View allAll Photos Tagged values
02 September 2017
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Minneapolis, MN
What if our idea of a wealthy person wasn't somebody who had a lot of value, but instead was somebody who gave a lot away?
What if we didn't dream of properties or holdings but instead, causes we could champion, or dreams we could make happen? What if our idea of philanthropy wasn't accumulating riches and giving away leftovers but giving no matter what and seeing all growth as more opportunity to give?
This is a romantic's idea, no doubt, but it's also not out of reach. Meet an OFW from any country sending 70% of his or her income to sick family members and you'll see. Meet the dentist I learned this idea from- he grew up on a Klamath Reservation where he was immersed in this value.
There's already a bunch of people living this way who impact a bunch of lives. And I think that sounds like the cooler goal.
Soil Values project Launch in Burkina Faso.
www.cifor-icraf.org/project/soil-values/
Photo by CIFOR-ICRAF
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: news@cifor-icraf.org and a.sanjaya@cifor-icraf.org
This is a good example of value because the dark background makes the light from the sparkler stand out.
How should a liberal democracy respond to hate groups and others that oppose the ideal of free and equal citizenship? The democratic state faces the hard choice of either protecting the rights of hate groups and allowing their views to spread, or banning their views and violating citizens' rights to freedoms of expression, association, and religion. Avoiding the familiar yet problematic responses to these issues, political theorist Corey Brettschneider proposed a new approach called value democracy at this Ash Center Democracy Seminar.
Photo Credit: Charles Maxwell-Coghlan
Advertising and marketing giants know how hard it is for us to pass up a free offer. They also know that the only way we’ll do it is if what’s on offer has no value to us. So their mission is to convince us that the reason our life has lost its zip is because we don’t have the particular product or service they are being paid to promote. And incase we’re not quite sure, to seal the deal we’re pushed over the edge with the irresistible “Buy 2 Get 1 Free!” mantra. In today’s matter crazed world we can also easily pass on spirituality because we don’t see how it could add any punch to our party. After all, what do you really get out of “being spiritual”? Because it’s so rare to find someone who has actually achieved what is available in spiritual pursuits, this mindset is, unfortunately, understandable.
What is available through a genuine non-material lifestyle? Bhakti wisdom lists two observable items, with genuine happiness being number one on the list. That means happiness which is not based or dependent on anything external, which has no distress mixed in, and which is always increasing. The second item is the dedicated effort to give the opportunity for that kind happiness to others. As Bhagavad Gita explains:
“Because the Bhaki Yogi is truly happy due to connection to the Supreme, out of compassion he or she tries to hard share this connection with others.”
Believe it or not these people, although few and far between, are out there. And they can help add the greatest value to our lives, if we’ll let them.
Value. Create a need, a new idea, a compelling reason for people to like your writing. Remember how authors of novels touch the lives of the readers? Sell through the heart, impart words that giving meaning to their lives, something they ought to remember…
So when all is said and done, one has to remember that change is the most constant thing in this world. Strategies in marketing can vary, innovate, and soar to new heights. Furthermore, going deeper and looking at the nitty gritty techniques of marketing is another topic. But above all else, it is imperative to remember to immortalize your content writing and create a timeless impression on your audience.
Tanuki (racoon) figure, 1970
Wakul Yuhei IV
glazed stoneware
In the 1960s and '70s, Mingei becomes increasingly associated with tourism, as growing numbers of national and international holidaymakers sought locally-made souvenirs. Created by a fourth-generation potter, this ceramic figure of a tanuki (a racoon-like figure from Japanese folklore) shows how traditional kilns produced folk craft objects full of commercial appeal.*
Kibori kuma (carved wooden bear), c1970
unrecorded Ainu maker, Hokkaido Prefecture
carved wood
These typical Hokkaido souvenirs were mass-produced from the post-war tourism boom onwards. It's said that the form originated in the town of Yakumo as an imitation of a similar bear purchased in Bern, Switzerland; others believe that the Ainu in Asahikawa developed it independently. Tourists used to buy huge numbers of these carved wooden bears at the Kawamura Kaneto Ainu Memorial Museum.*
Sosaku (contemporary) kokeshi, c1968
Kishi Sadao
turned wood, paint
Kokeshi - simple, turned wooden dolls - are perhaps the most popular folk craft souvenir. Originally made as children's toys by agricultural workers in the Tohoku region during the cold winter months, from the 1920s they became collectables for adult Mingei enthusiasts around the country. This award-winning design, dating from the Mingei tourism boom of the 1960s, shows how new styles of kokeshi were mass-produced for sale.*
From the exhibition
Art Without Heroes: Mingei
(March - September 2024)
The most wide-ranging exhibition in the UK dedicated to Japanese folk-craft.
Art Without Heroes: Mingei is the most wide-ranging exhibition in the UK dedicated to Mingei, the influential folk-craft movement that developed in Japan in the 1920s and 1930s. With works including ceramics, woodwork, paper, toys, textiles, photography and film, the exhibition incorporates unseen pieces from significant private collections in the UK and Japan, along with museum loans and historic footage from the Mingei Film Archive.
Mingei is a term coined by the Japanese philosopher and critic Yanagi Sōetsu (1889-1961) to mean ‘the art of the people’ and ascribes cultural value and aesthetic purity to traditional craft objects, unnamed makers and a simpler way of life. The exhibition considers Mingei both as a historical moment and as a set of principles that remain relevant to contemporary craft, manufacturing and material consumerism worldwide.
Like the British Arts and Crafts movement, Mingei was a response to rapid industrialisation. Mingei developed in dialogue with the work of William Morris and his contemporaries, within a specifically Japanese context that included the strong influence of Pure Land Buddhism. The exhibition also introduces the significance of Korean, Okinawan and Ainu objects to the Mingei movement, showing how these independent cultures contributed to what tends to be seen as a quintessentially Japanese aesthetic.
Divided into three parts, the exhibition starts with the 19th-century craft objects the Mingei movement looked to for inspiration. The second part of the exhibition focuses on the origin and evolution of the Mingei movement during the 20th century. Spearheaded by Yanagi, Japanese studio potter Hamada Shōji (1894-1978) and British studio potter Bernard Leach (1887-1979), it proposed an alternative to the rise of industrialism that accompanied the modernisation of Japanese society. Together Yanagi, Hamada and Leach, who described themselves as the ‘three musketeers’, championed the Mingei ideals of ‘art without heroes’, true beauty and traditional craft skills, leading a revival of interest in folk crafts.
The final section of the exhibition considers 21st-century iterations of the Mingei movement and modern re-interpretations of its core values. It shows how the term ‘Mingei’ has been reinterpreted and reclaimed by contemporary artists, including work by Theaster Gates which explores the spiritual and artistic dialogue between Black and Japanese craft traditions, a key concern of his practice.
[*William Morris Gallery]
Taken at William Morris Gallery