive Moments. Maastricht: Jan van Eyck Academie, 2012.
Kittler, Friedrich A. Gramophone, Film, Typewriter. Stanford: Stanford University Press, 1999. Klinger, Cornelia, and Bartomeu Mari. Modernologies: Contemporary Artists Researching
Modernity and Modernism. Barcelona: Museu d’Art Contemporani de Barcelona, 2009.
Knell, Simon J., et al., eds. National Museums: New Studies from around the World. New York:
Routledge, 2011.
Knudson, Duane. Fundamentals of Biomechanics, Second Edition. New York: Springer, 2007.
Knust, Albrecht. Handbook of Kinetography Laban: Examples. Hamburg: Das Tanzarchiv, 1958. Koch, Sabine, et al. Body Memory, Metaphor, and Movement. Philadelphia: John Benjamins
Publishing Company, 2012.
Krauss, Rosalind E. “Sculpture in the Expanded Field.” October. Volume 8 (Spring 1979).
Krauss, Rosalind E. The Originality of the Avant-Garde and Other Modernist Myths. Cambridge: MIT Press, 1985.
Kuligowski, Waldemar. “A Relay of Youth of the 21st Century. A Re-enactment of Ritual or a Grotesque Performance?” Cargo. Volume 10, Number 1 - 2 (2012).
Kwon, Miwon. One Place After Another: Site-Specific Art and Locational Identity. Cambridge: MIT Press, 2002.
LaBelle, Brandon. Background Noise: Perspectives on Sound Art. London and New York: Continuum International Publishing Group, 2006.
Lakoff, George, and Mark Johnson. Metaphors We Live By. Chicago: University of Chicago Press, 1980.
Landsberg, Alison. Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture. New York: Columbia University Press, 2004.
Laws, Kenneth, and Francia Russell. Physics and the Art of Dance: Understanding Movement. Oxford: Oxford University Press, 2002.
le Blanc, Guillaume. Courir: Méditations Physiques. Paris: Éditions Flammarion, 2012.
Leahy, Helen Rees. Museum Bodies: The Politics of Practices of Visiting and Viewing. Surrey,
England: Ashgate, 2012.
Lederman, Gail. Manliness and Civilization: A Cultural History of Gender and Race in the
United States, 1880 - 1917. Chicago: The University of Chicago Press, 1995. Lefebvre, Henri. The Production of Space. Oxford: Blackwell, 1991.
Lehman, Arnold L., and Brenda Richardson, eds. Oskar Schlemmer. Baltimore: The Baltimore Museum of Art, 1986.
Lemke, Thomas. Bio-Politics: An Advanced Introduction. Translated by Eric Frederick Trump. New York: New York University Press, 2011.
Lepage, Jean-Denis G.G. Hitler Youth, 1922 - 1945: An Illustrated History. London: McFarland & Company, Inc.,2009.
Lepecki, André, ed. Dance: Documents of Contemporary Art. London: MIT Press and WhiteChapel Gallery, 2012.
Leposavić, Radonja. vlasTito iskustvo. Belgrade: Publikum, 2005.
Licht, Alan. Sound Art: Beyond Music, Between Categories. New York: Rizzoli International
Publications, 2007.
Lippard, Lucy. Six Years: The Dematerialization of the Art Object from 1966 to 1972. Berkley: University of California Press, 1973.
Loland, Sigmund, and Berit Skirstad, Ivan Waddington. Pain and Injury in Sport: Social and Ethical Analysis. New York: Routledge, 2006.
Luthar, Breda, and Maruša Pušnik, eds. Remembering Utopia: The Culture of Everyday Life in Socialist Yugoslavia. Washington, D.C.: New Academia Publishers, 2010.
Mackay, Robin, and Armen Avanessian, eds. #Accelerate: The Accelerationist Reader. Falmouth, UK: Urbanomic, 2014.
Malcolm, Noel. Bosnia: A Short Story. London: MacMillan, 1994.
Maletic, Vera. Body - Space - Expression: The Development of Rudolf Laban’s Movement and
Dance Concepts. Amsterdam: Mouton de Gruyter, 1987.
Marie, Michel. The French New Wave: An Artistic School. Translated by Richard Neupert.
Oxford: Blackwell Publishing, 1997.
Marien, Mary Warner. Photography: A Cultural History. 2nd Edition. London: Laurence King Publishing Ltd, 2002, 2006.
Marks, Laura. Touch: Sensuous Theory and Multisensory Media. Minneapolis: University of Minnesota Press, 2002.
Marvin, Carolyn. When Old Technologies Were New: Thinking about Electric Communication in the Late Nineteenth Century. Oxford: Oxford University Press, 1988.
Mathews, Nancy Mowll. “The Body in Motion.” In Moving Pictures: American Art and Early Film, 1880 - 1910. Manchester, Vermont: Hudson Hills Press, 2005.
Mauss, Marcel. “Techniques of the Body” (1934). In Incorporations, Zone 6. Edited by Jonathan Crary and Sanford Kwinter. New York: Zone, 1992.
Mazower, Mark. Dark Continent: Europe’s Twentieth Century. New York: A.A. Knopf, 1999.
McGinnis, Peter M. Biomechanics of Sport and Exercise, Third Edition. Champaign, IL: Human Kinetics, 2013.
McSorley, Kevin, ed. War and the Body: Militarisation, Practice and Experience. New York: Routledge, 2013.
Meltzer, Eve. Systems We Have Loved: Conceptual Art, Affect, and the Antihumanist Turn. Chicago: The University of Chicago, 2013.
Merleau-Ponty, Maurice. The Phenomenology of Perception. Translated by Colin Smith. London: Routledge and Kegan Paul, 1962, 1989.
Metz, Christian. Film Language: A Semiotics of the Cinema. Translated by Michael Taylor. New York: Oxford University Press, 1974.
Metz, Christian. “Photography and Fetish.” October. Volume 34 (Autumn, 1985).
Meyer, James. Minimalism: Art and Polemics in the Sixties. New Haven: Yale University Press,
Michelson, Annette, ed. Kino-Eye: The Writings of Dziga Vertov. Translated by Kevin O’Brien. Berkeley: University of California Press, 1984.
Mirzoeff, Nicholas, ed. The Visual Culture Reader, Second Edition. New York: Routledge, 1998, 2002.
Mishima, Yukio. Sun and Steel: His Personal Testament on Art, Action, and Ritual Death. New York: Kodansha, 1970.
Mondloch, Kate. Screens: Viewing Media Installation Art. Minneapolis: The University of Minnesota Press, 2010.
Moore, Sarah J. Empire on Display: San Francisco’s Panama-Pacific International Exposition of 1915. Norman, OK: University of Oklahoma Press, 2013.
Morgan, William P. “Affective beneficence of vigorous physical activity.” Medicine and Science in Sports and Exercise. Volume 17, Number 1 (February 1985).
Morse, Meredith. Soft is Fast: Simone Forti in the 1960s and After. Cambridge: MIT Press, 2016.
Mosse, George L. The Image of Man: The Creation of Modern Masculinity. Oxford: Oxford University Press, 1996.
Motherwell, Robert, ed. Dada Painters and Poets. New Haven: Harvard University Press, 1981.
Mozley, Anita Ventura, ed. Eadweard Muybridge: The Stanford Years, 1872 - 1882. San Francisco: Stanford University, 1972.
Mulvey, Laura. Death 24x a Second: Stillness and the Moving Image. London: Reaction books, 2006.
Mumford, Lewis. Technics and Civilization. London: Routledge & Kegan Paul LTD, 1934, 1955.
Muñoz, José Esteban. Disidentifications: Queers of Color and the Performance of Politics. Minneapolis: The University of Minnesota Press, 1999.
Musolff, Andreas. Metaphor, Nation, and the Holocaust: The Concept of the Body Politic. New York: Routledge, 2010.
New Collectivism, ed. Neue Slowenische Kunst. Translated by Marjan Golobič. Hong Kong: Paramount Printing, 1991.
Newman, Michael, and Jon Bird, eds. Rewriting Conceptual Art. London: Reaction Books, 1999. O’Doherty, Brian. Inside the White Cube: The Ideology of the Gallery Space. Berkley:
University of California Press, 1986.
O’Rourke, Karen. Walking and Mapping: Artists as Cartographers. Cambridge: MIT Press, 2013.
Obrist, Hans Ulrich. Do It: The Compendium. New York: Independent Curators International/D.A.P., 2013.
Partsch-Bergsohn, Isa. Modern Dance in Germany and the Untied States: Crosscurrents and Influences. Chur: Harwood Academic Publishers, 1994.
Passerini, Luisa, ed. Memory and Totalitarianism. Oxford: Oxford University Press, 1992. Pavković, Aleksandar. The Fragmentation of Yugoslavia: Nationalism and War in the Balkans,
Second Edition. New York: St. Martin’s Press, 2000.
Pegrum, Mark A. Challenging Modernity: Dada Between Modern and Postmodern. Oxford: Berghahn Books, 2000.
Peiffer, Lorenz. Sport im Nationalsozialismus: Zum aktuellen Stand der sporthistorischen Forschung. Göttingen: Verlag Die Werkstaat, 2004, 2015.
Pejić, Bojana, and David Elliot. After the Wall: Art and Culture in Post-Communist Europe. Stockholm: Moderna Museet, 1999.
Penz, Otto. “Sport and Speed.” International Review for the Sociology of Sport. Volume 25, Number 2 (June 1990).
Peoples, Crocker. “A Psychological Analysis of the ‘Runner’s High’ (Human Performance).” Physical Educator. Volume 40, Number 1 (March 1, 1983).
Perica, Vjekoslav. Balkan Idols: Religion and Nationalism in Yugoslav States. Oxford: Oxford University Press, 2002.
Petrov, Ana. “Telesni projekti i regulacija normativnog tela: uloga fizičke kulture u Jugoslaviji.” Institut za etnologiju i folkloristiku. Issue 51, Number 2 (2014).
Pfister, Gertrud, ed. Gymnastics, A Transatlantic Movement: From Europe to America. New York: Routledge, 2011.
Phelan, Peggy. Unmarked: The Politics of Performance. New York: Routledge, 1993. Phillips, Christopher, ed. Photography in the Modern Era: European Documents and Critical
Writings, 1913 - 1940. New York: The Metropolitan Museum of Art/Aperature, 1990. Phillips, Murray G. Deconstructing Sport History: A Postmodern Analysis. Albany: State
University of New York Press, 2006.
Pissaro, Joachim, et al. Martin Creed: What’s the Point of It? London: Hayward Publishing, 2014.
Piotrowski, Piotr. In the Shadow of Yalta: Art and the Avant-Garde in Eastern Europe, 1945 - 1989. London: Reaktion, 2009.
Preston-Dunlop, Valerie. Rudolf Laban: An Extraordinary Life. London, Dance Books, 1998. Preziosi, Donald. Art Religion Amnesia: The Enchantments of Credulity. New York: Routledge,
Pursell, Caroll. White Heat: People and Technology. Berkley: University of California Press, 1994.
Quercetani, R. L. A World History of Track and Field Athletics 1864-1964. London: Oxford University Press, 1964.
Rabinbach, Anson. The Human Motor: Energy, Fatigue, and the Origins of Modernity. New York: Basic Books, 1990.
Rabinow, Paul, ed. The Foucault Reader. New York: Random House, 1984.
Radstone, Susannah, and Bill Schwarz, Memory: Histories, Theories, Debates. New York: Fordham University Press, 2010.
Rancière, Jacques. Aesthetics and its Discontents. Malden: Polity Press, 2004.
Rancière, Jacques. The Emancipated Spectator. Translated by Gregory Elliot. London: Verso,
Rancière, Jacques. The Politics of Aesthetics: The Distribution of the Sensible. London: Continuum, 2006.
Rees, A.L., and Duncan White, Steven Ball, David Curtis, eds. Expanded Cinema: Art, Performance, Film. London: Tate Publishing, 2011.
Rempel, Gerhard. Hitler’s Children: The Hitler Youth and the SS. Chapel Hill: University of North Carolina Press, 1989.
Richards, Mary. Marina Abramović. New York: Routledge, 2010.
Ricoeur, Paul. Oneself as Another. Translated by Kathleen Blamey. Chicago: University of
Chicago Press, 1992.
Rosa, Hartmut. Beschleunigung und Entfremdung: Entwurf einer Kritischen Theorie
spätmoderner Zeitlichkeit. Berlin: Suhrkamp, 2013.
Rosa, Hartmut, and William E. Scheuerman. High-Speed: Social Acceleration, Power, and
Modernity. University Park, PA: The Pennsylvania State University, 2009.
Rosati, Lauren, and Mary Anne Staniszewski, eds. Alternative Histories: New York Art Spaces,
1960-2010. Cambridge: MIT Press, 2012.
Rosenstone, Robert A., “History in Images/History in Words: Reflections on the Possibility of Really Putting History onto Film.” The American Historical Review. Volume 93. Number 5 (December 1988).
Rossol, Nadine. Performing the Nation in Interwar Germany: Sport, Spectacle, and Political Symbolism, 1926 - 1936. New York: Palgrave Macmillan, 2010.
Roxby-Maude, Alice, On Camera: Performance and Photography. Southampton: John Hansard Gallery, 2007.
Ruyter, Nancy Lee Chalfa. The Cultivation of Body and Mind in Nineteenth-Century American Delsartism. Westport, CT: Greenwood Press, 1999.
Salazar, James B. Bodies of Reform The Rhetoric of Character in Gilded Age America. New York: New York University Press, 2010.
Schechner, Richard. Essays on Performance Theory 1970 - 1976. New York: Drama Book Specialists, 1973, 1977.
Scheerder, Jeroen, and Koen Breedveld, eds. Running Across Europe: The Rise and Size of One of the Largest Sport Markets. New York: Palgrave Macmillan, 2015.
Seckinelgin, H., and Billy Wong, eds. Global Civil Society 2011: Globally and the Absence of Justice. Hampshire: Palgrave Macmillan, 2011.
Sekula, Allan. “The Body and the Archive.” October. Volume 39 (Winter, 1986). Semon, Richard. Die mnemischen Empmfindungen in ihren Beziehungen zu den
Originalempfindungen. Leipzig: W. Engelmann, 1909.
Shawn, Ted. Every Little Movement: A Book About François Delsarte. Pittsfield, MA: The Eagle
Printing and Binding Company, 1954.
Shayt, David H. “Stairway to Redemption: America’s Encounter with the British Prison
Treadmill.” Technology and Culture, Volume 30, Number 4 (Oct. 1989).
Sheridan, Heather, and Leslie Howe, and Keith Thompson, eds. Sporting Reflections: Some
Philosophical Perspectives. Aachen: Meyer & Meyer Verlag, 2007.
Siegmund, Gerald, and Stefan Hölscher, eds. Dance, Politics, and Co-Immunity: Thinking Resistances, Current Perspectives on Politics and Communities in the Arts. Volume 1. Zürich- Berlin: Diaphanes, 2013.
Sileo, Diego, and Eugenio Viola, PAC (Milano), eds. Marina Abramović: The Abramović Method. 2 Volumes. Milan: 24 ORE Cultura, 2012.
Silverman, Kaja. The Subject of Semiotics. New York: Oxford University Press, 1983.
Slevin, Tom. Vision of the Human: Art, World War One and the Modernist Subject. London: I.B.
Tauris, 2015.
Solnit, Rebecca. River of Shadows: Eadweard Muybridge and the Technological Wild West. New York: Viking, 2003.
Solnit, Rebecca. Wanderlust: A History of Walking. London: Verso, 2001.
Sontag, Susan. Against Interpretation and Other Essays. New York: Picador, 1966, 2001. Sontag, Susan. “Fascinating Fascism.” The New York Review of Books (6 February 1975). Sontag, Susan. On Photography. New York: Picador, 1977.
Spieker, Sven. The Big Archive: Art from Bureaucracy. Cambridge: MIT Press, 2008. Stepišnik, Drago. Oris Zgodovine Telesne Kulture na Slovenskem. Ljubljana: Dražavna založba
Slovenija, 1968.
Stipančić, Branka. “‘Zame je resničnost umetnost,’ Intervju s Tomislavom Gotovcem.” Vijenac, Number 123/VI (8 Oct. 1998).
Stoddart, Tom. Sarajevo. Washington, D.C.: Smithsonian Institution Press, 1998.
Stošić, Mirjana. “Body-name — The Brotherhood Chronotype and Social Choreography.”
Култура/Culture (2015).
Suljagić, Emir. Postcards from the Grave. Translated by Lejla Haverić. London: The Bosnian
Institute, 2005.
Sus
Fire involving roof and first floor of domestic property. 6 pumps from Fleet, Rushmoor x3 and Basingstoke x 2 plus their ALP and CSU. The CSU from Eastleigh also attended but was not required.
All photos copyright (c) Ivan Barefield. Not to be used or reproduced without permission
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
The Bulls are larger than than look on T.V.
Bull riding is a rodeo sport that involves a rider getting on a large bull and attempting to stay mounted for at least 8 seconds while the animal attempts to buck off the rider. The rider tightly fastens one hand to the bull with a long braided rope. It is perhaps the most famed and dangerous of all the rodeo sports.
History
As a major component of rodeo, bull riding is thought to have been born in 1869 when two groups of cowboys from neighboring ranches met in Deer Trail, Colorado. The meeting was arranged to settle a dispute over which group was best at general ranch tasks. From this simple competition, rodeo was born.
A pivotal moment for modern bull riding, and rodeo in general, came the Rodeo Cowboy Association (RCA) then the Professional Rodeo Cowboys Association (PRCA). Through this organization many hundreds of rodeos are held each year. Since that time, the popularity of all aspects of the rodeo has risen. In 1995 a separate organization was formed for bull riding alone: The Professional Bull Riders (PBR), which stages a large number of events including the annual PBR World Finals held at the Thomas and Mack Center in Las Vegas, Nevada.
Most professional bull riders start out riding in high school NHSRA and or junior associations. There are several semi-pro associations including the Southern Extreme Bull Riding Association (SEBRA), the North American Bull Riding Association (NABA), and the Professional Championship Bull Riding Tour (PCB). Bull riders compete at these events as they are climbing the ladder to the PBR and to supplement their income.
Rules and Regulations
Each bull has a unique name and number used to identify the bull. A sufficient number of bulls, each judged to be of good strength, health, agility, and age, are selected to perform. The rider and bull are matched randomly before the competition.
A rider mounts a bull and grips a flat braided rope. After he secures a good grip on the rope, the rider announces he is ready. The bucking chute (a small enclosure which opens from the side) is opened and the bull storms out into the arena. The rider must attempt to stay on the bull for at least eight seconds, while only touching the bull with his riding hand. His other hand must remain free for the duration of the ride.
The bull bucks, rears, kicks, spins, and twists in an effort to throw the rider off. This continues for a number of seconds until the rider bucks off or unties after completing his ride. A loud buzzer announces the completion of an eight second ride.
Throughout the ride, bull fighters move about the bull in an effort to influence its movements and enhance the ride. When the ride ends, either intentionally or not, the bull fighters move in to protect the rider from harm.
Many competitions have a format that involves multiple rounds, sometimes called "Go-rounds." Generally, events span two to three nights. The rider is given a chance to ride one bull per night. The total points scored by the end of the event are recorded, and after all riders have ridden once on the final night, the top riders in the event are given a chance to ride one more bull. This final round is called the "Short go". After the end of the short go, the rider with the most total points wins the event.