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Today only 1% of world tourist destinations accounts for Russia. The reason is both transport and visa problems and insufficient development of travel infrastructure. Gradually the situation is changing as the new hotels and resorts are opening in popular destinations. Still the key problems preventing the improvement of travelling popularity of Russia demand decisions that concern legislation changing and supporting the key projects at the federal level.
The project NORTH CAUCASUS RESORTS, which joins several ski complexes in Krasnodar territory, Dagestan, North Ossetia, Karachay-Cherkessia, Adygeya and Kabardino-Balkaria will be presented during the discussion. The instruments for the project realization and the effect of applying them in tourism development in Russia will be considered, as well.
In the end of the discussion an agreement of intentions to realize the project NORTH CAUCASUS RESORTS will be endorsed by representatives of the Ministry for economic development and regional authorities (the representatives are to be specified).
1) How does Russia appear in the world market of tourist services suppliers? What needs to be improved and how can current stereotypes be overcome?
2) How have little-known places become international level resorts and what can be learned from these success stories? What are the preconditions, strategy and tactics for marketing international tourist brands?
3) What are the conditions needed for development of tourism infrastructure in the North Caucasus resorts meeting the international standards? What actions are needed for marketing the project both in Russia and internationally?
4) What conditions can attract Russian and foreign investors to invest into travel infrastructure objects in Russia?
Moderators
* Leonid Kazinets, Chairman of the Board of Directors, BARKLI Corporation
* Svetlana Zhurova, Vice Chairman of the State Duma of the Russian Federation
Panelists
* Alexander Arutyunov, President, VAO Intourist
* Akhmed Bilalov, First Deputy Chairman, Legislative Assembly of the Krasnodar Region
* Vladimir Dmitriev, Chairman, Vnesheconombank State Corporation
* Herman Gref, Chairman of the Board and CEO, Sberbank
* Alexander Khloponin, Deputy Prime Minister of the Russian Federation, Plenipotentiary Envoy of the President of the Russian Federation to the North Caucasian Federal District
* Fawzi Kyriakos-Saad, CEO, Russia, Turkey and the CIS, Credit Suisse
* Gernot Leitner, CEO, MasterConcept Consulting Ltd
* Dmitry Novikov, Chairman, ROSENGINEERING Group of Companies
* Michael Schineis, President, Atomic Austria GmbH
Copyright St.Petersburg International Economic Forum (http://forumspb.com/en/)
Israeli President Shimon Peres held a work meeting today with Austrian Foreign Minister Michael Spindelegger. Over the course of the meeting the two discussed Iran's nuclear ambitions, the peace process with the Palestinians, the state of affairs with Syria, relations with the European Union, and other bilateral issues on the agenda.
President Peres stated at the beginning of the meeting that "the overriding problem today is that of Iran. It's a shadow upon the lights of the countries in the Middle East. And if Iran will not stop to develop its nuclear capacities it means that in a very short time we will have a nuclear Middle East with old conflicts and nuclear bombs. It's the worst combination."
The president added that "Ahmadinejad is today a military dictator. They hang people in the streets, they shoot at the demonstrators unarmed, they support terroristic organization in full daylight, and they threaten to destroy a country. And he goes around like one of the members of the club [of responsible countries]."
Later during the meeting the President said that "a clearer, more conscious voice must come from the western countries. We cannot allow Iran to continue operating with such moral disregard." The President declared that "by taking so long to form a coalition, the western countries demonstrate their weakness, thereby threatening itself and all the free world."
The Austrian Foreign Minister responded in agreement: "Iran is the most important issue. Also in the European Union we understand that after Ahmadinejad’s most recent declarations we have to react. There is no other way."
The Foreign Minister then added that as a non-permanent member of the U.N. Security Council Austria will work towards advancing sanctions against Iran and expects that the council will begin to discuss effective sanctions with no delay. The Foreign Minister also said that at the same time Austria will advance discussion on U.N. sanctions through the framework of the European Union.
The President thanked the Foreign Minister for Austria's clear stance on Iran and said that immediate action is critical to avoid repeating mistakes made in the past.
The Foreign Minister, who arrived two days ago in Israel, updated the President that he will travel next to Syria and Lebanon. The President asked him to deliver the following message: "Tell Syria not to listen to Iran's advice regarding Israel. Israel has no intention of going to war. You can also tell them our clear position - that we are willing to begin direct peace negotiations with no preconditions. We are ready for peace - not peace and war, not peace and Hizbullah." (Photo: GPO)
Testimonies | God’s Words Guide Me to Learn How to Educate My Children (I)
In March 2017, I accepted the gospel of the kingdom of Almighty God . One day in June that year, I saw that the words of Almighty God said: “Besides birth and childrearing, the parents’ responsibility in a child’s life is simply to provide him or her with a formal environment to grow up in, for nothing except the predestination of the Creator has a bearing on a person’s fate. No one can control what kind of future a person will have; it is predetermined long in advance, and not even one’s parents can change one’s fate. As far as fate is concerned, everyone is independent, and everyone has his or her own fate. So no one’s parents can stave off one’s fate in life or exert the slightest influence on the role one plays in life. It could be said that the family into which one is destined to be born, and the environment in which one grows up, are nothing more than the preconditions for fulfilling one’s mission in life. They do not in any way determine a person’s fate in life or the kind of destiny amidst which a person fulfills his or her mission. And so no one’s parents can assist one in accomplishing one’s mission in life, no one’s relatives can help one assume one’s role in life. How one accomplishes one’s mission and in what kind of living environment one performs one’s role are entirely determined by one’s fate in life” (“God Himself, the Unique III” in The Word Appears in the Flesh). When I saw God’s words I realized that although we are the parents of children, we only give birth to them, raise them and provide them with an environment in which to grow. As for what their future will be like, what kind of role they will play and what missions they will fulfill, this is all in God’s hands. It is God who is in charge of their destiny and who determines their future, not their parents. The only thing I can do is to pray to God , entrust my children to God and hope that God guides them to grow. I also reflected on how I treated my children. I always used my abilities to forcibly control and put pressure on my children and whenever I saw my children disobeying, I would sternly scold them, thinking I would change their bad habits and improve their caliber this way. But not only did my children not become obedient and sensible, they actually became more and more rebellious. Now it seems like I did not understand the truth and did not know God’s domination and arrangements, so I could not educate my children, let alone allow them to grow up healthily. I should change my method of educating them and treat them with the proper attitude. After this, when my children made mistakes, I talked to them patiently and made them aware of their own wrongdoings. When I saw them bow their heads and stop talking, I did not chide them further. Sometimes they were too naughty and I would punish them a bit and ask them to face the wall and reflect on their actions. Gradually, I found that they were much quieter than before and that they did not hit other children anymore and rarely swore and cursed. When I saw my children starting to develop well, I felt very grateful and knew that this was all because of the words of God and from the bottom of my heart I thanked God!
recommenda to you: tabernacle of God
An endangered black-footed ferret in an outdoor preconditioning pen at the National Black-footed Ferret Conservation Center in Colorado.
Credit: Ben Novak
The lion (Panthera leo) is a member of the family Felidae and one of four "big cats" in the genus Panthera. Reaching 272 kg (600 lb), it is the second-largest cat after the tiger. The mane of the male lion, unique amongst cats, is one of the most distinctive characteristics of the species. It makes the lion appear larger, providing an excellent intimidation display; this aids the lion during confrontations with other lions and with the species' chief competitor in Africa, the spotted hyena. The presence, absence, color, and size of the mane is associated with genetic precondition, sexual maturity, climate and testosterone production; the rule of thumb is the darker and fuller the mane, the healthier the lion. (Source: Wikipedia)
Roma communities are typically among the region’s poorest, lacking adequate housing and living conditions, formal employment, and access to quality education and healthcare, according to UNDP’s Regional Roma study.
Formal employment is often a precondition to be eligible for some forms of social protection. Many Roma are engaged only in informal labor, like gathering trash or selling used clothes. In addition, many lack necessary identity documentation, but can’t obtain them without legal addresses
Selvet Elez, 22, helps run the family business, sewing traditional wedding clothes in Shutka, a Roma municipality outside Skopje. Each outfit goes for 100 to 250 euro and can be made in one day. "I plan to stay here and work in the shop, " he said.
Photo: Jodi Hilton / UNDP
Ford used a complete electric drive train developed and supplied by Magna International, and the advanced lithium-ion battery system is being engineered by Ford in cooperation with supplier Compact Power, Inc., a subsidiary of LG Chem. A full recharge using the car's 6.6 kW charger takes 3–4 hours using a SAE J1772-2009 charging station powered from a standard 240 volt socket. A 120-volt convenience cord is also included allowing recharging from North American standard 120-volt outlets which could take up to 20 hours.
The advanced battery system uses an active liquid cooling and heating thermal management system to precondition and regulate the temperature in the battery system. This feature helps to maximize battery life and driving range. The active liquid system heats or chills a coolant before pumping it through the battery cooling system. This loop regulates temperature throughout the system against external conditions. On a hot day the cooled liquid absorbs heat from the battery pack, dispersing it through a radiator before pumping it through the chiller again. On a cold day the heated liquid warms the batteries, gradually bringing the system’s temperature to a level that allows it to efficiently accept charge energy and provide enough discharge power for expected vehicle performance
Roma communities are typically among the region’s poorest, lacking adequate housing and living conditions, formal employment, and access to quality education and healthcare, according to UNDP’s Regional Roma study.
Formal employment is often a precondition to be eligible for some forms of social protection. Many Roma are engaged only in informal labor, like gathering trash or selling used clothes. In addition, many lack necessary identity documentation, but can’t obtain them without legal addresses.
Semina, 21, works in her family's curtain shop in Shutka, a Roma majority municipality in Macedonia. Her father, who is also a member of the well-known music group Shutka Roma Rap works as a tailor to supplement the family income.
Photo: Jodi Hilton / UNDP
Roma communities are typically among the region’s poorest, lacking adequate housing and living conditions, formal employment, and access to quality education and healthcare, according to UNDP’s Regional Roma study.
Formal employment is often a precondition to be eligible for some forms of social protection. Many Roma are engaged only in informal labor, like gathering trash or selling used clothes. In addition, many lack necessary identity documentation, but can’t obtain them without legal addresses.
Ali Kokorri, 22, using a flashlight outside the shack he shares with his partner and two-month old baby on the outskirts of Belgrade.
Photo: Jodi Hilton / UNDP
Roma communities are typically among the region’s poorest, lacking adequate housing and living conditions, formal employment, and access to quality education and healthcare, according to UNDP’s Regional Roma study.
Formal employment is often a precondition to be eligible for some forms of social protection. Many Roma are engaged only in informal labor, like gathering trash or selling used clothes. In addition, many lack necessary identity documentation, but can’t obtain them without legal addresses.
Ali Kokorri, 22, and Fljurija Katunari, 18, live with their two month-old daughter Elvira in a shack on the outskirts of Belgrade.
Photo: Jodi Hilton / UNDP
René François Ghislain Magritte, 21 November 1898 – 15 August 1967) was a Belgian surrealist artist, who became well known for creating a number of witty and thought-provoking images. Often depicting ordinary objects in an unusual context, his work is known for challenging observers' preconditioned perceptions of reality. His imagery has influenced pop art, minimalist art, and conceptual art.
Magritte's earliest paintings, which date from about 1915, were Impressionistic in style. During 1916–1918, he studied at the Académie Royale des Beaux-Arts in Brussels, under Constant Montald, but found the instruction uninspiring. He also took classes at the Académie Royale from the painter and poster designer Gisbert Combaz. The paintings he produced during 1918–1924 were influenced by Futurism and by the figurative Cubism of Metzinger.
From December 1920 until September 1921, Magritte served in the Belgian infantry in the Flemish town of Beverlo near Leopoldsburg. In 1922, Magritte married Georgette Berger, whom he had met as a child in 1913. Also during 1922, the poet Marcel Lecomte showed Magritte a reproduction of Giorgio de Chirico's The Song of Love (painted in 1914). The work brought Magritte to tears; he described this as "one of the most moving moments of my life: my eyes saw thought for the first time." The paintings of the Belgian symbolist painter William Degouve de Nuncques have also been noted as an influence on Magritte, specifically the former's painting The Blind House (1892) and Magritte's variations or series on The Empire of Lights.
In 1922–1923, Magritte worked as a draughtsman in a wallpaper factory, and was a poster and advertisement designer until 1926, when a contract with Galerie Le Centaure in Brussels made it possible for him to paint full-time. In 1926, Magritte produced his first surreal painting, The Lost Jockey (Le jockey perdu), and held his first solo exhibition in Brussels in 1927. Critics heaped abuse on the exhibition.
Depressed by the failure, he moved to Paris where he became friends with André Breton and became involved in the Surrealist group. An illusionistic, dream-like quality is characteristic of Magritte's version of Surrealism. He became a leading member of the movement, and remained in Paris for three years. In 1929 he exhibited at Goemans Gallery in Paris with Salvador Dalí, Jean Arp, de Chirico, Max Ernst, Joan Miró, Picabia, Picasso and Yves Tanguy.
On 15 December 1929 he participated in the last publication of La Revolution Surrealiste No. 12, where he published his essay "Les mots et les images", where words play with images in sync with his work The Treachery of Images.
Galerie Le Centaure closed at the end of 1929, ending Magritte's contract income. Having made little impact in Paris, Magritte returned to Brussels in 1930 and resumed working in advertising.[10] He and his brother, Paul, formed an agency which earned him a living wage. In 1932, Magritte joined the Communist Party, which he would periodically leave and rejoin for several years. In 1936 he had his first solo exhibition in the United States at the Julien Levy Gallery in New York, followed by an exposition at the London Gallery in 1938.
During the early stages of his career, the British surrealist patron Edward James allowed Magritte to stay rent-free in his London home, where Magritte studied architecture and painted. James is featured in two of Magritte's works painted in 1937, Le Principe du Plaisir (The Pleasure Principle) and La Reproduction Interdite, a painting also known as Not to Be Reproduced.
During the German occupation of Belgium in World War II he remained in Brussels, which led to a break with Breton. He briefly adopted a colorful, painterly style in 1943–44, an interlude known as his "Renoir period", as a reaction to his feelings of alienation and abandonment that came with living in German-occupied Belgium.
In 1946, renouncing the violence and pessimism of his earlier work, he joined several other Belgian artists in signing the manifesto Surrealism in Full Sunlight. During 1947–48, Magritte's "Vache period," he painted in a provocative and crude Fauve style. During this time, Magritte supported himself through the production of fake Picassos, Braques, and de Chiricos—a fraudulent repertoire he was later to expand into the printing of forged banknotes during the lean postwar period. This venture was undertaken alongside his brother Paul and fellow Surrealist and "surrogate son" Marcel Mariën, to whom had fallen the task of selling the forgeries. At the end of 1948, Magritte returned to the style and themes of his pre-war surrealistic art.
In France, Magritte's work has been showcased in a number of retrospective exhibitions, most recently at the Centre Georges Pompidou (2016–2017). In the United States his work has been featured in three retrospective exhibitions: at the Museum of Modern Art in 1965, at the Metropolitan Museum of Art in 1992, and again at the Metropolitan Museum of Art in 2013. An exhibition entitled "The Fifth Season" at the San Francisco Museum of Modern Art in 2018 focused on the work of his later years.
Politically, Magritte stood to the left, and retained close ties to the Communist Party, even in the post-war years. However, he was critical of the functionalist cultural policy of the Communist left, stating that "Class consciousness is as necessary as bread; but that does not mean that workers must be condemned to bread and water and that wanting chicken and champagne would be harmful. (...) For the Communist painter, the justification of artistic activity is to create pictures that can represent mental luxury." While remaining committed to the political left, he thus advocated a certain autonomy of art. Spiritually, Magritte was an agnostic.
Popular interest in Magritte's work rose considerably in the 1960s, and his imagery has influenced pop, minimalist, and conceptual art. In 2005 he was 9th in the Walloon version of De Grootste Belg (The Greatest Belgian); in the Flemish version he was 18th.
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Indian Pond is the result of a hydrothermal explosion. Mary Bay, which is nearby, is a more impressive illustration of the same phenomenon.
Norris Basin has an annual "Disruption" that switches the layers of hot and cold water underground. This is one of the preconditions for hydrothermal explosions.
Bison, like honey badger, don't care.
Roma communities are typically among the region’s poorest, lacking adequate housing and living conditions, formal employment, and access to quality education and healthcare, according to UNDP’s Regional Roma study.
Formal employment is often a precondition to be eligible for some forms of social protection. Many Roma are engaged only in informal labor, like gathering trash or selling used clothes. In addition, many lack necessary identity documentation, but can’t obtain them without legal addresses
A recycling center in Shutka. The poorest people often work collecting and recycling plastic, metal, cardboard and glass.
Photo: Jodi Hilton / UNDP
Looks like he's been in a fight or two...
Lions are the only members of the cat family to display obvious sexual dimorphism—that is, males and females look distinctly different. They also have specialized roles that each gender plays in the pride. For instance, the lioness, the hunter, lacks the male's thick cumbersome mane, which would impede her ability to be camouflaged when stalking the prey and create overheating in chases.
The mane of the male lion, unique among cats, is one of the most distinctive characteristics of the species. The color of the male's mane varies from blond to black, generally becoming darker as the lion grows older. It makes the lion appear larger, providing an excellent intimidation display; this aids the lion during confrontations with other lions and with the species' chief competitor in Africa, the spotted hyena. The presence, absence, color, and size of the mane is associated with genetic precondition, sexual maturity, climate, and testosterone production; the rule of thumb is the darker and fuller the mane, the healthier the lion. Sexual selection of mates by lionesses favors males with the densest, darkest mane. Research in Tanzania also suggests mane length signals fighting success in male-male relationships. Darker-maned individuals may have longer reproductive lives and higher offspring survival, although they suffer in the hottest months of the year. In prides including a coalition of two or three males, it is possible that lionesses solicit mating more actively with the males who are more heavily maned. (from Wikipedia)
Kiscelli Museum Budapest
Kiscelli Múzeum - Museum Kiscell
History of the Gallery
FÕVAROSI KÉPTÁR/KISCELLI MUSEUM (MUNICIPAL PICTURE GALLERY) was founded in 1889 as the fine art collection of Budapest. The intention to establish a museum was first worded in 1887. The Museum of Budapest to be housed in the Art Palace in the City Park, was eventually founded in 1899. In the first years the Museum collected works of fine art "related excusively to the city". Around 1909 were given new impetus by mayor Istvan Barczy whose very definte ideas about the art patronage of the capital made changes "in the direction that in a view of a future–to–be municipal gallery the pure aesthetic values of the art objects purchased became more decisive than the subject they present". One of the preconditions of a modern gallery, an ever–expanding collection was ready, but the building to house it took decades to find. The problem was eventually sold with the purchase of the Karolyi Mansion (in 1928), where the new institution, the Municipal Picture Gallery was opened on October 16th 1933. Between the world wars, the Municipal Picture Gallery played an important role in making 19th and 20th century art aviable to the public. After World War II. the MPG was the first receive visitors. In 1949 was stated that "the MPG has collected the best pieces of Hungarian created in these last 150 years which in the future could serve as a basis for the National Gallery". Between 1953–57 the works of art purchased out of "purely aesthetic considerations" merged with the collection of the National Gallery (more than 7000 pieces). From 1963 the MPG began to collect art again in a new place calls Kiscelli Múzeum. As the branch museum of the Budapest Historical Museum collects 20th century fine art, and specialised for contemporary art.
Or should we say, “Look who’s talking about talking?” In the midst of all of the tension going on in the Middle East, it seems like there is a plethora of stories about talking instead of fighting.
Syria
The Assad regime in Syria is now saying that it is finally willing to negotiate with the rebel forces. Nonetheless, the regime has stressed that it will continue fighting those forces until some kind of agreement is reached, if an agreement can be reached.
Egypt
The Muslim Brotherhood-backed President Mahmoud Morsi’s government has been marked by everything from intense rioting, constitutional manipulation, and economic crisis. Just last week the President called for new parliamentary elections beginning in April. However, Mahmoud El Baradei of the National Salvation Front, which is Morsi’s strongest opposition, said, “I called for a parliamentary election boycott in 2010 to expose sham democracy. Today I repeat my call. We will not be part of an act of deception.”
Yemen
President Abdrah Mansur Hadi has requested a meeting with rebels in the south of Yemen. He said that “Dialogue is the only way to solve all the pending issues.” Actually a dialogue was mandated by the UN when it interceded to remove the previous Yemeni president from office. While it is not yet on a scale with the Syrian conflict, protests have been intensifying. President Hadi understands that “there are many good forces that want dialogue, but there are also people with narrow interests that do not want dialogue.”
Israel
Prime Minister Benjamin Netanyahu continues to remain open to talks with the Palestinian Authority with the caveat that talks must begin without preconditions. PA leader Mahmoud Abbas continues to demand a halt to Israeli settlement building before engaging in negotiations. In this writer’s humble opinion, good faith negotiations are always about getting “from where we ‘is’ to where we ought to be.” If the Palestinian cannot agree to begin from where the two sides “is,” it is highly unlikely that they can agree on where they think they ought to end up.
Jeremiah spoke of a time when men would be saying, “Peace, peace, when there is no peace” (6:14). The problem is that the heart of man is sinful and deceitful. There are those who would speak peace to one they are deceiving so that they can get close enough to stab them in the back. Do not be surprised if none of the aforementioned situations results in peace. These are troublesome times that Scripture has taught us to be looking for. The whole world is in turmoil and, one way or another, it all eventually will center on Jerusalem, so we ask you to pray with us, not just for peace, but specifically for the peace of Jerusalem. (Psalm 122:6)
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FOLDS
Robert Seidel
www.robertseidel.com/folds.225.0.html
Lindenau Museum / Altenburg, Germany
18.6.–14.8.2011
// Installation
2-channel video, HD, variable loop on 19th century plaster casts of Kladeos, Kephissos, Belvedere Torso, Seer and the Three Goddesses from the Bernhard August von Lindenau Collection
// Dimension: 7,2 × 1,9 × 2,4 m
// Part of Focus Young Art. 2011
A regional exhibition programme of the Juergen Ponto Foundation for promotion of Young Artists, Frankfurt am Main / www.juergen-ponto-stiftung.de
Documentation EditorFalk Müller
Documentation SoundHeiko Tippelt
PhotographyJürgen M. Pietsch, Christian Seeling
// Artist Statement
The work folds for the Lindenau Museum (Altenburg, Germany) may be understood as a rapprochement with the history of the museum’s collection of plaster casts. I was particularly interested in the ancient, fragmented bodies – how through the loss of limbs they became almost abstract, fragmentary sculptures and yet still disclosed a nearly uncanny vitality. Also noteworthy is that the collection entails sculptures, Greek in origin, that have been replicated time and time again. Hewn from marble and partially painted in color, the originals were repeatedly copied in marble or plaster in different places across centuries, despoiled of color and slurred in detail.
Despite these multiple re-shapings that attend the loss of the original’s memory, new meanings and frictions arise with each copy in each respective present. They are the precondition for over 2400 years of the ongoing revitalization of the legacy of antiquity. The fold, a continually recurring visual and conceptual motif in my works, is for me the pictorial metaphor for these layers and distortions of meaning. In the projection the fold becomes connected to the fragmentary sculptures, swirls around them, makes them flow with bygone colors, protects or clothes them, gives them peace and lets them come alive for a moment, in order then to be stored as a further layer in the sediment of oblivion.
// Monographic Catalog available
FOLDS, Robert Seidel, Lindenau Museum Altenburg, ISBN 978-3-86104-070-0
Israeli President Shimon Peres held a work meeting today with Austrian Foreign Minister Michael Spindelegger. Over the course of the meeting the two discussed Iran's nuclear ambitions, the peace process with the Palestinians, the state of affairs with Syria, relations with the European Union, and other bilateral issues on the agenda.
President Peres stated at the beginning of the meeting that "the overriding problem today is that of Iran. It's a shadow upon the lights of the countries in the Middle East. And if Iran will not stop to develop its nuclear capacities it means that in a very short time we will have a nuclear Middle East with old conflicts and nuclear bombs. It's the worst combination."
The president added that "Ahmadinejad is today a military dictator. They hang people in the streets, they shoot at the demonstrators unarmed, they support terroristic organization in full daylight, and they threaten to destroy a country. And he goes around like one of the members of the club [of responsible countries]."
Later during the meeting the President said that "a clearer, more conscious voice must come from the western countries. We cannot allow Iran to continue operating with such moral disregard." The President declared that "by taking so long to form a coalition, the western countries demonstrate their weakness, thereby threatening itself and all the free world."
The Austrian Foreign Minister responded in agreement: "Iran is the most important issue. Also in the European Union we understand that after Ahmadinejad’s most recent declarations we have to react. There is no other way."
The Foreign Minister then added that as a non-permanent member of the U.N. Security Council Austria will work towards advancing sanctions against Iran and expects that the council will begin to discuss effective sanctions with no delay. The Foreign Minister also said that at the same time Austria will advance discussion on U.N. sanctions through the framework of the European Union.
The President thanked the Foreign Minister for Austria's clear stance on Iran and said that immediate action is critical to avoid repeating mistakes made in the past.
The Foreign Minister, who arrived two days ago in Israel, updated the President that he will travel next to Syria and Lebanon. The President asked him to deliver the following message: "Tell Syria not to listen to Iran's advice regarding Israel. Israel has no intention of going to war. You can also tell them our clear position - that we are willing to begin direct peace negotiations with no preconditions. We are ready for peace - not peace and war, not peace and Hizbullah." (Photofeed: GPO)
René François Ghislain Magritte, 21 November 1898 – 15 August 1967) was a Belgian surrealist artist, who became well known for creating a number of witty and thought-provoking images. Often depicting ordinary objects in an unusual context, his work is known for challenging observers' preconditioned perceptions of reality. His imagery has influenced pop art, minimalist art, and conceptual art.
Magritte's earliest paintings, which date from about 1915, were Impressionistic in style. During 1916–1918, he studied at the Académie Royale des Beaux-Arts in Brussels, under Constant Montald, but found the instruction uninspiring. He also took classes at the Académie Royale from the painter and poster designer Gisbert Combaz. The paintings he produced during 1918–1924 were influenced by Futurism and by the figurative Cubism of Metzinger.
From December 1920 until September 1921, Magritte served in the Belgian infantry in the Flemish town of Beverlo near Leopoldsburg. In 1922, Magritte married Georgette Berger, whom he had met as a child in 1913. Also during 1922, the poet Marcel Lecomte showed Magritte a reproduction of Giorgio de Chirico's The Song of Love (painted in 1914). The work brought Magritte to tears; he described this as "one of the most moving moments of my life: my eyes saw thought for the first time." The paintings of the Belgian symbolist painter William Degouve de Nuncques have also been noted as an influence on Magritte, specifically the former's painting The Blind House (1892) and Magritte's variations or series on The Empire of Lights.
In 1922–1923, Magritte worked as a draughtsman in a wallpaper factory, and was a poster and advertisement designer until 1926, when a contract with Galerie Le Centaure in Brussels made it possible for him to paint full-time. In 1926, Magritte produced his first surreal painting, The Lost Jockey (Le jockey perdu), and held his first solo exhibition in Brussels in 1927. Critics heaped abuse on the exhibition.
Depressed by the failure, he moved to Paris where he became friends with André Breton and became involved in the Surrealist group. An illusionistic, dream-like quality is characteristic of Magritte's version of Surrealism. He became a leading member of the movement, and remained in Paris for three years. In 1929 he exhibited at Goemans Gallery in Paris with Salvador Dalí, Jean Arp, de Chirico, Max Ernst, Joan Miró, Picabia, Picasso and Yves Tanguy.
On 15 December 1929 he participated in the last publication of La Revolution Surrealiste No. 12, where he published his essay "Les mots et les images", where words play with images in sync with his work The Treachery of Images.
Galerie Le Centaure closed at the end of 1929, ending Magritte's contract income. Having made little impact in Paris, Magritte returned to Brussels in 1930 and resumed working in advertising.[10] He and his brother, Paul, formed an agency which earned him a living wage. In 1932, Magritte joined the Communist Party, which he would periodically leave and rejoin for several years. In 1936 he had his first solo exhibition in the United States at the Julien Levy Gallery in New York, followed by an exposition at the London Gallery in 1938.
During the early stages of his career, the British surrealist patron Edward James allowed Magritte to stay rent-free in his London home, where Magritte studied architecture and painted. James is featured in two of Magritte's works painted in 1937, Le Principe du Plaisir (The Pleasure Principle) and La Reproduction Interdite, a painting also known as Not to Be Reproduced.
During the German occupation of Belgium in World War II he remained in Brussels, which led to a break with Breton. He briefly adopted a colorful, painterly style in 1943–44, an interlude known as his "Renoir period", as a reaction to his feelings of alienation and abandonment that came with living in German-occupied Belgium.
In 1946, renouncing the violence and pessimism of his earlier work, he joined several other Belgian artists in signing the manifesto Surrealism in Full Sunlight. During 1947–48, Magritte's "Vache period," he painted in a provocative and crude Fauve style. During this time, Magritte supported himself through the production of fake Picassos, Braques, and de Chiricos—a fraudulent repertoire he was later to expand into the printing of forged banknotes during the lean postwar period. This venture was undertaken alongside his brother Paul and fellow Surrealist and "surrogate son" Marcel Mariën, to whom had fallen the task of selling the forgeries. At the end of 1948, Magritte returned to the style and themes of his pre-war surrealistic art.
In France, Magritte's work has been showcased in a number of retrospective exhibitions, most recently at the Centre Georges Pompidou (2016–2017). In the United States his work has been featured in three retrospective exhibitions: at the Museum of Modern Art in 1965, at the Metropolitan Museum of Art in 1992, and again at the Metropolitan Museum of Art in 2013. An exhibition entitled "The Fifth Season" at the San Francisco Museum of Modern Art in 2018 focused on the work of his later years.
Politically, Magritte stood to the left, and retained close ties to the Communist Party, even in the post-war years. However, he was critical of the functionalist cultural policy of the Communist left, stating that "Class consciousness is as necessary as bread; but that does not mean that workers must be condemned to bread and water and that wanting chicken and champagne would be harmful. (...) For the Communist painter, the justification of artistic activity is to create pictures that can represent mental luxury." While remaining committed to the political left, he thus advocated a certain autonomy of art. Spiritually, Magritte was an agnostic.
Popular interest in Magritte's work rose considerably in the 1960s, and his imagery has influenced pop, minimalist, and conceptual art. In 2005 he was 9th in the Walloon version of De Grootste Belg (The Greatest Belgian); in the Flemish version he was 18th.
René François Ghislain Magritte, 21 November 1898 – 15 August 1967) was a Belgian surrealist artist, who became well known for creating a number of witty and thought-provoking images. Often depicting ordinary objects in an unusual context, his work is known for challenging observers' preconditioned perceptions of reality. His imagery has influenced pop art, minimalist art, and conceptual art.
Magritte's earliest paintings, which date from about 1915, were Impressionistic in style. During 1916–1918, he studied at the Académie Royale des Beaux-Arts in Brussels, under Constant Montald, but found the instruction uninspiring. He also took classes at the Académie Royale from the painter and poster designer Gisbert Combaz. The paintings he produced during 1918–1924 were influenced by Futurism and by the figurative Cubism of Metzinger.
From December 1920 until September 1921, Magritte served in the Belgian infantry in the Flemish town of Beverlo near Leopoldsburg. In 1922, Magritte married Georgette Berger, whom he had met as a child in 1913. Also during 1922, the poet Marcel Lecomte showed Magritte a reproduction of Giorgio de Chirico's The Song of Love (painted in 1914). The work brought Magritte to tears; he described this as "one of the most moving moments of my life: my eyes saw thought for the first time." The paintings of the Belgian symbolist painter William Degouve de Nuncques have also been noted as an influence on Magritte, specifically the former's painting The Blind House (1892) and Magritte's variations or series on The Empire of Lights.
In 1922–1923, Magritte worked as a draughtsman in a wallpaper factory, and was a poster and advertisement designer until 1926, when a contract with Galerie Le Centaure in Brussels made it possible for him to paint full-time. In 1926, Magritte produced his first surreal painting, The Lost Jockey (Le jockey perdu), and held his first solo exhibition in Brussels in 1927. Critics heaped abuse on the exhibition.
Depressed by the failure, he moved to Paris where he became friends with André Breton and became involved in the Surrealist group. An illusionistic, dream-like quality is characteristic of Magritte's version of Surrealism. He became a leading member of the movement, and remained in Paris for three years. In 1929 he exhibited at Goemans Gallery in Paris with Salvador Dalí, Jean Arp, de Chirico, Max Ernst, Joan Miró, Picabia, Picasso and Yves Tanguy.
On 15 December 1929 he participated in the last publication of La Revolution Surrealiste No. 12, where he published his essay "Les mots et les images", where words play with images in sync with his work The Treachery of Images.
Galerie Le Centaure closed at the end of 1929, ending Magritte's contract income. Having made little impact in Paris, Magritte returned to Brussels in 1930 and resumed working in advertising.[10] He and his brother, Paul, formed an agency which earned him a living wage. In 1932, Magritte joined the Communist Party, which he would periodically leave and rejoin for several years. In 1936 he had his first solo exhibition in the United States at the Julien Levy Gallery in New York, followed by an exposition at the London Gallery in 1938.
During the early stages of his career, the British surrealist patron Edward James allowed Magritte to stay rent-free in his London home, where Magritte studied architecture and painted. James is featured in two of Magritte's works painted in 1937, Le Principe du Plaisir (The Pleasure Principle) and La Reproduction Interdite, a painting also known as Not to Be Reproduced.
During the German occupation of Belgium in World War II he remained in Brussels, which led to a break with Breton. He briefly adopted a colorful, painterly style in 1943–44, an interlude known as his "Renoir period", as a reaction to his feelings of alienation and abandonment that came with living in German-occupied Belgium.
In 1946, renouncing the violence and pessimism of his earlier work, he joined several other Belgian artists in signing the manifesto Surrealism in Full Sunlight. During 1947–48, Magritte's "Vache period," he painted in a provocative and crude Fauve style. During this time, Magritte supported himself through the production of fake Picassos, Braques, and de Chiricos—a fraudulent repertoire he was later to expand into the printing of forged banknotes during the lean postwar period. This venture was undertaken alongside his brother Paul and fellow Surrealist and "surrogate son" Marcel Mariën, to whom had fallen the task of selling the forgeries. At the end of 1948, Magritte returned to the style and themes of his pre-war surrealistic art.
In France, Magritte's work has been showcased in a number of retrospective exhibitions, most recently at the Centre Georges Pompidou (2016–2017). In the United States his work has been featured in three retrospective exhibitions: at the Museum of Modern Art in 1965, at the Metropolitan Museum of Art in 1992, and again at the Metropolitan Museum of Art in 2013. An exhibition entitled "The Fifth Season" at the San Francisco Museum of Modern Art in 2018 focused on the work of his later years.
Politically, Magritte stood to the left, and retained close ties to the Communist Party, even in the post-war years. However, he was critical of the functionalist cultural policy of the Communist left, stating that "Class consciousness is as necessary as bread; but that does not mean that workers must be condemned to bread and water and that wanting chicken and champagne would be harmful. (...) For the Communist painter, the justification of artistic activity is to create pictures that can represent mental luxury." While remaining committed to the political left, he thus advocated a certain autonomy of art. Spiritually, Magritte was an agnostic.
Popular interest in Magritte's work rose considerably in the 1960s, and his imagery has influenced pop, minimalist, and conceptual art. In 2005 he was 9th in the Walloon version of De Grootste Belg (The Greatest Belgian); in the Flemish version he was 18th.
René François Ghislain Magritte, 21 November 1898 – 15 August 1967) was a Belgian surrealist artist, who became well known for creating a number of witty and thought-provoking images. Often depicting ordinary objects in an unusual context, his work is known for challenging observers' preconditioned perceptions of reality. His imagery has influenced pop art, minimalist art, and conceptual art.
Magritte's earliest paintings, which date from about 1915, were Impressionistic in style. During 1916–1918, he studied at the Académie Royale des Beaux-Arts in Brussels, under Constant Montald, but found the instruction uninspiring. He also took classes at the Académie Royale from the painter and poster designer Gisbert Combaz. The paintings he produced during 1918–1924 were influenced by Futurism and by the figurative Cubism of Metzinger.
From December 1920 until September 1921, Magritte served in the Belgian infantry in the Flemish town of Beverlo near Leopoldsburg. In 1922, Magritte married Georgette Berger, whom he had met as a child in 1913. Also during 1922, the poet Marcel Lecomte showed Magritte a reproduction of Giorgio de Chirico's The Song of Love (painted in 1914). The work brought Magritte to tears; he described this as "one of the most moving moments of my life: my eyes saw thought for the first time." The paintings of the Belgian symbolist painter William Degouve de Nuncques have also been noted as an influence on Magritte, specifically the former's painting The Blind House (1892) and Magritte's variations or series on The Empire of Lights.
In 1922–1923, Magritte worked as a draughtsman in a wallpaper factory, and was a poster and advertisement designer until 1926, when a contract with Galerie Le Centaure in Brussels made it possible for him to paint full-time. In 1926, Magritte produced his first surreal painting, The Lost Jockey (Le jockey perdu), and held his first solo exhibition in Brussels in 1927. Critics heaped abuse on the exhibition.
Depressed by the failure, he moved to Paris where he became friends with André Breton and became involved in the Surrealist group. An illusionistic, dream-like quality is characteristic of Magritte's version of Surrealism. He became a leading member of the movement, and remained in Paris for three years. In 1929 he exhibited at Goemans Gallery in Paris with Salvador Dalí, Jean Arp, de Chirico, Max Ernst, Joan Miró, Picabia, Picasso and Yves Tanguy.
On 15 December 1929 he participated in the last publication of La Revolution Surrealiste No. 12, where he published his essay "Les mots et les images", where words play with images in sync with his work The Treachery of Images.
Galerie Le Centaure closed at the end of 1929, ending Magritte's contract income. Having made little impact in Paris, Magritte returned to Brussels in 1930 and resumed working in advertising.[10] He and his brother, Paul, formed an agency which earned him a living wage. In 1932, Magritte joined the Communist Party, which he would periodically leave and rejoin for several years. In 1936 he had his first solo exhibition in the United States at the Julien Levy Gallery in New York, followed by an exposition at the London Gallery in 1938.
During the early stages of his career, the British surrealist patron Edward James allowed Magritte to stay rent-free in his London home, where Magritte studied architecture and painted. James is featured in two of Magritte's works painted in 1937, Le Principe du Plaisir (The Pleasure Principle) and La Reproduction Interdite, a painting also known as Not to Be Reproduced.
During the German occupation of Belgium in World War II he remained in Brussels, which led to a break with Breton. He briefly adopted a colorful, painterly style in 1943–44, an interlude known as his "Renoir period", as a reaction to his feelings of alienation and abandonment that came with living in German-occupied Belgium.
In 1946, renouncing the violence and pessimism of his earlier work, he joined several other Belgian artists in signing the manifesto Surrealism in Full Sunlight. During 1947–48, Magritte's "Vache period," he painted in a provocative and crude Fauve style. During this time, Magritte supported himself through the production of fake Picassos, Braques, and de Chiricos—a fraudulent repertoire he was later to expand into the printing of forged banknotes during the lean postwar period. This venture was undertaken alongside his brother Paul and fellow Surrealist and "surrogate son" Marcel Mariën, to whom had fallen the task of selling the forgeries. At the end of 1948, Magritte returned to the style and themes of his pre-war surrealistic art.
In France, Magritte's work has been showcased in a number of retrospective exhibitions, most recently at the Centre Georges Pompidou (2016–2017). In the United States his work has been featured in three retrospective exhibitions: at the Museum of Modern Art in 1965, at the Metropolitan Museum of Art in 1992, and again at the Metropolitan Museum of Art in 2013. An exhibition entitled "The Fifth Season" at the San Francisco Museum of Modern Art in 2018 focused on the work of his later years.
Politically, Magritte stood to the left, and retained close ties to the Communist Party, even in the post-war years. However, he was critical of the functionalist cultural policy of the Communist left, stating that "Class consciousness is as necessary as bread; but that does not mean that workers must be condemned to bread and water and that wanting chicken and champagne would be harmful. (...) For the Communist painter, the justification of artistic activity is to create pictures that can represent mental luxury." While remaining committed to the political left, he thus advocated a certain autonomy of art. Spiritually, Magritte was an agnostic.
Popular interest in Magritte's work rose considerably in the 1960s, and his imagery has influenced pop, minimalist, and conceptual art. In 2005 he was 9th in the Walloon version of De Grootste Belg (The Greatest Belgian); in the Flemish version he was 18th.
Urbex Benelux -
The development of areas is becoming increasingly complex. In fact, 'simple' explanation locations no longer exist. Developments must take into account the environment in which they are realized. The environment and other environmental aspects play an increasing role in this. Often this does not concern a single aspect, such as sound, but a combination of aspects, with each aspect setting its own preconditions for development.
RIPE are a leading manufacturer/supplier of inflatable packers for a wide variety of applications that include but are not limited to Geotechnical & Environmental investigations, Water Wells/Bores, Oil/Gas, Civil & Mining as well as Construction. We also supply the associated ancillary equipment providing a complete system. We are based in Perth, Western Australia but ship world-wide. Feel free to contact us at packers@ripe-packers.com or on (+61 8) 9475 0700 for all your packer related needs..
inspired by peace ... visiting our neighbors, our new friends ... learning and respecting both countries history ...
Info : The Prespa agreement (Greek: Συμφωνία των Πρεσπών, Macedonian: Преспански договор), also known as the Prespes agreement, Prespa accord or Treaty of Prespa, is an agreement reached on 12 June 2018 between Greece and North Macedonia, under the United Nations auspices, resolving a long-standing dispute over the latter's name.
The Greek Prime Minister Alexis Tsipras announced on 12 June 2018 that an agreement had been reached with his Macedonian counterpart Zoran Zaev on the dispute, "which covers all the preconditions set by the Greek side".The proposal would result in the Republic of Macedonia being renamed the Republic of North Macedonia (Macedonian: Република Северна Македонија Greek: Δημοκρατία της Βόρειας Μακεδονίας, with the new name being used for all purposes (erga omnes), that is, domestically, in all bilateral relations and in all regional and international organizations and institutions. The agreement was signed at Lake Prespa, a body of water which forms a partial common border between the Republic of Macedonia, Greece and Albania ...
FOLDS
Robert Seidel
www.robertseidel.com/folds.225.0.html
Lindenau Museum / Altenburg, Germany
18.6.–14.8.2011
// Installation
2-channel video, HD, variable loop on 19th century plaster casts of Kladeos, Kephissos, Belvedere Torso, Seer and the Three Goddesses from the Bernhard August von Lindenau Collection
// Dimension: 7,2 × 1,9 × 2,4 m
// Part of Focus Young Art. 2011
A regional exhibition programme of the Juergen Ponto Foundation for promotion of Young Artists, Frankfurt am Main / www.juergen-ponto-stiftung.de
Documentation EditorFalk Müller
Documentation SoundHeiko Tippelt
PhotographyJürgen M. Pietsch, Christian Seeling
// Artist Statement
The work folds for the Lindenau Museum (Altenburg, Germany) may be understood as a rapprochement with the history of the museum’s collection of plaster casts. I was particularly interested in the ancient, fragmented bodies – how through the loss of limbs they became almost abstract, fragmentary sculptures and yet still disclosed a nearly uncanny vitality. Also noteworthy is that the collection entails sculptures, Greek in origin, that have been replicated time and time again. Hewn from marble and partially painted in color, the originals were repeatedly copied in marble or plaster in different places across centuries, despoiled of color and slurred in detail.
Despite these multiple re-shapings that attend the loss of the original’s memory, new meanings and frictions arise with each copy in each respective present. They are the precondition for over 2400 years of the ongoing revitalization of the legacy of antiquity. The fold, a continually recurring visual and conceptual motif in my works, is for me the pictorial metaphor for these layers and distortions of meaning. In the projection the fold becomes connected to the fragmentary sculptures, swirls around them, makes them flow with bygone colors, protects or clothes them, gives them peace and lets them come alive for a moment, in order then to be stored as a further layer in the sediment of oblivion.
// Monographic Catalog available
FOLDS, Robert Seidel, Lindenau Museum Altenburg, ISBN 978-3-86104-070-0
North American Night
Canadian Wildfire Smoke over Pennsylvania
Shit, driving on the right again. Those trees sure are green outside Fairmount Park. Mundane observations that seem novel. Taking it all in after 36 sleepless hours again. From the Arabian peninsula directly to Philadelphia; that’s already overwhelming when you consider the terrain. Bears tiptoeing around landmines in the Balkans, soon-to-be NATO war games in German airspace, glistening Alpine meadows, Sinai peninsula watercourses dry like obstinate laughlines– time goes on. The vineyards hugging the Rhine and Danube valleys seem a far cry from Saudi prison or the Donetsk trench, also far below this trans Eurasian flight. But if I had been able to open the window blinds, we might have also seen the fires as we came down into Canada, over the Saint Lawrence valley. On this drive from PHL northwest to where the farm fields just begin – the borderlands between Amish country and suburbia– the smoke was still quite high. Just haze. A talking point.
By the next night on Tuesday evening, it rolled in like Mordor. Smell: campfire, mixed in with carcinogens. The remnants of homes, cars, all kinds of choking bullshit. I didn’t get it yet; I was still jetlagged. I tried to jog up to the pumphouse, but doubled over, feeling like what I would imagine asthma is. Up at the reservoir, it’s far darker than it should be. “Fog” draped over the forest hills; an affectwas immediate. God, this is foreboding– the pall set in deeper. A figure at the water’s bend. Bleary eyes. Irritants and dismay; a scarlet tanager singing false hope. A father fishing with his son. This really feels like the end of time.
Wednesday was the day that many of you have seen. New York City turned apocalypse-orange, but in Pennsylvania, it was diffuse yellow and glum grey. The subtlety was worse; driving to Oley with Mom, restive cows chewing cud under a red-orange orb. Graveyards not foggy, but thick with smoke. Like Centralia, it’s another metaphor; we dug too deeply, perturbed Earth’s Carbon Cycle too strongly. Declension spread like butter over the Anthropocene.
The scientist/science teacher in me knows one event can’t be 100% ascribed to human induced climate change. And of course, the preconditioning was there for this fire to get out of control: decades of suppression, a dry spring and summer (and now poised to be an El Niño year), etc. But certainly wildfire intensity and magnitude is projected to increase in most climate change scenarios. “Wet gets wetter, dry gets drier” is usually the maxim; plus, earlier seasonal snowmelt (drier late spring) and increased insect herbivory (dead trees = more tinder) in a hotter world means that we can expect a good deal more of this.
My N95 mask exacerbates my jaw disorder, so I can barely talk. Suffocation, either way.
In the summer of 2012, USFWS Region 6 interns visited the National Black-footed Ferret Conservation Center (NBFFCC) in Colorado to learn how the program reintroduces the endangered Black-footed ferret back into its native habitat.
In this photo, Robyn Bortner (NBFFCC Biologist) feeds the ferrets in their outdoor preconditioning pens!
For more information visit: blackfootedferret.org/
Credit: Jared Martin / USFWS
Kiscelli Múzeum - Museum Kiscell
History of the Gallery
FÕVAROSI KÉPTÁR/KISCELLI MUSEUM (MUNICIPAL PICTURE GALLERY) was founded in 1889 as the fine art collection of Budapest. The intention to establish a museum was first worded in 1887. The Museum of Budapest to be housed in the Art Palace in the City Park, was eventually founded in 1899. In the first years the Museum collected works of fine art "related excusively to the city". Around 1909 were given new impetus by mayor Istvan Barczy whose very definte ideas about the art patronage of the capital made changes "in the direction that in a view of a future–to–be municipal gallery the pure aesthetic values of the art objects purchased became more decisive than the subject they present". One of the preconditions of a modern gallery, an ever–expanding collection was ready, but the building to house it took decades to find. The problem was eventually sold with the purchase of the Karolyi Mansion (in 1928), where the new institution, the Municipal Picture Gallery was opened on October 16th 1933. Between the world wars, the Municipal Picture Gallery played an important role in making 19th and 20th century art aviable to the public. After World War II. the MPG was the first receive visitors. In 1949 was stated that "the MPG has collected the best pieces of Hungarian created in these last 150 years which in the future could serve as a basis for the National Gallery". Between 1953–57 the works of art purchased out of "purely aesthetic considerations" merged with the collection of the National Gallery (more than 7000 pieces). From 1963 the MPG began to collect art again in a new place calls Kiscelli Múzeum. As the branch museum of the Budapest Historical Museum collects 20th century fine art, and specialised for contemporary art.
Some facts about COPD:
Chronic obstructive pulmonary disease or COPD refers to a group of diseases of the lung characterized by cough. COPD is characterized by breathlessness and some common health issues like chronic obstructive bronchitis. The expiration is disabled for both the diseases. Colloquial terms for COPD are "smoker’s lung" and "smokers cough" for the main COPD symptoms. former smokers or the tobacco smoke -exposed people. High concentration of free oxygen radicals in the respiratory tract are caused by smoking. It also affects the body's protective mechanisms and damages the lung. Various kinds of COPD treatments are available today
COPD symptoms that are often found
Cough by COPD is chronic for all patients and it is stable for months or years. Mostly the cough is found in the morning when everyone awakens. The seasonal course of the cough in the fall and winter is often more than in spring and summer. A spatial dependence of the cough (e.g. at work) or the absence of ejection are not typical COPD symptoms and suggest more attention to other diseases. Another main symptom of this disease is expectoration of sputum. The analysis of the quality of the sputum can be a guide to the underlying disease. COPD sputum is generally brown in color and it gets coughed up quite easily. Blood might come out with the sputum in COPD patients. Exertional dyspnea might appear while exercising. The magnitude might increase with the course of the disease and it can sometimes lead to total prevention of movement. Assessing the process of the disease is vital as it is helpful to determine the respective proportions of the constratint. There is chance of bronchial asthma during the exertion process in COPD. COPD treatments should be looked for as soon as you notice any of the symptoms
Commonly used COPD treatments:
COPD treatments are meant for reducing the rate of progress of the disease or stopping it and improving the life of patients. Preconditions for any treatment is to stop the harmful influences. Smoking should be stopped by the patient. Even passive smoking should be avoided. The cessation of smoking is the only way to improve the prognosis of the disease. To monitor the outcome the lung function test spirometry and the 6-minute walk test can be used. The treatment of COPD is done predominantly with inhaled drugs that are administered or powder inhalers. Some electrically operated nebulizers are also used. Bronchodilator drugs are also helpful as they can expand the airways and reduce the resistance. The tone of respiratory muscles are also reduced by them. The length of the airways is controlled by contraction and relaxation. Bronchodilators cause reduction in breathlessness and improve resilience. Bronchodilators used for COPD treatments can be divided into three groups: beta-2 agonists and anticholinergics along with methylxanthines. The drugs are not same in all cases in terms of mechanism which affects the respiratory muscles and then some unwanted effects are occurred. Always try to get medical advices immediately after noticing the COPD symptoms
FOLDS
Robert Seidel
www.robertseidel.com/folds.225.0.html
Lindenau Museum / Altenburg, Germany
18.6.–14.8.2011
// Installation
2-channel video, HD, variable loop on 19th century plaster casts of Kladeos, Kephissos, Belvedere Torso, Seer and the Three Goddesses from the Bernhard August von Lindenau Collection
// Dimension: 7,2 × 1,9 × 2,4 m
// Part of Focus Young Art. 2011
A regional exhibition programme of the Juergen Ponto Foundation for promotion of Young Artists, Frankfurt am Main / www.juergen-ponto-stiftung.de
Documentation EditorFalk Müller
Documentation SoundHeiko Tippelt
PhotographyJürgen M. Pietsch, Christian Seeling
// Artist Statement
The work folds for the Lindenau Museum (Altenburg, Germany) may be understood as a rapprochement with the history of the museum’s collection of plaster casts. I was particularly interested in the ancient, fragmented bodies – how through the loss of limbs they became almost abstract, fragmentary sculptures and yet still disclosed a nearly uncanny vitality. Also noteworthy is that the collection entails sculptures, Greek in origin, that have been replicated time and time again. Hewn from marble and partially painted in color, the originals were repeatedly copied in marble or plaster in different places across centuries, despoiled of color and slurred in detail.
Despite these multiple re-shapings that attend the loss of the original’s memory, new meanings and frictions arise with each copy in each respective present. They are the precondition for over 2400 years of the ongoing revitalization of the legacy of antiquity. The fold, a continually recurring visual and conceptual motif in my works, is for me the pictorial metaphor for these layers and distortions of meaning. In the projection the fold becomes connected to the fragmentary sculptures, swirls around them, makes them flow with bygone colors, protects or clothes them, gives them peace and lets them come alive for a moment, in order then to be stored as a further layer in the sediment of oblivion.
// Monographic Catalog available
FOLDS, Robert Seidel, Lindenau Museum Altenburg, ISBN 978-3-86104-070-0
FOLDS
Robert Seidel
www.robertseidel.com/folds.225.0.html
Lindenau Museum / Altenburg, Germany
18.6.–14.8.2011
// Installation
2-channel video, HD, variable loop on 19th century plaster casts of Kladeos, Kephissos, Belvedere Torso, Seer and the Three Goddesses from the Bernhard August von Lindenau Collection
// Dimension: 7,2 × 1,9 × 2,4 m
// Part of Focus Young Art. 2011
A regional exhibition programme of the Juergen Ponto Foundation for promotion of Young Artists, Frankfurt am Main / www.juergen-ponto-stiftung.de
Documentation EditorFalk Müller
Documentation SoundHeiko Tippelt
PhotographyJürgen M. Pietsch, Christian Seeling
// Artist Statement
The work folds for the Lindenau Museum (Altenburg, Germany) may be understood as a rapprochement with the history of the museum’s collection of plaster casts. I was particularly interested in the ancient, fragmented bodies – how through the loss of limbs they became almost abstract, fragmentary sculptures and yet still disclosed a nearly uncanny vitality. Also noteworthy is that the collection entails sculptures, Greek in origin, that have been replicated time and time again. Hewn from marble and partially painted in color, the originals were repeatedly copied in marble or plaster in different places across centuries, despoiled of color and slurred in detail.
Despite these multiple re-shapings that attend the loss of the original’s memory, new meanings and frictions arise with each copy in each respective present. They are the precondition for over 2400 years of the ongoing revitalization of the legacy of antiquity. The fold, a continually recurring visual and conceptual motif in my works, is for me the pictorial metaphor for these layers and distortions of meaning. In the projection the fold becomes connected to the fragmentary sculptures, swirls around them, makes them flow with bygone colors, protects or clothes them, gives them peace and lets them come alive for a moment, in order then to be stored as a further layer in the sediment of oblivion.
// Monographic Catalog available
FOLDS, Robert Seidel, Lindenau Museum Altenburg, ISBN 978-3-86104-070-0
FOLDS
Robert Seidel
www.robertseidel.com/folds.225.0.html
Lindenau Museum / Altenburg, Germany
18.6.–14.8.2011
// Installation
2-channel video, HD, variable loop on 19th century plaster casts of Kladeos, Kephissos, Belvedere Torso, Seer and the Three Goddesses from the Bernhard August von Lindenau Collection
// Dimension: 7,2 × 1,9 × 2,4 m
// Part of Focus Young Art. 2011
A regional exhibition programme of the Juergen Ponto Foundation for promotion of Young Artists, Frankfurt am Main / www.juergen-ponto-stiftung.de
Documentation EditorFalk Müller
Documentation SoundHeiko Tippelt
PhotographyJürgen M. Pietsch, Christian Seeling
// Artist Statement
The work folds for the Lindenau Museum (Altenburg, Germany) may be understood as a rapprochement with the history of the museum’s collection of plaster casts. I was particularly interested in the ancient, fragmented bodies – how through the loss of limbs they became almost abstract, fragmentary sculptures and yet still disclosed a nearly uncanny vitality. Also noteworthy is that the collection entails sculptures, Greek in origin, that have been replicated time and time again. Hewn from marble and partially painted in color, the originals were repeatedly copied in marble or plaster in different places across centuries, despoiled of color and slurred in detail.
Despite these multiple re-shapings that attend the loss of the original’s memory, new meanings and frictions arise with each copy in each respective present. They are the precondition for over 2400 years of the ongoing revitalization of the legacy of antiquity. The fold, a continually recurring visual and conceptual motif in my works, is for me the pictorial metaphor for these layers and distortions of meaning. In the projection the fold becomes connected to the fragmentary sculptures, swirls around them, makes them flow with bygone colors, protects or clothes them, gives them peace and lets them come alive for a moment, in order then to be stored as a further layer in the sediment of oblivion.
// Monographic Catalog available
FOLDS, Robert Seidel, Lindenau Museum Altenburg, ISBN 978-3-86104-070-0
FOLDS
Robert Seidel
www.robertseidel.com/folds.225.0.html
Lindenau Museum / Altenburg, Germany
18.6.–14.8.2011
// Installation
2-channel video, HD, variable loop on 19th century plaster casts of Kladeos, Kephissos, Belvedere Torso, Seer and the Three Goddesses from the Bernhard August von Lindenau Collection
// Dimension: 7,2 × 1,9 × 2,4 m
// Part of Focus Young Art. 2011
A regional exhibition programme of the Juergen Ponto Foundation for promotion of Young Artists, Frankfurt am Main / www.juergen-ponto-stiftung.de
Documentation EditorFalk Müller
Documentation SoundHeiko Tippelt
PhotographyJürgen M. Pietsch, Christian Seeling
// Artist Statement
The work folds for the Lindenau Museum (Altenburg, Germany) may be understood as a rapprochement with the history of the museum’s collection of plaster casts. I was particularly interested in the ancient, fragmented bodies – how through the loss of limbs they became almost abstract, fragmentary sculptures and yet still disclosed a nearly uncanny vitality. Also noteworthy is that the collection entails sculptures, Greek in origin, that have been replicated time and time again. Hewn from marble and partially painted in color, the originals were repeatedly copied in marble or plaster in different places across centuries, despoiled of color and slurred in detail.
Despite these multiple re-shapings that attend the loss of the original’s memory, new meanings and frictions arise with each copy in each respective present. They are the precondition for over 2400 years of the ongoing revitalization of the legacy of antiquity. The fold, a continually recurring visual and conceptual motif in my works, is for me the pictorial metaphor for these layers and distortions of meaning. In the projection the fold becomes connected to the fragmentary sculptures, swirls around them, makes them flow with bygone colors, protects or clothes them, gives them peace and lets them come alive for a moment, in order then to be stored as a further layer in the sediment of oblivion.
// Monographic Catalog available
FOLDS, Robert Seidel, Lindenau Museum Altenburg, ISBN 978-3-86104-070-0
United Nations, New York, 19 December 2016 - The UN Secretary-General’s Special Representative for Afghanistan called on the international community and all Afghans, including the Taliban, to back a peace process to end the suffering of the Afghan people.
“It takes courage to enter into a peace process,” stressed Tadamichi Yamamoto, who is also the head of the UN Assistance Mission in Afghanistan (UNAMA). “It is not an admission of defeat; it is a recognition of reality,” as an “endless war ruins the country.”
The only path to a meaningful peace, he said, is by Afghans talking directly with Afghans. Mr. Yamamoto urged all parties to the longstanding conflict to identify common interests, and asked for the Taliban to participate in sincere peace talks “without preconditions.”
In his briefing to the UN Security Council, Mr. Yamamoto underscored the urgency of his message by noting that an unprecedented number of Afghans have been displaced this year, with continued fighting taking a devastating toll on civilians.
“In 2016, thousands and thousands of Afghans have been killed in the conflict, and tens of thousands more were wounded,” he said, noting that a better future for Afghanistan is not possible without peace.
“At stake is the future of the Afghan people and the country,” he stressed, imploring the warring parties to come to the table by asking them to consider the human toll of conflict and answer the question: “Is compromise and accommodation really not possible?”
While outlining the dire situation Afghans face, Mr. Yamamoto spoke optimistically about the international will to back Afghanistan’s development. He said he saw “hope in Afghanistan” after key donor conferences in Brussels and Warsaw, and commended the Afghan government for advancing its reform agenda and improving public services.
In closing, the Special Representative outlined steps that could be taken by the government and anti-government elements to move the peace process forward, including through the added participation of women to help shape a lasting peace.
While emphasizing the importance of intra-Afghan dialogue, the Special Representative informed the Security Council that international support remains imperative.
“I am encouraged by the positive messages of support of the regional countries for an Afghan-led peace process, and I look forward to these messages showing positive results,” he said. “I call upon each country of the region to ask itself what more it can do to help create an environment conducive to peace in Afghanistan and the region.”
UN Photo/Manuel Elias.
North American Night
Canadian Wildfire Smoke over Pennsylvania
Shit, driving on the right again. Those trees sure are green outside Fairmount Park. Mundane observations that seem novel. Taking it all in after 36 sleepless hours again. From the Arabian peninsula directly to Philadelphia; that’s already overwhelming when you consider the terrain. Bears tiptoeing around landmines in the Balkans, soon-to-be NATO war games in German airspace, glistening Alpine meadows, Sinai peninsula watercourses dry like obstinate laughlines– time goes on. The vineyards hugging the Rhine and Danube valleys seem a far cry from Saudi prison or the Donetsk trench, also far below this trans Eurasian flight. But if I had been able to open the window blinds, we might have also seen the fires as we came down into Canada, over the Saint Lawrence valley. On this drive from PHL northwest to where the farm fields just begin – the borderlands between Amish country and suburbia– the smoke was still quite high. Just haze. A talking point.
By the next night on Tuesday evening, it rolled in like Mordor. Smell: campfire, mixed in with carcinogens. The remnants of homes, cars, all kinds of choking bullshit. I didn’t get it yet; I was still jetlagged. I tried to jog up to the pumphouse, but doubled over, feeling like what I would imagine asthma is. Up at the reservoir, it’s far darker than it should be. “Fog” draped over the forest hills; an affectwas immediate. God, this is foreboding– the pall set in deeper. A figure at the water’s bend. Bleary eyes. Irritants and dismay; a scarlet tanager singing false hope. A father fishing with his son. This really feels like the end of time.
Wednesday was the day that many of you have seen. New York City turned apocalypse-orange, but in Pennsylvania, it was diffuse yellow and glum grey. The subtlety was worse; driving to Oley with Mom, restive cows chewing cud under a red-orange orb. Graveyards not foggy, but thick with smoke. Like Centralia, it’s another metaphor; we dug too deeply, perturbed Earth’s Carbon Cycle too strongly. Declension spread like butter over the Anthropocene.
The scientist/science teacher in me knows one event can’t be 100% ascribed to human induced climate change. And of course, the preconditioning was there for this fire to get out of control: decades of suppression, a dry spring and summer (and now poised to be an El Niño year), etc. But certainly wildfire intensity and magnitude is projected to increase in most climate change scenarios. “Wet gets wetter, dry gets drier” is usually the maxim; plus, earlier seasonal snowmelt (drier late spring) and increased insect herbivory (dead trees = more tinder) in a hotter world means that we can expect a good deal more of this.
My N95 mask exacerbates my jaw disorder, so I can barely talk. Suffocation, either way.
North American Night
Canadian Wildfire Smoke over Pennsylvania
Shit, driving on the right again. Those trees sure are green outside Fairmount Park. Mundane observations that seem novel. Taking it all in after 36 sleepless hours again. From the Arabian peninsula directly to Philadelphia; that’s already overwhelming when you consider the terrain. Bears tiptoeing around landmines in the Balkans, soon-to-be NATO war games in German airspace, glistening Alpine meadows, Sinai peninsula watercourses dry like obstinate laughlines– time goes on. The vineyards hugging the Rhine and Danube valleys seem a far cry from Saudi prison or the Donetsk trench, also far below this trans Eurasian flight. But if I had been able to open the window blinds, we might have also seen the fires as we came down into Canada, over the Saint Lawrence valley. On this drive from PHL northwest to where the farm fields just begin – the borderlands between Amish country and suburbia– the smoke was still quite high. Just haze. A talking point.
By the next night on Tuesday evening, it rolled in like Mordor. Smell: campfire, mixed in with carcinogens. The remnants of homes, cars, all kinds of choking bullshit. I didn’t get it yet; I was still jetlagged. I tried to jog up to the pumphouse, but doubled over, feeling like what I would imagine asthma is. Up at the reservoir, it’s far darker than it should be. “Fog” draped over the forest hills; an affectwas immediate. God, this is foreboding– the pall set in deeper. A figure at the water’s bend. Bleary eyes. Irritants and dismay; a scarlet tanager singing false hope. A father fishing with his son. This really feels like the end of time.
Wednesday was the day that many of you have seen. New York City turned apocalypse-orange, but in Pennsylvania, it was diffuse yellow and glum grey. The subtlety was worse; driving to Oley with Mom, restive cows chewing cud under a red-orange orb. Graveyards not foggy, but thick with smoke. Like Centralia, it’s another metaphor; we dug too deeply, perturbed Earth’s Carbon Cycle too strongly. Declension spread like butter over the Anthropocene.
The scientist/science teacher in me knows one event can’t be 100% ascribed to human induced climate change. And of course, the preconditioning was there for this fire to get out of control: decades of suppression, a dry spring and summer (and now poised to be an El Niño year), etc. But certainly wildfire intensity and magnitude is projected to increase in most climate change scenarios. “Wet gets wetter, dry gets drier” is usually the maxim; plus, earlier seasonal snowmelt (drier late spring) and increased insect herbivory (dead trees = more tinder) in a hotter world means that we can expect a good deal more of this.
My N95 mask exacerbates my jaw disorder, so I can barely talk. Suffocation, either way.
In the summer of 2012, USFWS Region 6 interns visited the National Black-footed Ferret Conservation Center (NBFFCC) in Colorado to learn how the program reintroduces the endangered Black-footed ferret back into its native habitat.
In this photo, Robyn Bortner (NBFFCC Biologist) feeds the ferrets in their outdoor preconditioning pens!
For more information visit: blackfootedferret.org/
Credit: Jared Martin / USFWS
From Wikipedia:
The Monterey Bay Aquarium (or MBA, founded 1984) is located on the former site of a sardine cannery on Cannery Row on the Pacific Ocean shoreline in Monterey, California. It has an annual attendance of 1.8 million visitors. It holds thousands of plants and animals, representing 623 separate named species on display. The aquarium benefits by a high circulation of fresh ocean water which is obtained through pipes which pump it in continuously from Monterey Bay.
Among the aquarium's numerous exhibits, two are of particular note: The centerpiece of the Ocean's Edge Wing is a 10 meter (33-foot) high 1.3 million liter (1/3 million gallon) tank for viewing California coastal marine life. In this tank, the aquarium was the first in the world to grow live California Giant Kelp using a wave machine at the top of the tank (water movement is a necessary precondition for keeping Giant Kelp, which absorbs nutrients from surrounding water and requires turbidity), allowing sunlight in through the open tank top, and circulation of raw seawater from the Bay.
Roma communities are typically among the region’s poorest, lacking adequate housing and living conditions, formal employment, and access to quality education and healthcare, according to UNDP’s Regional Roma study.
Formal employment is often a precondition to be eligible for some forms of social protection. Many Roma are engaged only in informal labor, like gathering trash or selling used clothes.
In addition, many lack necessary identity documentation, but can’t obtain them without legal addresses
©UNDP /Jodi Hilton
United Nations, New York, 19 December 2016 - The UN Secretary-General’s Special Representative for Afghanistan called on the international community and all Afghans, including the Taliban, to back a peace process to end the suffering of the Afghan people.
“It takes courage to enter into a peace process,” stressed Tadamichi Yamamoto, who is also the head of the UN Assistance Mission in Afghanistan (UNAMA). “It is not an admission of defeat; it is a recognition of reality,” as an “endless war ruins the country.”
The only path to a meaningful peace, he said, is by Afghans talking directly with Afghans. Mr. Yamamoto urged all parties to the longstanding conflict to identify common interests, and asked for the Taliban to participate in sincere peace talks “without preconditions.”
In his briefing to the UN Security Council, Mr. Yamamoto underscored the urgency of his message by noting that an unprecedented number of Afghans have been displaced this year, with continued fighting taking a devastating toll on civilians.
“In 2016, thousands and thousands of Afghans have been killed in the conflict, and tens of thousands more were wounded,” he said, noting that a better future for Afghanistan is not possible without peace.
“At stake is the future of the Afghan people and the country,” he stressed, imploring the warring parties to come to the table by asking them to consider the human toll of conflict and answer the question: “Is compromise and accommodation really not possible?”
While outlining the dire situation Afghans face, Mr. Yamamoto spoke optimistically about the international will to back Afghanistan’s development. He said he saw “hope in Afghanistan” after key donor conferences in Brussels and Warsaw, and commended the Afghan government for advancing its reform agenda and improving public services.
In closing, the Special Representative outlined steps that could be taken by the government and anti-government elements to move the peace process forward, including through the added participation of women to help shape a lasting peace.
While emphasizing the importance of intra-Afghan dialogue, the Special Representative informed the Security Council that international support remains imperative.
“I am encouraged by the positive messages of support of the regional countries for an Afghan-led peace process, and I look forward to these messages showing positive results,” he said. “I call upon each country of the region to ask itself what more it can do to help create an environment conducive to peace in Afghanistan and the region.”
UN Photo/Manuel Elias.
René François Ghislain Magritte, 21 November 1898 – 15 August 1967) was a Belgian surrealist artist, who became well known for creating a number of witty and thought-provoking images. Often depicting ordinary objects in an unusual context, his work is known for challenging observers' preconditioned perceptions of reality. His imagery has influenced pop art, minimalist art, and conceptual art.
Magritte's earliest paintings, which date from about 1915, were Impressionistic in style. During 1916–1918, he studied at the Académie Royale des Beaux-Arts in Brussels, under Constant Montald, but found the instruction uninspiring. He also took classes at the Académie Royale from the painter and poster designer Gisbert Combaz. The paintings he produced during 1918–1924 were influenced by Futurism and by the figurative Cubism of Metzinger.
From December 1920 until September 1921, Magritte served in the Belgian infantry in the Flemish town of Beverlo near Leopoldsburg. In 1922, Magritte married Georgette Berger, whom he had met as a child in 1913. Also during 1922, the poet Marcel Lecomte showed Magritte a reproduction of Giorgio de Chirico's The Song of Love (painted in 1914). The work brought Magritte to tears; he described this as "one of the most moving moments of my life: my eyes saw thought for the first time." The paintings of the Belgian symbolist painter William Degouve de Nuncques have also been noted as an influence on Magritte, specifically the former's painting The Blind House (1892) and Magritte's variations or series on The Empire of Lights.
In 1922–1923, Magritte worked as a draughtsman in a wallpaper factory, and was a poster and advertisement designer until 1926, when a contract with Galerie Le Centaure in Brussels made it possible for him to paint full-time. In 1926, Magritte produced his first surreal painting, The Lost Jockey (Le jockey perdu), and held his first solo exhibition in Brussels in 1927. Critics heaped abuse on the exhibition.
Depressed by the failure, he moved to Paris where he became friends with André Breton and became involved in the Surrealist group. An illusionistic, dream-like quality is characteristic of Magritte's version of Surrealism. He became a leading member of the movement, and remained in Paris for three years. In 1929 he exhibited at Goemans Gallery in Paris with Salvador Dalí, Jean Arp, de Chirico, Max Ernst, Joan Miró, Picabia, Picasso and Yves Tanguy.
On 15 December 1929 he participated in the last publication of La Revolution Surrealiste No. 12, where he published his essay "Les mots et les images", where words play with images in sync with his work The Treachery of Images.
Galerie Le Centaure closed at the end of 1929, ending Magritte's contract income. Having made little impact in Paris, Magritte returned to Brussels in 1930 and resumed working in advertising.[10] He and his brother, Paul, formed an agency which earned him a living wage. In 1932, Magritte joined the Communist Party, which he would periodically leave and rejoin for several years. In 1936 he had his first solo exhibition in the United States at the Julien Levy Gallery in New York, followed by an exposition at the London Gallery in 1938.
During the early stages of his career, the British surrealist patron Edward James allowed Magritte to stay rent-free in his London home, where Magritte studied architecture and painted. James is featured in two of Magritte's works painted in 1937, Le Principe du Plaisir (The Pleasure Principle) and La Reproduction Interdite, a painting also known as Not to Be Reproduced.
During the German occupation of Belgium in World War II he remained in Brussels, which led to a break with Breton. He briefly adopted a colorful, painterly style in 1943–44, an interlude known as his "Renoir period", as a reaction to his feelings of alienation and abandonment that came with living in German-occupied Belgium.
In 1946, renouncing the violence and pessimism of his earlier work, he joined several other Belgian artists in signing the manifesto Surrealism in Full Sunlight. During 1947–48, Magritte's "Vache period," he painted in a provocative and crude Fauve style. During this time, Magritte supported himself through the production of fake Picassos, Braques, and de Chiricos—a fraudulent repertoire he was later to expand into the printing of forged banknotes during the lean postwar period. This venture was undertaken alongside his brother Paul and fellow Surrealist and "surrogate son" Marcel Mariën, to whom had fallen the task of selling the forgeries. At the end of 1948, Magritte returned to the style and themes of his pre-war surrealistic art.
In France, Magritte's work has been showcased in a number of retrospective exhibitions, most recently at the Centre Georges Pompidou (2016–2017). In the United States his work has been featured in three retrospective exhibitions: at the Museum of Modern Art in 1965, at the Metropolitan Museum of Art in 1992, and again at the Metropolitan Museum of Art in 2013. An exhibition entitled "The Fifth Season" at the San Francisco Museum of Modern Art in 2018 focused on the work of his later years.
Politically, Magritte stood to the left, and retained close ties to the Communist Party, even in the post-war years. However, he was critical of the functionalist cultural policy of the Communist left, stating that "Class consciousness is as necessary as bread; but that does not mean that workers must be condemned to bread and water and that wanting chicken and champagne would be harmful. (...) For the Communist painter, the justification of artistic activity is to create pictures that can represent mental luxury." While remaining committed to the political left, he thus advocated a certain autonomy of art. Spiritually, Magritte was an agnostic.
Popular interest in Magritte's work rose considerably in the 1960s, and his imagery has influenced pop, minimalist, and conceptual art. In 2005 he was 9th in the Walloon version of De Grootste Belg (The Greatest Belgian); in the Flemish version he was 18th.
René François Ghislain Magritte, 21 November 1898 – 15 August 1967) was a Belgian surrealist artist, who became well known for creating a number of witty and thought-provoking images. Often depicting ordinary objects in an unusual context, his work is known for challenging observers' preconditioned perceptions of reality. His imagery has influenced pop art, minimalist art, and conceptual art.
Magritte's earliest paintings, which date from about 1915, were Impressionistic in style. During 1916–1918, he studied at the Académie Royale des Beaux-Arts in Brussels, under Constant Montald, but found the instruction uninspiring. He also took classes at the Académie Royale from the painter and poster designer Gisbert Combaz. The paintings he produced during 1918–1924 were influenced by Futurism and by the figurative Cubism of Metzinger.
From December 1920 until September 1921, Magritte served in the Belgian infantry in the Flemish town of Beverlo near Leopoldsburg. In 1922, Magritte married Georgette Berger, whom he had met as a child in 1913. Also during 1922, the poet Marcel Lecomte showed Magritte a reproduction of Giorgio de Chirico's The Song of Love (painted in 1914). The work brought Magritte to tears; he described this as "one of the most moving moments of my life: my eyes saw thought for the first time." The paintings of the Belgian symbolist painter William Degouve de Nuncques have also been noted as an influence on Magritte, specifically the former's painting The Blind House (1892) and Magritte's variations or series on The Empire of Lights.
In 1922–1923, Magritte worked as a draughtsman in a wallpaper factory, and was a poster and advertisement designer until 1926, when a contract with Galerie Le Centaure in Brussels made it possible for him to paint full-time. In 1926, Magritte produced his first surreal painting, The Lost Jockey (Le jockey perdu), and held his first solo exhibition in Brussels in 1927. Critics heaped abuse on the exhibition.
Depressed by the failure, he moved to Paris where he became friends with André Breton and became involved in the Surrealist group. An illusionistic, dream-like quality is characteristic of Magritte's version of Surrealism. He became a leading member of the movement, and remained in Paris for three years. In 1929 he exhibited at Goemans Gallery in Paris with Salvador Dalí, Jean Arp, de Chirico, Max Ernst, Joan Miró, Picabia, Picasso and Yves Tanguy.
On 15 December 1929 he participated in the last publication of La Revolution Surrealiste No. 12, where he published his essay "Les mots et les images", where words play with images in sync with his work The Treachery of Images.
Galerie Le Centaure closed at the end of 1929, ending Magritte's contract income. Having made little impact in Paris, Magritte returned to Brussels in 1930 and resumed working in advertising.[10] He and his brother, Paul, formed an agency which earned him a living wage. In 1932, Magritte joined the Communist Party, which he would periodically leave and rejoin for several years. In 1936 he had his first solo exhibition in the United States at the Julien Levy Gallery in New York, followed by an exposition at the London Gallery in 1938.
During the early stages of his career, the British surrealist patron Edward James allowed Magritte to stay rent-free in his London home, where Magritte studied architecture and painted. James is featured in two of Magritte's works painted in 1937, Le Principe du Plaisir (The Pleasure Principle) and La Reproduction Interdite, a painting also known as Not to Be Reproduced.
During the German occupation of Belgium in World War II he remained in Brussels, which led to a break with Breton. He briefly adopted a colorful, painterly style in 1943–44, an interlude known as his "Renoir period", as a reaction to his feelings of alienation and abandonment that came with living in German-occupied Belgium.
In 1946, renouncing the violence and pessimism of his earlier work, he joined several other Belgian artists in signing the manifesto Surrealism in Full Sunlight. During 1947–48, Magritte's "Vache period," he painted in a provocative and crude Fauve style. During this time, Magritte supported himself through the production of fake Picassos, Braques, and de Chiricos—a fraudulent repertoire he was later to expand into the printing of forged banknotes during the lean postwar period. This venture was undertaken alongside his brother Paul and fellow Surrealist and "surrogate son" Marcel Mariën, to whom had fallen the task of selling the forgeries. At the end of 1948, Magritte returned to the style and themes of his pre-war surrealistic art.
In France, Magritte's work has been showcased in a number of retrospective exhibitions, most recently at the Centre Georges Pompidou (2016–2017). In the United States his work has been featured in three retrospective exhibitions: at the Museum of Modern Art in 1965, at the Metropolitan Museum of Art in 1992, and again at the Metropolitan Museum of Art in 2013. An exhibition entitled "The Fifth Season" at the San Francisco Museum of Modern Art in 2018 focused on the work of his later years.
Politically, Magritte stood to the left, and retained close ties to the Communist Party, even in the post-war years. However, he was critical of the functionalist cultural policy of the Communist left, stating that "Class consciousness is as necessary as bread; but that does not mean that workers must be condemned to bread and water and that wanting chicken and champagne would be harmful. (...) For the Communist painter, the justification of artistic activity is to create pictures that can represent mental luxury." While remaining committed to the political left, he thus advocated a certain autonomy of art. Spiritually, Magritte was an agnostic.
Popular interest in Magritte's work rose considerably in the 1960s, and his imagery has influenced pop, minimalist, and conceptual art. In 2005 he was 9th in the Walloon version of De Grootste Belg (The Greatest Belgian); in the Flemish version he was 18th.
North American Night
Canadian Wildfire Smoke over Pennsylvania
Shit, driving on the right again. Those trees sure are green outside Fairmount Park. Mundane observations that seem novel. Taking it all in after 36 sleepless hours again. From the Arabian peninsula directly to Philadelphia; that’s already overwhelming when you consider the terrain. Bears tiptoeing around landmines in the Balkans, soon-to-be NATO war games in German airspace, glistening Alpine meadows, Sinai peninsula watercourses dry like obstinate laughlines– time goes on. The vineyards hugging the Rhine and Danube valleys seem a far cry from Saudi prison or the Donetsk trench, also far below this trans Eurasian flight. But if I had been able to open the window blinds, we might have also seen the fires as we came down into Canada, over the Saint Lawrence valley. On this drive from PHL northwest to where the farm fields just begin – the borderlands between Amish country and suburbia– the smoke was still quite high. Just haze. A talking point.
By the next night on Tuesday evening, it rolled in like Mordor. Smell: campfire, mixed in with carcinogens. The remnants of homes, cars, all kinds of choking bullshit. I didn’t get it yet; I was still jetlagged. I tried to jog up to the pumphouse, but doubled over, feeling like what I would imagine asthma is. Up at the reservoir, it’s far darker than it should be. “Fog” draped over the forest hills; an affectwas immediate. God, this is foreboding– the pall set in deeper. A figure at the water’s bend. Bleary eyes. Irritants and dismay; a scarlet tanager singing false hope. A father fishing with his son. This really feels like the end of time.
Wednesday was the day that many of you have seen. New York City turned apocalypse-orange, but in Pennsylvania, it was diffuse yellow and glum grey. The subtlety was worse; driving to Oley with Mom, restive cows chewing cud under a red-orange orb. Graveyards not foggy, but thick with smoke. Like Centralia, it’s another metaphor; we dug too deeply, perturbed Earth’s Carbon Cycle too strongly. Declension spread like butter over the Anthropocene.
The scientist/science teacher in me knows one event can’t be 100% ascribed to human induced climate change. And of course, the preconditioning was there for this fire to get out of control: decades of suppression, a dry spring and summer (and now poised to be an El Niño year), etc. But certainly wildfire intensity and magnitude is projected to increase in most climate change scenarios. “Wet gets wetter, dry gets drier” is usually the maxim; plus, earlier seasonal snowmelt (drier late spring) and increased insect herbivory (dead trees = more tinder) in a hotter world means that we can expect a good deal more of this.
My N95 mask exacerbates my jaw disorder, so I can barely talk. Suffocation, either way.
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"For art to exist, for any sort of aesthetic activity to exist, a
certain physiological precondition is indispensable: intoxication.
Friedrich Nietzsche
Hope in reality is the worst of all evils because it prolongs the
torments of man.
Friedrich Nietzsche
Character is determined more by the lack of certain experiences than
by those one has had.
Friedrich Nietzsche
Ah, women. They make the highs higher and the lows more frequent.
Friedrich Nietzsche
In every real man a child is hidden that wants to play.
Friedrich Nietzsche
In individuals, insanity is rare; but in groups, parties, nations and
epochs, it is the rule.
Friedrich Nietzsche
It is not when truth is dirty, but when it is shallow, that the lover
of knowledge is reluctant to step into its waters.
Friedrich Nietzsche
Shared joys make a friend, not shared sufferings.
Friedrich Nietzsche
The true man wants two things: danger and play. For that reason he
wants woman, as the most dangerous plaything.
Friedrich Nietzsche
www.brainyquote.com/quotes/authors/f/friedrich_nietzsche....
As Watsuji argues the Japanese self "persona" (originally meaning "mask" in Greek) centres upon the face or mask of human.
To each of these costume masks there is attached in the top corner a a pose, similar to those poses performed by power rangers and masked rangers when they transform (henshin) into their super form.
As I have argued before, you, or the Japanese, don't get to have a mask, or even a face, unless you can strike poses.
Westerners can't perform poses (Kata) and they can not see their faces unless they are in front of mirrors, do not identify with that which can be seen, nor point at their noses to indicate themselves.
Western psychologists and philosophers claim that is only through language that one can see oneself from the point of view of a generalised other, as opposed to the other which one faces, and that a generalised other is a precondition of having an individual self (Professor Cohen rather misunderstands Mead on this point I fear:-).
However, at the same time, Judith Bulter, using Derrida points out that repetitive "iterate-able" actions turn the body into a sign. One need not go as far as post modernism however. The father of social psychology George Herbert Mead argues that signs, including gestures, are understood from the point of view of others.
This is not to suggest that Japanese are always signing with their bodies, but the act of signing with their bodies acts as a catalyst or transitional "stage" in the assumption of an "imaginary" identity. The mirror stage, and the Western super heroes suit, allows him to transform into his super identity - his ego, his words, his signs. Conversely, the poses or signs that Japanese superheroes perform allow them to transform into their suits, into their masks.
Hence, all this posing (and Kata) that Japanese perform allows them to *see themselves* have an autoscopic gaze and in so doing have, and identify with their face.
[I am just repeating myself now. It is finished! I need to move on to my next project :-) I am pretty old so perhaps i can retire now that I have written this blog. I am interested in why exactly it is that these two types of self concept my be antagonistic towards each other. ]
United Nations, New York, 19 December 2016 - The UN Secretary-General’s Special Representative for Afghanistan called on the international community and all Afghans, including the Taliban, to back a peace process to end the suffering of the Afghan people.
“It takes courage to enter into a peace process,” stressed Tadamichi Yamamoto, who is also the head of the UN Assistance Mission in Afghanistan (UNAMA). “It is not an admission of defeat; it is a recognition of reality,” as an “endless war ruins the country.”
The only path to a meaningful peace, he said, is by Afghans talking directly with Afghans. Mr. Yamamoto urged all parties to the longstanding conflict to identify common interests, and asked for the Taliban to participate in sincere peace talks “without preconditions.”
In his briefing to the UN Security Council, Mr. Yamamoto underscored the urgency of his message by noting that an unprecedented number of Afghans have been displaced this year, with continued fighting taking a devastating toll on civilians.
“In 2016, thousands and thousands of Afghans have been killed in the conflict, and tens of thousands more were wounded,” he said, noting that a better future for Afghanistan is not possible without peace.
“At stake is the future of the Afghan people and the country,” he stressed, imploring the warring parties to come to the table by asking them to consider the human toll of conflict and answer the question: “Is compromise and accommodation really not possible?”
While outlining the dire situation Afghans face, Mr. Yamamoto spoke optimistically about the international will to back Afghanistan’s development. He said he saw “hope in Afghanistan” after key donor conferences in Brussels and Warsaw, and commended the Afghan government for advancing its reform agenda and improving public services.
In closing, the Special Representative outlined steps that could be taken by the government and anti-government elements to move the peace process forward, including through the added participation of women to help shape a lasting peace.
While emphasizing the importance of intra-Afghan dialogue, the Special Representative informed the Security Council that international support remains imperative.
“I am encouraged by the positive messages of support of the regional countries for an Afghan-led peace process, and I look forward to these messages showing positive results,” he said. “I call upon each country of the region to ask itself what more it can do to help create an environment conducive to peace in Afghanistan and the region.”
UN Photo/Amanda Voisard.