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Street Talks
Varous Artists
Wednesday 6 - Friday 8 November, Check listing for times
Various Locations
Various Locations
Street Talks is a series of quickfire public talks, part of the Re@ct: Social Change Art Technology Symposium. Rather than your typical poster session, these talks will take place on the streets of Dundee in various locations. Free speech is essential to political and social change – these artists are quite literally taking it to the streets to share their creative practices.
Luisa Charles & Elke Reinhuber –Wednesday 6th November, 2pm, Slessor Gardens
Luisa Charles – discusses the intersections of disability and design, and how novel bespoke design practices could offer a solution to designing for all needs, where universal design could not. These design ideologies, that include co-design, individual centred design, mass customisation, and mass personalisation, are exemplified by case studies from pop culture design media, such as the Fixperts and BBC’s Big Life Fix. She analyses the social, technological, and economical shifts that are required for these practices to become mainstream, and the capability of bespoke design to cause enough disruption within the design economy to create a shift in capitalism.
Elke Reinhuber – The Urban Beautician moved recently from the speckless city state of Singapore, where she already developed her retirement plans, across the South China Sea, to protest-ridden Hong Kong. There, she observed how much effort the cleaners put up to keep these megapolises scrubbed and tidy. As they are frequently overlooked, the Urban Beautician captured some of them during their relentless daily routine. While they have adapted themselves to their particular duties, their skills are hardly ever honoured or even acknowledged. Paying homage to their Sisyphean challenge, they can be positioned now anywhere through Augmented Reality and venerated as perpetualised sculptures of our everyday heroes.The Urban Beautician tries to improve neglected details in our urban environment with interventions in public space and performances to camera. Since more than a decade she cares for things most people are oblivious to.
Ibarieze Abani and Daisy Abbott & Anders Zanichkowsky – Thursday 7th November, 1:30pm, Albert Square, by McManus Gallery Steps
Ibarieze Abani and Daisy Abbott – Transmedia storytelling uses multiple delivery channels to convey a narrative in order to provide a more immersive entertainment experience (Jenkins, 2009). Transmedia activism can be very broadly defined as using storytelling to “effect social change by engaging multiple stakeholders on multiple platforms to collaborate toward appropriate, community-led social action” (Srivastava, 2009). Activism depends on participation and collaboration within a community to avoid unsustainable or inappropriate top-down interventions. A similar concept, transmedia mobilization, uses transmedia storytelling to engage “the social base of a movement in participatory media making practices across multiple platforms” (Constanza-Chock, 2013) and also requires interaction from diverse voices from within the community.
Anders Zanichkowsky –“I Am in Your Hands: Smartphones and the erotics of the future”Social media artist and queer anarchist Anders Zanichkowsky will present excerpts and reflections from his current Grindr project, “Queen of Hearts,” as well as other recent projects reading Tarot cards on hookup apps and go-go dancing for a remote audience on Instagram. During this talk, Anders will use the same social media platforms that are the subject of his presentation, inviting you into the theory behind the work, and into the work itself. Equal parts cultural criticism, performance art, and experimental public speaking, this street talk will level the hierarchy of physical presence over virtual appearance, and scandalously suggest how thirst traps and sexting with strangers can indeed point us towards a radical future of queer intimacy and counterculture.
Mohammad Namazi & Matteo Preabianca – Friday 8th November, 1:30pm, Wellgate Centre, Victoria Road entrance
Mohammad Namazi – An Archive of Audio Disobedience, intervenes into the public realm, and collaborates with individuals, to construct a live-event. The event manifests through utilising a net-based sound archive, capable of involving participants in a collective form of sound-action, -publication, -demonstration, -performance, and -play.
The archive comprises various audio effects, sound segments, words, and computer-generated speeches – to stage a critical symphony, rooted in and derived from, socio-political concerns.
Matteo Preabianca – Mantra Marx is the eighth album for the NonMiPiaceIlCirco! Project. NonMiPiaceIlCirco! is a musical project that has been on since 2004, the year of the first album. Since then, the line-up has been in a constant change, with Matteo Preabianca the only member from the beginning. So they took The Capital from the shelf to read again. But who remembers it, especially young people? Let’s get rid of guitars and songs to give a didactic approach to the music. 25 tracks, one for each of the First Book’s 25 chapters. They use the lyrics as Hinduist mantras, where repetition is the key for a deep understanding of our life, and Marx as well. Its music, besides being lo-fi and badly made, is just an excuse. The lyrics are a summarized version of the aforementioned book, spoken by 25 different Mandarin native voices, completely unaware of the reason behind the recording. Still time to die as a Marxist(?). Developed and recorded in China.
About the Artists
Daisy Abbott is an interdisciplinary researcher and research developer based in the School of Simulation and Visualisation at The Glasgow School of Art. Daisy’s current research focusses on game-based learning, 3D visualisation, and issues surrounding digital interaction, documentation, preservation, and interpretation in the arts and humanities. She also collaborates with artists on works aiming to explore the nature of digital interactivity and digital art.
Luisa Charles is an interaction designer, multidisciplinary artist, and filmmaker. Having been exhibited in the Science Museum, Science Gallery London, London Design Festival, and various film festivals, amongst others, her work spans many themes across science and technology, social politics, and personal narratives. She specialises in installation design and physical computing, experience design, fabrication, and videography, and her work often comes under the umbrella of speculative and critical design. Her work focuses heavily on research processes, and forms itself organically through investigation and experimentation.
Ibarieze Abani is a recent Masters graduate in Serious Games and Virtual Reality at the Glasgow School of Art, where she has carried out projects about cultural heritage, gender inequality, transmedia storytelling and climate policy. She is an advocate of the capabilities of interactive digital media as a tool for opening up dialogues surrounding large scale themes such as climate justice, social justice and intersectionality. She has a keen interest in working with people using digital media to make meaningful and tangible differences on a societal scale.
Mohammad Namazi (b. 1981. Tehran) is an artist, educator and researcher based in London. Mohammad works through means of de-construction, collaboration, process, unlearning, and telematics systems within social and cultural realms. The studio operates as a research-lab for inter-disciplinary projects that can span video, sound, liveevents, graphics, photography, sculptural structures, and internet-based projects. He received his doctorate from UAL research in 2019, and currently teaches as visiting lecturer at Wimbledon, and Chelsea College of Arts. Mohammad is a member of research cluster Critical Practice.
Matteo Preabianca- Music and Languages…Music and Languages? How come? Matteo starts playing violin when he was a child, but he did not like it, especially when he tried to beat it on the table. It did not make any good sound. So, better drumming, right? Meanwhile playing and spending a lot his mum’s money to buy records he realised even speaking other languages was not so bad. Especially when he invented his own. Step by step, he turned into a music and languages teacher.
Elke Reinhuber is not your average artist, because she became a specialist on choice, decision making and counterfactual thoughts in media arts. Currently, Reinhuber teaches and researches at the School of Creative Media, CityU Hing Kong and is affiliated with the School of Art, Design and Media at NTU in Singapore. In her artistic practice, she investigates on the correlation between decisions and emotions and explores different strategies of visualisation and presentation, working with immersive environments, mixed reality, imaging technologies and performance. In addition, her alter ego, the ‘Urban Beautician’ is pursuing a life which Elke didn’t follow.
Anders Zanickowsky is an American artist and activist who uses platforms like Grindr and Instagram as actual sites for performances about desire, uncertainty, and vulnerability. He is committed to José Esteban Muñoz’s concept of queer futurity in which artists refuse the oppressive confines of the present and reach instead towards what can only be imagined. He has an MFA from the University of Wisconsin-Madison (2019) and was a resident with The Arctic Circle program in Svalbard (2016). Since 2008 he has worked in movements for housing justice, prison abolition, and HIV/AIDS.
Photography Kathryn Rattray
Street Talks
Varous Artists
Wednesday 6 - Friday 8 November, Check listing for times
Various Locations
Various Locations
Street Talks is a series of quickfire public talks, part of the Re@ct: Social Change Art Technology Symposium. Rather than your typical poster session, these talks will take place on the streets of Dundee in various locations. Free speech is essential to political and social change – these artists are quite literally taking it to the streets to share their creative practices.
Luisa Charles & Elke Reinhuber –Wednesday 6th November, 2pm, Slessor Gardens
Luisa Charles – discusses the intersections of disability and design, and how novel bespoke design practices could offer a solution to designing for all needs, where universal design could not. These design ideologies, that include co-design, individual centred design, mass customisation, and mass personalisation, are exemplified by case studies from pop culture design media, such as the Fixperts and BBC’s Big Life Fix. She analyses the social, technological, and economical shifts that are required for these practices to become mainstream, and the capability of bespoke design to cause enough disruption within the design economy to create a shift in capitalism.
Elke Reinhuber – The Urban Beautician moved recently from the speckless city state of Singapore, where she already developed her retirement plans, across the South China Sea, to protest-ridden Hong Kong. There, she observed how much effort the cleaners put up to keep these megapolises scrubbed and tidy. As they are frequently overlooked, the Urban Beautician captured some of them during their relentless daily routine. While they have adapted themselves to their particular duties, their skills are hardly ever honoured or even acknowledged. Paying homage to their Sisyphean challenge, they can be positioned now anywhere through Augmented Reality and venerated as perpetualised sculptures of our everyday heroes.The Urban Beautician tries to improve neglected details in our urban environment with interventions in public space and performances to camera. Since more than a decade she cares for things most people are oblivious to.
Ibarieze Abani and Daisy Abbott & Anders Zanichkowsky – Thursday 7th November, 1:30pm, Albert Square, by McManus Gallery Steps
Ibarieze Abani and Daisy Abbott – Transmedia storytelling uses multiple delivery channels to convey a narrative in order to provide a more immersive entertainment experience (Jenkins, 2009). Transmedia activism can be very broadly defined as using storytelling to “effect social change by engaging multiple stakeholders on multiple platforms to collaborate toward appropriate, community-led social action” (Srivastava, 2009). Activism depends on participation and collaboration within a community to avoid unsustainable or inappropriate top-down interventions. A similar concept, transmedia mobilization, uses transmedia storytelling to engage “the social base of a movement in participatory media making practices across multiple platforms” (Constanza-Chock, 2013) and also requires interaction from diverse voices from within the community.
Anders Zanichkowsky –“I Am in Your Hands: Smartphones and the erotics of the future”Social media artist and queer anarchist Anders Zanichkowsky will present excerpts and reflections from his current Grindr project, “Queen of Hearts,” as well as other recent projects reading Tarot cards on hookup apps and go-go dancing for a remote audience on Instagram. During this talk, Anders will use the same social media platforms that are the subject of his presentation, inviting you into the theory behind the work, and into the work itself. Equal parts cultural criticism, performance art, and experimental public speaking, this street talk will level the hierarchy of physical presence over virtual appearance, and scandalously suggest how thirst traps and sexting with strangers can indeed point us towards a radical future of queer intimacy and counterculture.
Mohammad Namazi & Matteo Preabianca – Friday 8th November, 1:30pm, Wellgate Centre, Victoria Road entrance
Mohammad Namazi – An Archive of Audio Disobedience, intervenes into the public realm, and collaborates with individuals, to construct a live-event. The event manifests through utilising a net-based sound archive, capable of involving participants in a collective form of sound-action, -publication, -demonstration, -performance, and -play.
The archive comprises various audio effects, sound segments, words, and computer-generated speeches – to stage a critical symphony, rooted in and derived from, socio-political concerns.
Matteo Preabianca – Mantra Marx is the eighth album for the NonMiPiaceIlCirco! Project. NonMiPiaceIlCirco! is a musical project that has been on since 2004, the year of the first album. Since then, the line-up has been in a constant change, with Matteo Preabianca the only member from the beginning. So they took The Capital from the shelf to read again. But who remembers it, especially young people? Let’s get rid of guitars and songs to give a didactic approach to the music. 25 tracks, one for each of the First Book’s 25 chapters. They use the lyrics as Hinduist mantras, where repetition is the key for a deep understanding of our life, and Marx as well. Its music, besides being lo-fi and badly made, is just an excuse. The lyrics are a summarized version of the aforementioned book, spoken by 25 different Mandarin native voices, completely unaware of the reason behind the recording. Still time to die as a Marxist(?). Developed and recorded in China.
About the Artists
Daisy Abbott is an interdisciplinary researcher and research developer based in the School of Simulation and Visualisation at The Glasgow School of Art. Daisy’s current research focusses on game-based learning, 3D visualisation, and issues surrounding digital interaction, documentation, preservation, and interpretation in the arts and humanities. She also collaborates with artists on works aiming to explore the nature of digital interactivity and digital art.
Luisa Charles is an interaction designer, multidisciplinary artist, and filmmaker. Having been exhibited in the Science Museum, Science Gallery London, London Design Festival, and various film festivals, amongst others, her work spans many themes across science and technology, social politics, and personal narratives. She specialises in installation design and physical computing, experience design, fabrication, and videography, and her work often comes under the umbrella of speculative and critical design. Her work focuses heavily on research processes, and forms itself organically through investigation and experimentation.
Ibarieze Abani is a recent Masters graduate in Serious Games and Virtual Reality at the Glasgow School of Art, where she has carried out projects about cultural heritage, gender inequality, transmedia storytelling and climate policy. She is an advocate of the capabilities of interactive digital media as a tool for opening up dialogues surrounding large scale themes such as climate justice, social justice and intersectionality. She has a keen interest in working with people using digital media to make meaningful and tangible differences on a societal scale.
Mohammad Namazi (b. 1981. Tehran) is an artist, educator and researcher based in London. Mohammad works through means of de-construction, collaboration, process, unlearning, and telematics systems within social and cultural realms. The studio operates as a research-lab for inter-disciplinary projects that can span video, sound, liveevents, graphics, photography, sculptural structures, and internet-based projects. He received his doctorate from UAL research in 2019, and currently teaches as visiting lecturer at Wimbledon, and Chelsea College of Arts. Mohammad is a member of research cluster Critical Practice.
Matteo Preabianca- Music and Languages…Music and Languages? How come? Matteo starts playing violin when he was a child, but he did not like it, especially when he tried to beat it on the table. It did not make any good sound. So, better drumming, right? Meanwhile playing and spending a lot his mum’s money to buy records he realised even speaking other languages was not so bad. Especially when he invented his own. Step by step, he turned into a music and languages teacher.
Elke Reinhuber is not your average artist, because she became a specialist on choice, decision making and counterfactual thoughts in media arts. Currently, Reinhuber teaches and researches at the School of Creative Media, CityU Hing Kong and is affiliated with the School of Art, Design and Media at NTU in Singapore. In her artistic practice, she investigates on the correlation between decisions and emotions and explores different strategies of visualisation and presentation, working with immersive environments, mixed reality, imaging technologies and performance. In addition, her alter ego, the ‘Urban Beautician’ is pursuing a life which Elke didn’t follow.
Anders Zanickowsky is an American artist and activist who uses platforms like Grindr and Instagram as actual sites for performances about desire, uncertainty, and vulnerability. He is committed to José Esteban Muñoz’s concept of queer futurity in which artists refuse the oppressive confines of the present and reach instead towards what can only be imagined. He has an MFA from the University of Wisconsin-Madison (2019) and was a resident with The Arctic Circle program in Svalbard (2016). Since 2008 he has worked in movements for housing justice, prison abolition, and HIV/AIDS.
Photography Kathryn Rattray
Social Media is built on concepts like Open, Empowerment, Transparency, Noise and Conversations. This picture shows the different components of Social Media.
IThe fusion of Technology and Social Behavior is what makes this revolution difficult to manage and predict. Yet Social Media is disrupting many industries like advertising and marketing, education, etc.
Understanding and effectively managing Social Media requires a new mind set. It requires unlearning Old theories like control, hierarchy, policy, protocol, organized work, etc.
The Social Media visual report can be downloaded from Telezent website.
Street Talks
Varous Artists
Wednesday 6 - Friday 8 November, Check listing for times
Various Locations
Various Locations
Street Talks is a series of quickfire public talks, part of the Re@ct: Social Change Art Technology Symposium. Rather than your typical poster session, these talks will take place on the streets of Dundee in various locations. Free speech is essential to political and social change – these artists are quite literally taking it to the streets to share their creative practices.
Luisa Charles & Elke Reinhuber –Wednesday 6th November, 2pm, Slessor Gardens
Luisa Charles – discusses the intersections of disability and design, and how novel bespoke design practices could offer a solution to designing for all needs, where universal design could not. These design ideologies, that include co-design, individual centred design, mass customisation, and mass personalisation, are exemplified by case studies from pop culture design media, such as the Fixperts and BBC’s Big Life Fix. She analyses the social, technological, and economical shifts that are required for these practices to become mainstream, and the capability of bespoke design to cause enough disruption within the design economy to create a shift in capitalism.
Elke Reinhuber – The Urban Beautician moved recently from the speckless city state of Singapore, where she already developed her retirement plans, across the South China Sea, to protest-ridden Hong Kong. There, she observed how much effort the cleaners put up to keep these megapolises scrubbed and tidy. As they are frequently overlooked, the Urban Beautician captured some of them during their relentless daily routine. While they have adapted themselves to their particular duties, their skills are hardly ever honoured or even acknowledged. Paying homage to their Sisyphean challenge, they can be positioned now anywhere through Augmented Reality and venerated as perpetualised sculptures of our everyday heroes.The Urban Beautician tries to improve neglected details in our urban environment with interventions in public space and performances to camera. Since more than a decade she cares for things most people are oblivious to.
Ibarieze Abani and Daisy Abbott & Anders Zanichkowsky – Thursday 7th November, 1:30pm, Albert Square, by McManus Gallery Steps
Ibarieze Abani and Daisy Abbott – Transmedia storytelling uses multiple delivery channels to convey a narrative in order to provide a more immersive entertainment experience (Jenkins, 2009). Transmedia activism can be very broadly defined as using storytelling to “effect social change by engaging multiple stakeholders on multiple platforms to collaborate toward appropriate, community-led social action” (Srivastava, 2009). Activism depends on participation and collaboration within a community to avoid unsustainable or inappropriate top-down interventions. A similar concept, transmedia mobilization, uses transmedia storytelling to engage “the social base of a movement in participatory media making practices across multiple platforms” (Constanza-Chock, 2013) and also requires interaction from diverse voices from within the community.
Anders Zanichkowsky –“I Am in Your Hands: Smartphones and the erotics of the future”Social media artist and queer anarchist Anders Zanichkowsky will present excerpts and reflections from his current Grindr project, “Queen of Hearts,” as well as other recent projects reading Tarot cards on hookup apps and go-go dancing for a remote audience on Instagram. During this talk, Anders will use the same social media platforms that are the subject of his presentation, inviting you into the theory behind the work, and into the work itself. Equal parts cultural criticism, performance art, and experimental public speaking, this street talk will level the hierarchy of physical presence over virtual appearance, and scandalously suggest how thirst traps and sexting with strangers can indeed point us towards a radical future of queer intimacy and counterculture.
Mohammad Namazi & Matteo Preabianca – Friday 8th November, 1:30pm, Wellgate Centre, Victoria Road entrance
Mohammad Namazi – An Archive of Audio Disobedience, intervenes into the public realm, and collaborates with individuals, to construct a live-event. The event manifests through utilising a net-based sound archive, capable of involving participants in a collective form of sound-action, -publication, -demonstration, -performance, and -play.
The archive comprises various audio effects, sound segments, words, and computer-generated speeches – to stage a critical symphony, rooted in and derived from, socio-political concerns.
Matteo Preabianca – Mantra Marx is the eighth album for the NonMiPiaceIlCirco! Project. NonMiPiaceIlCirco! is a musical project that has been on since 2004, the year of the first album. Since then, the line-up has been in a constant change, with Matteo Preabianca the only member from the beginning. So they took The Capital from the shelf to read again. But who remembers it, especially young people? Let’s get rid of guitars and songs to give a didactic approach to the music. 25 tracks, one for each of the First Book’s 25 chapters. They use the lyrics as Hinduist mantras, where repetition is the key for a deep understanding of our life, and Marx as well. Its music, besides being lo-fi and badly made, is just an excuse. The lyrics are a summarized version of the aforementioned book, spoken by 25 different Mandarin native voices, completely unaware of the reason behind the recording. Still time to die as a Marxist(?). Developed and recorded in China.
About the Artists
Daisy Abbott is an interdisciplinary researcher and research developer based in the School of Simulation and Visualisation at The Glasgow School of Art. Daisy’s current research focusses on game-based learning, 3D visualisation, and issues surrounding digital interaction, documentation, preservation, and interpretation in the arts and humanities. She also collaborates with artists on works aiming to explore the nature of digital interactivity and digital art.
Luisa Charles is an interaction designer, multidisciplinary artist, and filmmaker. Having been exhibited in the Science Museum, Science Gallery London, London Design Festival, and various film festivals, amongst others, her work spans many themes across science and technology, social politics, and personal narratives. She specialises in installation design and physical computing, experience design, fabrication, and videography, and her work often comes under the umbrella of speculative and critical design. Her work focuses heavily on research processes, and forms itself organically through investigation and experimentation.
Ibarieze Abani is a recent Masters graduate in Serious Games and Virtual Reality at the Glasgow School of Art, where she has carried out projects about cultural heritage, gender inequality, transmedia storytelling and climate policy. She is an advocate of the capabilities of interactive digital media as a tool for opening up dialogues surrounding large scale themes such as climate justice, social justice and intersectionality. She has a keen interest in working with people using digital media to make meaningful and tangible differences on a societal scale.
Mohammad Namazi (b. 1981. Tehran) is an artist, educator and researcher based in London. Mohammad works through means of de-construction, collaboration, process, unlearning, and telematics systems within social and cultural realms. The studio operates as a research-lab for inter-disciplinary projects that can span video, sound, liveevents, graphics, photography, sculptural structures, and internet-based projects. He received his doctorate from UAL research in 2019, and currently teaches as visiting lecturer at Wimbledon, and Chelsea College of Arts. Mohammad is a member of research cluster Critical Practice.
Matteo Preabianca- Music and Languages…Music and Languages? How come? Matteo starts playing violin when he was a child, but he did not like it, especially when he tried to beat it on the table. It did not make any good sound. So, better drumming, right? Meanwhile playing and spending a lot his mum’s money to buy records he realised even speaking other languages was not so bad. Especially when he invented his own. Step by step, he turned into a music and languages teacher.
Elke Reinhuber is not your average artist, because she became a specialist on choice, decision making and counterfactual thoughts in media arts. Currently, Reinhuber teaches and researches at the School of Creative Media, CityU Hing Kong and is affiliated with the School of Art, Design and Media at NTU in Singapore. In her artistic practice, she investigates on the correlation between decisions and emotions and explores different strategies of visualisation and presentation, working with immersive environments, mixed reality, imaging technologies and performance. In addition, her alter ego, the ‘Urban Beautician’ is pursuing a life which Elke didn’t follow.
Anders Zanickowsky is an American artist and activist who uses platforms like Grindr and Instagram as actual sites for performances about desire, uncertainty, and vulnerability. He is committed to José Esteban Muñoz’s concept of queer futurity in which artists refuse the oppressive confines of the present and reach instead towards what can only be imagined. He has an MFA from the University of Wisconsin-Madison (2019) and was a resident with The Arctic Circle program in Svalbard (2016). Since 2008 he has worked in movements for housing justice, prison abolition, and HIV/AIDS.
Photography Kathryn Rattray
It was February 14th, 2004 when I wrote my 1st introduction @ Verkkosalkku VLE for a Trans European pilot course belonging to the European Union Socrates Programme Minerva project "Intercultural Learning in the Internet": I expressed my gratitude for the possibility of being involved in the development phase! -Of the training / coaching / research program "Holistic Cultural Competence Assessment" that the pilot course was one part of - that's what I thought :)) . It meant a boost for a process that now - after six full years - is clearly entering a next phase.
Many people around me compress the current change by saying: "Social media is dead". This confused me a bit in the beginning. But I'm more and more thinking the same way. I put it in the following way when reflecting my own 'personal learning network' constructing process (of last six years) for a recent prez in Finnish:
The 1st phase (2004-2008):
Personal learning environment - four years of courses like the above mentioned IntCultNet and Web Tutor Training, Personal Growth, Self-Leadership and ELECTRA Multicultural... -VLE journeys with a beginning and end and big loneliness after and between the training courses. What was completely new and crucial was that these courses were based on self and peer evaluation and no exams - read: learning in stead of education.
The 2nd phase
began during 2008 - social web tools entered my learning and life through global contacts. Massive Open Online Course CCK08 in the end of the year taught how to begin a MASSIVE filtering of networked everything. I call this phase: constructing the Personal Learning Network.
The 3rd phase
began during last year. The MASSIVE filtering process taught how to find recommendations, support, transparency and help by learning to build and offer them myself at first. -All opportunities already exist out there in the networks. Your own ability to filter and - what is the KEY ISSUE taught throughout CCK08 and CCK09 - DEEPEN the personal global network. Key issues to learn are building trust and confidence and widening one's own world view - understanding more of processes and mechanisms of how attitudes consist of ethics and moral. I describe this phase as: Open Learning Network.
The 4th phase
is what I referred in the above as "entering a next phase": "Open Competence Network". The opposite - likewise emerging - pole of widening networks are the deepening and gradually tightening of networks. The difference and concrete advance (read: source of innovation) compared with life before the PLE phase (in my case six years ago) is that I now begin to work with people I never would have reached, found or even known of if I had continued the working methods of the era of e-mails & doc. attachments. The era of Open Competence Network means that all our work is result of an active and conscious sharing of a life-wide (un)learning process. This has become (the FEELING of what's) our daily routine! Research and development has been / more and more will be replaced by creativeness and innovation. It means R&D consisting of unlearned learning, teaching, coaching and self-leadership focused into the others, into the emerging network.
Returning to the idea of "the death of the social media"... -Yes, it's dead for me in the way I've been depending on it for reaching the phase Open Competence Network. -Currently I feel grateful again. Now it's time we put into practice the ways we learned to utilize during the phase we called "social media". We've began / more and more begin to work in a way we - globally - exactly never have experienced before. Let's load the next years with as big surprises as what we did during the last ones :)).
This reflection was boosted by this tweet by @cristinacost - asking for concrete cases. My reply is: the phase of "learning to be online" is not about concrete cases. It's about adopting a different point of view toward life - helping and accepting help within emergent professional networks. It's a means of transport toward achieving innovative kinds of concrete (research) cases. I described the years of loneliness in the beginning. Now that there's an evolving network of people having - what? cleared the jungle? for a beginning... WE PROMISE that we'll be there for all of you joining the construction processes of concrete new cases!
Edited on Feb. 25, 2010: The best in networked reflection is that it's guaranteed to progress. Here's my next step Here's my next step. Link to blog post by @cristinacost here.
(The picture refers to the day six years ago: It was Valentine's Day, which we in Finland - upon initial of the Finnish Red Cross in the 1980's - celebrate as the Day of Friendship. Yesterday the Feb. 14th was also the Shrove Sunday - in addition to the Cristian tradition that day goes long back in history: The family / house who's sledge slided longest was predicted to collect the best harvest by the next autumn. Sledges have been replaced by city snowboarding - like there were preparations made for when I walked by yesterday).
Street Talks
Varous Artists
Wednesday 6 - Friday 8 November, Check listing for times
Various Locations
Various Locations
Street Talks is a series of quickfire public talks, part of the Re@ct: Social Change Art Technology Symposium. Rather than your typical poster session, these talks will take place on the streets of Dundee in various locations. Free speech is essential to political and social change – these artists are quite literally taking it to the streets to share their creative practices.
Luisa Charles & Elke Reinhuber –Wednesday 6th November, 2pm, Slessor Gardens
Luisa Charles – discusses the intersections of disability and design, and how novel bespoke design practices could offer a solution to designing for all needs, where universal design could not. These design ideologies, that include co-design, individual centred design, mass customisation, and mass personalisation, are exemplified by case studies from pop culture design media, such as the Fixperts and BBC’s Big Life Fix. She analyses the social, technological, and economical shifts that are required for these practices to become mainstream, and the capability of bespoke design to cause enough disruption within the design economy to create a shift in capitalism.
Elke Reinhuber – The Urban Beautician moved recently from the speckless city state of Singapore, where she already developed her retirement plans, across the South China Sea, to protest-ridden Hong Kong. There, she observed how much effort the cleaners put up to keep these megapolises scrubbed and tidy. As they are frequently overlooked, the Urban Beautician captured some of them during their relentless daily routine. While they have adapted themselves to their particular duties, their skills are hardly ever honoured or even acknowledged. Paying homage to their Sisyphean challenge, they can be positioned now anywhere through Augmented Reality and venerated as perpetualised sculptures of our everyday heroes.The Urban Beautician tries to improve neglected details in our urban environment with interventions in public space and performances to camera. Since more than a decade she cares for things most people are oblivious to.
Ibarieze Abani and Daisy Abbott & Anders Zanichkowsky – Thursday 7th November, 1:30pm, Albert Square, by McManus Gallery Steps
Ibarieze Abani and Daisy Abbott – Transmedia storytelling uses multiple delivery channels to convey a narrative in order to provide a more immersive entertainment experience (Jenkins, 2009). Transmedia activism can be very broadly defined as using storytelling to “effect social change by engaging multiple stakeholders on multiple platforms to collaborate toward appropriate, community-led social action” (Srivastava, 2009). Activism depends on participation and collaboration within a community to avoid unsustainable or inappropriate top-down interventions. A similar concept, transmedia mobilization, uses transmedia storytelling to engage “the social base of a movement in participatory media making practices across multiple platforms” (Constanza-Chock, 2013) and also requires interaction from diverse voices from within the community.
Anders Zanichkowsky –“I Am in Your Hands: Smartphones and the erotics of the future”Social media artist and queer anarchist Anders Zanichkowsky will present excerpts and reflections from his current Grindr project, “Queen of Hearts,” as well as other recent projects reading Tarot cards on hookup apps and go-go dancing for a remote audience on Instagram. During this talk, Anders will use the same social media platforms that are the subject of his presentation, inviting you into the theory behind the work, and into the work itself. Equal parts cultural criticism, performance art, and experimental public speaking, this street talk will level the hierarchy of physical presence over virtual appearance, and scandalously suggest how thirst traps and sexting with strangers can indeed point us towards a radical future of queer intimacy and counterculture.
Mohammad Namazi & Matteo Preabianca – Friday 8th November, 1:30pm, Wellgate Centre, Victoria Road entrance
Mohammad Namazi – An Archive of Audio Disobedience, intervenes into the public realm, and collaborates with individuals, to construct a live-event. The event manifests through utilising a net-based sound archive, capable of involving participants in a collective form of sound-action, -publication, -demonstration, -performance, and -play.
The archive comprises various audio effects, sound segments, words, and computer-generated speeches – to stage a critical symphony, rooted in and derived from, socio-political concerns.
Matteo Preabianca – Mantra Marx is the eighth album for the NonMiPiaceIlCirco! Project. NonMiPiaceIlCirco! is a musical project that has been on since 2004, the year of the first album. Since then, the line-up has been in a constant change, with Matteo Preabianca the only member from the beginning. So they took The Capital from the shelf to read again. But who remembers it, especially young people? Let’s get rid of guitars and songs to give a didactic approach to the music. 25 tracks, one for each of the First Book’s 25 chapters. They use the lyrics as Hinduist mantras, where repetition is the key for a deep understanding of our life, and Marx as well. Its music, besides being lo-fi and badly made, is just an excuse. The lyrics are a summarized version of the aforementioned book, spoken by 25 different Mandarin native voices, completely unaware of the reason behind the recording. Still time to die as a Marxist(?). Developed and recorded in China.
About the Artists
Daisy Abbott is an interdisciplinary researcher and research developer based in the School of Simulation and Visualisation at The Glasgow School of Art. Daisy’s current research focusses on game-based learning, 3D visualisation, and issues surrounding digital interaction, documentation, preservation, and interpretation in the arts and humanities. She also collaborates with artists on works aiming to explore the nature of digital interactivity and digital art.
Luisa Charles is an interaction designer, multidisciplinary artist, and filmmaker. Having been exhibited in the Science Museum, Science Gallery London, London Design Festival, and various film festivals, amongst others, her work spans many themes across science and technology, social politics, and personal narratives. She specialises in installation design and physical computing, experience design, fabrication, and videography, and her work often comes under the umbrella of speculative and critical design. Her work focuses heavily on research processes, and forms itself organically through investigation and experimentation.
Ibarieze Abani is a recent Masters graduate in Serious Games and Virtual Reality at the Glasgow School of Art, where she has carried out projects about cultural heritage, gender inequality, transmedia storytelling and climate policy. She is an advocate of the capabilities of interactive digital media as a tool for opening up dialogues surrounding large scale themes such as climate justice, social justice and intersectionality. She has a keen interest in working with people using digital media to make meaningful and tangible differences on a societal scale.
Mohammad Namazi (b. 1981. Tehran) is an artist, educator and researcher based in London. Mohammad works through means of de-construction, collaboration, process, unlearning, and telematics systems within social and cultural realms. The studio operates as a research-lab for inter-disciplinary projects that can span video, sound, liveevents, graphics, photography, sculptural structures, and internet-based projects. He received his doctorate from UAL research in 2019, and currently teaches as visiting lecturer at Wimbledon, and Chelsea College of Arts. Mohammad is a member of research cluster Critical Practice.
Matteo Preabianca- Music and Languages…Music and Languages? How come? Matteo starts playing violin when he was a child, but he did not like it, especially when he tried to beat it on the table. It did not make any good sound. So, better drumming, right? Meanwhile playing and spending a lot his mum’s money to buy records he realised even speaking other languages was not so bad. Especially when he invented his own. Step by step, he turned into a music and languages teacher.
Elke Reinhuber is not your average artist, because she became a specialist on choice, decision making and counterfactual thoughts in media arts. Currently, Reinhuber teaches and researches at the School of Creative Media, CityU Hing Kong and is affiliated with the School of Art, Design and Media at NTU in Singapore. In her artistic practice, she investigates on the correlation between decisions and emotions and explores different strategies of visualisation and presentation, working with immersive environments, mixed reality, imaging technologies and performance. In addition, her alter ego, the ‘Urban Beautician’ is pursuing a life which Elke didn’t follow.
Anders Zanickowsky is an American artist and activist who uses platforms like Grindr and Instagram as actual sites for performances about desire, uncertainty, and vulnerability. He is committed to José Esteban Muñoz’s concept of queer futurity in which artists refuse the oppressive confines of the present and reach instead towards what can only be imagined. He has an MFA from the University of Wisconsin-Madison (2019) and was a resident with The Arctic Circle program in Svalbard (2016). Since 2008 he has worked in movements for housing justice, prison abolition, and HIV/AIDS.
Photography Kathryn Rattray
LEARNED HELPLESSNESS:
ON AUTHORITY, OBEDIENCE, AND CONTROL
[…] in the 1940s, psychotic patients would express delusions about their brains being controlled by radio waves; now delusional patients commonly complain about implanted computer chips,”[1]
“The Matrix is everywhere, even now in this very room. You can see it when you look out your window or when you turn on your television. You can feel it when you go to work, when you go to church, when you pay your taxes. It is the world that has been pulled over your eyes to blind you from the truth.” (Morpheus);
“What truth?” (Neo);
“That you’re a slave. Like everyone else, you were born into a prison, a prison that you cannot smell or touch, a prison for your mind.” (Morpheus)[2]
Now, in fact, we already live largely in a negationist society. No event is ‘real’ any longer. Terror attacks, trials, wars, corruption, opinion polls – there’s nothing now that isn’t rigged or undecidable. Government, the authorities and institutions are the first victims of this fall from grace of the principles of truth and reality. Incredulity rages. The conspiracy theory merely adds a somewhat burlesque episode to this mental destabilization. Hence this urgent need to combat this creeping negationist and at all costs, safeguards a reality that is now kept alive on a drip.[3]
Humans constantly learn how do things, how to explain phenomena, how to model the world: how to minimize the difference between expectation and observation. To that end, not only learning from success has proven useful, but also learning from failures, realizing when it is time to give up trying something: Repeated failure frustrates us, the pain incurred by failed attempts undermines our self-esteem. We feel powerless and embarrassed in the face of an overwhelming difficulty. And eventually we give up. It is a sign of intelligence to do so; we have learned that something is impossible. The insight of impossibility gets encoded in an emotion, especially if punishment or pain is associated with a failed attempt. This internalized experience of incapability is often so traumatic that we never ever take another attempt, even if the conditions may have changed. We do not even take notice of them any longer. Even if all obstacles get removed: We don’t try anymore. We have given up. We have learned helplessness.
Humans learn not only from own experiences, but also by observing the successes and failures of their peers. There are numerous narrative forms for passing on frustrations, there is a tone reserved in every social group’s repertoire of jokes, sighs and lamentos for expressing it. We pat our shoulders and agree that it simply could not be done: We learn the helplessness of our ancestors and peers.
Moreover, the future can only be made from what is considered possible: We can only choose among the options for behaviour that we are aware of. Many of the possibilities that our ancestors have gotten frustrated with never become part of our world. They get buried on the cemetery of failed attempts, and pride and pain prevents the ancestors from telling stories about them. Especially when some attempt gets punished by psychological or physical violence, then the emotion that encodes the failure is not just frustration, but a deep injury of the soul: apathy, depression and despair are what the victim will suffer.
Human emotions are the material of which power is forged. A plethora of elaborate techniques exist to plant and dung them, stake or trim, harvest, lay, ferment and distil them. Especially learned helplessness has proven an extremely effective means of dressage, particularly in its indirect, socially mediated form: To the end of controlling and stabilizing a status quo, nothing is more powerful than the invisible leash that is formed from the almost instinctive flinching from change that we have developed from frustrated attempts.
To braid the invisible leash, it is necessary to create an initial frustration, or worse: a traumatic experience. The use of abasement, physical restraint and violence is unbearably effective at that. These are the knives with which traumata can be cut most directly into the fabric of the self. Alone the realization that these actions are in fact possible and have been applied during every single moment of mankind is deeply frustrating and embarrassing to everyone who has a hope in our propensity for learning.
The didactics of helplessness however knows much more subtle techniques, many of which exploit the dependence of the human self-model and self-esteem on the feedback of peers, and the self-evaluation in comparison to what is taught as exemplary by the textbook of the social. The key lesson that an organism needs to learn is one of own incapability: Human identity requires a sense of being in control of matters, such as of the own existence and fate. Make the students of helplessness poor – materially or symbolically; convince them that they are incapable; foster their existential fear; then offer them a straw: They will grasp it and have learnt that it is impossible for them to survive on their own. Give excessive help, function overly, and you shall receive helplessness.
The conviction (of an individual or a group) of being out of control needs to get reinforced, practiced and rehearsed. Repeat: We are incapable of dealing with the problem; the problem is overwhelmingly large; it is too complex for our simple minds to grasp; a solution is so improbable that it is impossible for all practical purposes. There is not only one problem: two more get reported every day. We don’t even know enough about the nature of the problems. A conspiracy might be pulling the strings, but there are conflicting theories about who is really, truly in control. No one can know what is going on behind the scenes. In fact, you cannot trust anyone; hence there is no truth. If you can’t convince them of their own helplessness, confuse them and overwhelm them: Immerse them in a constant stream of buzz, whirl their heads around until the liquid between their ears is spinning like an eddy.
The notion of “learned helplessness” can be summarized as a mental state that an individual or society arrives at when they internalize failure and stop trying to break out of an overpowering condition – even if that condition changes. Put forward by psychologist Martin Seligman in 1967, it has inspired a number of scholars working in the fields of gender politics, racism, genocide, authoritarianism and related subjects that are concerned with the dynamics of hegemony. It is through suppressive education processes, religious and moral principles (enacted both by families as well as institutions and cultures), violations of human rights and freedom, political pressure, and the continuous recall of the status quo by the media, that individuals and societies arrive at a fatal conclusion: That they do not have the necessary power to change the existing modus vivendi or the prevailing regimes.
The existing control mechanisms instrumentalise this aspect of human psychology in the form of social engineering and manipulation of societies. They employ the media, prisons, surveillance and security systems that operate on the basis of social psychology. They systematically manufacture a collective sense of helplessness. By using information overflow, normalizing corruption and injustice, monitoring privacy, manipulating law, operating a police system, applying psychological and physical violence, murdering, torturing, imprisoning, creating conflicts within societies, raising poverty and creating a financial need for their own existence, the ruling powers aggressively develop a system of even greater control.
In many of the so-called democratic countries of present day, large parts of society are reluctant about available alternatives in elections. Fewer and fewer people feel represented in parliaments. Often people think that their participation will not matter, given the strategies and games taking place in the election systems: Today, in many countries the notion of “free choice” has to be regarded an impossible dream. “The lesser of two evils”, “strategic voting”, or “voting grudgingly” are frequently heard utterances that give evidence of the lost hope.
Experiences of violence – massacres, military coup d’états, unsolved political murders, wars, terror attacks, etc. – are severe traumata in the collective memories of societies. They increasingly help cultivate a collective fear and justify the necessity for surveillance, as well as military and security forces. However, these comprehensible needs transform the role of the state from governing to ruling. This is where the abuse of power starts, and the security forces, media and monitoring agencies, which owe their existence to the collective anxiety, start functioning as tools for the defence of the ruling regime from its own public. It is through violence and an overflow of conflicting information that a society gets confused, loses its trust, and consequently its hope.
Is it possible to un-learn helplessness? The exhibition project “Learned Helplessness: On Authority, Obedience, and Control” is the result of a collective thinking process about this question. It brings together diverse positions analysing the phenomenon from the aspects of family, religion, psychology, politics, urbanism, gender, neuroscience and social education. The project encompasses a variety of artistic forms, including sound, video, object installations, photographs, graffiti and drawings – mainly produced for this exhibition. It aims at going beyond the artistic dialog that it suggests, and opening up a discussion platform for collective thinking and for debating the metaphor of unlearning helplessness.
CO-WRITERS OF THE CURATORIAL TEXT
Tobias Nöbauer & Işın Önol
I got fed up with the lousy pictures on the now discontinued Nexus 4. So I went and got a new phone. Some of the transition has been remarkably easy. Others, of course, frustrating. Unlearning Android basically. I was pleased to get the focal point on the rain drops and the bokeh of the dismal evening. I could have brightened it too but what would have been the point of that?
I Shot all these frames on my Motorola 8 .. I am unlearning photography using my mobile phone , it is inconspicuous , non threatening ,and definitely not a weapon of destruction like the Canon..
About this barber who has taken this neat clean shop on a rent of Rs 12000 pm.. is tough as the clients are working class and taporis. of Bandra East.
He pointed out to a fat ugly woman , she was sitting abusing her lover husband , no2 outside his shop with her overgrown teenager fat hulk of a son.
He told me she had left her old husband .. and than he began shaving my bald head .
I wanted to kill time before I went back by share a rick to Bandra East Station and the Shastri Nagar Slums near Bandra West Station.
He was deft , knew his job and had worked at Riyadh Saudi Arabi he had a tiff with his Saudi Arbab so he chucked up the job and was cursing his hot temper including that of his fucked Arbab boss.
But he had good things to say about Saudi Arabia the business , Ramzan , timings etc.. and he told me was dfrom Allahabad , when I told him I had shot the Kumbh he became nostalgic about his hometown , and Ganga Jamuna Tehzeeb.
He thought I was a celebrity because he had seen me come several times here I have a workshop closeby.
And I shot several frames , of his skill , hie gave me a head massage too
He charged me Rs 30 .. I gave him Rs 40..
And so the Motorola G is handy for us bloggers it goes about its job silently without going Khat Khat Khat like cameras of Indian photo pressmen...who are photographers crossed to journalists.
We read an article in the local Barrie Ontario newspaper and visited to eat and shop. We were pleased with both experiences and will return to further explore their menu and goods for sale.
www.simcoe.com/opinion-story/8326638-finding-authentic-me...
Finding authentic Mexican cuisine in Barrie
Forget fajitas, margaritas and chimichangas. The Mexican House serves up a tamale you'll only find in one city in Mexico
OPINION Mar 16, 2018 by Bryan Myers Barrie Advance.
When you think of Mexican food, you might actually be thinking about Tex-Mex food.
Hard shell tacos and chili slathered nachos, while delicious, aren’t particularly Mexican.
The Mexican House, which was formerly Antojitos Colombian Bakery, shares an authentic taste of real Mexican food to Barrie.
It’s so authentic, one of the tamales, the red pepper one, is only found in owner Ruben Munoz hometown of Guanajuato, Mexico, only 4,000 kilometres from Barrie.
I personally never thought I liked tamales. I might’ve tried to gnaw through the unsatisfying corn husk the edible masa and shortening within.
The Mexican House’s tamale is rich and sweet. It reminds me of a sweet, doughy cornbread, and inside a bit of red pepper jelly, similar to the kind you might top a brie.
Masa, for the unfamiliar, is corn soaked in an alkaline solution, like limewater (think limestone not lime juice) to remove toxins.
The tamale is great on its own, but you can add a little crema, or Mexican sour cream.
Denise Cervintes, Munoz’s daughter, said the family run business is trying to give residents authentic Hispanic cuisine.
“We use a lot of spices, but it’s not necessarily hot,” Cervintes said.
In terms of Mexican food, Munoz brings spiciness, as in the flavour of spices, rather than heat.
Of course, for heat-seekers, there’s always hot sauce and salsas. Salsa, however, means "sauce" in Spanish. In Mexico, the condiments are salsa verde, green sauce, and salsa roja, red sauce.
My burrito, a hefty bundle of beef and chorizo, the "campechano" on the menu, needs red nor green sauce.
There’s a lot to unlearn about Tex-Mex in order to learn about authentic Mex. Chorizo is an ancient type of sausage, and it’s often available as a cured meat in delis. That’s Spanish chorizo.
Mexican chorizo is not cured, and looks similar to pork sausage. It’s uncased and mixed into the chopped beef in my burrito.
Other burrito options are pollo, chicken, carnitas, pork and beef tongue.
This is really accessible Mexican cuisine, and the heat is manageable, even for palates that consider Chipotle and Taco Bell a bit spicy.
To complete my Mexican staycation, I had a wide variety of beverages to choose from. Alex Munoz, Ruben’s son, recommended Sangria Senorial as an authentic choice.
Sangria for a weekday lunch? I know it sounds risky, but this is actually a non-alcoholic drink that’s been popular in Mexico since 1960. It’s made exactly like the wine-based punch, but the alcohol is removed before bottling.
The Mexican House also has a small selection of Hispanic groceries and some frozen dishes made in-house for sale. The dining room is a cheery lemon yellow and it’s a nice place to escape the last few flakes of snowfall this season while traditional Mexican music plays on the stereo.
I’m here to seek out the best the city has to offer, but I can’t get to the real gems without help. Tell me where to go. I can be reached at 705-726-0573 ext. 283 and bmyers@simcoe.com.
Mon 7:30 am - 9:00 pm
Tue 7:30 am - 9:00 pm
Wed 7:30 am - 9:00 pm
Thu 7:30 am - 9:00 pm
Fri 7:30 am - 9:00 pm
Sat 7:30 am - 9:00 pm
Sun 7:30 am - 5:00 pm
Street Talks
Varous Artists
Wednesday 6 - Friday 8 November, Check listing for times
Various Locations
Various Locations
Street Talks is a series of quickfire public talks, part of the Re@ct: Social Change Art Technology Symposium. Rather than your typical poster session, these talks will take place on the streets of Dundee in various locations. Free speech is essential to political and social change – these artists are quite literally taking it to the streets to share their creative practices.
Luisa Charles & Elke Reinhuber –Wednesday 6th November, 2pm, Slessor Gardens
Luisa Charles – discusses the intersections of disability and design, and how novel bespoke design practices could offer a solution to designing for all needs, where universal design could not. These design ideologies, that include co-design, individual centred design, mass customisation, and mass personalisation, are exemplified by case studies from pop culture design media, such as the Fixperts and BBC’s Big Life Fix. She analyses the social, technological, and economical shifts that are required for these practices to become mainstream, and the capability of bespoke design to cause enough disruption within the design economy to create a shift in capitalism.
Elke Reinhuber – The Urban Beautician moved recently from the speckless city state of Singapore, where she already developed her retirement plans, across the South China Sea, to protest-ridden Hong Kong. There, she observed how much effort the cleaners put up to keep these megapolises scrubbed and tidy. As they are frequently overlooked, the Urban Beautician captured some of them during their relentless daily routine. While they have adapted themselves to their particular duties, their skills are hardly ever honoured or even acknowledged. Paying homage to their Sisyphean challenge, they can be positioned now anywhere through Augmented Reality and venerated as perpetualised sculptures of our everyday heroes.The Urban Beautician tries to improve neglected details in our urban environment with interventions in public space and performances to camera. Since more than a decade she cares for things most people are oblivious to.
Ibarieze Abani and Daisy Abbott & Anders Zanichkowsky – Thursday 7th November, 1:30pm, Albert Square, by McManus Gallery Steps
Ibarieze Abani and Daisy Abbott – Transmedia storytelling uses multiple delivery channels to convey a narrative in order to provide a more immersive entertainment experience (Jenkins, 2009). Transmedia activism can be very broadly defined as using storytelling to “effect social change by engaging multiple stakeholders on multiple platforms to collaborate toward appropriate, community-led social action” (Srivastava, 2009). Activism depends on participation and collaboration within a community to avoid unsustainable or inappropriate top-down interventions. A similar concept, transmedia mobilization, uses transmedia storytelling to engage “the social base of a movement in participatory media making practices across multiple platforms” (Constanza-Chock, 2013) and also requires interaction from diverse voices from within the community.
Anders Zanichkowsky –“I Am in Your Hands: Smartphones and the erotics of the future”Social media artist and queer anarchist Anders Zanichkowsky will present excerpts and reflections from his current Grindr project, “Queen of Hearts,” as well as other recent projects reading Tarot cards on hookup apps and go-go dancing for a remote audience on Instagram. During this talk, Anders will use the same social media platforms that are the subject of his presentation, inviting you into the theory behind the work, and into the work itself. Equal parts cultural criticism, performance art, and experimental public speaking, this street talk will level the hierarchy of physical presence over virtual appearance, and scandalously suggest how thirst traps and sexting with strangers can indeed point us towards a radical future of queer intimacy and counterculture.
Mohammad Namazi & Matteo Preabianca – Friday 8th November, 1:30pm, Wellgate Centre, Victoria Road entrance
Mohammad Namazi – An Archive of Audio Disobedience, intervenes into the public realm, and collaborates with individuals, to construct a live-event. The event manifests through utilising a net-based sound archive, capable of involving participants in a collective form of sound-action, -publication, -demonstration, -performance, and -play.
The archive comprises various audio effects, sound segments, words, and computer-generated speeches – to stage a critical symphony, rooted in and derived from, socio-political concerns.
Matteo Preabianca – Mantra Marx is the eighth album for the NonMiPiaceIlCirco! Project. NonMiPiaceIlCirco! is a musical project that has been on since 2004, the year of the first album. Since then, the line-up has been in a constant change, with Matteo Preabianca the only member from the beginning. So they took The Capital from the shelf to read again. But who remembers it, especially young people? Let’s get rid of guitars and songs to give a didactic approach to the music. 25 tracks, one for each of the First Book’s 25 chapters. They use the lyrics as Hinduist mantras, where repetition is the key for a deep understanding of our life, and Marx as well. Its music, besides being lo-fi and badly made, is just an excuse. The lyrics are a summarized version of the aforementioned book, spoken by 25 different Mandarin native voices, completely unaware of the reason behind the recording. Still time to die as a Marxist(?). Developed and recorded in China.
About the Artists
Daisy Abbott is an interdisciplinary researcher and research developer based in the School of Simulation and Visualisation at The Glasgow School of Art. Daisy’s current research focusses on game-based learning, 3D visualisation, and issues surrounding digital interaction, documentation, preservation, and interpretation in the arts and humanities. She also collaborates with artists on works aiming to explore the nature of digital interactivity and digital art.
Luisa Charles is an interaction designer, multidisciplinary artist, and filmmaker. Having been exhibited in the Science Museum, Science Gallery London, London Design Festival, and various film festivals, amongst others, her work spans many themes across science and technology, social politics, and personal narratives. She specialises in installation design and physical computing, experience design, fabrication, and videography, and her work often comes under the umbrella of speculative and critical design. Her work focuses heavily on research processes, and forms itself organically through investigation and experimentation.
Ibarieze Abani is a recent Masters graduate in Serious Games and Virtual Reality at the Glasgow School of Art, where she has carried out projects about cultural heritage, gender inequality, transmedia storytelling and climate policy. She is an advocate of the capabilities of interactive digital media as a tool for opening up dialogues surrounding large scale themes such as climate justice, social justice and intersectionality. She has a keen interest in working with people using digital media to make meaningful and tangible differences on a societal scale.
Mohammad Namazi (b. 1981. Tehran) is an artist, educator and researcher based in London. Mohammad works through means of de-construction, collaboration, process, unlearning, and telematics systems within social and cultural realms. The studio operates as a research-lab for inter-disciplinary projects that can span video, sound, liveevents, graphics, photography, sculptural structures, and internet-based projects. He received his doctorate from UAL research in 2019, and currently teaches as visiting lecturer at Wimbledon, and Chelsea College of Arts. Mohammad is a member of research cluster Critical Practice.
Matteo Preabianca- Music and Languages…Music and Languages? How come? Matteo starts playing violin when he was a child, but he did not like it, especially when he tried to beat it on the table. It did not make any good sound. So, better drumming, right? Meanwhile playing and spending a lot his mum’s money to buy records he realised even speaking other languages was not so bad. Especially when he invented his own. Step by step, he turned into a music and languages teacher.
Elke Reinhuber is not your average artist, because she became a specialist on choice, decision making and counterfactual thoughts in media arts. Currently, Reinhuber teaches and researches at the School of Creative Media, CityU Hing Kong and is affiliated with the School of Art, Design and Media at NTU in Singapore. In her artistic practice, she investigates on the correlation between decisions and emotions and explores different strategies of visualisation and presentation, working with immersive environments, mixed reality, imaging technologies and performance. In addition, her alter ego, the ‘Urban Beautician’ is pursuing a life which Elke didn’t follow.
Anders Zanickowsky is an American artist and activist who uses platforms like Grindr and Instagram as actual sites for performances about desire, uncertainty, and vulnerability. He is committed to José Esteban Muñoz’s concept of queer futurity in which artists refuse the oppressive confines of the present and reach instead towards what can only be imagined. He has an MFA from the University of Wisconsin-Madison (2019) and was a resident with The Arctic Circle program in Svalbard (2016). Since 2008 he has worked in movements for housing justice, prison abolition, and HIV/AIDS.
Photography Kathryn Rattray
Street Talks
Varous Artists
Wednesday 6 - Friday 8 November, Check listing for times
Various Locations
Various Locations
Street Talks is a series of quickfire public talks, part of the Re@ct: Social Change Art Technology Symposium. Rather than your typical poster session, these talks will take place on the streets of Dundee in various locations. Free speech is essential to political and social change – these artists are quite literally taking it to the streets to share their creative practices.
Luisa Charles & Elke Reinhuber –Wednesday 6th November, 2pm, Slessor Gardens
Luisa Charles – discusses the intersections of disability and design, and how novel bespoke design practices could offer a solution to designing for all needs, where universal design could not. These design ideologies, that include co-design, individual centred design, mass customisation, and mass personalisation, are exemplified by case studies from pop culture design media, such as the Fixperts and BBC’s Big Life Fix. She analyses the social, technological, and economical shifts that are required for these practices to become mainstream, and the capability of bespoke design to cause enough disruption within the design economy to create a shift in capitalism.
Elke Reinhuber – The Urban Beautician moved recently from the speckless city state of Singapore, where she already developed her retirement plans, across the South China Sea, to protest-ridden Hong Kong. There, she observed how much effort the cleaners put up to keep these megapolises scrubbed and tidy. As they are frequently overlooked, the Urban Beautician captured some of them during their relentless daily routine. While they have adapted themselves to their particular duties, their skills are hardly ever honoured or even acknowledged. Paying homage to their Sisyphean challenge, they can be positioned now anywhere through Augmented Reality and venerated as perpetualised sculptures of our everyday heroes.The Urban Beautician tries to improve neglected details in our urban environment with interventions in public space and performances to camera. Since more than a decade she cares for things most people are oblivious to.
Ibarieze Abani and Daisy Abbott & Anders Zanichkowsky – Thursday 7th November, 1:30pm, Albert Square, by McManus Gallery Steps
Ibarieze Abani and Daisy Abbott – Transmedia storytelling uses multiple delivery channels to convey a narrative in order to provide a more immersive entertainment experience (Jenkins, 2009). Transmedia activism can be very broadly defined as using storytelling to “effect social change by engaging multiple stakeholders on multiple platforms to collaborate toward appropriate, community-led social action” (Srivastava, 2009). Activism depends on participation and collaboration within a community to avoid unsustainable or inappropriate top-down interventions. A similar concept, transmedia mobilization, uses transmedia storytelling to engage “the social base of a movement in participatory media making practices across multiple platforms” (Constanza-Chock, 2013) and also requires interaction from diverse voices from within the community.
Anders Zanichkowsky –“I Am in Your Hands: Smartphones and the erotics of the future”Social media artist and queer anarchist Anders Zanichkowsky will present excerpts and reflections from his current Grindr project, “Queen of Hearts,” as well as other recent projects reading Tarot cards on hookup apps and go-go dancing for a remote audience on Instagram. During this talk, Anders will use the same social media platforms that are the subject of his presentation, inviting you into the theory behind the work, and into the work itself. Equal parts cultural criticism, performance art, and experimental public speaking, this street talk will level the hierarchy of physical presence over virtual appearance, and scandalously suggest how thirst traps and sexting with strangers can indeed point us towards a radical future of queer intimacy and counterculture.
Mohammad Namazi & Matteo Preabianca – Friday 8th November, 1:30pm, Wellgate Centre, Victoria Road entrance
Mohammad Namazi – An Archive of Audio Disobedience, intervenes into the public realm, and collaborates with individuals, to construct a live-event. The event manifests through utilising a net-based sound archive, capable of involving participants in a collective form of sound-action, -publication, -demonstration, -performance, and -play.
The archive comprises various audio effects, sound segments, words, and computer-generated speeches – to stage a critical symphony, rooted in and derived from, socio-political concerns.
Matteo Preabianca – Mantra Marx is the eighth album for the NonMiPiaceIlCirco! Project. NonMiPiaceIlCirco! is a musical project that has been on since 2004, the year of the first album. Since then, the line-up has been in a constant change, with Matteo Preabianca the only member from the beginning. So they took The Capital from the shelf to read again. But who remembers it, especially young people? Let’s get rid of guitars and songs to give a didactic approach to the music. 25 tracks, one for each of the First Book’s 25 chapters. They use the lyrics as Hinduist mantras, where repetition is the key for a deep understanding of our life, and Marx as well. Its music, besides being lo-fi and badly made, is just an excuse. The lyrics are a summarized version of the aforementioned book, spoken by 25 different Mandarin native voices, completely unaware of the reason behind the recording. Still time to die as a Marxist(?). Developed and recorded in China.
About the Artists
Daisy Abbott is an interdisciplinary researcher and research developer based in the School of Simulation and Visualisation at The Glasgow School of Art. Daisy’s current research focusses on game-based learning, 3D visualisation, and issues surrounding digital interaction, documentation, preservation, and interpretation in the arts and humanities. She also collaborates with artists on works aiming to explore the nature of digital interactivity and digital art.
Luisa Charles is an interaction designer, multidisciplinary artist, and filmmaker. Having been exhibited in the Science Museum, Science Gallery London, London Design Festival, and various film festivals, amongst others, her work spans many themes across science and technology, social politics, and personal narratives. She specialises in installation design and physical computing, experience design, fabrication, and videography, and her work often comes under the umbrella of speculative and critical design. Her work focuses heavily on research processes, and forms itself organically through investigation and experimentation.
Ibarieze Abani is a recent Masters graduate in Serious Games and Virtual Reality at the Glasgow School of Art, where she has carried out projects about cultural heritage, gender inequality, transmedia storytelling and climate policy. She is an advocate of the capabilities of interactive digital media as a tool for opening up dialogues surrounding large scale themes such as climate justice, social justice and intersectionality. She has a keen interest in working with people using digital media to make meaningful and tangible differences on a societal scale.
Mohammad Namazi (b. 1981. Tehran) is an artist, educator and researcher based in London. Mohammad works through means of de-construction, collaboration, process, unlearning, and telematics systems within social and cultural realms. The studio operates as a research-lab for inter-disciplinary projects that can span video, sound, liveevents, graphics, photography, sculptural structures, and internet-based projects. He received his doctorate from UAL research in 2019, and currently teaches as visiting lecturer at Wimbledon, and Chelsea College of Arts. Mohammad is a member of research cluster Critical Practice.
Matteo Preabianca- Music and Languages…Music and Languages? How come? Matteo starts playing violin when he was a child, but he did not like it, especially when he tried to beat it on the table. It did not make any good sound. So, better drumming, right? Meanwhile playing and spending a lot his mum’s money to buy records he realised even speaking other languages was not so bad. Especially when he invented his own. Step by step, he turned into a music and languages teacher.
Elke Reinhuber is not your average artist, because she became a specialist on choice, decision making and counterfactual thoughts in media arts. Currently, Reinhuber teaches and researches at the School of Creative Media, CityU Hing Kong and is affiliated with the School of Art, Design and Media at NTU in Singapore. In her artistic practice, she investigates on the correlation between decisions and emotions and explores different strategies of visualisation and presentation, working with immersive environments, mixed reality, imaging technologies and performance. In addition, her alter ego, the ‘Urban Beautician’ is pursuing a life which Elke didn’t follow.
Anders Zanickowsky is an American artist and activist who uses platforms like Grindr and Instagram as actual sites for performances about desire, uncertainty, and vulnerability. He is committed to José Esteban Muñoz’s concept of queer futurity in which artists refuse the oppressive confines of the present and reach instead towards what can only be imagined. He has an MFA from the University of Wisconsin-Madison (2019) and was a resident with The Arctic Circle program in Svalbard (2016). Since 2008 he has worked in movements for housing justice, prison abolition, and HIV/AIDS.
Photography Kathryn Rattray
Frickelfest (I love it)
sound.westhost.com/why-diy.htm
Why DIY?
Contrary to popular belief, the main reason for DIY is not (or should not be) about saving money. While this is possible in many cases (and especially against 'top of the line' commercial products), there are other, far better reasons to do it yourself.
The main one is knowledge, new skills, and the enormous feeling of satisfaction that comes from building your own equipment. This is worth far more than money. For younger people, the skills learned will be invaluable as you progress through life, and once started, you should continue to strive for making it yourself wherever possible.
Each and every new skill you learn enables the learning processes to be 'exercised', making it easier to learn other new things that come your way.
Alvin Toffler (the author of Future Shock) wrote:- "The illiterate of the 21st century will not be those who cannot read and write, but those who cannot learn, unlearn, and relearn."
This is pretty much an absolute these days, and we hear stories every day about perfectly good people who simply cannot get a new job after having been 'retrenched' (or whatever stupid term the 'human resources' people come up with next). As an aside, I object to being considered a 'resource' for the corporate cretins to use, abuse and dispose of as they see fit.
The skills you learn building an electronics project (especially audio) extend far beyond soldering a few components into a printed circuit board. You must source the components, working your way through a minefield of technical data to figure out if the part you think is right is actually right. Understanding the components is a key requirement for understanding electronics.
You will probably need to brush up on your maths - all analogue electronics requires mathematics if you want to understand what is going on. The greater your understanding, the more you have learned in the process. These are not trivial skills, but thankfully, they usually sneak up on you. Before you realise it, you have been working with formulae that a few years ago you would have sneered at, thinking that such things are only for boffins or those really weird guys you recall from school.
Then there is the case to house everything. You will need to learn how to perform basic metalworking skills. Drilling, tapping threads, filing and finishing a case are all tasks that need to be done to complete your masterpiece. These are all skills that may just come in very handy later on.
Should you be making loudspeakers, then you will learn about acoustics. You will also learn woodworking skills, veneering, and using tools that you may never have even known existed had you not ventured into one of the most absorbing and satisfying hobbies around.
Ok, that's fine for the younger generation(s), but what about us 'oldies'? We get all the same benefits, but in some cases, it is even possible to (almost) make up for a lifetime spent in an unrewarding job. As we get older, the new skills are less likely to be used for anything but the hobby, but that does not diminish the value of those skills one iota.
However, it's not all about learning, it's also about doing. Few people these days have a job where at the end of the day they can look at something they built. Indeed, in a great many cases, one comes home at the end of the day, knowing that one was busy all day with barely time for lunch, yet would be hard pressed to be able to say exactly what was achieved. What would have happened if what you did today wasn't done? Chances are, nothing would have happened at all - whatever it was you did simply wasn't done (if you follow the rather perverse logic in that last statement ).
Where is the satisfaction in that? There isn't any - it's a job, you get paid, so are able to pay your bills, buy food and live to do the same thing tomorrow.
When you build something, there is a sense of pride, of achievement - there is something to show for it, something tangible. No, it won't make up for a job you hate (or merely dislike), but at least you have created something. Having done it once, it becomes important to do it again, to be more ambitious, to push your boundaries.
Today, a small preamp. Tomorrow, a complete state of the art 5.1 sound system that you made from raw materials, lovingly finished, and now provides enjoyment that no store-bought system ever will.
Street Talks
Varous Artists
Wednesday 6 - Friday 8 November, Check listing for times
Various Locations
Various Locations
Street Talks is a series of quickfire public talks, part of the Re@ct: Social Change Art Technology Symposium. Rather than your typical poster session, these talks will take place on the streets of Dundee in various locations. Free speech is essential to political and social change – these artists are quite literally taking it to the streets to share their creative practices.
Luisa Charles & Elke Reinhuber –Wednesday 6th November, 2pm, Slessor Gardens
Luisa Charles – discusses the intersections of disability and design, and how novel bespoke design practices could offer a solution to designing for all needs, where universal design could not. These design ideologies, that include co-design, individual centred design, mass customisation, and mass personalisation, are exemplified by case studies from pop culture design media, such as the Fixperts and BBC’s Big Life Fix. She analyses the social, technological, and economical shifts that are required for these practices to become mainstream, and the capability of bespoke design to cause enough disruption within the design economy to create a shift in capitalism.
Elke Reinhuber – The Urban Beautician moved recently from the speckless city state of Singapore, where she already developed her retirement plans, across the South China Sea, to protest-ridden Hong Kong. There, she observed how much effort the cleaners put up to keep these megapolises scrubbed and tidy. As they are frequently overlooked, the Urban Beautician captured some of them during their relentless daily routine. While they have adapted themselves to their particular duties, their skills are hardly ever honoured or even acknowledged. Paying homage to their Sisyphean challenge, they can be positioned now anywhere through Augmented Reality and venerated as perpetualised sculptures of our everyday heroes.The Urban Beautician tries to improve neglected details in our urban environment with interventions in public space and performances to camera. Since more than a decade she cares for things most people are oblivious to.
Ibarieze Abani and Daisy Abbott & Anders Zanichkowsky – Thursday 7th November, 1:30pm, Albert Square, by McManus Gallery Steps
Ibarieze Abani and Daisy Abbott – Transmedia storytelling uses multiple delivery channels to convey a narrative in order to provide a more immersive entertainment experience (Jenkins, 2009). Transmedia activism can be very broadly defined as using storytelling to “effect social change by engaging multiple stakeholders on multiple platforms to collaborate toward appropriate, community-led social action” (Srivastava, 2009). Activism depends on participation and collaboration within a community to avoid unsustainable or inappropriate top-down interventions. A similar concept, transmedia mobilization, uses transmedia storytelling to engage “the social base of a movement in participatory media making practices across multiple platforms” (Constanza-Chock, 2013) and also requires interaction from diverse voices from within the community.
Anders Zanichkowsky –“I Am in Your Hands: Smartphones and the erotics of the future”Social media artist and queer anarchist Anders Zanichkowsky will present excerpts and reflections from his current Grindr project, “Queen of Hearts,” as well as other recent projects reading Tarot cards on hookup apps and go-go dancing for a remote audience on Instagram. During this talk, Anders will use the same social media platforms that are the subject of his presentation, inviting you into the theory behind the work, and into the work itself. Equal parts cultural criticism, performance art, and experimental public speaking, this street talk will level the hierarchy of physical presence over virtual appearance, and scandalously suggest how thirst traps and sexting with strangers can indeed point us towards a radical future of queer intimacy and counterculture.
Mohammad Namazi & Matteo Preabianca – Friday 8th November, 1:30pm, Wellgate Centre, Victoria Road entrance
Mohammad Namazi – An Archive of Audio Disobedience, intervenes into the public realm, and collaborates with individuals, to construct a live-event. The event manifests through utilising a net-based sound archive, capable of involving participants in a collective form of sound-action, -publication, -demonstration, -performance, and -play.
The archive comprises various audio effects, sound segments, words, and computer-generated speeches – to stage a critical symphony, rooted in and derived from, socio-political concerns.
Matteo Preabianca – Mantra Marx is the eighth album for the NonMiPiaceIlCirco! Project. NonMiPiaceIlCirco! is a musical project that has been on since 2004, the year of the first album. Since then, the line-up has been in a constant change, with Matteo Preabianca the only member from the beginning. So they took The Capital from the shelf to read again. But who remembers it, especially young people? Let’s get rid of guitars and songs to give a didactic approach to the music. 25 tracks, one for each of the First Book’s 25 chapters. They use the lyrics as Hinduist mantras, where repetition is the key for a deep understanding of our life, and Marx as well. Its music, besides being lo-fi and badly made, is just an excuse. The lyrics are a summarized version of the aforementioned book, spoken by 25 different Mandarin native voices, completely unaware of the reason behind the recording. Still time to die as a Marxist(?). Developed and recorded in China.
About the Artists
Daisy Abbott is an interdisciplinary researcher and research developer based in the School of Simulation and Visualisation at The Glasgow School of Art. Daisy’s current research focusses on game-based learning, 3D visualisation, and issues surrounding digital interaction, documentation, preservation, and interpretation in the arts and humanities. She also collaborates with artists on works aiming to explore the nature of digital interactivity and digital art.
Luisa Charles is an interaction designer, multidisciplinary artist, and filmmaker. Having been exhibited in the Science Museum, Science Gallery London, London Design Festival, and various film festivals, amongst others, her work spans many themes across science and technology, social politics, and personal narratives. She specialises in installation design and physical computing, experience design, fabrication, and videography, and her work often comes under the umbrella of speculative and critical design. Her work focuses heavily on research processes, and forms itself organically through investigation and experimentation.
Ibarieze Abani is a recent Masters graduate in Serious Games and Virtual Reality at the Glasgow School of Art, where she has carried out projects about cultural heritage, gender inequality, transmedia storytelling and climate policy. She is an advocate of the capabilities of interactive digital media as a tool for opening up dialogues surrounding large scale themes such as climate justice, social justice and intersectionality. She has a keen interest in working with people using digital media to make meaningful and tangible differences on a societal scale.
Mohammad Namazi (b. 1981. Tehran) is an artist, educator and researcher based in London. Mohammad works through means of de-construction, collaboration, process, unlearning, and telematics systems within social and cultural realms. The studio operates as a research-lab for inter-disciplinary projects that can span video, sound, liveevents, graphics, photography, sculptural structures, and internet-based projects. He received his doctorate from UAL research in 2019, and currently teaches as visiting lecturer at Wimbledon, and Chelsea College of Arts. Mohammad is a member of research cluster Critical Practice.
Matteo Preabianca- Music and Languages…Music and Languages? How come? Matteo starts playing violin when he was a child, but he did not like it, especially when he tried to beat it on the table. It did not make any good sound. So, better drumming, right? Meanwhile playing and spending a lot his mum’s money to buy records he realised even speaking other languages was not so bad. Especially when he invented his own. Step by step, he turned into a music and languages teacher.
Elke Reinhuber is not your average artist, because she became a specialist on choice, decision making and counterfactual thoughts in media arts. Currently, Reinhuber teaches and researches at the School of Creative Media, CityU Hing Kong and is affiliated with the School of Art, Design and Media at NTU in Singapore. In her artistic practice, she investigates on the correlation between decisions and emotions and explores different strategies of visualisation and presentation, working with immersive environments, mixed reality, imaging technologies and performance. In addition, her alter ego, the ‘Urban Beautician’ is pursuing a life which Elke didn’t follow.
Anders Zanickowsky is an American artist and activist who uses platforms like Grindr and Instagram as actual sites for performances about desire, uncertainty, and vulnerability. He is committed to José Esteban Muñoz’s concept of queer futurity in which artists refuse the oppressive confines of the present and reach instead towards what can only be imagined. He has an MFA from the University of Wisconsin-Madison (2019) and was a resident with The Arctic Circle program in Svalbard (2016). Since 2008 he has worked in movements for housing justice, prison abolition, and HIV/AIDS.
Photography Kathryn Rattray
Part of transitio. Dementia. Entropy still life with parts of the scattered remains of the dove.
DMC-G2 - P1320327 27.3.2012
Learning Phases throughout 2.0
"1. Silence your inner voice
2. Dramatically reduce using words
3. Absorb unfamiliar ways of expressing yourself within your #PLE
4. Focus on the unknown within your closest environment
5. Find & experiment with your personal accent - virtual tools can be invaluable at this stage
6. Let your transformed roots become your next source of energy"
- "How to become a Peer in the #Open" by @Connectirmeli (June, 2012) -
- I finished today a 'round seven-year-process of experimenting, action research and living theory perceptions in practice. In brief - when I started I had Transformative Learning Phases as a base:
Withdrawal => Defense => Minimizing => Acceptance => Adaptation => Integration (as they had become crystallized during European Union Socrates Programme Minerva Project Intercultural Learning in the Internet).
The second meta level idea was formed by The Conscious Competence Ladder: Unconscious Incompetence => Conscious Incompetence => Conscious Competence => Unconscious Competence.
The third corner stone later on emerged called as Invisible Learning proto-paradigm. It became crystalized through ongoing learning experiments within my closest environments as follows:
- We've all got Identity 0.0 through our childhood, youth, the way we were socialized to working life...
- We've more or less been forced to fit in Identity 1.0 through quarterly economic thinking. It satisfies a lot of people in form of good salaries, good retirement allowances, rewarding work in general ...as Good Life 1.0.
- Identity 2.0 has emerged among a growing global tribe of people - who are obsessed to co-(re)construct as long as it takes to get rid of Life 1.0. - The current key finding that has become crystalized through living among the before mentioned tribe for last four years is that we need(ed) Everything 2.0 to get rid of A Lot of 1.0.
My above picture summarizes how Learning 2.0 (and all the way from the beginning simultaneously unlearning both 1.0 and 2.0...) has looked like, felt like, emerged and appeared from #cck08 to change.mooc.ca/ and themes around which I'm going to co-(re)invent, experiment and contextualize more in future. - In my present home country Finland there's exactly now a vast demand for co-creating 'stepping stone methods' for transforming the present socio-cultural (working) climate. Having reached the end of the road (of management and education 1.0) has been a commonly heard conclusion in a number of seminars in Finland during recent couple of years.
IDENTITY 3.0 - the Fourth Identity wiil be one perspective - a proto-perspective! - to what we've been / are aiming at through the variety of ongoing unlearning processes like unconferences and Massive Open Online Courses. - A proto-MOOC 3.0 is already looming in the horizon...!?
www.simcoe.com/opinion-story/8326638-finding-authentic-me...
Finding authentic Mexican cuisine in Barrie
Forget fajitas, margaritas and chimichangas. The Mexican House serves up a tamale you'll only find in one city in Mexico
OPINION Mar 16, 2018 by Bryan Myers Barrie Advance.
When you think of Mexican food, you might actually be thinking about Tex-Mex food.
Hard shell tacos and chili slathered nachos, while delicious, aren’t particularly Mexican.
The Mexican House, which was formerly Antojitos Colombian Bakery, shares an authentic taste of real Mexican food to Barrie.
It’s so authentic, one of the tamales, the red pepper one, is only found in owner Ruben Munoz hometown of Guanajuato, Mexico, only 4,000 kilometres from Barrie.
I personally never thought I liked tamales. I might’ve tried to gnaw through the unsatisfying corn husk the edible masa and shortening within.
The Mexican House’s tamale is rich and sweet. It reminds me of a sweet, doughy cornbread, and inside a bit of red pepper jelly, similar to the kind you might top a brie.
Masa, for the unfamiliar, is corn soaked in an alkaline solution, like limewater (think limestone not lime juice) to remove toxins.
The tamale is great on its own, but you can add a little crema, or Mexican sour cream.
Denise Cervintes, Munoz’s daughter, said the family run business is trying to give residents authentic Hispanic cuisine.
“We use a lot of spices, but it’s not necessarily hot,” Cervintes said.
In terms of Mexican food, Munoz brings spiciness, as in the flavour of spices, rather than heat.
Of course, for heat-seekers, there’s always hot sauce and salsas. Salsa, however, means "sauce" in Spanish. In Mexico, the condiments are salsa verde, green sauce, and salsa roja, red sauce.
My burrito, a hefty bundle of beef and chorizo, the "campechano" on the menu, needs red nor green sauce.
There’s a lot to unlearn about Tex-Mex in order to learn about authentic Mex. Chorizo is an ancient type of sausage, and it’s often available as a cured meat in delis. That’s Spanish chorizo.
Mexican chorizo is not cured, and looks similar to pork sausage. It’s uncased and mixed into the chopped beef in my burrito.
Other burrito options are pollo, chicken, carnitas, pork and beef tongue.
This is really accessible Mexican cuisine, and the heat is manageable, even for palates that consider Chipotle and Taco Bell a bit spicy.
To complete my Mexican staycation, I had a wide variety of beverages to choose from. Alex Munoz, Ruben’s son, recommended Sangria Senorial as an authentic choice.
Sangria for a weekday lunch? I know it sounds risky, but this is actually a non-alcoholic drink that’s been popular in Mexico since 1960. It’s made exactly like the wine-based punch, but the alcohol is removed before bottling.
The Mexican House also has a small selection of Hispanic groceries and some frozen dishes made in-house for sale. The dining room is a cheery lemon yellow and it’s a nice place to escape the last few flakes of snowfall this season while traditional Mexican music plays on the stereo.
I’m here to seek out the best the city has to offer, but I can’t get to the real gems without help. Tell me where to go. I can be reached at 705-726-0573 ext. 283 and bmyers@simcoe.com.
Mon 7:30 am - 9:00 pm
Tue 7:30 am - 9:00 pm
Wed 7:30 am - 9:00 pm
Thu 7:30 am - 9:00 pm
Fri 7:30 am - 9:00 pm
Sat 7:30 am - 9:00 pm
Sun 7:30 am - 5:00 pm
"Exploring Race, Representation, and History in Children's Literature" This session for early childhood teachers, hosted by Teaching for Change's D.C. Area Educators for Social Justice and Project Unlearn on 1/26/2019, provided time for early childhood teachers to explore how to address issues of race, representation, and history in developmentally appropriate ways. The session was held at the beautiful Eaton Hotel in DC. Two children's books were provided to participants, courtesy of NMAAHC (where the session was originally scheduled) and donations from publishers. This session was in preparation for DC Black Lives Matter at School Week of Action. Learn more about the week of action here: www.dcareaeducators4socialjustice.org/black-lives-matter-...
In Lynlake, graffiti artists and muralists have gone to work on the boards put on shop windows following the George Floyd riots.
Parenting is overall tough for new parents, but when it comes to the part of saying goodbye to your child at the day care centers, it gets particularly complex and full of hue and cry. If one looks at it from the perspective of the parents, they tend to feel guilt for leaving the child. Similarly, some people like to get the children favorite toys or ride on the cars with remote control later on to make them feel better. Moreover, some parents are not good at handling such situations, in addition to decreasing the dependence of the children on parents. The main point is that it can be hard for both the child and the parents. Therefore, this article will provide you useful tips.
The role of Childcare : Before leaving your child at the care center, it is important to give adequate time to your final choices. This means that you invest time on picking the right center for your child, search or look for the options that would suit your time and routine, in addition to the values. The bottom line is that if the care center has same values and preferences that you want to provide to your family, it can make all the difference. Similarly, if the care center is not giving importance to your concerns, it will not be of any use and you will have to change the center.
Frequent Visits : If you are concerned about your child and his/her progress, you can visit the center to make sure that your child is getting along well. Similarly, it would give you the opportunities to bond with your child and to ensure that children are getting proper care. This is not to say that you can go visit the child whenever you like, because, it may disturb the administration, in addition to making it hard for the child to adjust. However, visit in a moderate way can be helpful.
Spend time with Children at Home : If you want to make the parting easy for you and the child, it is recommended that you spend time with your child. The logic is to build the good level of understanding between you and the child in order to sustain the period of separation, especially when you drop the child at the child care center for your work. In other words, if you otherwise spend required time with the child, the time of parting or goodbye can be managed to large extent.
Self Sufficient: The best strategy is to train your child in a way that would make them less dependent on you for a certain period of time or when you are at work. If the child is old enough to understand, you can talk to him/her, however, if the child is small, you are expected to raise them that would facilitate them in living without the parents for times when you are not available. For example, teach the children to take care of them when they are not home.
Open to People: The more your child is open to people in terms of getting along with them, it becomes convenient for them to survive without the parents. For instance, if the child has the skill to socialize with people in terms of making friends, the opportunities for passing the time in the absence of the parents will get easy for them. Likewise, if the child likes other children, the time will become enjoyable for them.
Consider the Interests of the Child : If the child care center provides a platform to the child in terms of accommodating the interests of the children, it can also contribute to decreasing the anxiety of the children based on the fears of going to new places and having to deal with children they are not familiar with. For example, if the child likes games offered at the center, he/she would look forward to it rather than dreading the moment of separation from the parents.
The value of Giving Space : If you have taught the child how to value space and what are the advantages of staying away from home, the child will learn to make the most of the time at the care center. For instance, if you can show the children the positive effects of getting a break from the routine at home, it can make them look at the time in care centers differently. Similarly, spending time with parents is important, but children need to interact with different people to grow in the real sense.
Learning : Of course, it is difficult for the children to separate from children, but if you can get the children used to going to school every day, the same techniques can be applied to make the time at care centers easy for them. For instance, different interacting activities can be introduced to provide the child with a number of channels to learn and unlearn. The idea is to keep the child busy. Furthermore, if you child is learning and developing good habits at the center, it will make it better for you to say goodbye to them.
Plan Activities for the Evening : The hard time can be overcome in a variety of ways, for instance, you can plan family activities to bond with the child, the main aim is to let the child know how much the mean to you and spending time at the care center is temporary. When you reach home after the work and picking up your child from the care center, make sure that the times spend with the children is of good quality rather than wasting it by catching up on work This is not to say that work is not important, however, once you reach home, it is good to spend it with family.
Celebrate Family : It is important to have a good time with family; this does not mean that you have to be with them all the time, however, if you get off from the work or when the child is also with you at home, it is best to focus on making the time memorable for you and the child.
Peersaab Fakhru Miya is a Sunni scholar, well versed in Sufism, Shiasm , who respects all religiosity, most of his hardcore disciples and followers are Hindus, he is not into conversion, the Hindus follow their own religiosity but have added Sufism as a part of their journey of life.
He has his sitting within the Holy Shrine it is called Hujra No6 , you enter it from Bulund Darwaza..I have stayed in this private chamber as his guest at his house , he has treated me like family, every trip that I have made to Ajmer , mostly during the Urus.
It is through Peersaab I saw Pushkar Brahma Mandir a few years back, he was the one who translated one of my dreams , and said Brahma wanted me to visit him ..I had a Sadhu Pandit as my guide who is the custodian of a 750 year old Hanuman Mandir also at Ajmer.
It was Peersaab who sent me to Taragadh foothills barefeet to the graves of the Hijra Saint and the grave of his biological son buried close to the grave of Bibi Jamal..
For Saif Shakir my youngest sons wedding reception , Peersaab was there to bless him ..so you can now see that his contribution to my life has been immense.
One of the very closest Murid of Peersaab is Zaved Akthar and his wife Afreen from Bangla Desh , so Peersaab has a lot of followers in Bangla Desh too.
Sheetal Bawa from Indore , Ramesh Bhai from Pune , and so many others are there to be by his side during the Ajmer Urus.
There are some very interesting people I have met at Peersaabs hujra no6, but the most amazing experience of my life was shooting the Whirling Dervesh of Ajmer at a event celebrated on the eve of Chatti on the terrace of his house..I was totally new to this choreographed moment of high never felt before...I have decided to learn this form as I too go into a trance called Kaif.
Peersaabs grand children are Ahmed Ali and Zam Zam, totally in control, and inheritors of his legacy and wealth of his wisdom.
His two sons are the pillars of his Hujra No6 .. the eldest Farid Miya and the younger one Qambar Miya.
They tried to get me the permission to shoot within the Dargah premises but it was turned down citing terrorism as one of the reasons, and the gentleman in charge of the permissions, who saw my application and picture thought I was a girl and was a security risk..
Anyway in spite of his shortsightedness in just 1 day and one night I had shot a 12 GB card , subjects being the beggars, rafaees , the hijras and street photography.
I arrived at the Ajmer Dargah area on the night of 28 th June 2009 8.30 pm , I shot all of 29 th June till 30 th June morning , ..when I took the Aravalli Express that left for Mumbai at 11.15 am..
This is the beginning of my second 4 GB card ..and I dedicate this post to Peersaab..
I ate all my meals including breakfast at his house..during my stay in Ajmer..
The only stuff I bought from Ajmer from Kapil Agarwals gemstone shop are Dure Najaf , that Kapil said were a pair, Shiva and Parvati and some rectangular agates.. or Sulaimani Akik..
I bought nothing else.
Also I must mention here the most interesting Murid of Peersaab is Zubair Bawa , a great lover of Imam Husaain who publicly curses the enemies and killers of this beloved Imam , the martyred grand son of the Holy Prophet of Islam.
Zubair Bawa has 200 names given to him by his followers mostly lesser malangs and hijras.
I normally dont view the pictures I shoot till I post them at Flickr ..I have not seen the pictures of the Dancing Dervesh but I have a gut feeling they are my best effort in unlearning photography.
all the lawyers wish they were children or infants and all the infants wish they were drunk or fearless;so please (pretty please), dear admitted junkies and heartbroken caretakers, burn every photograph before todays and unlearn the contract of those to come.
Me and My World
Most of my silver jewlery I sold when I was going through a bad phase just a few rare items remains.
I have a huge lot of bone Agjori beads I stopped wearing they are very powerful a form of catharsis for my restless soul when I bought abd redesigned them with gemstones.
#Aghoribeads
#unlearningphotography
When I was four years old
They tried to test my I.Q.
They showed me a picture of 3 oranges and a pear
They said, which one is different?
It does not belong
They taught me different is wrong
But when I was 13 years old
I woke up one morning
Thighs covered in blood
Like a war
Like a warning
That I live in a breakable takeable body
An ever-increasingly valuable body
That a woman had come in the night to replace me
Deface me
See, my body is borrowed
Yeah, I got it on loan
For the time in between my mom and some maggots
I don't need anyone to hold me
I can hold my own
I got highways for stretchmarks
See where I've grown
I sing sometimes
Like my life is at stake
'Cause you're only as loud
As the noises you make
I'm learning to laugh as hard
As I can listen
'Cause silence
Is violence
In women and poor people
If more people were screaming then I could relax
But a good brain ain't diddley
If you don't have the facts
We live in a breakable takeable world
An ever available possible world
And we can make music
Like we can make do
Genius is in a back beat
Backseat to nothing if you're dancing
Especially something stupid
Like I.Q.
For every lie I unlearn
I learn something new
I sing sometimes for the war that I fight
'Cause every tool is a weapon -
If you hold it right
--Ani DiFranco, My IQ
Listen here:
Just as I snapped this shot a blade of grass blew in front of my lens, coloring the whole scene green. I decided I liked it and found if most appropriate for St. Patrick's day posting! Best to View Large On Black
I'm from the McCarter clan - wishing you and yours a Happy St. Patrick's Day! I know this poem is long -- but oh, how I love it!! I feel a sense of instant recognition and kinship with so many elements passed down through the generations of my Irish heritage ... I felt much the same when I first read Frank McCourt's "Angela's Ashes" and "'Tis" ... all of a sudden things I didn't understand about how my people came to be the way they were -- their philosophies, their way of looking at and dealing with life became so much clearer...
Spenser's Ireland
has not altered;--
a place as kind as it is green,
the greenest place I've never seen.
Every name is a tune.
Denunciations do not affect
the culprit; nor blows, but it
is torture to him to not be spoken to.
They're natural,--
the coat, like Venus'
mantle lined with stars,
buttoned close at the neck,-the sleeves new from disuse.
If in Ireland
they play the harp backward at need,
and gather at midday the seed
of the fern, eluding
their "giants all covered with iron," might
there be fern seed for unlearn-
ing obduracy and for reinstating
the enchantment?
Hindered characters
seldom have mothers
in Irish stories, but they all have grandmothers.
It was Irish;
a match not a marriage was made
when my great great grandmother'd said
with native genius for
disunion, "Although your suitor be
perfection, one objection
is enough; he is not
Irish." Outwitting
the fairies, befriending the furies,
whoever again
and again says, "I'll never give in," never sees
that you're not free
until you've been made captive by
supreme belief,--credulity
you say? When large dainty
fingers tremblingly divide the wings
of the fly for mid-July
with a needle and wrap it with peacock-tail,
or tie wool and
buzzard's wing, their pride,
like the enchanter's
is in care, not madness. Concurring hands divide
flax for damask
that when bleached by Irish weather
has the silvered chamois-leather
water-tightness of a
skin. Twisted torcs and gold new-moon-shaped
lunulae aren't jewelry
like the purple-coral fuchsia-tree's. Eire--
the guillemot
so neat and the hen
of the heath and the
linnet spinet-sweet-bespeak relentlessness? Then
they are to me
like enchanted Earl Gerald who
changed himself into a stag, to
a great green-eyed cat of
the mountain. Discommodity makes
them invisible; they've dis-
appeared. The Irish say your trouble is their
trouble and your
joy their joy? I wish
I could believe it;
I am troubled, I'm dissatisfied, I'm Irish.
by Marianne Moore
It's Women's History Month, so thoughts and images are forming around my girlhood spent in woods and fields as a free-ranging semi-feral creature, who only returned home to eat, sleep, read, draw, and drink from the garden hose. When I was a child, something magical happened every day. There's nothing more pagan than a fierce little girl in her element, but the world's systems civilize our true nature right out of us. Research suggests that many girls’ confidence takes a nosedive as early as age eight and drops by 30% from ages 8 to 14, with a particularly steep drop starting at age twelve. Girls are wise enough by the age of 12 to see that the world treats men as active subjects and women as passive objects. We’ve always known.
Quoting Claire Shipman's article in The Atlantic-
"As boys and girls (and men and women) take risks and see the payoffs, they gain the courage to take more risks in the future. Conversely, confidence’s absence can inhibit the very sorts of behaviors—risk taking, failure, and perseverance—that build it back up. So the cratering of confidence in girls is especially troubling because of long-term implications. It can mean that risks are avoided again and again, and confidence isn’t being stockpiled for the future. And indeed, the confidence gender gap that opens at puberty often remains throughout adulthood.
At an early age, parents and teachers frequently encourage and reward girls’ people-pleasing, perfectionistic behavior, without understanding the consequences.
It’s essential to close the gap, and to do so early, because the long-term effects of these dynamics hurt not only girls, but the women they become."
I almost forgot about the untamed version of me after being domesticated all these years. But suddenly I am remembering her and reclaiming a bit of her innate wisdom and sovereignty at last. Using my original photography layered with found photos, textures from my drawings and paintings and collage elements to unlearn enough to be as wise as I once was.
Frickelfest (I love it)
sound.westhost.com/why-diy.htm
Why DIY?
Contrary to popular belief, the main reason for DIY is not (or should not be) about saving money. While this is possible in many cases (and especially against 'top of the line' commercial products), there are other, far better reasons to do it yourself.
The main one is knowledge, new skills, and the enormous feeling of satisfaction that comes from building your own equipment. This is worth far more than money. For younger people, the skills learned will be invaluable as you progress through life, and once started, you should continue to strive for making it yourself wherever possible.
Each and every new skill you learn enables the learning processes to be 'exercised', making it easier to learn other new things that come your way.
Alvin Toffler (the author of Future Shock) wrote:- "The illiterate of the 21st century will not be those who cannot read and write, but those who cannot learn, unlearn, and relearn."
This is pretty much an absolute these days, and we hear stories every day about perfectly good people who simply cannot get a new job after having been 'retrenched' (or whatever stupid term the 'human resources' people come up with next). As an aside, I object to being considered a 'resource' for the corporate cretins to use, abuse and dispose of as they see fit.
The skills you learn building an electronics project (especially audio) extend far beyond soldering a few components into a printed circuit board. You must source the components, working your way through a minefield of technical data to figure out if the part you think is right is actually right. Understanding the components is a key requirement for understanding electronics.
You will probably need to brush up on your maths - all analogue electronics requires mathematics if you want to understand what is going on. The greater your understanding, the more you have learned in the process. These are not trivial skills, but thankfully, they usually sneak up on you. Before you realise it, you have been working with formulae that a few years ago you would have sneered at, thinking that such things are only for boffins or those really weird guys you recall from school.
Then there is the case to house everything. You will need to learn how to perform basic metalworking skills. Drilling, tapping threads, filing and finishing a case are all tasks that need to be done to complete your masterpiece. These are all skills that may just come in very handy later on.
Should you be making loudspeakers, then you will learn about acoustics. You will also learn woodworking skills, veneering, and using tools that you may never have even known existed had you not ventured into one of the most absorbing and satisfying hobbies around.
Ok, that's fine for the younger generation(s), but what about us 'oldies'? We get all the same benefits, but in some cases, it is even possible to (almost) make up for a lifetime spent in an unrewarding job. As we get older, the new skills are less likely to be used for anything but the hobby, but that does not diminish the value of those skills one iota.
However, it's not all about learning, it's also about doing. Few people these days have a job where at the end of the day they can look at something they built. Indeed, in a great many cases, one comes home at the end of the day, knowing that one was busy all day with barely time for lunch, yet would be hard pressed to be able to say exactly what was achieved. What would have happened if what you did today wasn't done? Chances are, nothing would have happened at all - whatever it was you did simply wasn't done (if you follow the rather perverse logic in that last statement ).
Where is the satisfaction in that? There isn't any - it's a job, you get paid, so are able to pay your bills, buy food and live to do the same thing tomorrow.
When you build something, there is a sense of pride, of achievement - there is something to show for it, something tangible. No, it won't make up for a job you hate (or merely dislike), but at least you have created something. Having done it once, it becomes important to do it again, to be more ambitious, to push your boundaries.
Today, a small preamp. Tomorrow, a complete state of the art 5.1 sound system that you made from raw materials, lovingly finished, and now provides enjoyment that no store-bought system ever will.
Creative inspiration requires a willingness to suspend ordinary, conceptual thought and a receptivity to the unknown. Since the heart of the creative process involves bringing previously unconnected things together to form something new, this can only happen when we let go of what we already know and embrace the unknown...
In this sense creativity begins with a process of “unlearning,” a letting go of prior knowledge and assumptions. Instead of going with the familiar and tried and true, creative individuals continually seek innovative solutions to the problems they face.
-The Wisdom of Not Knowing: Discovering a Life of Wonder by Embracing Uncertainty by Estelle Frankel
NZ Trials training ran their first small group training day in July 2019 at Western Valley near Little River. The property is known for being slippery in the gullies, and the rain over the previous couple of days ensured it was the perfect venue to learn new skills. The days comprised one group in the morning which is when these photos were taken, then my turn in the afternoon. We started on a slippery hill which was difficult to walk up and were shown how to ride up and how to keep moving to prevent a five. Over the course of riding a number of sections we were given guidance on braking, clutch control, body position, and gear selection. The drizzly weather wasn’t noticeable under the trees and the day gave me some advice on riding the slippery conditions I have always struggled with. Thanks to Jules assisted by David and Derek. All I have to do now is unlearn some of my bad riding habits.
Jules ran a second training day at McQueens Valley the next day, and has a number of other training days planned. At present these are Kaikoura on 10/11 August and in the North Island at Lake Kimihia near Huntly on 25 August.
Enjoy the photos.
Shot with Nikon D3x @ Tilt shift lens - Nikkor PC-E 24mm @ from my bldg's terrace
HDR file from a single RAW file
yesterday i got the PC-E lens and i m already on it .. such an interesting lens .. very very different lens in terms of using .. looks like one can never ever will hv command on it .. but its such cute lens ... would b an enjoyble process of learning and unlearning what i hv learnt now using this lens ... had a grt time shooting this 2nd shot from it ... will take some time to get total control over it .. but i will for sure
=======================================
What it stands for: Actually, Perspective Control is a misnomer, since the only way to change perspective is to move the camera somewhere else. Nikon is trying to say that you can shift this lens to keep parallel lines from converging, not really change perspective. Nikon should call it tilt-shift, but Canon does that.
www.kenrockwell.com/nikon/24mm-pc.htm
(heavy words and heavy explanation ... kabhi kabhie aise explanation se school ki yaad aa jaati hai .. kitaab ki baatein kitaab mein rahen to better hai ... its better to be practical ... hahahahahaha ... joking but i always feel tht its better to SHOOT and LEARN thn .. )
We read an article in the local Barrie Ontario newspaper and visited to eat and shop. We were pleased with both experiences and will return to further explore their menu and goods for sale.
www.simcoe.com/opinion-story/8326638-finding-authentic-me...
Finding authentic Mexican cuisine in Barrie
Forget fajitas, margaritas and chimichangas. The Mexican House serves up a tamale you'll only find in one city in Mexico
OPINION Mar 16, 2018 by Bryan Myers Barrie Advance.
When you think of Mexican food, you might actually be thinking about Tex-Mex food.
Hard shell tacos and chili slathered nachos, while delicious, aren’t particularly Mexican.
The Mexican House, which was formerly Antojitos Colombian Bakery, shares an authentic taste of real Mexican food to Barrie.
It’s so authentic, one of the tamales, the red pepper one, is only found in owner Ruben Munoz hometown of Guanajuato, Mexico, only 4,000 kilometres from Barrie.
I personally never thought I liked tamales. I might’ve tried to gnaw through the unsatisfying corn husk the edible masa and shortening within.
The Mexican House’s tamale is rich and sweet. It reminds me of a sweet, doughy cornbread, and inside a bit of red pepper jelly, similar to the kind you might top a brie.
Masa, for the unfamiliar, is corn soaked in an alkaline solution, like limewater (think limestone not lime juice) to remove toxins.
The tamale is great on its own, but you can add a little crema, or Mexican sour cream.
Denise Cervintes, Munoz’s daughter, said the family run business is trying to give residents authentic Hispanic cuisine.
“We use a lot of spices, but it’s not necessarily hot,” Cervintes said.
In terms of Mexican food, Munoz brings spiciness, as in the flavour of spices, rather than heat.
Of course, for heat-seekers, there’s always hot sauce and salsas. Salsa, however, means "sauce" in Spanish. In Mexico, the condiments are salsa verde, green sauce, and salsa roja, red sauce.
My burrito, a hefty bundle of beef and chorizo, the "campechano" on the menu, needs red nor green sauce.
There’s a lot to unlearn about Tex-Mex in order to learn about authentic Mex. Chorizo is an ancient type of sausage, and it’s often available as a cured meat in delis. That’s Spanish chorizo.
Mexican chorizo is not cured, and looks similar to pork sausage. It’s uncased and mixed into the chopped beef in my burrito.
Other burrito options are pollo, chicken, carnitas, pork and beef tongue.
This is really accessible Mexican cuisine, and the heat is manageable, even for palates that consider Chipotle and Taco Bell a bit spicy.
To complete my Mexican staycation, I had a wide variety of beverages to choose from. Alex Munoz, Ruben’s son, recommended Sangria Senorial as an authentic choice.
Sangria for a weekday lunch? I know it sounds risky, but this is actually a non-alcoholic drink that’s been popular in Mexico since 1960. It’s made exactly like the wine-based punch, but the alcohol is removed before bottling.
The Mexican House also has a small selection of Hispanic groceries and some frozen dishes made in-house for sale. The dining room is a cheery lemon yellow and it’s a nice place to escape the last few flakes of snowfall this season while traditional Mexican music plays on the stereo.
I’m here to seek out the best the city has to offer, but I can’t get to the real gems without help. Tell me where to go. I can be reached at 705-726-0573 ext. 283 and bmyers@simcoe.com.
Mon 7:30 am - 9:00 pm
Tue 7:30 am - 9:00 pm
Wed 7:30 am - 9:00 pm
Thu 7:30 am - 9:00 pm
Fri 7:30 am - 9:00 pm
Sat 7:30 am - 9:00 pm
Sun 7:30 am - 5:00 pm
We read an article in the local Barrie Ontario newspaper and visited to eat and shop. We were pleased with both experiences and will return to further explore their menu and goods for sale.
www.simcoe.com/opinion-story/8326638-finding-authentic-me...
Finding authentic Mexican cuisine in Barrie
Forget fajitas, margaritas and chimichangas. The Mexican House serves up a tamale you'll only find in one city in Mexico
OPINION Mar 16, 2018 by Bryan Myers Barrie Advance.
When you think of Mexican food, you might actually be thinking about Tex-Mex food.
Hard shell tacos and chili slathered nachos, while delicious, aren’t particularly Mexican.
The Mexican House, which was formerly Antojitos Colombian Bakery, shares an authentic taste of real Mexican food to Barrie.
It’s so authentic, one of the tamales, the red pepper one, is only found in owner Ruben Munoz hometown of Guanajuato, Mexico, only 4,000 kilometres from Barrie.
I personally never thought I liked tamales. I might’ve tried to gnaw through the unsatisfying corn husk the edible masa and shortening within.
The Mexican House’s tamale is rich and sweet. It reminds me of a sweet, doughy cornbread, and inside a bit of red pepper jelly, similar to the kind you might top a brie.
Masa, for the unfamiliar, is corn soaked in an alkaline solution, like limewater (think limestone not lime juice) to remove toxins.
The tamale is great on its own, but you can add a little crema, or Mexican sour cream.
Denise Cervintes, Munoz’s daughter, said the family run business is trying to give residents authentic Hispanic cuisine.
“We use a lot of spices, but it’s not necessarily hot,” Cervintes said.
In terms of Mexican food, Munoz brings spiciness, as in the flavour of spices, rather than heat.
Of course, for heat-seekers, there’s always hot sauce and salsas. Salsa, however, means "sauce" in Spanish. In Mexico, the condiments are salsa verde, green sauce, and salsa roja, red sauce.
My burrito, a hefty bundle of beef and chorizo, the "campechano" on the menu, needs red nor green sauce.
There’s a lot to unlearn about Tex-Mex in order to learn about authentic Mex. Chorizo is an ancient type of sausage, and it’s often available as a cured meat in delis. That’s Spanish chorizo.
Mexican chorizo is not cured, and looks similar to pork sausage. It’s uncased and mixed into the chopped beef in my burrito.
Other burrito options are pollo, chicken, carnitas, pork and beef tongue.
This is really accessible Mexican cuisine, and the heat is manageable, even for palates that consider Chipotle and Taco Bell a bit spicy.
To complete my Mexican staycation, I had a wide variety of beverages to choose from. Alex Munoz, Ruben’s son, recommended Sangria Senorial as an authentic choice.
Sangria for a weekday lunch? I know it sounds risky, but this is actually a non-alcoholic drink that’s been popular in Mexico since 1960. It’s made exactly like the wine-based punch, but the alcohol is removed before bottling.
The Mexican House also has a small selection of Hispanic groceries and some frozen dishes made in-house for sale. The dining room is a cheery lemon yellow and it’s a nice place to escape the last few flakes of snowfall this season while traditional Mexican music plays on the stereo.
I’m here to seek out the best the city has to offer, but I can’t get to the real gems without help. Tell me where to go. I can be reached at 705-726-0573 ext. 283 and bmyers@simcoe.com.
Mon 7:30 am - 9:00 pm
Tue 7:30 am - 9:00 pm
Wed 7:30 am - 9:00 pm
Thu 7:30 am - 9:00 pm
Fri 7:30 am - 9:00 pm
Sat 7:30 am - 9:00 pm
Sun 7:30 am - 5:00 pm
Aghoris are devotees of Shiva manifested
Aghora sādhanā is a process of unlearning deeply internalized cultural models. When this sādhanā takes the form of charnel ground sādhanā, the Aghori faces death as a very young child, simultaneously meditating on the totality of life at its two extremes. This ideal example serves as a prototype for other Aghor practices, both left and right, in ritual and in daily life.
MORELLA
Αυτο καθ’ αυτο μεθ’ αυτου, μονο ειδες αει [[αιει]] ον
Itself — alone by itself — eternally one and single.
PLATO — Symp.
WITH a feeling of deep yet most singular affection I regarded my friend Morella. Thrown by accident into her society many years ago, my soul, from our first meeting, burned with fires it had never known. But the fires were not of Eros — and bitter and tormenting to my eager spirit was the gradual conviction that I could in no manner define their unusual meaning, or regulate their vague intensity. Yet we met, and Fate bound us together at the altar, and I never spoke of love, or dreamed of passion. She, however, shunned society and attaching herself to me alone rendered me happy. It is a happiness to wonder. It is a happiness to think.
Morella’s erudition was profound. As I hope for life her talents also were of no common order — her powers of mind were gigantic. I felt this, and in many matters became her pupil. Rare and rich volumes were opened for my use; but my wife, perhaps influenced by her Presburg education, laid before me, as I took occasion to remark, chiefly those speculative writings which have, from causes to me unknown, been neglected in these latter days, and thrown aside, whether properly or not, among the mass of that German morality which is indeed purely wild, purely vague, and at times purely fantastical. These — these speculative writings were, for what reasons I could not imagine, Morella’s favourite and constant study, and that in process of time they became my own should be attributed to the simple but effectual influence of habit and example. In all this, if I think aright, my powers of thought predominated. My convictions, or I forget myself, were in no manner acted upon by my imagination; nor was any tincture of the mysticism which I read to be discovered, unless I greatly err, either in my meditations or my deeds. Feeling deeply persuaded of this I abandoned myself more implicitly to the guidance of my wife, and entered with a bolder spirit into the intricacy of her studies. And then — then when poring over forbidden pages I felt the consuming thirst for the unknown, would Morella place her cold hand upon mine, and rake up from the ashes of a dead philosophy words whose singular import burned themselves in upon my memory: and then hour after hour would I linger by her side, and listen to the music of her thrilling voice, until at length its melody was tinged with terror, and I grew pale, and shuddered inwardly at those too unearthly tones — and thus, suddenly, Joy faded into Horror, and the most beautiful became the most hideous as Hinnon became Ge-Henna.
It is unnecessary to state the exact character of those disquisitions which, growing out of the volumes I have mentioned, formed for so long a time almost the sole conversation of Morella and myself. By the learned in what might be called theological morality they will be readily conceived, and by the unlearned they would at all events be little understood. The wild Pantheism of Fitche, the modified Παλιγγενεσια of the Pythagoreans, and above all the doctrines of Identity as urged by Schelling were the points of discussion presenting the most of beauty to the imaginative Morella. That kind of identity which is not improperly called ‘personal’ Mr Lock determines, truly I think, to consist in the sameness of a rational being. And since by person we understand an intelligent essence having reason, and since there is a consciousness which always accompanies thinking, it is this consciousness which makes every one to be that which he calls ‘himself’ — thereby distinguishing him from other beings that think, and giving him his personal identity. But the “principium individuationis”, the notion of that identity which at death is or is not lost forever was to me at all times a consideration of intense interest, not more from the exciting and mystical nature of its consequences, than from the marked and agitated manner in which Morella mentioned them.
But indeed the time had now arrived when my wife’s society oppressed me like a spell. I could no longer bear the touch of her wan fingers, nor the low tones of her musical language, nor the lustre of her eyes. And she knew all this, but did not upbraid: she seemed conscious of my weakness or my folly, and smiling called it — Fate. Yet she was woman, and pined away daily. In time the crimson spot settled steadily upon the cheek, and the blue veins upon the pale forehead became prominent: and one instant my nature melted into pity, but in the next I met the glance of her melancholy eyes, and my soul sickened and became giddy with the giddiness of one who gazes downwards into some dreary and fathomless abyss.
Shall I then say that I longed with an earnest and consuming desire for the moment of Morella’s decease? I did: but the fragile spirit clung to its tenement of clay for many days — for many weeks and irksome months — until at length my tortured nerves obtained the mastery over my mind, and I grew furious with delay, and with the heart of a fiend I cursed the hours and the bitter moments which seemed to lengthen and lengthen as her gentle life declined, like shadows in the dying of the day.
But one autumnal evening when the winds lay still in Heaven Morella called me to her side. It was that season when the beautiful Halcyon is nursed* — there was a dim mist over all the Earth, and a warm glow upon the waters, and amid the rich November leaves of the forest a rainbow from the firmament had surely fallen. As I came she was murmuring in a low under-tone which trembled with fervor some words of a catholic hymn.
Sancta Maria! turn thine eyes
Upon the sinner’s sacrifice
Of fervent prayer, and humble love,
From thy holy throne above.
At morn, at noon, at twilight dim
Maria! thou hast heard my hymn: [back of page:]
In Joy and Woe — in Good and Ill
Mother of God! be with me still.
When my hours flew gently by,
And no storms were in the sky,
My soul — lest it should truant be —
Thy love did guide to thine and thee.
Now — when clouds of Fate oe’rcast
All my Present, and my Past,
Let my Future radiant shine
With sweet hopes of thee and thine.
“It is a day of days” — said Morella — “a day of all days, either to live or die. It is a fair day for the sons of Earth and Life — ah! more fair for the daughters of Heaven and Death!” I turned towards her and she continued.
“I am dying — yet shall I live. Therefore for me, Morella, thy wife, hath the charnel-house no terrors — mark me! — not even the terrors of the worm. The days have never been when thou couldst love me; but her whom in life thou didst abhor in death thou shalt adore. I repeat that I am dying — but within me is a pledge of that affection — ah, how little! — which thou didst feel for me — Morella. And when my spirit departs shall the child live — thy child and mine, Morella’s. But thy days shall be days of sorrow — sorrow, which is the most lasting of impressions, as the cypress is the most enduring of trees. For the hours of thy happiness are past, and Joy is not gathered twice in a life, as the roses of Pæstum twice in a year. Thou shalt not, then, play the Teian with Time, but, being ignorant of the flowers and the vine, thou shalt walk the earth with thy shroud around thee, like Moslemin at Mecca”.
“How knowest thou this” — I demanded eagerly — “how knowest thou all this, Morella?” But she turned away her face upon the pillow, and a slight tremor coming over her limbs, she thus died, and I heard her voice no more.
Yet, as she had predicted, the child — to which in dying she had given life, and which breathed not till the mother breathed no more — the child, a daughter, lived. And she grew strangely in size, and in intelligence, and I loved her with a love more fervent and more holy than I thought it possible to feel on earth.
∞∞∞∞∞∞∞
Notes:
This fragment is all that Poe apparently wrote of this version, with about half of the lower portion of the back page remaining blank. No footnote appears to have been written for the reference in the sixth paragraph.
This manuscript is currently in the collection of the Huntington Library, San Mariono, CA (HM 1726). Poe is said to have given the unfinished manuscript to Mrs. Sarah P. Simmons, who lived on Amity Street, in Baltimore, MD.
A typographical error appears in Mabbott’s text (p. 226), where in the third paragraph of the story (beginning “It is unnecessary . . .”) the phrase “always accompanies thinking, it is this consciounsess . . .” appears as “always accompanies thinking, it it this consciounsess . . .” Mabbott also changes, without comment, the second to last word in the Greek portion of the motto from “αει,” as it clearly appears in the manuscript and is printed in the Southern Literary Messenger (although in transliteration), to “αιει,” as it appears in Tales of the Grotesque and Arabesque and thereafter.
∞∞∞∞∞∞∞
[S:1 - MS, 1835] - Edgar Allan Poe Society of Baltimore - Works - Tales - Morella (Text-01)
The attractor shown in black is actual data representing the time between arrivals in a particular (real) manufacturing shop. You can see the essentially random arrivals as represented in the middle blob, and the "stars" represent particularly early or late interarrival times. The red background is the attractor of a high-dimensional chaotic system as simulated in Excel, and then put through the "swirl" effect.
Frickelfest (I love it)
sound.westhost.com/why-diy.htm
Why DIY?
Contrary to popular belief, the main reason for DIY is not (or should not be) about saving money. While this is possible in many cases (and especially against 'top of the line' commercial products), there are other, far better reasons to do it yourself.
The main one is knowledge, new skills, and the enormous feeling of satisfaction that comes from building your own equipment. This is worth far more than money. For younger people, the skills learned will be invaluable as you progress through life, and once started, you should continue to strive for making it yourself wherever possible.
Each and every new skill you learn enables the learning processes to be 'exercised', making it easier to learn other new things that come your way.
Alvin Toffler (the author of Future Shock) wrote:- "The illiterate of the 21st century will not be those who cannot read and write, but those who cannot learn, unlearn, and relearn."
This is pretty much an absolute these days, and we hear stories every day about perfectly good people who simply cannot get a new job after having been 'retrenched' (or whatever stupid term the 'human resources' people come up with next). As an aside, I object to being considered a 'resource' for the corporate cretins to use, abuse and dispose of as they see fit.
The skills you learn building an electronics project (especially audio) extend far beyond soldering a few components into a printed circuit board. You must source the components, working your way through a minefield of technical data to figure out if the part you think is right is actually right. Understanding the components is a key requirement for understanding electronics.
You will probably need to brush up on your maths - all analogue electronics requires mathematics if you want to understand what is going on. The greater your understanding, the more you have learned in the process. These are not trivial skills, but thankfully, they usually sneak up on you. Before you realise it, you have been working with formulae that a few years ago you would have sneered at, thinking that such things are only for boffins or those really weird guys you recall from school.
Then there is the case to house everything. You will need to learn how to perform basic metalworking skills. Drilling, tapping threads, filing and finishing a case are all tasks that need to be done to complete your masterpiece. These are all skills that may just come in very handy later on.
Should you be making loudspeakers, then you will learn about acoustics. You will also learn woodworking skills, veneering, and using tools that you may never have even known existed had you not ventured into one of the most absorbing and satisfying hobbies around.
Ok, that's fine for the younger generation(s), but what about us 'oldies'? We get all the same benefits, but in some cases, it is even possible to (almost) make up for a lifetime spent in an unrewarding job. As we get older, the new skills are less likely to be used for anything but the hobby, but that does not diminish the value of those skills one iota.
However, it's not all about learning, it's also about doing. Few people these days have a job where at the end of the day they can look at something they built. Indeed, in a great many cases, one comes home at the end of the day, knowing that one was busy all day with barely time for lunch, yet would be hard pressed to be able to say exactly what was achieved. What would have happened if what you did today wasn't done? Chances are, nothing would have happened at all - whatever it was you did simply wasn't done (if you follow the rather perverse logic in that last statement ).
Where is the satisfaction in that? There isn't any - it's a job, you get paid, so are able to pay your bills, buy food and live to do the same thing tomorrow.
When you build something, there is a sense of pride, of achievement - there is something to show for it, something tangible. No, it won't make up for a job you hate (or merely dislike), but at least you have created something. Having done it once, it becomes important to do it again, to be more ambitious, to push your boundaries.
Today, a small preamp. Tomorrow, a complete state of the art 5.1 sound system that you made from raw materials, lovingly finished, and now provides enjoyment that no store-bought system ever will.
We read an article in the local Barrie Ontario newspaper and visited to eat and shop. We were pleased with both experiences and will return to further explore their menu and goods for sale.
www.simcoe.com/opinion-story/8326638-finding-authentic-me...
Finding authentic Mexican cuisine in Barrie
Forget fajitas, margaritas and chimichangas. The Mexican House serves up a tamale you'll only find in one city in Mexico
OPINION Mar 16, 2018 by Bryan Myers Barrie Advance.
When you think of Mexican food, you might actually be thinking about Tex-Mex food.
Hard shell tacos and chili slathered nachos, while delicious, aren’t particularly Mexican.
The Mexican House, which was formerly Antojitos Colombian Bakery, shares an authentic taste of real Mexican food to Barrie.
It’s so authentic, one of the tamales, the red pepper one, is only found in owner Ruben Munoz hometown of Guanajuato, Mexico, only 4,000 kilometres from Barrie.
I personally never thought I liked tamales. I might’ve tried to gnaw through the unsatisfying corn husk the edible masa and shortening within.
The Mexican House’s tamale is rich and sweet. It reminds me of a sweet, doughy cornbread, and inside a bit of red pepper jelly, similar to the kind you might top a brie.
Masa, for the unfamiliar, is corn soaked in an alkaline solution, like limewater (think limestone not lime juice) to remove toxins.
The tamale is great on its own, but you can add a little crema, or Mexican sour cream.
Denise Cervintes, Munoz’s daughter, said the family run business is trying to give residents authentic Hispanic cuisine.
“We use a lot of spices, but it’s not necessarily hot,” Cervintes said.
In terms of Mexican food, Munoz brings spiciness, as in the flavour of spices, rather than heat.
Of course, for heat-seekers, there’s always hot sauce and salsas. Salsa, however, means "sauce" in Spanish. In Mexico, the condiments are salsa verde, green sauce, and salsa roja, red sauce.
My burrito, a hefty bundle of beef and chorizo, the "campechano" on the menu, needs red nor green sauce.
There’s a lot to unlearn about Tex-Mex in order to learn about authentic Mex. Chorizo is an ancient type of sausage, and it’s often available as a cured meat in delis. That’s Spanish chorizo.
Mexican chorizo is not cured, and looks similar to pork sausage. It’s uncased and mixed into the chopped beef in my burrito.
Other burrito options are pollo, chicken, carnitas, pork and beef tongue.
This is really accessible Mexican cuisine, and the heat is manageable, even for palates that consider Chipotle and Taco Bell a bit spicy.
To complete my Mexican staycation, I had a wide variety of beverages to choose from. Alex Munoz, Ruben’s son, recommended Sangria Senorial as an authentic choice.
Sangria for a weekday lunch? I know it sounds risky, but this is actually a non-alcoholic drink that’s been popular in Mexico since 1960. It’s made exactly like the wine-based punch, but the alcohol is removed before bottling.
The Mexican House also has a small selection of Hispanic groceries and some frozen dishes made in-house for sale. The dining room is a cheery lemon yellow and it’s a nice place to escape the last few flakes of snowfall this season while traditional Mexican music plays on the stereo.
I’m here to seek out the best the city has to offer, but I can’t get to the real gems without help. Tell me where to go. I can be reached at 705-726-0573 ext. 283 and bmyers@simcoe.com.
Mon 7:30 am - 9:00 pm
Tue 7:30 am - 9:00 pm
Wed 7:30 am - 9:00 pm
Thu 7:30 am - 9:00 pm
Fri 7:30 am - 9:00 pm
Sat 7:30 am - 9:00 pm
Sun 7:30 am - 5:00 pm
I got the words wrong a little bit, but thanks to fabulous mother-daughter duo Keri and Sheila Bas for introducing Julia Ward Howe's Mother's Day Proclamation to me.
My daughter Maya, age 2, graciously colored this drawing for me.
While my husband did his level best to see that I had a wonderful day (I did), I'd much rather see an end to war than a thousand Hallmark card holidays. And I'm very sure my own mom would sign up for that, too.
Mother's Day Proclamation 1870 - Julia Ward Howe
Arise then...women of this day!
Arise, all women who have hearts!
Whether your baptism be of water or of tears!
Say firmly:
"We will not have questions answered by irrelevant agencies,
Our husbands will not come to us, reeking with carnage,
For caresses and applause.
Our sons shall not be taken from us to unlearn
All that we have been able to teach them of charity, mercy and patience.
We, the women of one country,
Will be too tender of those of another country
To allow our sons to be trained to injure theirs."
From the voice of a devastated Earth a voice goes up with
Our own. It says: "Disarm! Disarm!
The sword of murder is not the balance of justice."
Blood does not wipe our dishonor,
Nor violence indicate possession.
As men have often forsaken the plough and the anvil
At the summons of war,
Let women now leave all that may be left of home
For a great and earnest day of counsel.
Let them meet first, as women, to bewail and commemorate the dead.
Let them solemnly take counsel with each other as to the means
Whereby the great human family can live in peace...
Each bearing after his own time the sacred impress, not of Caesar,
But of God -
In the name of womanhood and humanity, I earnestly ask
That a general congress of women without limit of nationality,
May be appointed and held at someplace deemed most convenient
And the earliest period consistent with its objects,
To promote the alliance of the different nationalities,
The amicable settlement of international questions,
The great and general interests of peace.
Jin's first appearance was within Tekken 3, where he is introduced as a boy "claiming to be Heihachi's grandson". According to official canon, during the King of Iron Fist Tournament 2, Jun Kazama and Kazuya Mishima were intimate, and Jun found herself pregnant afterwards. Jun disappeared into a remote mountain location where she raised Jin and trained him in her Kazama-Style Self-Defense fighting arts. Some time after Jin's 15th birthday, Jun was attacked by Ogre and disappeared. Grieving the loss of his mother, Jin swore revenge. Jin was then taken in by his grandfather, Heihachi Mishima, who began to train him in Mishima-Based Karate.[10]
Subsequent games follow the events of Jin's ending within Tekken 3. Jin's "Prologue" cinema in Tekken 4 shows that, after Heihachi's betrayal, Jin fell into a pit of self-hatred, despising everything related to the Mishimas. Locating a secluded dojo in Brisbane, Australia, he spent two years unlearning the Mishima style he had used up to that point and mastered "traditional" karate thanks to the help of the dojo master. Eventually, the rumors of a King of Iron Fist Tournament 4 began to surface and Jin set his sights on this new tournament.
Within Jin's Story Mode, before he can make it to the fight with Kazuya in the seventh round, he is surrounded by the Tekken Force, incapacitated, and chained up at Heihachi's private building in Hon-Maru. Later, Heihachi brings Kazuya to Hon-Maru, and, while Jin is chained, Kazuya attempts to awaken the Devil within Jin. As Jin begins transforming, he attacks and defeats his father. Next, Heihachi attempts to kill Jin and take his power for his own, only to lose.[11]
Again, based on subsequent Tekken games, Jin's ending is made the story's central focus, with Tekken 5's introduction sequence set only seconds afterward. G Corporation (the rival company to Heihachi's Mishima Zaibatsu) sends an army of Jack robots to kill Heihachi and Kazuya. The two cooperate briefly, but Kazuya betrays Heihachi.[12] The Jacks self-detonate, destroying the Hon-Maru and apparently killing Heihachi. However, Hon-Maru was the location where Heihachi had sealed his father, Jinpachi Mishima, approximately three decades earlier. Jinpachi is freed when Hon-Maru was destroyed.
Jin's Story Mode Prologue states that, immediately after leaving Hon-Maru, Jin's own Devil Gene went berserk. Jin soon found himself awakening inside of an utterly destroyed forest, realizing that he was the cause of the destruction. After returning to Yakushima[13], he is plagued by recurring nightmares [14] and realizes that it's only a matter of time before the Devil Gene completely takes over. From here, the story shifts to Devil Within.
In the aftermath of the fifth Iron Fist Tournament, Jin has been revealed as the winner and is now the new CEO of the Mishima Zaibatsu. However, instead of putting an end to the Zaibatsu, Jin has begun using the company for world conquest and declared war on several nations until the whole world itself is at war. Under his control, the Mishima Zaibatsu defects from any one nation and begins working as a global power, opposing all national militaries. Kazuya, meanwhile, has taken control of G Corporation and risen to become the Mishima Zaibatsu's only opponent, and has put a bounty on Jin's head, dead or alive, to stop him interfering with his own plans for world domination. Jin, having anticipated this, announces The King of Iron Fist Tournament 6 to rid himself of Kazuya and his enemies once and for all.[15]
In the 2009 live-action film Tekken, Jin is portrayed by Martial Arts actor John Foo in his first starring role.
...but if you get in close you might find something new. Try it!" www.todaysposting.com/TPAssignment.php?TP=305 - I sure got surprised when following the cross on Saturday (see the pic on the comment field). There was a special photo exhibition in the chapel - the Duva/Diva project photos. DuvTeatern is a theater group mainly formed by disabled actors and actresses. Carmen is one of plays they've performed. Duva/Diva shows Carmen characters photographed by Stefan Bremer. www.duvteatern.fi/english/home/a_bird_of_prey/
News clip: Duva/Diva - Exhibit of Stefan Bremer's photo portraits in Washington
This became pic #94/100 in my
" set: www.flickr.com/photos/connectirmeli/sets/72157631494094958/
Vieraista tutuiksi was an interactive event for sharing who we are and how we live our creativity true. - The special target group was people with disabilities - all ages included.
Activities:
- Borrow a real person from the library for 20 minutes - s/he shares who s/he is and you get a great opportunity to unlearn
- Build and rebuild your own sculpture - by Alexander Reichstein
- Paint with dessert cream kind of paint
- Produce iron wire art
- Visualize your dream
-> Feel more through my pics
- I walked by a locker room and couldn't help checking what was in a couple of cans on a shelf. - The label #1 said 'scent for the arrival to the workplace' and the label #2 'scent for the departure from the workplace'. There's so much within the procedures developed for the disabled the rest of us could daily utilize...
Markus Kaski (Senior Physician, Rinnekoti Foundation) says in an interview (slide 99) that events like this help us get acquainted with people who are relatively lightly disabled. - Events like this are fantastic, but we mustn't forget the much more severely disabled people living in our society and being members of our communities...
This year's event was hosted by Rinnekoti Foundation - the programme in Finnish www.kulttuuripaivat.fi/wp-content/uploads/2012/09/Kulttuu...
The referred article (slides 98-99) in Finnish: www.esse.fi/nakoislehdet_2012/esse_12_35/esse_12_35.pdf "