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Image from Publish! New adventures in innovation, 24 September 2013 at St Brides in London. See: www.mediafutures.org.uk/2013/
Size 37x63in.using 3 shades of Periwinkle fr 100 Afghans to Knit & Crochet. For the book go to amazon.com and search for Jean Leinhauser and Rita Weiss.
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Ichiko Aoba, l’acclamata cantante, compositrice e virtuosa chitarrista giapponese arriva in Italia all’interno del suo tour mondiale Saison Des Fleurs lunedì 10 aprile al Circolo Arci Bellezza di Milano.
Pubblica musica con la sua etichetta, Hermine. Il suo strumento principale è la chitarra, da cui è composta principalmente la maggior parte della sua musica, ma suona anche il pianoforte, il clarinetto, la fisarmonica da sola e il flauto. Aoba è nota per il suo suono acustico e per la scrittura di canzoni, ispirata dai suoi sogni.
Il 2022 è stato un anno memorabile per Aoba, con i tour negli Stati Uniti, Regno Unito ed Europa completamente sold out e migliaia di nuovi fan innamorati del suo tocco musicale unico e affascinante, che attraversa i confini del folk ambient, psych, jazz e musica classica impressionistica per ipnotizzare creando un senso di intimità nell’ascoltatore. Il suo settimo e ultimo concept album, “Windswept Adan”, rappresenta il lavoro più complesso e gratificante della sua carriera, è un pezzo di musica da camera e un’opera orchestrale contemporanea, è la colonna sonora onirica di un film immaginario, un fantasy musicato, è un viaggio sonoro attraverso il Mar Cinese Orientale. Insieme agli spettacoli dal vivo, durante i quali suona brani selezionati dal suo catalogo di 10 anni, ha generato scalpore nella critica e attraverso i social network.
Il lavoro di Ichiko Aoba ha guadagnato la meritata esposizione durante la pandemia, in un momento di solitudine dove il suo sound confortante ha accompagnato le nostre esistenze. Ichiko Aoba ha un raro dono musicale, accompagnato dalla sua raffinata capacità di suonare meticolosamente dal vivo. La sua musica abbraccia ed eleva l’ascoltatore verso spiagge sonore riparate e tranquille. Immergendosi nelle composizioni di Aoba, gli ascoltatori provano un senso di consolazione e possibilità – una sensazione che si riflette perfettamente nelle sue performance dal vivo.
Cresciuta a Kyoto, in Giappone, Ichiko Aoba ha imparato a suonare la chitarra classica a 17 anni. Ha trovato ispirazione nelle colonne sonore della Disney e dello Studio Ghilbi ed è stata affiancata dalla cantautrice giapponese Anmi Yamada. Ichiko ha pubblicato il suo primo album, “Kamisori Otome” nel 2010, a soli 19 anni, e ha continuato a ricevere molti consensi per le sue composizioni folcloristiche e influenzate dal jazz, scritte per chitarra classica e voce, tra cui l’album “0” del 2013 e “qp” del 2018. Ha collaborato con la leggenda giapponese Ryuichi Sakamoto e con il sound artist americano Taylor Deupree; con il collega della Yellow Magic Orchestra di Sakamoto, Haruomi Hosono; con il cantautore canadese Mac DeMarco; e con il produttore e polistrumentista giapponese Cornelius. Si aggiungono le collaborazioni con il produttore hip hop giapponese Sweet William e con la band indie giapponese MahiToThePeople. Il violinista canadese Owen Pallett l’ha citata come fonte d’ispirazione, paragonando le sue composizioni a quelle di Burt Bacharach. Ichiko ha anche lavorato a diverse produzioni teatrali, tra cui una produzione di Cocoon scritta e diretta da Takahiro Fujita e un revival di Lemming di Shuji Terayama.
The Postcard
A postally unused postcard that was published by Hinode-Shoko of Seoul. The card has a divided back.
Itinerant vendors in Korea in the early part of the 20th. century generally used to transport their wares on large wooden frames carried on their back.
The man's burden of poultry would have been heavy.
The Korean Gat
The man in the photograph is wearing the traditional Korean gat (Korean: Hunminjeongeum 갓)
A gat is a traditional hat worn by men along with hanbok (Korean traditional clothing) during the Joseon period. It is made from bamboo or horsehair with a bamboo frame, and is partly transparent.
Most gats are cylindrical in shape with a wide brim on a bamboo frame. Before the late 19th. century, only noble class men could wear gat, which represented their social status and protected their topknots.
Robert Neff of the Korean Times has written the following about Korean male headware:
'One of the most important articles of clothing for Koreans in the late 19th. century was the hat. The elderly man with his majestic black horse hair hat, often seen in pictures, is the iconic image of Korean male society during the Joseon Dynasty (1392 - 1910).
According to Percival Lowell, an American who stayed in Seoul in the winter of 1883-84:
"No Korean can in decency appear
without it [hat], except only to make
room for some other hat."
It was a sign of manhood, "the most essential of attributes," and a badge of one's position in Korean society.
Lowell seemed amused with the difference between Korean and American culture. In the United States it was considered poor manners to wear a hat indoors, and one would rarely remove one's shoes, but the opposite was true in Korea:
"A man would part with any or all of
his clothing sooner than take off his
hat. On entering a house, he leaves
his shoes outside to await his return,
but he and his hat go in together.
As he sits down to eat, he divests
himself of his outer garments that he
may eat with greater freedom, but his
hat stays on; and so it sticks to him
through life ― a permanent black halo."
There were many types of hats. The iconic hat, the gat, was made from horse hair and bamboo and was black and somewhat transparent.
It had a fairly wide brim that in the past, according to popular legend, was much wider as a means of preventing unrest. Because of its wide brim, conspirators were kept apart, and were unable to whisper their plans to one another.
There was also a large mourning hat made from bamboo. It was designed to hide the face of mourners from others they might encounter on the streets. It was considered a grievous breach of etiquette to look into the face of the mourner.
Early French missionaries used the mourning hat to disguise themselves as they traveled the Korean peninsula before the 1880's. They were able to move about in relative secrecy for no one would attempt to communicate with a mourner.
Court officials' hats had slightly bent-forward ear-shaped horizontal wings. It was said they symbolized the wearer's attentiveness and willingness to "catch every word of command that the King may utter."
As Korea entered the 20th. century, there were many reforms forced on the population. Some were readily accepted and appreciated, but others, especially those that dealt with hair styles and hats, were vehemently opposed.
"A man is much more firmly bound to
his hat than he is attached to his wife.
He may put away the latter; without
the hat, life becomes a hollow mockery,
for the hat makes the man. Without it
he remains forever a boy."
Hats remained a part of male culture throughout the first half of the 20th. century, but have since disappeared. The only exceptions are those worn by elderly males in the Jongno area, or the bright colorful caps that young teens and adults wear while out with their friends. The "permanent black halo" is no more.'
How Japan Took Control of Korea
Erin Blakemore has written the following for history.com in 2018, and updated it in 2023:
In 1910, Korea was annexed by the Empire of Japan after years of war, intimidation and political machinations; the country would be considered a part of Japan until 1945. In order to establish control over its new protectorate, the Empire of Japan waged an all-out war on Korean culture.
Schools and universities forbade speaking Korean, and emphasized manual labor and loyalty to the Emperor. Public places adopted Japanese, too, and an edict to make films in Japanese soon followed.
Topographical and other postcards of Korea were published with descriptions in Japanese text.
It also became a crime to teach history from non-approved texts, and authorities burned over 200,000 Korean historical documents, essentially wiping out the historical memory of Korea.
During the occupation, Japan took over Korea’s labor and land. Nearly 100,000 Japanese families settled in Korea with the land they had been given; they chopped down trees by the million and planted non-native species, transforming a familiar landscape into something many Koreans didn’t recognize.
Nearly 725,000 Korean workers were made to work in Japan and its other colonies, and as World War II loomed, Japan forced hundreds of thousands of Korean women into life as “comfort women”—sexual slaves who served in military brothels.
Korea’s people weren’t the only thing that was plundered during Japan’s colonization—its cultural symbols were considered fair game, too. One of the most powerful symbols of Korean sovereignty and independence was its royal palace, Gyeongbokgung, which was built in Seoul in 1395 by the mighty Joseon dynasty.
Soon after assuming power, the Japanese colonial government tore down over a third of the complex’s historic buildings, and the remaining structures were turned into tourist attractions for Japanese visitors.
As historian Heejung Kang notes, the imperial government also attempted to preserve treasures of Korean art history and culture—but then used them to uphold imperial Japan’s image of itself as a civilizing and modern force.
This view of Korea as backward and primitive compared to Japan made it into textbooks, museums and even Koreans’ own perceptions of themselves.
The occupation government also worked to assimilate Koreans with the help of language, religion and education. Shinto shrines originally intended for Japanese families became places of forced worship.
Historian Donald N. Clark explains:
"The colonial government made Koreans
worship the gods of imperial Japan,
including dead emperors and the spirits
of war heroes who had helped them
conquer Korea earlier in the century.”
This forced worship was viewed as an act of cultural genocide by many Koreans, but for the colonists, it was seen as evidence that Koreans and Japanese were a single, unified people.
Though some families got around the Shinto edict by simply visiting the shrines and not praying there, others grudgingly adopted the new religious practices out of fear.
By the end of its occupation of Korea, Japan had even waged war on people’s family names. At first, the colonial government made it illegal for people to adopt Japanese-style names, ostensibly to prevent confusion in family registries.
But in 1939, the government made changing names an official policy. Under the law, Korean families were “graciously allowed” to choose Japanese surnames.
At least 84 percent of all Koreans took on the names since people who lacked Japanese names were not recognized by the colonial bureaucracy, and were shut out of everything from mail delivery to ration cards. Historian Hildi Kang writes:
“The whole point was for the government
to be able to say that the people had
changed their names ‘voluntarily.’”
The Plundering of Korea by Japan
(a) Historic Korean Artifacts
Koreans accuse the Japanese of plundering hundreds of thousands of ancient Korean artifacts, mostly during their 36-year occupation of the peninsula. Most Japanese consider the issue a dead one, resolved by the 1965 Japan-Korea Treaty, which led to the return of some 1,400 items.
However the treaty was not definitive, as it neglected artifacts in Japanese private collections, as well as those originating in North Korea.
The size of the haul is astounding. Eighty percent of all Korean Buddhist paintings are believed to be in Japan. And, says Seoul art historian Kwon Cheeyun:
"35,000 Korean art objects and
30,000 rare books have been
confirmed to be there, too."
However that is only the tip of the iceberg: vastly more is believed to be hidden away in private collections.
Determining legal ownership is far more difficult than with the art looted by the Nazis. Toshiyuki Kono, a law professor at Kyushu University. states:
"It's almost impossible to trace the
provenance of centuries-old artifacts."
Besides, the Japanese annexation was internationally recognized in 1910, meaning that relocating Korean artifacts within "Japanese territory" was lawful at the time.
To Korea's annoyance, Japan holds many items of particular value. More than 1,000 bronze, gold and celadon pieces owned by the late businessman Takenosuke Ogura now make up the core of the Tokyo National Museum's Korean section.
A lot of precious Korean artifacts are now owned by private Japanese citizens or organizations, which means that the Japanese government can’t just acquire them and hand them back to Korea. So, unless the Korean government offers to actually spend millions of dollars to buy back the artifacts, it is unlikely they will ever be returned.
As well as removing cultural artifacts to Japan, the Japanese also burned countless Korean government buildings and palaces.
(b) Natural Resources
The Japanese also removed vast amounts of Korea's natural resources, including lumber, rice, coal, iron ore and many other minerals.
The land itself was also appropriated by the Japanese; by 1910 an estimated 8% of all arable land in Korea had come under Japanese control. This ratio increased steadily, and by 1932, the ratio of Japanese land ownership had grown to 53%.
Japanese landlords included both individuals and corporations. Many former Korean landowners became tenant farmers, having lost their entitlements almost overnight because they could not pay for the land reclamation and irrigation improvements forced upon them. As often occurred in Japan itself, tenants had to pay over half their crop in rent.
Robert Costanza the 61 year old USA ecological economist and professor of sustainability has published an article on Aljazeera questioning what we can expect from Rio+20, arguing “We should engage in a global dialogue to envision the future we want - and devise an adaptive strategy to get us there.” In the article Costanza states, “…Rio+20 may be the most critical and potentially most influential meeting of its kind ever. What would have to happen for this to occur? In a nutshell, our view of the world will have to change. Our fundamental goals will have to change from an unsustainable emphasis on economic growth to a much broader vision of human well-being that acknowledges our dependence on nature and on each other. …The ongoing financial crisis, the climate crisis, the crisis of well-being and happiness and the Occupy movement, all represent accumulating trends. The Rio+20 meeting could be the trigger to get off the growth bandwagon and start down the path to a more positive vision of the world we all want… We may have to wait for deeper crises, for a more severe collapse. I hope not. While it is not wise to raise expectations too high, it is also not wise to give up hope. Let us hope for the best.”
Photograph published 11th September 1918.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognize anyone in the images and have any stories and information to add please comment below
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This photograph was published in the Illustrated Chronicle on the 13/06/1917.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognize anyone in the images and have any stories and information to add please comment below.
See Picture book Here!
See Kindle edition Here!
Trudi and Her Mum are setting out on an adventure.
It probably won’t involve monsters or sea creatures or secret agents or doughnuts. Probably?
Where do we start talking about food poverty to kids?
Trudi is a funny little character who is keen to find out more about the world. In this storybook she is taking a walk with her mother to visit the local food bank. However when you are very small not everything makes sense straight away.
Henry Limbert is an illustration student who has developed this picturebook to be engaging and informative for preschool and early years children but also entertaining for adults to read aloud.
This story is primarily designed to help small people who might visit a food bank feel happy about their experience. We hope it will give all children and adults a way to begin talking about Foodbanks and why people need them. It should also make everyone laugh.
"The picture book has been created as part of an illustration project looking at current issues. The initial drive for creating a story came from a news article. The article talks about a parent feeling shame for being the position where she has no option but to rely on a food bank to help feed her daughter. The authors feel strongly that no child should feel shame for needing to eat and hope this story can help children see food banks in a positive light."
Available to download @ amzn.eu/d/1yRs8n4
copyright Henry Limbert 2023
Hi, We have published a book aimed at younger children who are visiting foodbanks. The book is currently available for free on the amazon kindle store. We also have a few printed copies to give away to Wirral schools and foodbanks who feel they might be able to put them to good use?
Send a message [and address] to this account and we'll post out a copy whilst stocks last.
[If you are a school/foodbank without an amazon account get in touch and we can send you a link for a free pdf download].
Publish Date: 2020-08-09 12:58:16
विस्फोट में 25 से अधिक लोगों की मौत हो गई, 2,500 से अधिक लोग घायल हो गए और लेबनान की राजधानी में झटके भेजे और खिड़कियों को तोड़ दिया और अपार्टमेंट बालकनियों के ढह गए।
इसे साझा करें:
एक सुरक्षा अधिकारी ने रविवार को कहा कि बेरूत के बंदरगाह में विशाल अमोनियम नाइट्रेट विस्फोट ने शहर के 43 मीटर (141 फीट) गहरे गड्ढे को नष्ट कर दिया।अधिकारी ने एएफपी को आपदा क्षेत्र का आकलन करने वाले फ्रांसीसी विशेषज्ञों की रिपोर्ट का हवाला देते हुए कहा, "बंदरगाह में विस्फोट ने 43 मीटर गहरा गड्ढा छोड़ दिया।"
। www.inhindinewstoday.com/explosion-43-meters-deep-in-port...
Published photo
Photo published in the co-operative News newspaper and online on 11-03-09.
The fantastic article published with it also won an award:
"The Co-op Writing Prize 2009 was held in association with the MA Magazine Journalism programme at the University of Central Lancashire, the Mid-Lancs Membership Committee of the former United society and Co-operative News. This article was judged the overall winner and Jonathan Bacon received a cheque for £500 from the Mid-Lancs committee while five runners-up will each receive £100 to assist with course fees."
Read the article online here.
Revista Viva, Edición Dominical del Diario Clarín de Buenos Aires /
Viva magazine, Sunday Edition of Clarin Newspaper, Buenos Aires
11.11.01
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This morning we had a photosession for a LP vinyl cover comisioned by the music label American Typewriter Records. Hoping to see soon this white colour vinyl of the swiss band Vargas. At the end of the summer will be available for purchasing.
The design of the work is being made by the studio Sopa Graphics.
Jason Hummel Photography
On Facebook www.facebook.com/pages/Tacoma-WA/Jason-Hummel-Photography...
To purchase or license images, please contact tharhawk@yahoo.com
Images copyright: Jason Hummel Photography
Big Ant TV Media LLC ©
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PAID SHOOTS ARE 1st PRIORITY
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First published in Penguin in 1960.
This reprint published in
Cover illustration by Giovanni Thermes
This is a scan from the internet and not a scan from my own collection
This photograph was published in the Illustrated Chronicle on the 19th of May 1916.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories and information to add please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
Big Ant TV Media LLC ©
Published Pro Freelance Photographer
PAID SHOOTS ARE 1st PRIORITY
(PORTFOLIO BUILDING” SHOOTS ARE 2ND)
“PLEASE INQUIRE WITHIN”
#fffweek #sbfw #nyfw #stylefw
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#UrbanModeling
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#sportsphotographers
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