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From the archives of the Voina group "Cock In the Ass" oi! concert on May 29 '09 in the Taganskiy district court of Moscow - a punk interruption of the hearing of the Yerofeev-Samodurov case. See the full flickr set.
Tim Noble & Sue Webster
Red silicone rubber, steel, wood, light projector
Taken in the exhibition
Monster
Opening The Horror Show!, Monster begins by delving into the economic and political turbulence of the 70s and the high octane spectacle and social division of the 80s. Against a backdrop of unrest and loud uprising, it charts the origin story and ascent of the individuals who will go on to disrupt, define and destroy British culture, while exploring the monsters which plague society today.
Punk prophet Jamie Reid opens the show by conjuring his Monster on a Nice Roof (1972), painting a prescient picture of the dark skies gathering over Britain. Chila Burman’s If There is No Struggle, There is no Progress - Uprising (1981) and Helen Chadwick’s Allegory of Misrule (1986) refigure social discontent and anxiety in the image of horror, as the socio-political and monstrous collide. In a jarring dislocation of British cultural identity, Guy Peellaert’s David Bowie, Diamond Dogs (1974) and the otherworldly creatures captured by Derek Ridgers’ nightlife photography point to the emergence of the cultural provocation and rebellion that defined an era. Monster revels in a resoundingly British spirit of nonconformity, with a spectacular display of Pam Hogg’s new Exterminating Angel (2021) and works by Somerset House Studios artist and designer Gareth Pugh and the late visionary Leigh Bowery. Elsewhere, Noel Fielding’s Post-Viral Fatigue (2022) shows how the imagery of horror resonates still in our Covid-ravaged contemporary reality. As the nightmarish and otherworldly fills the gallery, a newly commissioned mural by Matilda Moors sees the walls dramatically clawed at by a monstrous hand.
Contributing artists include Marc Almond, Bauhaus, Judy Blame, Leigh Bowery, Philip Castle, Chila Burman, Helen Chadwick, Monster Chetwynd, Jake & Dinos Chapman, Tim Etchells, Noel Fielding, Mark Moore & Martin Green, Pam Hogg, Dick Jewell, Harminder Judge, Daniel Landin, Jeannette Lee, Andrew Liles, Linder, London Leatherman, Don Letts, Luciana Martinez de la Rosa, Lindsey Mendick, Peter Mitchell, Dennis Morris, Matilda Moors, Tim Noble & Sue Webster, Guy Peellaert, Gareth Pugh, Jamie Reid, Derek Ridgers, Nick Ryan, Steven Stapleton, Ralph Steadman, Ray Stevenson, Poly Styrene, Francis Upritchard and Jenkin van Zyl.
[Somerset House]
The Horror Show! A Twisted Tale of Modern Britain
(October 2022 - February 2023)
Somerset House presents The Horror Show!: A Twisted Tale of Modern Britain, a major exhibition exploring how ideas rooted in horror have informed the last 50 years of creative rebellion. The show looks beyond horror as a genre, instead taking it as a reaction and provocation to our most troubling times. The last five decades of modern British history are recast as a story of cultural shapeshifting told through some of our country’s most provocative artists. The Horror Show! offers a heady ride through the disruption of 1970s punk to the revolutionary potential of modern witchcraft, showing how the anarchic alchemy of horror – its subversion, transgression and the supernatural – can make sense of the world around us. Horror not only allows us to voice our fears; it gives us the tools to stare them down and imagine a radically different future.
Featuring over 200 artworks and culturally significant objects, this landmark show tells a story of the turbulence, unease and creative revolution at the heart of the British cultural psyche in three acts – Monster, Ghost and Witch. Each act interprets a specific era through the lens of a classic horror archetype, in a series of thematically linked contemporaneous and new works:
Each of the exhibition’s acts opens with ‘constellations’ of talismanic objects. These cabinets of curiosities speak to significant cultural shifts and anxieties in each era, while invoking a haunting from the counter-cultural voices in recent British history. Alongside these introductory artworks and ephemera is an atmospheric soundtrack, conjuring the spirit of the time with music from Bauhaus, Barry Adamson and Mica Levi.
Monster, Ghost and Witch culminate in immersive installations, combining newly commissioned work, large-scale sculpture, fashion and sound installation, with each chapter signed off with a neon text-work by Tim Etchells. The Horror Show! offers an intoxicating deep-dive into the counter-cultural, mystic and uncanny, with the signature design of the three acts courtesy of architects Sam Jacob Studio and Grammy-winning creative studio Barnbrook.
[Somerset House]
OVER HALF A MILLION PEOPLE took to the streets of London on Saturday 26th March. They were marching against the Con-Dem government’s cuts. It was one of the biggest protests this country has ever seen. Every single trade union was represented on the protest and they were joined by anti cuts campaigners, pensioners, students and the unemployed.
No amount of police provocation against peaceful protesters or headlines in papers about violence can obscure that this was a massive working class demonstration.
And its power came from numbers and the social power they represent. It was a determined but angry protest. Millions of workers fear for their jobs and millions more are right to believe that the Tories are out to destroy their communities.
Magnificent
This government, held up by it’s Lib Dem collaborators, knows and cares nothing about the pain it causes, after all the majority of the cabinet are millionaires and two thirds went to private school.
The marchers’ message was clear—not one cut and not one job loss. And they are right: why should workers and the poorest in society pay for a crisis they did not create?
There doesn’t have to be a single cut or job loss. Greg Philo published an important article in the Guardian newspaper recently. He highlighted the fact that the personal wealth of the richest 10% of the population in Britain is £4,000 billion.
A one off tax of 20% on the wealth of this group would raise £800 billion and would wipe off Britain’s debt in one fell swoop.
With this in mind it’s crazy that Ed Miliband and New Labour are arguing that some cuts are necessary and that it’s the pace of the cuts that’s the problem. There’s no need to make cuts at all!
Saturday’s demonstration was magnificent, but it alone will not be enough to force Cameron and his cronies to make a U-turn. The Socialist Workers Party believes that if we are going to stop the Tories in their tracks, we will need further mass protests—and more importantly, strikes involving hundreds of thousands of workers.
And we are not alone. On Saturday the leader of Unite (Britain’s biggest union), Len McCluskey, told those at the rally “This is only the start. We need a plan of resistance including coordinated strike action.”
Strike
Again when Mark Serwotka (the general secretary of the PCS) addressed the march he said, “Imagine what a difference it would make if we didn’t only march together but took strike action together.”
It’s time to turn those words into action. Already some unions, including the NUT, PCS and UCU are moving to joint action on pensions at the end of June—this could see 700,000 teachers, civil servants and lecturers on strike together.
That would be a good start, and would put pressure on the government, but we could really finish Cameron if the GMB, Unison and Unite also called their members out. We would see 5 million on strike—that would signal the end of Cameron.
Now we are all back at work, there is no time to waste. Union meetings need to be called as soon as possible and every union section/branch/region needs to be passing motions calling on their unions to call joint strike action now.
The message is simply that we marched together, now it’s time to strike together.
Article: Socialist Worker www.socialistworker.co.uk
It's common for the classic work of Shakespeare to be re-skinned with contemporary costumes or, in fact, with costumes from any given period.
Shakespeare's own work tends toward the temporally indeterminate, with clocks striking in the age of Julius Caesar, Hamlet's University of Wittenburg, past royal histories recast for contemporary political effect, and many loosely-placed and loosely-dated fantasy scenarios.
The perception of "anachronism" varies widely with historical periods. Some cultural epochs are quite happy to recast the past in their own image. Others seem keen to impose a revived past upon themselves.
Couverture du magazine HARA-KIRI. Journal satyrique se réclamant bête et méchant et usant sans modération de la provocation.
Primera y Ruiz [R1] -
Ensenada, Baja California
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
Street art is visual art created in public locations, usually unsanctioned artwork executed outside of the context of traditional art venues. The term gained popularity during the graffiti art boom of the early 1980s and continues to be applied to subsequent incarnations. Stencil graffiti, wheatpasted poster art or sticker art, and street installation or sculpture are common forms of modern street art. Video projection, yarn bombing and Lock On sculpture became popularized at the turn of the 21st century.
The terms "urban art", "guerrilla art", "post-graffiti" and "neo-graffiti" are also sometimes used when referring to artwork created in these contexts.[1] Traditional spray-painted graffiti artwork itself is often included in this category, excluding territorial graffiti or pure vandalism.
Street art is often motivated by a preference on the part of the artist to communicate directly with the public at large, free from perceived confines of the formal art world.[2] Street artists sometimes present socially relevant content infused with esthetic value, to attract attention to a cause or as a form of "art provocation".[3]
Street artists often travel between countries to spread their designs. Some artists have gained cult-followings, media and art world attention, and have gone on to work commercially in the styles which made their work known on the streets.
This artistic provocation seeks to estimate the orders of magnitude of critical ecosystem services that are fundamental to all planetary life processes.
It is common to describe our relationships with society, the world, and the biosphere with metaphors from economics, which has specific understandings of value. Today’s prevailing economic conventions are unable to recognise the inherent value of the ecosystems on which all life depends. In cultures overdetermined by concepts from economics, we are left without adequate discursive instruments to address the importance of ecosystem contributions to life on Earth socially or politically.
This experiment consists of 1 square meter of wheat, cultivated in a closed environment. Critical inputs such as water, light, heat, and nutrients are measured, monitored and displayed for the public. This procedure makes the immense scale of ecosystem contributions palpable and provides a speculative reference for a reckoning of the undervalued and over-exploited “work of the biosphere.”
Photo: Franz Wamhof
This artistic provocation seeks to estimate the orders of magnitude of critical ecosystem services fundamental to all planetary life processes. It is common to use economic metaphors, which entail specific understandings of value, to describe our relationships with society, the world, and the biosphere. Today’s prevailing economic conventions are unable to recognize the intrinsic value of the ecosystems on which all life depends. In cultures overdetermined by concepts from economics, we are left without adequate discursive instruments to socially or politically address the importance of ecosystem contribution to life on Earth. This experiment consists of 1 square meter of wheat, cultivated in a closed environment. Critical inputs such as water, light, heat, and nutrients are measured, monitored, and displayed for the public. This procedure makes palpable the immense scale of ecosystem contributions and provides a speculative reference for a reckoning of the undervalued and over exploited “work of the biosphere.”
Philipp Gartlehner of the Ars Electronica Center planted barley with the heilp of the Life Support system and after three months, the harvest was ready to be brought in. The cost for growing one square meter of barley indoors accounted for the massive amount of 430 Euro. Another reason why we really have to take care for our ecosystem.
Photo: Ars Electronica - Martin Hieslmair
This artistic provocation seeks to estimate the orders of magnitude of critical ecosystem services fundamental to all planetary life processes. It is common to use economic metaphors, which entail specific understandings of value, to describe our relationships with society, the world, and the biosphere. Today’s prevailing economic conventions are unable to recognize the intrinsic value of the ecosystems on which all life depends. In cultures overdetermined by concepts from economics, we are left without adequate discursive instruments to socially or politically address the importance of ecosystem contribution to life on Earth. This experiment consists of 1 square meter of wheat, cultivated in a closed environment. Critical inputs such as water, light, heat, and nutrients are measured, monitored, and displayed for the public. This procedure makes palpable the immense scale of ecosystem contributions and provides a speculative reference for a reckoning of the undervalued and over exploited “work of the biosphere.”
Philipp Gartlehner of the Ars Electronica Center planted barley with the heilp of the Life Support system and after three months, the harvest was ready to be brought in. The cost for growing one square meter of barley indoors accounted for the massive amount of 430 Euro. Another reason why we really have to take care for our ecosystem.
Photo: Ars Electronica - Martin Hieslmair
Whoever is doing this is openly mocking Realise.
Done to promote Googly Eyes. Why it's a little clunky.
Font, source, fuente, burim: from Internet. Credit photo.
La liberté d'un Peuple, d'une Nation, est une chose grave et nécessite une lutte permanente contre toutes les provocations, d'où qu'elles viennent.
La libertad de un Pueblo, de una Nacion, son cosas muy serias y necesitan una lucha permanente contra todas las provocaciones, de donde vengan.
La llibertat d'un Poble, d'una Nacio son coses molt gravissimes y necessitan, sempre una lluïta permanent contra totes les provocacions, de qualsevol part de on puguin sortir.
Liria e një kombi është një luftë serioze dhe e përhershme kundër të gjitha provokimeve, manipulimeve, nga kudo.
Couverture du magazine HARA-KIRI. Journal satyrique se réclamant bête et méchant et usant sans modération de la provocation.
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
If you take your lovely lady to dinner at Spago by Wolfgang Puck and then you take her to the Elton John Show headlining in the Caesars Palace Colosseum -- your lovely lady may afterwards reward you by letting you take her shopping here. What do you think...
A statue of Adolf Hitler praying on his knees with his hands clasped is causing controversy in Warsaw, Poland. The Simon Wiesenthal Center calls the statue, entitled “HIM” by Italian artist Maurizio Cattelan “a senseless provocation which insults the memory of the Nazis' Jewish victims.”
The work is one piece in Cattelan’s retrospective show “Amen” which the artist says explores the subject of “life, death, good and evil.”
The statue, which is on display in a former Warsaw ghetto, is visible only from a distance through a hole in a wooden gate. Viewers only see the back of the small figure, which appears to be a harmless schoolboy, praying in a courtyard.
Commenting on the Hitler praying statue, the Wiesenthal Center’s Israel director Efraim Zuroff said “As far as the Jews were concerned, Hitler's only 'prayer' was that they be wiped off the face of the earth.”
Fabio Cavallucci, the director of the Centre for Contemporary Art, who oversaw the installation, said, "There is no intention from the side of the artist or the centre to insult Jewish memory,” but to make people reflect on the nature of evil.
“It's an artwork that tries to speak about the situation of hidden evil everywhere,” he says, and to remind those who see it that “every criminal was once a tender, innocent and defenseless child.”
Organizers of the display also raised eyebrows by placing the statue in the former ghetto, an area of Warsaw that the Nazis sealed off after invading Poland.
It was there that many Jews live in cramped and inhuman conditions while waiting to be deported to concentration camps. Many didn’t survive the brutal conditions at the ghetto and died from hunger or disease or were executed by German soldiers.
While artists sometimes utilize graphic or disturbing images to provoke viewers and stir up controversy, they occasionally cross the bounds of good taste and spark moral outrage over the message they’re trying to convey.
Such appears to be the case with the praying Hitler statue, which critics say attempts to soften the image of the Nazi despot.
To Jews, Adolf Hitler represents a modern-day Haman, who plotted to destroy the Jews during the days of Queen Esther (Esther 3).
Pray that the memories of Nazi atrocities will never be forgotten and that civilized people everywhere will learn the lessons of history, or be doomed to repeat it.
For more on this story, visit: Jerusalem Prayer Team Articles Page.
LIKE and SHARE this story to encourage others to pray for peace in Jerusalem, and leave your own PRAYERS and COMMENTS below.
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Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
Panniru Thirumuari Vizaa - Kapaleeswarar Temple , Mylapore .
பன்னிருதிருமுறை விழா
The Shaiva Tirumurais are twelve in number. The first seven Tirumurais are the hymns of the three great Shaivite saints, Sambandar, Appar and Sundarar. These hymns were the best musical compositions of their age.
The first three Tirumurais (meaning parts) of Tevaram are composed by Sambanthar, the next three by Appar and the seventh one is composed by Sundarar. There is a famous saying about the Saiva trio that "Appar sang for me, Sambanthar sang for himself and Sundarar sang of gold". Appar and Sambanthar lived around the 7th century, while Sundarar lived in the 8th century. During the Pallava period these three travelled extensively around Tamil Nadu offering discourses and songs characterised by an emotional devotion to Shiva and objections to Vaishnavism, Jainism and Buddhism.
Sambanthar is a 7th-century poet born in Sirkali in Brahmin community and was believed to be suckled by the goddess Parvathi, whereupon he sang the first hymn. On the request of queen of Pandya Nadu, Sambandar went on pilgrimage to south, defeated Jains in debate, the Jains' provocation of Sambandar by burning his house and challenging him to debate, and Sambandar's eventual victory over them He was a contemporary of Appar, another Saiva saint. Information about Sambandar comes mainly from the Periya Puranam, the eleventh-century Tamil book on the Nayanars that forms the last volume of the Tirumurai, along with the earlier Tiruttondartokai, poetry by Cuntarar and Nambiyandar Nambi's Tiru Tondar Tiruvandadi. A Sanskrit hagiography called Brahmapureesa Charitam is now lost. The first volumes of the Tirumurai contain three hundred and eighty-four poems of Campantar (in 4181 stanzas), all that survive out of a reputed more than 10,000 hymns. Sambanthar is believed to have died at the age of 16 in 655 CE on the day of his marriage. His verses were set to tune by Nilakantaperumalanar who is set to have accompanied the poet on his yal or lute.
Appar's (aka Tirunavukkarasar) was born in the middle of 7th century in Tiruvamur, Tamil Nadu, his childhood name for Marulneekiar. His sister, Thilagavathiar was betrothed to a military commander who died in action. When his sister was about to end her life, he pleaded with her not to leave him alone in the world. She decided to lead an aesthetic life and bring up her only brother. During boyhood, Appar was very much interested in Jainism and started studying its scriptures. He went away from home and stayed in their monastery and was renamed Darmasena. Details of Appar's life are found in his own hymns and in Sekkizhar's Periya Puranam (the last book of the Tirumurai). Appar had travelled to nearby Patalipura to join a Jain monastery where he was given the name Dharmasena. "Seeing the transient, ephemeral world he decided to probe into truth through renunciation." After a while, afflicted by a painful illness, Dharmasena returned home. He prayed for relief at the Siva temple where his sister served and was cured. He was also involved in converting the Pallava king, Mahendravarman to Saivism. This was also the period of resurrection of the smaller Shiva temples. Appar sanctified all these temples by his verses and was also involved in cleaning of the dilapidated temples called uzhavarapadai. He was called Tirunavukkarasu, meaning the "King of divine speech". He extolled Siva in 49,000 stanzas out of which 3130 are now available and compiled in Tirumurais 4-7. When he met Campantar, he called him Appar (meaning father). He is believed to have died at the age of 81 in Tirupugalur.
Sundarar (aka Sundaramurthi) was born in Tirunavalur in a Brahmin family during the end of 7th century. His own name was Nambi Arurar and was prevented from marrying by the divine grace of Siva. He later married a temple girl namely Paravi and a vellala community girl by name Cankili.[17] He is the author of 1026 poems compiled as 7th Tirumurai.
Manikkavasagar's Tiruvacakam and Tirukovayar are compiled as the eighth Tirumurai and is full of visionary experience, divine love and urgent striving for truth. Manickavasgar was the king's prime minister and renounced his post in search of divinity.
The ninth Tirumurai has been composed by Tirumalikaittever, Sundarar, Karuvurttevar, Nampikatava Nampi, Gandaraditya, Venattatikal, Tiruvaliyamutanar, Purutottama Nampi and Cetirayar. Among these the notable is Gandaraditya (950-957 CE), a Chola king who later turned a saivite saint.
Tirumandiram by Tirumular unfolds siddantha (attainment) as a fourfold path - virtous and moral living, temple worship, internal worship and union with Siva. Tirumular worked out an original philosophical system and southern scholl of Saiva siddantha draws its authority from Tirumandiram, a work of 3000 verses. Tirumandiram represents another school of thought detailing agamic traditions, which run parallel to the bhakthi movement. It does not glorify temples or deities as in the case of other Tirumurais.
The eleventh Tirumurai has been composed by Karaikkal Ammeiyar, Ceraman Perumal, Pattinattu p-pillaiyar, Nakkiratevar, Kapilateva, Tiruvalavaiyudaiyar, Nampiyantarnampi, Iyyadigal katavarkon, Kalladateva, Paranateva, Ellamperuman Adigal and Athirava Adigal. Nambi's Tirutottanar Tiruvanthathi followed an exclusive style of mincing Tamil and Sankrit verses in anthati meter similar to Tevaram of the trio. Karaikkal Ammaiyar (550-600 CE)is the earliest of the woman Saivite poets who introduced the kattalai-k-kali-t-turai meter, which is a complicated structural departure from the old classical Tamil meters. The other meter used by Ammaiyar was old venba and also antathi arrangement in which offset of one line or stanza is identical with the onset of next line or stanza.
Periya Puranam (Tamil:பெரிய புராணம்), the great purana or epic, sometimes also called Tiruttontarpuranam(read as "Tiru-Thondar-Puranam") (the purana of the holy devotees) is a Tamil poetic account depicting the legendary lives of the sixty-three Nayanars, the canonical poets of Tamil Shaivism. It was compiled during the 12th century by Sekkizhar. It provides evidence of trade with West Asia Sekkizhar compiled and wrote the Periya Puranam listing the life stories of the sixty-three Shaiva Nayanars, poets of the God Shiva) who composed the liturgical poems of the Tirumurai, and was later himself canonised and the work became part of the sacred canon. Sekkizhar was a poet and the chief minister in the court of the Chola King, Kulothunga Chola II.
Raja Raja Chola I (985-1013 CE) embarked on a mission to recover the hymns after hearing short excerpts of Tevaram in his court. He sought the help of Nambi Andar Nambi, who was a priest in a temple. It is believed that by divine intervention Nambi found the presence of scripts, in the form of cadijam leaves half eaten by white ants in a chamber inside the second precinct in Thillai Nataraja Temple, Chidambaram. The brahmanas (Dikshitars) in the temple opposed the mission, but Rajaraja intervened by consecrating the images of the saint-poets through the streets of Chidambaram.Rajaraja thus became to be known as Tirumurai Kanda Cholan meaning one who saved the Tirumurai. Thus far Shiva temples only had images of god forms, but after the advent of Rajaraja, the images of the Nayanar saints were also placed inside the temple. Nambi arranged the hymns of three saint poets Campantar, Appar and Sundarar as the first seven books, Manickavasagar's Tirukovayar and Tiruvacakam as the 8th book, the 28 hymns of nine other saints as the 9th book, the Tirumandiram of Tirumular as the 10th book, 40 hymns by 12 other poets as the 10th book, Tirutotanar Tiruvanthathi - the sacred anthathi of the labours of the 63 nayanar saints and added his own hymns as the 11th book. The first seven books were later called as Tevaram, and the whole Saiva canon, to which was added, as the 12th book, Sekkizhar's Periya Puranam (1135 CE) is wholly known as Tirumurai, the holy book. Thus Saiva literature which covers about 600 years of religious, philosophical and literary development.
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OVER HALF A MILLION PEOPLE took to the streets of London on Saturday 26th March. They were marching against the Con-Dem government’s cuts. It was one of the biggest protests this country has ever seen. Every single trade union was represented on the protest and they were joined by anti cuts campaigners, pensioners, students and the unemployed.
No amount of police provocation against peaceful protesters or headlines in papers about violence can obscure that this was a massive working class demonstration.
And its power came from numbers and the social power they represent. It was a determined but angry protest. Millions of workers fear for their jobs and millions more are right to believe that the Tories are out to destroy their communities.
Magnificent
This government, held up by it’s Lib Dem collaborators, knows and cares nothing about the pain it causes, after all the majority of the cabinet are millionaires and two thirds went to private school.
The marchers’ message was clear—not one cut and not one job loss. And they are right: why should workers and the poorest in society pay for a crisis they did not create?
There doesn’t have to be a single cut or job loss. Greg Philo published an important article in the Guardian newspaper recently. He highlighted the fact that the personal wealth of the richest 10% of the population in Britain is £4,000 billion.
A one off tax of 20% on the wealth of this group would raise £800 billion and would wipe off Britain’s debt in one fell swoop.
With this in mind it’s crazy that Ed Miliband and New Labour are arguing that some cuts are necessary and that it’s the pace of the cuts that’s the problem. There’s no need to make cuts at all!
Saturday’s demonstration was magnificent, but it alone will not be enough to force Cameron and his cronies to make a U-turn. The Socialist Workers Party believes that if we are going to stop the Tories in their tracks, we will need further mass protests—and more importantly, strikes involving hundreds of thousands of workers.
And we are not alone. On Saturday the leader of Unite (Britain’s biggest union), Len McCluskey, told those at the rally “This is only the start. We need a plan of resistance including coordinated strike action.”
Strike
Again when Mark Serwotka (the general secretary of the PCS) addressed the march he said, “Imagine what a difference it would make if we didn’t only march together but took strike action together.”
It’s time to turn those words into action. Already some unions, including the NUT, PCS and UCU are moving to joint action on pensions at the end of June—this could see 700,000 teachers, civil servants and lecturers on strike together.
That would be a good start, and would put pressure on the government, but we could really finish Cameron if the GMB, Unison and Unite also called their members out. We would see 5 million on strike—that would signal the end of Cameron.
Now we are all back at work, there is no time to waste. Union meetings need to be called as soon as possible and every union section/branch/region needs to be passing motions calling on their unions to call joint strike action now.
The message is simply that we marched together, now it’s time to strike together.
Article: Socialist Worker www.socialistworker.co.uk
This artistic provocation seeks to estimate the orders of magnitude of critical ecosystem services fundamental to all planetary life processes. It is common to use economic metaphors, which entail specific understandings of value, to describe our relationships with society, the world, and the biosphere. Today’s prevailing economic conventions are unable to recognize the intrinsic value of the ecosystems on which all life depends. In cultures overdetermined by concepts from economics, we are left without adequate discursive instruments to socially or politically address the importance of ecosystem contribution to life on Earth. This experiment consists of 1 square meter of wheat, cultivated in a closed environment. Critical inputs such as water, light, heat, and nutrients are measured, monitored, and displayed for the public. This procedure makes palpable the immense scale of ecosystem contributions and provides a speculative reference for a reckoning of the undervalued and over exploited “work of the biosphere.”
Philipp Gartlehner of the Ars Electronica Center planted barley with the heilp of the Life Support system and after three months, the harvest was ready to be brought in. The cost for growing one square meter of barley indoors accounted for the massive amount of 430 Euro. Another reason why we really have to take care for our ecosystem.
Photo: Ars Electronica - Martin Hieslmair
This artistic provocation seeks to estimate the orders of magnitude of critical ecosystem services fundamental to all planetary life processes. It is common to use economic metaphors, which entail specific understandings of value, to describe our relationships with society, the world, and the biosphere. Today’s prevailing economic conventions are unable to recognize the intrinsic value of the ecosystems on which all life depends. In cultures overdetermined by concepts from economics, we are left without adequate discursive instruments to socially or politically address the importance of ecosystem contribution to life on Earth. This experiment consists of 1 square meter of wheat, cultivated in a closed environment. Critical inputs such as water, light, heat, and nutrients are measured, monitored, and displayed for the public. This procedure makes palpable the immense scale of ecosystem contributions and provides a speculative reference for a reckoning of the undervalued and over exploited “work of the biosphere.”
Philipp Gartlehner of the Ars Electronica Center planted barley with the heilp of the Life Support system and after three months, the harvest was ready to be brought in. The cost for growing one square meter of barley indoors accounted for the massive amount of 430 Euro. Another reason why we really have to take care for our ecosystem.
Photo: Ars Electronica - Robert Bauernhansl
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
© All Rights Reserved - No Usage Allowed in Any Form Without the Written Consent of the photographer
This artistic provocation seeks to estimate the orders of magnitude of critical ecosystem services fundamental to all planetary life processes. It is common to use economic metaphors, which entail specific understandings of value, to describe our relationships with society, the world, and the biosphere. Today’s prevailing economic conventions are unable to recognize the intrinsic value of the ecosystems on which all life depends. In cultures overdetermined by concepts from economics, we are left without adequate discursive instruments to socially or politically address the importance of ecosystem contribution to life on Earth. This experiment consists of 1 square meter of wheat, cultivated in a closed environment. Critical inputs such as water, light, heat, and nutrients are measured, monitored, and displayed for the public. This procedure makes palpable the immense scale of ecosystem contributions and provides a speculative reference for a reckoning of the undervalued and over exploited “work of the biosphere.”
Philipp Gartlehner of the Ars Electronica Center planted barley with the heilp of the Life Support system and after three months, the harvest was ready to be brought in. The cost for growing one square meter of barley indoors accounted for the massive amount of 430 Euro. Another reason why we really have to take care for our ecosystem.
Photo: Ars Electronica - Robert Bauernhansl
This artistic provocation seeks to estimate the orders of magnitude of critical ecosystem services fundamental to all planetary life processes. It is common to use economic metaphors, which entail specific understandings of value, to describe our relationships with society, the world, and the biosphere. Today’s prevailing economic conventions are unable to recognize the intrinsic value of the ecosystems on which all life depends. In cultures overdetermined by concepts from economics, we are left without adequate discursive instruments to socially or politically address the importance of ecosystem contribution to life on Earth. This experiment consists of 1 square meter of wheat, cultivated in a closed environment. Critical inputs such as water, light, heat, and nutrients are measured, monitored, and displayed for the public. This procedure makes palpable the immense scale of ecosystem contributions and provides a speculative reference for a reckoning of the undervalued and over exploited “work of the biosphere.”
Philipp Gartlehner of the Ars Electronica Center planted barley with the heilp of the Life Support system and after three months, the harvest was ready to be brought in. The cost for growing one square meter of barley indoors accounted for the massive amount of 430 Euro. Another reason why we really have to take care for our ecosystem.
Photo: Ars Electronica - Martin Hieslmair
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
OVER HALF A MILLION PEOPLE took to the streets of London on Saturday 26th March. They were marching against the Con-Dem government’s cuts. It was one of the biggest protests this country has ever seen. Every single trade union was represented on the protest and they were joined by anti cuts campaigners, pensioners, students and the unemployed.
No amount of police provocation against peaceful protesters or headlines in papers about violence can obscure that this was a massive working class demonstration.
And its power came from numbers and the social power they represent. It was a determined but angry protest. Millions of workers fear for their jobs and millions more are right to believe that the Tories are out to destroy their communities.
Magnificent
This government, held up by it’s Lib Dem collaborators, knows and cares nothing about the pain it causes, after all the majority of the cabinet are millionaires and two thirds went to private school.
The marchers’ message was clear—not one cut and not one job loss. And they are right: why should workers and the poorest in society pay for a crisis they did not create?
There doesn’t have to be a single cut or job loss. Greg Philo published an important article in the Guardian newspaper recently. He highlighted the fact that the personal wealth of the richest 10% of the population in Britain is £4,000 billion.
A one off tax of 20% on the wealth of this group would raise £800 billion and would wipe off Britain’s debt in one fell swoop.
With this in mind it’s crazy that Ed Miliband and New Labour are arguing that some cuts are necessary and that it’s the pace of the cuts that’s the problem. There’s no need to make cuts at all!
Saturday’s demonstration was magnificent, but it alone will not be enough to force Cameron and his cronies to make a U-turn. The Socialist Workers Party believes that if we are going to stop the Tories in their tracks, we will need further mass protests—and more importantly, strikes involving hundreds of thousands of workers.
And we are not alone. On Saturday the leader of Unite (Britain’s biggest union), Len McCluskey, told those at the rally “This is only the start. We need a plan of resistance including coordinated strike action.”
Strike
Again when Mark Serwotka (the general secretary of the PCS) addressed the march he said, “Imagine what a difference it would make if we didn’t only march together but took strike action together.”
It’s time to turn those words into action. Already some unions, including the NUT, PCS and UCU are moving to joint action on pensions at the end of June—this could see 700,000 teachers, civil servants and lecturers on strike together.
That would be a good start, and would put pressure on the government, but we could really finish Cameron if the GMB, Unison and Unite also called their members out. We would see 5 million on strike—that would signal the end of Cameron.
Now we are all back at work, there is no time to waste. Union meetings need to be called as soon as possible and every union section/branch/region needs to be passing motions calling on their unions to call joint strike action now.
The message is simply that we marched together, now it’s time to strike together.
Article: Socialist Worker www.socialistworker.co.uk
Michael Sandel at TED2010, Session 5, "Provocation," Thursday, February 11, 2010, in Long Beach, California. Credit: TED / James Duncan Davidson
I'd think twice before using such a scandalous fuchsia in a painting. Really happy that autumn is less inhibited 🎨
Gen. James D. Thurman, United Nations Command, Combined Forces Command, United States Forces Korea and Gen. Jeong Sung Jo, Chairman of the ROK Joint Chiefs of Staff, sign a counter provocation plan at the JCS headquarters in Seoul, South Korea, Mar. 22, 2013. U.S. Army Photo by Sgt. Brian Gibbons
** Interested in following U.S. Forces Korea? Engage and connect with us at www.facebook.com/myusfk and www.twitter.com/USFKPAO and www.usfk.mil/