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Visual harvesting of 4 stories of smart specialisation and clusters proposed to the 400 participants of the GROWyourREGIOn conference, a conference fully organized in participative way.
Photos are from my colleague Gino De Laurenzo, see all his photos of the conference: www.flickr.com/photos/euregional/sets/72157649888031284
Sound Design students go behind the scenes at the Abbotsford Airshow and get the chance to capture the roar of a jet bus that can reach speeds of up to 590km/h.
Find out more about VFS's one-year Sound Design for Visual Media program at vfs.com/sounddesign.
I took this photo few years ago of Kuwait city. This is an example of visual pollution of dilapidated buildings in front of the communication tower, which is also known as the liberation tower in downtown Kuwait city.
Visual harvesting of 4 stories of smart specialisation and clusters proposed to the 400 participants of the GROWyourREGIOn conference, a conference fully organized in participative way.
Photos are from my colleague Gino De Laurenzo, see all his photos of the conference: www.flickr.com/photos/euregional/sets/72157649888031284
THE AWARENESS MUSCLE TEAM had the pleasure and the difficult mission to take care ot the Press conference of (I) Independent people @Rejkavik art festival ( it hapeen the 20 / 05/2012 ) films will come ... @ Jonatan Habib Engqvist kindly pass on his plattform "the press conference " the collaboration happened at 10 am a sunday morning at the blue lagoonhttp://www.emergencyrooms.org/THE_AWARENESS_MUSCLE.html
thanks also to with help Kristín Scheving and the festival and the art critics that joined independentpeople.is/info/exhibition/
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DONT USE PHOTO WITHOUT ASKING 1@colonel.dk
Reykjavík Arts Festival 2012 announces (I)ndependent People, a large-scale collaborative international visual arts project that will involve many of Reykjavík’s exhibition spaces, museums, galleries and public space during the festival season and throughout the summer. Focusing on contemporary visual art from the Nordic and Baltic countries, (I)ndependent People asks if and how collaboration can operate in continual negotiation between contesting ideas and desires, yet allowing unplanned and transformative action.
Whether they have been working together for a long time or been composed to undertake a temporary collaboration, all the artists participating in this project do so as part of a joint venture. Artists’ collectives, partnerships, workshops and exchanges permit an investigation of artistic subjectivity and authorship, allowing knowledge to be acquired so that it may be shared with others. Both thematically and performatively, the construction, intention and focus of this exhibition may be seen to parallel the notion of a ‘third space’ (Homi K. Bhabha, The Location of Culture, Routledge, 1994).
This allows seemingly incommensurable differences to be negotiated, rendering meaning ambivalent and warping the mirror of representation. In turn, cultural knowledge is revealed as a hybridised, open and expanding code. Such an intervention – made possible through exchange between a cluster of museums, galleries, artist-run spaces and institutions in Iceland and abroad – quite properly challenges our sense of the historical identity of culture as a homogenising, unifying force. This further relies on participants relinquishing their subjectivity, or momentarily placing it in parenthesis; in this way, artists create the specific uncertainty that makes the third, other, hybrid identity possible. Through this process, a position is generated at which the in-between of collaboration can potentially become a site for social and cultural transformation – a locus around identities, at which becoming can resist the impetus toward homogeneity.
Often labelled as either ‘alternative’ or ‘independent’, several of the participating groups address questions concerning the structure of the mediated (art) world. By moving beyond ideas of national representation, concepts of public and private, author and audience, this context might provide a nuanced discourse about commonality. By describing a place between subjectivities, ideologies, interests and structures, the temporary, in-between space created in Reykjavík can become a proposition for unimagined ideas to be examined, planned and constructed. This position has been portrayed as a vessel without sharp contours – as ambiguous, vague and indefinable; however, these are the very qualities that often make contemporary art worthy of hope. Or, in the words of Elizabeth Grosz, “The space in between things is the space in which things are undone, the space to the side and around, which is the space of subversion and fraying, the edge of any identity’s limits. In short, it is the space of the bounding and undoing of the identities, which constitute it”. (Elisabeth Grosz, Architecture From Outside, MIT Press, 2001).
The extensive project brings together 29 artist-collectives with the collaboration of over 100 participants. (I)ndependent People is curated by Swedish curator and theorist Jonatan Habib Engqvist and made possible through exchange and collaborative undertakings between a cluster of museums, galleries, artist-run spaces and institutions. Venues include Reykjavík Art Museum, The National Gallery of Iceland, The Nordic House, Kling & Bang, The Living Art Museum, The Icelandic Sculpture Association and ASÍ Art Museum, together with public space in Reykjavík and off-site events. Saturday May 19 will be dedicated to openings of the exhibitions with receptions and events at the venues from morning to evening and Sunday May 20 will host an international seminar.
Curator: Jonatan Habib Engqvist
Project Manager: Kristín Scheving
Reykjavík Arts Festival 2012 announces (I)ndependent People, a large-scale collaborative international visual arts project that will involve many of Reykjavík’s exhibition spaces, museums, galleries and public space during the festival season and throughout the summer. Focusing on contemporary visual art from the Nordic and Baltic countries, (I)ndependent People asks if and how collaboration can operate in continual negotiation between contesting ideas and desires, yet allowing unplanned and transformative action.
Whether they have been working together for a long time or been composed to undertake a temporary collaboration, all the artists participating in this project do so as part of a joint venture. Artists’ collectives, partnerships, workshops and exchanges permit an investigation of artistic subjectivity and authorship, allowing knowledge to be acquired so that it may be shared with others. Both thematically and performatively, the construction, intention and focus of this exhibition may be seen to parallel the notion of a ‘third space’ (Homi K. Bhabha, The Location of Culture, Routledge, 1994).
This allows seemingly incommensurable differences to be negotiated, rendering meaning ambivalent and warping the mirror of representation. In turn, cultural knowledge is revealed as a hybridised, open and expanding code. Such an intervention – made possible through exchange between a cluster of museums, galleries, artist-run spaces and institutions in Iceland and abroad – quite properly challenges our sense of the historical identity of culture as a homogenising, unifying force. This further relies on participants relinquishing their subjectivity, or momentarily placing it in parenthesis; in this way, artists create the specific uncertainty that makes the third, other, hybrid identity possible. Through this process, a position is generated at which the in-between of collaboration can potentially become a site for social and cultural transformation – a locus around identities, at which becoming can resist the impetus toward homogeneity.
Often labelled as either ‘alternative’ or ‘independent’, several of the participating groups address questions concerning the structure of the mediated (art) world. By moving beyond ideas of national representation, concepts of public and private, author and audience, this context might provide a nuanced discourse about commonality. By describing a place between subjectivities, ideologies, interests and structures, the temporary, in-between space created in Reykjavík can become a proposition for unimagined ideas to be examined, planned and constructed. This position has been portrayed as a vessel without sharp contours – as ambiguous, vague and indefinable; however, these are the very qualities that often make contemporary art worthy of hope. Or, in the words of Elizabeth Grosz, “The space in between things is the space in which things are undone, the space to the side and around, which is the space of subversion and fraying, the edge of any identity’s limits. In short, it is the space of the bounding and undoing of the identities, which constitute it”. (Elisabeth Grosz, Architecture From Outside, MIT Press, 2001).
The extensive project brings together 29 artist-collectives with the collaboration of over 100 participants. (I)ndependent People is curated by Swedish curator and theorist Jonatan Habib Engqvist and made possible through exchange and collaborative undertakings between a cluster of museums, galleries, artist-run spaces and institutions. Venues include Reykjavík Art Museum, The National Gallery of Iceland, The Nordic House, Kling & Bang, The Living Art Museum, The Icelandic Sculpture Association and ASÍ Art Museum, together with public space in Reykjavík and off-site events. Saturday May 19 will be dedicated to openings of the exhibitions with receptions and events at the venues from morning to evening and Sunday May 20 will host an international seminar.
Curator: Jonatan Habib Engqvist
Project Manager: Kristín Scheving
On the left, background of gesso and watercolor, with collage of a branch di mimosa; on the right, paper collage with watercolor and gouache painting.
A sinistra, sfondo di gesso e acquerello, con collage di un ramo di mimosa; a destra, collage di carta con dipinto ad acquerello e gouache.
The 18th Annual Visual Effects Society Awards (VES Awards) at the Beverly Hilton on Wednesday, Jan. 29, 2020 in Beverly Hills, CA. Photo by Danny Moloshok/Moloshok Photography, Inc.
This is the first visual dataflow programming environment, 1968. Direct manipulation, drag-to-resize, handwriting recognition, dataflow programming.
I couldn't find a screenshot online, so I pulled this from www.archive.org/details/AlanKeyD1987
More on GRAIL: c2.com/cgi/wiki?GrailSystem
Visual harvesting of 4 stories of smart specialisation and clusters proposed to the 400 participants of the GROWyourREGIOn conference, a conference fully organized in participative way.
Photos are from my colleague Gino De Laurenzo, see all his photos of the conference: www.flickr.com/photos/euregional/sets/72157649888031284
May Day solidarity rally and march for social justice, human, labor and immigrant rights = Concentración y marcha solidaria del Primero de Mayo para la justice social, los derechos humanos, derechos laborales y los derechos del inmigrante, New Haven, Connecticut, Monday May 1, 2017.
From Press Release:
Four Connecticut Cities Strike and March on National “Day Without Immigrants”
Protesters unite to show solidarity among immigrant workers, Yale teachers on hunger strike, African Americans, women, and LGBT community
New Haven, CT - Hundreds of immigrants, workers, business owners and families took the streets in New Haven, Stamford, Danbury and Bridgeport on Monday, May 1 to join a national strike, a “Day Without Immigrants.” In New Haven, after rallying on the Green, more than twenty community organizations marched toward Fair Haven, where some immigrant businesses shut down for the day to demonstrate that this country depends on immigrants. Hundreds of thousands of workers and businesses across the United States pledged to strike in the largest national strike since May 1, 2006. (Visit lahuelga.com)
From the Green, protesters planned to march to a nail salon where workers were owed unpaid wages; a bank funding oil pipelines; the site where Malik Jones was killed by police 20 years ago; and the Fair Haven neighborhood where immigration raids occurred ten years ago.
“This May Day Strike is the first in a series of national strikes that will intensify,” said John Lugo of Unidad Latina en Accion, a grassroots organization of immigrant workers from greater New Haven. “After years of broken promises from politicians, we have woken up to the reality that only we can protect our communities. When we go on strike, this country will not take us for granted. We will make our families safe. We will win dignity and permanent protection for 11 million undocumented workers.”
“My dad, Luis Barrios, is scheduled to be deported this Thursday morning to Guatemala,” said Jessica Barrios, a US citizen from Derby. “Congresswoman DeLauro and more than 2000 people have asked ICE to stop his deportation because he is a great person; he has no criminal record and there’s no reason to deport him after he’s lived here 24 years.”
The family will rally with activists to protest Mr. Barrios’ deportation tomorrow May 2 at 12:00 pm at the office of Immigration & Customs Enforcement (ICE), 450 Main Street, in Hartford. (More info: action.mijente.net/p/luisbarrios )
"I've been fasting for six days because Yale is waiting out the clock, hoping that President Trump will take away my right to a union," said Charles Decker, a graduate teacher in Political Science at Yale. "Donald Trump wants us all to be disposable, as workers, as immigrants, as women, as people of color. But by treating so many of us as disposable, they bring us together and give us the chance to share each other’s strength."
“As a mother of 2 daughters, it is my duty to stand up and fight against the inhumane, cruel and racist agenda of Trump,” said Fatima Rojas, president of the Parent Teacher Association at Columbus Family Academy, one of the New Haven Public Schools. “I stand up to protect students by creating a sanctuary school policy. I stand up to continue reinforcing New Haven as a sanctuary city that protects and welcomes immigrants, African Americans, refugees, LGBTQ people, women and anybody that may be attacked under this administration. This country depends on working class people.”
Moises Vargas, the proprietor of the New Haven seafood restaurant Mariscos el Pescador, said he closed his restaurant today “to support the cause and join the rest of our people.”
End of Press Release.
Re-THINGing Gesture in Contemporary Sculpture Practice displayed at Esplanade Jendela (Visual Art Space).
I really enjoy my sketch books and journals because you don't need to be to precious,I just go for it,quick and colourful!
Examining the central visual field (VF) grey scale of the right eye alone may be confusing, as there is no specific pattern to the field defect. However, looking at the two grey scales together reveals a left central field defect, signifying optic neuritis. In this case, looking at the rest of the printout data (statistical package) may be useless, as it is designed to analyse glaucoma defects only.
Published in: Community Eye Health Journal Vol. 25 No. 79.80 2012 (Online only) www.cehjournal.org