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Know Your Lore: The history and origins of the mogu
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Anne Stickney
The World of Warcraft is an expansive universe. You're playing the game, you're fighting the bosses, you know the how -- but do you know the why? Each week, Matthew Rossi and Anne Stickney make sure you Know Your Lore by covering the history of the story behind World of Warcraft.
Of all the creatures in Pandaria, none have been quite so mysterious as the mogu. From day one they were presented as one of the villains in the saga of Pandarian history -- and although the days of the mogu empires were long over, their legacy lived on. Mogu architecture, mogu statues, mogu ruins, they all littered the landscapes of where we leveled. To the pandaren, the mogu were a threat, but one that had long since died out, leaving the race as little more than scary tales to tell the children at night.
Until Mists of Pandaria, and the arrival of the Alliance and Horde. With the sudden uprising of the mantid, the release of the sha, and the frightened movement of the yaungol, the pandaren had more than enough to contend with. The sudden explosion of mogu activity was just another addition to the pile -- and the appearance of the Zandalari as allies made the reappearance of this ancient threat even more dire.
But who are the mogu? Until patch 5.2, that mystery hadn't been fully defined. And it still may not be fully defined, but at least we have a slightly clearer picture.
Please note that today's Know Your Lore contains some spoilers for patch 5.2 Lorewalkers content.
The origin of the mogu
The origin of the mogu is cleared up on the Isle of Thunder, where several Lorewalkers' scrolls can be found that fill in some details of the mogu's vague history. While we'd been originally told that the mogu just happened to learn how to harness the powers of Titan artifacts and technology, this isn't really the case at all. The mogu were, originally, Titan constructs -- similar to those found in the Storm Peaks or Uldum. They were created to protect the land, and at some point, affected by the Curse of Flesh.
One Lorewalker scroll points at mogu legends of an age of golden light, when order was brought to a world of chaos. Supposedly, the mogu walked among the Titans, creatures of stone, and shaped the mountains and valleys of Pandaria. This puts them in the same rank as the Earthen, the Titan creations that eventually evolved into the dwarves and troggs we know today. According to this scroll, the mogu called their titan master "The Storm." He was their keeper -- which sound suspiciously like Ra-den, the final boss in the Throne of Thunder.
But there's contradictory evidence for this. Another Lorewalkers scroll is a poem, a legend that stems from the earliest known days of history. It's been passed down again and again throughout mogu culture, and if read correctly, it explains a lot regarding the mogu, their origins, and their original purpose. The tale is called Shadow, Storm, and Stone. Rather than present it in one front, let's look at each section of this tale and try to figure out what it all means.
The beast of seven heads
Fumed seven breaths.
The land wept shadow
And the swarm blackened the sky.
Supreme was the ancient one;
None dared waken its wrath.
This section of the legend is obviously speaking of Y'shaarj, the old god whose death brought about the Sha that haunt Pandaria to this day. This legend may very well be the only piece of recorded history Azeroth has about the time before the Titan's arrival, the time when the Old Gods ruled the world with chaos and destruction. Also mentioned are the mantid -- the swarm -- who were revealed as ancient followers of the Old God to anyone who gained exalted reputation with the Klaxxi.
Until the coming of the Storm.
First came thunder, then came Stone.
The thunder Storm's voice,
The Stone his weapon.
This is where we get into a little speculation. There is no doubt in my mind that the Stone referred to here are the mogu -- they were the stone constructs of the Titans. But we have two other distinct entities referred to here: the Storm, and the thunder. While some may assume that Ra-den, the mysterious boss at the end of the Throne of Thunder is the Storm mentioned here, I don't think that's the case. It doesn't fit with the hierarchy, the order that the Titans follow.
I think the Storm mentioned here is Aman'Thul, leader of the Pantheon of the Titans. Aman'Thul has always been depicted with control over lightning, making him the most logical choice for a reference, here. Ra-den is the thunder, the voice of the Storm -- he is a much like any of the Keepers found in Ulduar, a representative of the Titans, the "voice" of Aman'Thul. Ra-den was entrusted with watching over the creations of the Titans. This places the mogu firmly in the hierarchy as cousins of the Earthen. They watched the world, they shaped the world, but they did not rule the world.
Lightning seared the sky.
The swarm fled from its light.
Stone struck at the heads of the beast.
The shadow bled into land and sky -
Fear and rage that would not die.
Storm's will was done.
Stone's purpose fulfilled.
Except ... then we get to this passage. If the assumptions provided are correct, the mogu were not simply created to bring order to the world. Their genesis was directly related to the Titans arrival on Azeroth, and the war between Titan and Old God. And if this legend is indeed a correct account, the mogu were created to fight Y'shaarj -- they weren't just shapers of earth. They were soldiers. They were an army. And they were the creatures that in the end, killed Y'shaarj and released the Sha on Pandaria. Not out of malevolence, but because it was their duty, their assignment.
The last line of the legend is chilling, if you think about it that way. The Stone, the mogu -- they were created to kill Y'shaarj. Nothing more, nothing less. Once Y'shaarj died, the purpose of the mogu was complete. There was nothing more for them to accomplish. So what happened to the mogu, after they supposedly fulfilled their purpose?
The Curse of Flesh
Another Lorewalker scroll highlights the time after the defeat of Y'shaarj, and briefly explains what happened. The mogu remained on Pandaria, "guarding the great works of the titans. Always they listened to their master. Always they were obedient." The master mentioned in this scroll is undoubtedly Ra-den, who was left to watch over the Titan facility after the Titans' departure, much like Ulduar had its own set of Keepers. But something happened to Ra-den, something don't have a record for.
Whatever it was that happened, it caused Ra-den to fall silent. The mogu no longer had a master to tell them what to do. In addition to this, the mogu found themselves changing as they were afflicted by the Curse of Flesh. According to the scroll, there are no mogu writings from this time in history. No master for guidance, yet discovering the ability to breathe, to bleed, to die -- it's little wonder that there are no records from this time period, because I suspect the last thing the mogu really wanted to do in the midst of this confusion was write about it.
The mogu not only found themselves losing their stone form, but experiencing emotion for the first time. Mortal emotion. Pride, greed, fear, anger -- in fact, it seemed as though the mogu were affected by every negative emotion under the sun, and none of the positive. Ironically, it appears as though the mogu brought this twist upon themselves. Every emotion the mogu seemed to be experiencing is present in the Sha. It leads one to wonder -- were the mogu essentially victims of what they unwittingly unleashed?
If the mogu were, in fact, created to kill Y'shaarj, then it means that at least indirectly, the presence of the Sha is their fault. It also explains why the mogu were so dead-set against the mantid, since they were followers of Y'shaarj. And in a really strange way, you almost begin to sympathize with the mogu. Here are creatures that were made for the most noble of purposes. They carried that purpose out, with disastrous results. And the end result of that success was the ultimate doom of the mogu.
The Rise of Lei Shen
The assorted mogu were left as creatures of flesh, afflicted by every negative emotion the Sha represented. One by one, they began to fight for power. It doesn't appear that there was any real reason for the wars, for the warlords, for the centuries of fighting. The mogu had simply given in to the negative emotions they'd been gifted right along with the Curse of Flesh. According to another Lorewalker scroll, this was the Age of a Thousand Kings -- the age of warlords fighting for territory and power. Why did they fight?
Well, that's a very good question. And oddly enough, it also falls back to the original trailer for Mists of Pandaria. Thematically, it makes one wonder if we should be looking at the mogu for a very good example of ourselves -- Alliance and Horde, locked together in an eternal struggle for territory and power. But what are we fighting for? What were the mogu fighting for?
That question may very well have been asked by Lei Shen. According to history, Lei Shen looked upon the mogu, the ruined works of his forefathers, the war-torn landscape. And he saw what the others didn't see. The mogu lacked purpose. They lacked order. They lacked that thing that ultimately made them what they were -- creatures of order. They lacked the united front that once made them powerful creations, a purpose to follow.
In fact, the biggest thing that they lacked was the voice of the "gods" -- the voice of their master. Ra-den no longer spoke to the mogu, and the Titans themselves were silent. Lei Shen, for whatever remarkable reason, was born with a vision of clarity. The Titans no longer spoke, and Lei Shen took the next logical step -- he decided to speak for them. And the odd part in all of this is that it's likely Lei Shen very much thought he was doing the right thing.
He began uniting the mogu, and soon commanded his own powerful legion. Left with one outcome in mind, Lei Shen traveled deep into the heart of the Thundering Mountain, the sacred home of the master who had fallen silent. And when Lei Shen emerged from the mountain, it was with the powers of a thousand storms, with the voice of one who spoke for the gods themselves. He built a vast city atop the mountain, creating a seat of power from which he reigned with an iron fist.
Power and order
It was then that the mogu embarked on a campaign that the pandaren remember with utmost terror. As the mogu united under Lei Shen's banner, they began enslaving the lesser races of Pandaria. One by one, the lesser races fell to the might of the mogu, one by one they were forced to abandon their culture, history, their very language. Forced by iron fist to build and create the magnificent architectural masterpieces that litter Pandaria today. To Lei Shen, this was what the mogu were intended to do.
In a very bizarre way, he was right. Lei Shen, the mogu, they all thought that this was the right thing. And perhaps somewhere deeply embedded in their brains, there was some remnant of who they were. Who they used to be. There is plenty of evidence to suggest that the mogu simply had no understanding, no way to grasp that the lesser races were anything but lesser.
The Throne of Thunder is a testament to this. Buried in its walls are the creations of the mogu, experiments using Titan technology to create. Even the Twin Consorts are in their own way a nod to this, because there are no female mogu. The mogu don't have a concept of gender. Originally they were, at their essence, robots. Lei Shen observed that the lesser races had something the mogu didn't -- female creatures -- and made a couple for himself. Not for procreation purposes, not for the purpose of gender equality, but simply because he thought they were pretty.
And this is how the mogu view the rest of Pandaria. The lesser races aren't beings of flesh and blood, beings to be respected or admired; they are cogs in the machine. They are part of the engine that runs the world. They are not people with thoughts, feelings, observations, destinies -- they are things, mere objects. Some objects are useful, others are not. Those that are not are either engineered into something useful, or destroyed.
What's missing?
But there's something missing from this equation, if the examples we've been given from the rest of the world are a pattern. Ra-den was the Keeper, the voice that the mogu listened to for orders, for guidance. In Ulduar, Thorim, Mimiron, Freya and Hodir are all entrusted with similar duties. In the Halls of Origination, we find Isiset, Setesh, Ammunae and Rajh, also similarly entrusted. These Keepers watch and guard the most powerful Titan facilities on Azeroth.
Where are the other three Keepers of Pandaria?
In each instance of a powerful Titan facility, we have four -- except Pandaria. To our knowledge at this time, Ra-den is it. And that makes very, very little sense, given what we know about Azeroth -- particularly given the nature of Pandaria. It seems to be the home of an engine of creation. Given the peculiar nature of the waters and the Titan facilities that seem to be able to create life itself, one would think that Pandaria would rate four Keepers at the very least. Where are they? And how does this tie into the mysterious nature of Pandaria's disappearance from the rest of the world?
Next week, we'll don our tinfoil hats and take a very critical look at the mogu, the Titans, and the Last Emperor of Pandaria, Shaohao.
While you don't need to have played the previous Warcraft games to enjoy World of Warcraft, a little history goes a long way toward making the game a lot more fun. Dig into even more of the lore and history behind the World of Warcraft in WoW Insider's Guide to Warcraft Lore.
In this article: featured, guide, guide-to-lore, halls-of-origination, isle-of-thunder, Lei-Shen, lore, lore-guide, mists-of-pandaria, mogu, mogu-empire, old-gods, pandaren, pandaren-empire, ra-den, role-play, role-playing-guide, rp-guide, the-thunder-king, throne-of-thunder, titan-keepers, titan-watchers, titans, ulduar, uldum, world-of-warcraft-lore, wow-guide, wow-lore, wow-role-playing, wow-role-playing-guide, wow-rp, wow-rp-guide, wow-rping, yshaarj


Move over Mizoguchi. Off with you Ozu. And a respectful kiss-off to Kurosawa San – the cinema of the land of the rising sun has now entered an entirely new phase. After having stepped gingerly out of the shadow of the aforesaid giants in the 80s, the new millennium sees Japanese films exploring hitherto uncharted (at least in this fashion) territory. Somewhat like the mysterious, enigmatic and decidedly secretive Japanese society itself, the films coming forth from there are unlike anything that most other mainstream cinemas, especially Hollywood, are producing. Like, say, the French nouvelle vague in the 50s and 60s, the new Japanese cinema bears its own strange, individualistic stamp. Though not part of a formalised movement, the films do share certain thematic concerns, often depicted through the same narrative element: violence.
Which is not to say that Japanese cinema has traditionally shied away from the country's violent past. On the contrary, Japan's turbulent history and the society's difficult relationship with that history has been the source of some truly great cinema. Akira Kurosawa in particular found boundless inspiration in the blood-soaked pages of Japan's past. From the soul-searching multiple-perspective narrative of Rashomon, to the stark, haunting tone of Throne of Blood, to the lyrical violence depicted in the King Lear adaptation Ran, Kurosawa cast a long, unflinching look into his people's history, unmatched in its poeticism.
But the way in which the new Japanese cinema approaches and explores the nature (and cause) of violence is a wholly new animal. While Kurosawa looked to the past, the new cinema's perspective is situated very much in the present. Under observation here is a mechanised violence and how it fits in squarely with a fiercely conservative and traditional society struggling to come to terms with its industrialised modernisation. This after all is the country that gave us the Chia Pet.
The last five years have seen a number of films released that subscribe to this new aesthetic, among them Audition, Ichi the Killer, Versus, Suicide Club and of course the rash of atmospheric horror films that have achieved cult status worldwide: Ringu, Ju-On, Dark Water etc. But one film in particular stands out from the rest of the pack in its intelligent blending of cinematic violence with social commentary and dark humour, and which, thanks to piracy, is finally available for viewing on DVD in the local market: 2000's notorious Battle Royale (Batoru Rowaiaru).
Likened by many to Stanley Kubrick's A Clockwork Orange, veteran filmmaker Kinji Fukasaku's Battle Royale (adapted from the novel by Koushun Takami) focuses on Japan's powerful youth culture at odds with a hostile and unnerved older generation. Employing scenes of disturbing, brutal albeit non-gratuitous violence, the film is a quasi-surrealistic treatise on the notion of 'disconnectedness' that apparently plagues Japanese society.
The film opens with an audacious premise: frustrated by an increasingly undisciplined and unruly student population, and with juvenile delinquency on the rise, the government passes the Millennium Educational Reform Act, a.k.a. the BR act. The BR act renders it legal for a student class chosen by lottery to be kidnapped and taken to an island in the middle of nowhere that is policed by armed troops. Once on the island, the students are informed that they are now unwilling participants in Battle Royale, a three-day, no rules, fight to the death. All the participants are fitted with electronic collars which track their movements and will explode and kill them if they don't participate or attempt to hole up in one spot for the duration of the 'tournament'. There can be only one survivor, who will then be allowed to re-enter society. If at the end of the three days there is more than one survivor, their collars will auto-destruct and there will be no winner.
What is at once shocking about BR is not the utter coldness with which the group of schoolchildren are informed of their situation by the authority figure (played with malevolent glee by iconic actor Takeshi Kitano), but how swiftly the battle for survival turns into a deadly game for some of them, reminiscent of Golding's 'The Lord of the Flies'. Members of the same clique betray their superficial bonds and turn on their friends; bullied, put-upon kids feel the power that a weapon grants them, and virtually no one can be trusted. In this regard, two of the most intriguing characters have to be Mitsuko and Kiriyama. The former (played to icy perfection by Kou Shibasaki) is the popular girl who quickly learns to relish the hunt and becomes a vicious predator, turning on friends and foe alike. The latter (Masanobu Ando) is a truly frightening creation: an unbridled psychopath who mows down his classmates with a chilling air of ecstasy. This crazed killer defies the one essential element of the cinematic stereotype of the bad-boy that he otherwise embodies: he is totally beyond redemption, his disregard – nay, disdain – for human life is at once shocking and thought provoking.
Indeed this coterie of mixed up, messed up kids is the heart of BR, and their relationships are portrayed with incredible sensitivity. There are no casual throwaways here. Even amid all the gunfire and knife play, you never lose sight of the sense of desperation that prevails. Some of the kids, not having the stomach to kill or to bear the sheer terror of being hunted, commit suicide. Others group up only to realise that the need to live outweighs notions of compassion and loyalty, and the merest hint of suspicion can set off a lethal chain of events. Nor do the kids step out of character to become annoying philosophy-spouting mini-adults. Note the disarming scene where two of the girls, even knowing they have been scoped out for assassination by Mitsuko, still find the heart and time to argue about a crush.
In the hands of a Hollywood hack BR might have turned into a mindless Urban Legends-like slasher flick, but it is never so clinical (or cynical) as to make its characters expendable, even the minor ones. We care about leading man-boy Nanahara (Tatsuya Fujiwara), an orphan haunted by his father's suicide, and feel his quiet passion for Noriko (Aki Maeda) – the two of them, especially, go through sweeping changes through the course of the film. We are touched by Kawada (Taro Yamamoto), a former BR 'winner' who has returned to defy the rules and save some lives. We root for the techno-nerd team who are working together to find a way to get everyone off the island in one piece. And when things go horribly awry at the lighthouse over a terrible misunderstanding between a group of best friends, it makes for a genuinely heartrending battle. BR never uses its inhabitants as mere cannon fodder to ratchet up the body count. And that is why it is never less than poignant.
While BR is equal parts disturbing and viscerally thrilling (be warned, it is not for the faint-hearted) as well as scathingly satirical, it does have a timely and serious 'message' at its centre. It warns its youth to be responsible with its freedom and to stop being rebels without a cause, but it is also an indictment of the old guard which seeks to impose on the youth traditions and ideals which are no longer relevant or realistic. To the film's credit, it sets about delivering this message in a thankfully un-message-like and non-preachy manner. Unlike many youth films from western cinema, it dares to speak to its young audience in their own idiom without talking down to them and without attempting to 'internationalise' the style to fit in with a global audience. Its very 'orientalness' is one of its major strengths.
Predictably, Battle Royale opened with a bang at the Japanese box-office, finding favour with its target audience of young adults. However, it was eventually removed from theatres by concerned parents groups and defenders of public decency. Ironic, considering that, the violence and gore notwithstanding (which is never meant to be read as 'cool' or 'fun'), Battle Royale is no mere exploitation movie, but ultimately a film about the desperate need to end the generational tug-of-war that can yield no result except to propagate a societal status quo.


On Sunday, September 17, 2017, RISD celebrates Constitution Day with a local session of "Handwriting the Constitution," a NYC-based, global art project. Join our creative scribal workshop at the Fleet Library, 15 Westminster Street, 3-7 p.m. Learn about this founding document by copying out the text, and/or create "friendly amendments" to broadcast your vision of an ideal society. We'll combine everything into a collage, to post in the library and online.
We provide the Constitution and writing materials.
You are welcome to bring your own dry media.
Participants will receive "We the People" tickets for Constitution Cake & Coffee, compliments of the Portfolio Café. Also, maps will be available for a Walking Tour of Constitutional Providence.
The late Senator Robert C. Byrd of West Virginia and Congress' unofficial constitutional scholar, believed that American students lack significant knowledge regarding the United States Constitution. In December 2004, he proposed an amendment that was passed by both the House of Representatives and the Senate in an attempt to increase students' knowledge about the Constitution.


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Even With Measles Cases At A High, Colorado Vaccination Bill Didn't Make It
By Rae Ellen Bichell • May 3, 2019
Children ages 19-35 months with one or more doses of the MMR vaccine in 2017. With less than 90 percent vaccinated, Colorado, Utah and Wyoming are among the least protected states.
Originally published on May 5, 2019 2:16 pm
This story was updated May 3, 2019 at 3:40 p.m.
Measles cases have reached a 19-year high in the U.S., but a bill in Colorado aimed at improving childhood vaccination rates didn't succeed. It didn't really fail, either. It just got mired in super-long hearings, pushback from the governor and, ultimately, a legislative schedule that ran out of time before the bill could reach the Senate.
"I'm still today trying to figure out exactly what happened," says Rep. Kyle Mullica, who sponsored the bill.
Colorado is one of more than a dozen states that allow parents to opt out of vaccinating their kids based on personal reasons, as opposed to medical or religious ones. The state's kindergarteners are the least vaccinated in the nation when it comes to the measles, mumps and rubella vaccine.
Other states are looking at banning non-medical exemptions altogether. Mullica's bill would have made it just a little bit harder to opt out of vaccines for personal reasons, requiring parents to submit a form in person to a local health office rather than dropping it off at school.
"We're at a real risk of an outbreak here in Colorado, being last in the country with our kindergarten vaccination, and yet we see states that have better vaccination rates than we do taking this issue more seriously," says Mullica. "We need to be better."
The Denver Post reports Senate Democrats delayed debate on the bill as the legislative session entered its final days, "effectively killing its chances of becoming law."
The CDC has found that, with the exception of Nevada, Mountain West states have some of the lowest vaccination rates against measles, mumps and rubella for kindergarteners in the nation. According to the National Conference of State Legislatures, Nevada, Wyoming and Montana are among states that allow exemptions for religious or medical reasons. Colorado, Utah and Idaho are among a smaller group of states that, in addition, allow parents to opt out of vaccinating their kids for personal or philosophical reasons. Utah parents must complete an online education module in order to exempt their kids from vaccination.
According to the latest numbers, so far more than 700 cases of measles have been reported this year.
This story was produced by the Mountain West News Bureau, a collaboration between Wyoming Public Media, Boise State Public Radio in Idaho, KUER in Salt Lake City and KRCC and KUNC in Colorado.
Copyright 2019 KUNC. To see more, visit KUNC.
2019 Colorado Legislative Session
Governor Polis Signs Oil & Gas Regulation Overhaul
By Associated Press & Scott Franz • Apr 17, 2019
Dan Elliott / Associated Press
Governor Jared Polis has signed a bill giving local governments more control over oil and gas drilling operations.
Colorado's Government Watchdogs See Mixed Results At Capitol This Session
By Scott Franz • Apr 15, 2019
For Mitchell Byars and other breaking news reporters around the country, the police scanner might be just as important as a laptop computer.
Byars, who covers everything from wildfires to mountain lion sightings for the Boulder Daily Camera, said the radio traffic helps him answer important questions from residents.
Paid Family Leave Bill Moving Forward After Dozens Of Amendments
Colorado Democrats are backing a heavily-amended version of a bill to create a paid family leave program.
The bill stalled in the Senate Finance Committee last month over concerns from business leaders and some Democratic. But a series of 24 amendments have gotten some of the Democratic holdouts on board, and the committee voted along party lines to advance the proposal.
Paid Family Leave Bill Stalls In Colorado Senate Over Business Impact Concerns
By Scott Franz • Apr 1, 2019
As Sen. Faith Winter pushes forward a bill to create a paid family leave program, she's thinking of employees who are stuck at work during some of the most challenging moments of their lives.
"We have cancer patients who are skipping their second round of chemotherapy because they can't afford to lose their paycheck," Winter said Monday. "And there's a heartbreaking story of a woman who took her dad off life support in a break room instead of being by her father's side."
Colorado Democrats Advance Bill To Reduce Greenhouse Gas Emissions
A bill that Democratic lawmakers say is needed to fight climate change has cleared its first hurdle at the state Capitol.
House Bill 1261 would set a goal for Colorado to reduce its greenhouse gas emissions by 40 percent before 2030.
It would also give a state board the authority to approve new regulations that would help the state reach that goal.

redpajama_set_name: RedPajamaCommonCrawl


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Business Objects Insight 2007 – Part I
Or "How I Learned to Stop Worrying and Love SAP".
I recently attended Business Objects Insight 2007 in sunny Orlando, Florida. This was my second year as a breakout speaker, with a presentation entitled Secure Universes Using Restriction Sets. For those expecting big news regarding XI 3.0 (code name Titan) or the next release of Dashboard Manager/Performance Manager (code name Allegro), there weren't any large announcements during the general sessions; however, there were brief peeks throughout the conference (more about that later).
Of course, the first thing to be dealt with was the small matter of the upcoming acquisition by SAP. Both Bernard Liautaud and John Schwarz indicated that Business Objects would remain an independent organization with both staying on board to lead it. We'll have to wait till the acquisition closes to learn more, but ideally an independent Business Objects can remain vendor neutral for the benefit of all customers but still create compelling solutions for SAP customers.The "major" product announcement from the conference was Crystal Reports 2008, which is currently in beta and will ship before the end of 2007. I didn't hear a formal explanation, but I'm assuming that the "2008" designation (instead of XI 3.0) is intended to more clearly communicate to Microsoft Visual Studio developers which version of CR goes with VS. One of the major feature enhancements is the ability to integrate Xcelsius content into a Crystal Report. For those of us who are "traditional" Business Objects users, I'm assuming that similar integration will occur with other reporting tools in XI 3.0.
I was pleased to see that there were two presentations regarding publications, the topic of my Insight 2006 presentation, Getting Personal with Publications and Profiles. Publications are the mechanism Business Objects uses to supporting single pass report bursting. The first presentation was Publications Unleashed, presented by Don Kawahigashi from Integra Solutions. Don had some great examples from an actual customer installation on how to extend the publication capabilities in the current release, XI Release 2. The other presentation was entitled Publications- The Power of Personalization by David Brockington and Derek Wang from Business Objects. Their presentation was my first sneak-peek at the revised Central Management Console (CMC) in XI 3.0. The expected new feature was the addition of Web Intelligence as a supported document type (XI Release 2 publications require Desktop Intelligence). The surprise new features were the addition of Crystal Reports as a supported document type and Dynamic Recipients. With Dynamic Recipients, you can manage subscribers that do not have to be a Business Objects user. I'm anxiously awaiting the release of XI 3.0, which is slated for the intentionally vague "first half of 2008".
From my perspective, Xcelsius was the most covered technology in the breakouts. The coolest breakout was Jeff Pelletier from AT&T Mobility (formerly Cingular) describing how it was used to launch the Apple iPhone. I'm curious to see if and how Allegro will continue to integrate Xcelsius technology into the Dashboard Manager/Performance Manager products.
Curious was the announcement of a deeper partnership with IBM, which came the day after the conference. The delayed announcement probably explains IBM motivation for being a global sponsor of Insight 2007. The press release is sketchy on details, but it appears that a "limited" version of Business Objects will be distributed with IBM DB2.
No formal word on the location of next year's conference, but I hope it will be sunny and warm.
Author Dallas MarksPosted on November 1, 2007 April 24, 2017 Categories User Groups & ConferencesTags Apple, ASUG, iPhone
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Commontime
Memphis Industries
5 Feb 16
The gist A very welcome return, not that they ever really left us The music The first time I really "got" field music was at an early evening slot on a small stage at Primavera Festival back in 2012. Until then I'd heard them in passing and seen their glowing reviews on Pitchfork etc but at Primavera it suddenly dawned on me that; 1) there was nobody else at the festival playing music like this, and 2) they were making absolutely no effort to look cool or fit into a scene and were therefore the coolest band there (apart from Shellac). Anyway, from then on, Field Music have had a place in my heart, even if they haven't really released a proper album in the interim. It's not great getting into a band during a hiatus, but luckily for me, they've been pretty active during said career break, whether that be releasing music as a side project ("School of Language"), as a collaboration ("Frozen By Sight") or doing the soundtrack to a 1929 silent documentary ("Music For Drifters"). Living in the North East doesn't do much harm either as I got to see the various band members play some special and increasingly rare live shows, right on my doorstep. So, the excitement building up to the release of Field Music's fifth album proper has been positively palpable in the Crackle office (that's what music journos say isn't it?). Although Field Music are still very much a duo, in terms of writing and arranging the stuff, this album still manages to cram in their original keyboard player Andrew Moore, along with Jennie Brewis, Liz Corney and other collaborators to form a much more broad ranging LP than a strict duo could ever manage. And from the off this album hits you like a funky dancing juggernaut as "The Noisy Days Are Over" brings us smoothly up to speed with the world of Field Music. It's all minimal guitar parts, odd percussion and soulful drumming, with the Brewis' singing "Why don't you get a job/take a break like everybody else?". Thankfully this is a nugget of advice that the band have wisely ignored (unless you count that hiatus I was talking about earlier). Like a mid 70's Bowie single (there's more than a whiff of Philadelphia soul here), the track seems to cram more into its six and a half minutes than most bands manage over a full album. A highly encouraging start. And I'm pleased to say that the band continue this exemplary standard throughout Commontime's duration, sticking mainly to their nicely honed pop groove. There are still ample traces of the old Field Music though. The time shifts and sudden key changes are done with gay abandon and, as the album progresses, the band move into more reflective territory (the ballads on this record are at least equal to the upbeat numbers). Yes, it turns out this is the same experimental Field Music you've known but just with a re-invigorated nack for writing pop songs. In a recent interview with NE Volume the band stated that they "want to move our audience on from just head bobbing to light on-the-spot grooving". It was perhaps a throwaway comment, albeit one made with trademark witty aplomb, but in all honesty Field Music should have no problems getting this sort of response judging from the direction they've taken on this record. Move over head bobbing, and welcome light on-the-spot grooving and even "full-on-all-night-rave-up". After a decade of recording together, Field Music have just made their most appealing album of them all. Listen to "Dissapointed" - Nile Rodgers, Squeeze and the Brewis Brothers walked into a bar... and they made sweet sweet music together. That didn't really happen but somehow Field Music have made a 3 minute pop single that wouldn't be out of place in any of their back catalogues. "Trouble at the Lights" - A song that stands out for being a back to basics Field Music effort, this has all their hallmarks of their earlier prog-like offerings with an ending that references the magnificent multi climaxes at the end of The Beatles' Abbey Road ("You Never Give Me Your Money" et al). "The Morning Is Waiting For You" - in terms of structure this is probably as simplistic as it gets for the band, but from an arrangement perspective (the lush strings are just mind-blowingly gorgeous) it's an absolute triumph and shows that the band are still as ambitious as ever.
Open Here
Live at Deer Shed Festival, Topcliffe
Play...


text:
Indian Monsoon Improving After a Slow Start
Rob Hatchett, Doane Advisory Services •Jul 30, 2019
Earlier this summer, we had highlighted what was a poor beginning to India's annual Southwest Monsoon season. As a reminder, India's Meteorological Department (IMD) tracks the seasonal progress of moisture as it advances in general from the southeast to northwest before typically reaching Pakistan by mid-July and bringing with it important seasonal rains that tend to persist through September that are essential for crop development and irrigation throughout the Kharif (monsoon-planted) growing season. Kharif-season crops include vital oilseed production for the domestic markets including soybeans and groundnuts (peanuts).
According to the latest release from the IMD, this year's monsoon reached the Pakistan-Indian border on Friday, July 19. This was just four days behind the previous 50-year average pace used to mark the front's normal progression. Tracking the green line in the map below, we can see that this year's monsoon reached the key soybean production state of Madhya Pradesh by late June and advanced to the northwest into Rajasthan by the first week of July. Harkening back to our previous update, the U.S. Department of Agriculture's (USDA) Foreign Agricultural Service (FAS) indicated that 52 percent of India's soybean output between 2008/09 and 2012/13 was produced in Madhya Pradesh, while Maharashtra to the south produced 32 percent of the country's soybeans over the same period.
Source: Indian Meteorological Department (IMD)
According to the IMD and as of July 17, this year's monsoon has fallen 16 percent below the previous 50-year average of 318.4 millimeters (mm) for the country as a whole. IMD also calculates that since the beginning of June, 18 percent of the county was facing a cumulative rainfall deficiency, compared with 12 percent last year, the highest level since a 20 percent was deficiency in mid-July 2014. The following map shows cumulative precipitation by district from June 1 through July 22. For reference, the blue regions have received an excess of 20 to 60 percent or more of normal precipitation, green districts have received +/-19 percent of normal precipitation while the red and yellow districts have received -20 to -99 percent of normal rainfall. When comparing this rainfall map next to the FAS soybean production map, we can see that there is a mixture of all categories within major Indian soybean-producing regions thus far.
As we had highlighted previously, the Indian government has several barriers in place to prevent the importation of foreign oilseeds, instead preferring to supplement domestic processing via the importation of oilseed products. A shortfall in output would likely spur increased foreign crush rates rather than provide material improvements in the shipments of oilseeds. Thus, India's demand for palm oil and South American soybean oil are to be watched in the coming months, should India's 2019 Southwest Monsoon result in valuable precipitation falling short of normal levels.
Rob Hatchett
Doane Advisory Services
#demand
India Meteorological Department
District Rainfall Map
South Asia - Crop Production Maps


text:
Q: mod_authz_ldap subtree query configuration failing, searching root of LDAP tree instead I am trying to query a strange LDAP structure, which I need to authenticate against. Our app uses the REMOTE_USER variable to determine the user. I do not have access to the LDAP directory hence can't see it's logs.
The structure needs me query a sub part of the tree, demonstrated by this Perl script written to test the LDAP query (which works and returns a list of Users as expected)
use Net::LDAP;
use Net::LDAP::Entry;

$ldap = Net::LDAP->new( 'ldapdevel.my.edu.au' ) or die "$@";
$mesg = $ldap->bind( 'uid=binduser,o=my.edu.au', password => 'bindpass' );

if( $mesg->code ) {
               die $mesg->error;
 }

$mesg = $ldap->search( # perform a search
        base   => "o=my.edu.au",
        filter => "cn=devraj"
      );

$mesg->code && die $mesg->error;

foreach $entry ($mesg->entries) {
             $entry->dump;
}

My Apache configuration has the following in the VirtualHost entry, which aims to mimic the same query as described in the Perl script.
<Location />

    AuthType Basic
    AuthName "My Application"

    AuthBasicProvider ldap
    AuthzLDAPAuthoritative off
    AuthLDAPBindPassword bindpass

    AuthLDAPBindDN "uid=binduser,o=my.edu.au"
    AuthLDAPUrl "ldap://ldapdevel.my.edu.au/o=my.edu.au?cn?one"

    Require valid-user

</Location>

I can also confirm that Apache does successfully bind to the LDAP directory.
Apache error log, messages for LDAP authentication, which indicates that the URI is / hence Apache is searching the top of the directory and not the subtree of o=my.edu.au
[Tue Sep 04 16:22:01 2012] [notice] Apache/2.2.15 (Unix) DAV/2 mod_wsgi/3.2 Python/2.6.6 configured -- resuming normal operations
[Tue Sep 04 16:22:20 2012] [info] [client xxx.xxx.xxx.xxx] [26064] auth_ldap authenticate: user devraj authentication failed; URI / [User not found][No such object]
[Tue Sep 04 16:22:20 2012] [error] [client xxx.xxx.xxx.xxx] user devraj not found:

I realise that the issue is the AuthLDAPUrl, my question is what am I doing wrong in my AuthLDAPUrl , or should I be using another directive?
I've also tried to configure each parameter to mod_authz_ldap individually as follows:
<Location />

    AuthType Basic
    AuthName "My LDAP authenticated app"

    AuthzLDAPLogLevel debug

    AuthBasicProvider ldap
    AuthBasicAuthoritative off
    AuthzLDAPAuthoritative off

    AuthzLDAPBindPassword bindpass
    AuthzLDAPBindDN "uid=binduser,o=my.edu.au"

    AuthzLDAPMethod ldap
    AuthzLDAPServer ldapdevel.my.edu.au
    AuthzLDAPUserBase o=my.edu.au
    AuthzLDAPUserKey cn
    AuthzLDAPUserScope base
    AuthLDAPRemoteUserAttribute cn

    Require valid-user

</Location>

this actually works! BUT... Apache tried to bind as the user that's trying to log in, which obviously fails. If I login with the bind user credentials it passes the auth, Error log extract:
[Fri Sep 07 14:14:27 2012] [error] [client xxx.xxx.xxx.xxx] [15628] bind as cn=devraj,l=X,ou=Students,o=my.edu.au failed: 49
[Fri Sep 07 14:14:27 2012] [error] [client xxx.xxx.xxx.xxx] [15628] basic LDAP authentication of user 'devraj' failed
[Fri Sep 07 14:14:27 2012] [error] [client xxx.xxx.xxx.xxx] access to / failed, reason: verification of user id 'devraj' not configured

Thanks for your time.

redpajama_set_name: RedPajamaStackExchange


There are a ton of PC reviews done on this site for CYBERPOWERPC Computers and for good reason – they're easily one of the best companies out there for reliable pre-built gaming desktops. Being around since 1998, they know what they're doing.
They test their PCs through and through and they are all assembled with care and built for the long run. Being both a manufacturer and distributor, they're in full control of how their PCs are done and they make sure they're built in the right way.
As for variety, there are a bunch of different types of desktops that CyberPower puts together. They've also been quick to having desktops ready with all of the newer tech available, as they've done with their GXiVR8100A model.
Let's go ahead and go over the performance power of this PC, what it has inside and what the parts are capable of.
Two parts are the most important for overall gaming performance. When you know what processor and video card is inside of a PC then you can dictate what kind of power you can expect out of it in-game.
Also of course, other hardware pieces such as the RAM are also important towards gaming performance but it's not as variable as the processing power and video card performance. But we'll get to the other specifications later on.
For the processor, this PC is using an Intel Core i7-8700.
This is a 6-core processor with 3.2GHz CPU speed. With Turbo Boost, the speed can be increased up to 4.3GHz.
This CPU is part of the Coffee Lake generation of processors which came out in 2017. They're still completely relevant for today's games and with the i7-8700 specifically, it's great for content creation and other heavy processing tasks as well.
If you take a look at the recommended requirements for any AAA title released or AAA titles that are releasing soon you'll see that the i7-8700 is beyond what is recommended.
This means that you definitely will not have to worry about processor spec requirements for any games.
It's going to be that way for a good amount of years going forward as well. This is because today's i7 processors have hyper threading and high core speeds that far surpasses game requirements. Games aren't even using hyper threading yet.
Basically, the processor is more than fast enough to handle whatever you throw at it. These types of processors were more meant for fast rendering with video and/or graphic editing rather than being made for gaming which is why it's considered "overkill" for gaming.
But it's not just the processing power that we need to look at, remember that the video card is also equally as important. You aren't going to be able to play today's AAA titles with the integrated graphics that comes with the i7-8700.
This PC will come with a 3GB GTX 1060, though the brand will vary depending on the availability for CyberPowerPC.
As far as performance with this card, it's pretty decent. At 1080p resolution, you can expect a constant 60 FPS on most titles with some of the higher demanding titles, such as Metro Exodus, needing some graphic setting adjustments to have a constant 60 FPS.
The GTX 1060 cards were made for 1080p gaming and some VR gaming. I say 'some' VR gaming because some of the higher demanding titles, and titles coming out in the near future, need more graphical power in order to run at a higher FPS rate which is required with VR games to avoid headaches and what not.
VR needs around a constant 90 FPS rate in order for everything to run smooth enough for the game to keep up mainly with head movements. Having lag in VR causes heavy strain. If you're trying to get this PC specifically for virtual reality, I'd actually recommend looking at other desktops.
Sure, you can play the ones that don't require the crazy requirements and you can also upgrade down the road but for the most part, people buying a pre-built buy one because they don't want to have to open it up and upgrade it or anything, at least not for a long while.
Now as for 1080p/60FPS gaming – absolutely. This card has enough graphical power behind it to handle it.
You can get on YouTube and see overall performance for yourself, as most of the technical reasons why aren't going to make much sense to a newcomer. All in all, it has 3GB of video memory combined with DirectX 12 capabilities, enough texture/pixel rates and enough shader processing units that is needed for a high quality 1080p experience.
Sounds great, right? It is, for those looking to game at 1080p/60FPS. Though, you need to understand what is all possible for roughly $1,000 in the PC market and compare the performance levels for yourself. But before I get into that, let's go over all of the other specs that make up the GXiVR8100A.
The rest of the hardware within matters as well, as you obviously need each part in order to actually have a functioning PC. Though most of the rest of this hardware isn't going to help directly with gaming performance… Allow me to explain.
This model also has 16GB of DDR4 RAM, a 120GB solid state drive, a 1TB hard drive, a 500 watt power supply unit, a CyberPowerPC keyboard/mouse combo and Windows 10 64-bit pre-installed.
16GB of RAM sets you up for the long haul when it comes to computer memory. Computer RAM stores random bits of software memory in the background which helps with multi-tasking and also helps in gaming performance as well when there are a lot of different things going on in any given game.
8GB of RAM is still the industry standard, with more than 8GB of RAM being recommended for VR gaming and for the far future of gaming.
With 16GB total, you'll never really need to add more unless you planned on running your PC as a server or other tasks that required more total RAM.
For storage it has 120GB of SSD space and 1TB of traditional hard drive space. Windows 10 will be pre-installed to the solid state drive which means extremely fast boot up times.
This will leave roughly 100GB of SSD space that you will be able to use. I'd recommend installing your most used programs first on the SSD and then, if they'll fit, your most played games. Solid state drives are a lot faster than regular hard drives so it makes sense to put your most used things on it!
That 1TB of hard drive space can be used for everything else. It should be more than enough room for over 100 games and then storing general softwares/photos/videos as well.
500 watts of power from the PSU will be enough to handle everything inside of this model. You won't be able to overclock the processor anyway, so extra power is not needed.
Though, if you planned on upgrading the video card to something on a higher end then I'd recommend getting a 750W unit at the least to ensure that you have enough power going around to keep everything going.
The keyboard and mouse that comes with is semi-generic but they absolutely get the job done. There is enough DPI for a 1080p resolution screen on the mouse for it to be used correctly and the keyboard is nice and solid. You'll maybe want to upgrade your peripherals down the road, but that's entirely up to you.
As I said earlier, Windows 10 will come pre-installed on the SSD. It's nice having your OS on a SSD because everything runs a lot smoother and faster. As far as other programs pre-installed, there really isn't much with CyberPowerPC desktops. There isn't any bloatware that'll get in your way which I really appreciate.
Who Is This PC Meant For & Is It Worth Buying?
If you're looking for a PC that can handle 1080p resolution and have an avg. frames per second rate of 60 on higher graphics settings for most of today's games then this PC can do that.
But I also want you to be aware of the power per dollar spent ratio with a PC like this. Whenever you're buying a pre-built machine, you're paying for convenience rather that the most optimal amount of power per dollar spent.
For example, if you were to build your own PC for around the same price point, around $1,000, then you'd be able to run titles at 1080p/144FPS allowing you to fully utilize a monitor with a higher refresh rate, therefore being able to handle and show more than double the FPS rates.
You'd also be able to run almost every single AAA title out today at ultra with no need to adjust anything. Granted, not everyone is trying to learn how to build their own PC and I get that. It's understandable wanting something right from the get go.
I just want to make absolute certain that you understand what you could have and experience in comparison to building your own before jumping on this PC. If you want to learn more and see the hardware involved with a $1,000 build, be sure to check out the guide below!
Building your own VS getting something pre-built has its positives and negatives. More than likely, you're here wanting to know if this pre-built is worthy of your attention and if it's worth the money.
With everything considered, yes, it's worth getting for those of you wanting something where you only would need to upgrade the video card in the years ahead.
It's pretty easy to swap out the video card whenever you would deem it necessary and when it comes to 1080p/60FPS gaming, you won't need to for a long while yet.
This is the end of the CYBERPOWERPC Gamer Xtreme VR GXiVR8100A Gaming PC Review – let's go ahead and sum things up.
This is put together by CYBERPOWERPC which means the build quality will be extremely high. Cables well managed, everything put together the way it needs to be and something that'll work right out of the gate the way it's intended to.
With that, there are also things to consider before snagging this PC for yourself. Here are some pros and cons I thought were important about the PC.
Build quality is very high.
No need to install anything, it's ready to go right away.
A full year of parts and labor warranty with CyberPowerPC.
Will handle gaming at 1080p/60FPS.
Solid state drive included for fast boot times.
When you decide to upgrade the video card, you'll need to upgrade the power supply as well.
Compared to doing a build of your own, you aren't getting the optimal power per dollar spent.
Not able to overclock anything.
Only available with the red LED lighting.
All in all, if you're okay with paying the extra bit for the convience of having a ready-to-go PC – this will be great. 16GB of RAM and a processor that's ready for all types of rendering… it's even more worth getting if you're involved with that type of work.
Don't just take my word for it, there are plenty of Amazon reviews to go over as well!
So, are you going to be getting this PC?
Do you think it's worth getting at this price range as well?
Tagged cyberpowerpc, Gamer Xtreme VR, GXiVR8100A, pre built gaming pc, review. Bookmark the permalink.
The CyberPowerPC Gamer Xtreme VR GXiVR8100A is a high-performance gaming desktop that can clobber any gaming console while supporting virtual reality headsets. That's no small accomplishment, especially for a system that is light on your wallet.
For anyone that want a super affordable, but potent gaming PC though, it may be worth it.
I agree! Even with a custom build being a bit more powerful, this is still right up the alley for those that want a nice pre-built PC that's ready to do it all! It's definitely beating out consoles, big time.
Wow it can handle 1080p resolution and have an avg. frames per second rate of 60 on higher graphics!! I think this is perfect for freelancer into graphics motion and web design. The price is a bit high but still cool because I so much dislike it when am working and my PC is slow or hanging due to low quality of size.
Good article and very helpful. I am a senior looking to buy a gaming computer for my grandson. He is 14 years old and it looks to me this would be the right machine for him since I do not want to build a computer and wouldn't know how anyway.
He plays high end games with his friends around the world. Some seem pretty intense. So would you recommend a computer like this for a kid gamer? Would it be appreciated coming from a grandfather?
Definitely. This rig will handle it all. If he's looking for that smooth 60 FPS on the higher end games then a system like this would be perfect.
Have you also looked at the PC build guide for around the same price point? You two could put a PC together and it'd even be a bit more powerful! Let me know if you need any help in that regard!


On December 29, 2016, Diamond Star Research was featured on TradCatKnight Radio for almost an hour and a half. This program discussed the coming Tribulation of these End Times that will be triggered by the now incoming Planet X system.
2017 will see some very dramatic changes and very possibly cataclysmic events.
2017 is the year of the apocalyptic sign of the Virgin–September 23rd.
2017 is the 100-year anniversary of the apparitions of Fatima which foretold of this coming Planet X-induced cataclysmic Tribulation period that is also foretold in the Bible.
2017 is the year the New World Order has marked as the year to have their mark of the Beast system in place and ready to be implemented.
2017 is also the year for the coming of the Planet X system into ours, according to what Father Malachi Martin told Art Bell on his Coast to Coast AM radio program in 1997.
The situation in the world is growing ever more critical and darker as the spiritual darkness is deepening the eclipse of the Church.
Antipope Francis is preparing for the rise of the Antichrist and his False Prophet.
A pole shift seems imminent as the geophysical poles are now shifting to a degree beyond the normal wobble.
Earth changes show a marked increase in recent months, as does volcanic activity. This and more is happening when the Earth change cycle is supposed to be in a lull period.
The views expressed in this article are the writer's own and do not necessarily represent those of PlanetXnews.com nor its parent company, XmediaX. If you are interested in writing one or more guest articles for PlanetXnews.com, please email write@planetxnews.com.


text:
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Grosvenor Sheffield to create £1.5m innovative club experience
Grosvenor Casino Sheffield is investing more than £1.5million to become the most innovative gaming and entertainment destination in South Yorkshire.
Construction is underway to transform the Duchess Road club which once complete will be the only casino outside of London to offer an exhilarating range of new interactive gaming experiences.
Set to launch this summer, the major refurbishment will see the creation of state-of-the-art electronic gaming with an Interblock Arena, an exciting new sports bar and lounge sponsored by Rich Energy with a five metre HD TV wall screen, a sophisticated poker room as well as a stylish new restaurant and range of delicious menus.
Taking place over an ten-week period, Grosvenor Casino Sheffield expects the refurbishment to attract new audiences to the club and will create 25 jobs which offer applicants a mixture of full time and part time roles.
The recruitment process is underway with the club hoping to fill all positions before its re-launch at the end of May 2019.
Charlie Churchill, general manager of Grosvenor Casino Sheffield said: "This is a major investment in the city's leisure and entertainment sector and a reflection of the changing habits of customers in search of memorable shared experiences with friends and family.
"Innovation is at the heart of this refurbishment and alongside fantastic food and hospitality, digital gaming fans will be the first outside of the capital to experience the thrill and excitement of interactive games which have never been seen before in this part of the country.
"We continue to pride ourselves on providing a high standard of service to all customers during the refurbishment and we are eager to unveil the newly refurbished club at the end of May."
The club which first opened in 2009 will relaunch with a series of special events and offers. While the club will continue to be open during the refurbishment, guests can look forward to the following features as part of the upgrade:
State-of-the-art electronic gaming offering superior graphics and displays for on screen electronic dice and UC roulette – a completely new offer to the UK gaming market.
An Interblock Arena creating a unique experience allowing players to enjoy Roulette, Blackjack, Baccarat and Dice in a podium live dealer environment.
The Rich Energy Sports Lounge combining live sports with live betting, and extensive five metre HD TV wall screen showing sporting fixtures 24 hours a day from Sky Sports HD, BT Sport HD, and Premier Sports.
A stylish new restaurant will host a delicious menu following partnerships with American soul food makers Absurd Bird, authentic Italian stone baked pizzas from Barrel & Stone, and steaming baskets of dim sum from Ping Pong
An upgraded Poker Room will host up to 70 customers at a time, with plush interiors, USB cash tables and new seating.
Additionally there will be Over 16 new slot machines will be installed throughout the club and notably the Grosvenor Casino Sheffield will be the only site in the city to have a dice table, alongside premium new roulette and card tables.
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text:
Q: How can I find a program name so I can open them? I'm a new user in Linux, and I want to know how can I find a name of an installed program so I can open it from the terminal.
Is there a way?
For example, I use the system on Portuguese language, and the default image viewer is called "Visualizador de Imagem", and that doesn't work on the Terminal, neither "image-viewer". So, I want to, execute the program and see the name of the process, so I can call it another time direct from the terminal.

A: type xprop (piping with grep WM_CLASS should give you faster what you want) on your terminal and hit enter. your mouse pointer should change, then click on the program


text:
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ArtistsExhibitionsEventsAboutNews
VITRINE, London
15 Bermondsey Square
SE1 3UN, UK
Rene Matić
Born British, Die British
VITRINE, Basel
Vogesenplatz 15
Milly Peck
A Matter of Routine
VITRINE, Digital
Kara Chin
You Will Knead
info@vitrinegallery.com
sales@vitrinegallery.com
press@vitrinegallery.com
Identify your limitations, acknowledge your periphery
Melissa Appleton, Robert Cervera, Steven Claydon, Michael D Linares, Jemma Egan, Dustin Ericksen, Jamie Fitzpatrick, Lilah Fowler, Laurent-David Garnier, Katherina Heil, Martijn Hendriks, Vlatka Horvat, Karolina Lebek, Max Leiß, James Lewis, Céline Liebi, Suzanne Mooney, Craig Mulholland, Saskia Noor Van Imhoff and Arnout Meijer, Michael Phelan, Sarah Roberts, PUT PUT, Kato Six, Matthew Smith, Sinta Tantra, Jennifer Tee, Charlie Godet Thomas, Jonathan Trayte.
ROUND TWO of the group exhibition 'Identify your limitations, acknowledge your periphery', this time created at VITRINE, Basel, with site-specific works by twenty nine selected international artists. The exhibtion looks at the notions of limitations, instruction-based practice, and the role of the vitrine within exhibition making that will naturally manifest forms of the wunderkammer.
'Identify your limitations, acknowledge the periphery' began as a conversation and exhibition by co-curators Alys Williams and Chris Bayley in London 2016 with the work of seventeen artists that inhabited VITRINE's unconventional gallery space in London; a 16-metre vitrine enclosed behind glass. Concerned with the format of the gallery model and the role of the vitrine, the curators continue this enquiry, inviting and instructing a new selection of artists to devise works specifically for VITRINE's space in Basel.
Architecture plays a fundamental role within this exhibition where artists are able to make works viewable in-the-round from the public square, allowing choreography and the ways in which the viewer moves around the works an integral element to the production of this exhibition; attempting to push the boundaries of the VITRINE's space in unexpected arrangements, commenting on institutional display and ideas of artistic production.
VITRINE's gallery on Vogensplatz in Basel has been designed by Jens Müller and Thomas Wüthrich, who collaborate under the label PANTERAPANTERA. The architectural design creates a unique exhibition space echoing VITRINE's original space on Bermondsey Square in London which encapsulates a hidden inner viewing room and movable exhibition walls; evolving and pushing the possibilities of this unique gallery model and this exhibition further.
Instructions and limitations act as a catalyst for this ambitious exhibition, for which artists have been invited to devise a site-specific artworks that inhabit the restrictions and potentials of the gallery space. Accepting chance in the realisation of an artwork, the exhibition looks at the ties among artists, artworks, the exhibition and its curators.
The exhibition is initiated via a letter inviting and instructing artists to produce a site-specific artwork that inhabits the limitations of the gallery space with one 'rule': Works must be restricted to sit within the vitrine, utilising any elements of the space you wish, be it the floor, the ceiling, the lighting, the walls or the windows… The exhibition explicitly employs notions of chance - its outcomes are determined by a procedure that cannot be predicted; pushing the vitrine to its limits.
Boundaries, encasement, and entrapment – how does the vitrine mediate the subject or the object? Available for viewing, yet significantly distanced from its spectator the vitrine is often questioned within museums and institutions. By acknowledging the vitrine's confinements how might one adopt these elements to both activate an artwork and abolish boundaries?
Curators: Chris Bayley and Alys Williams.
Melissa Appleton's work often manifests beyond gallery walls, combining constructed environments, live events, sound and other elements into an expanded form of sculpture. Publicly sited projects include Proscenium, Bristol (2016), commissioned by Arnolfini and Bristol City Council, UK; Gunpowder, Drones and Stones, National Museum of Wales, Cardiff, UK (2015) and 2EmmaToc/Writtle Calling, Essex, UK (2012). In 2016/17 Appleton was a Henry Moore Institute Visiting Research Fellow and received an Arts Council of Wales Creative Wales Award. Melissa is a Visiting Lecturer at the Ruskin School of Art, Oxford, UK and between 2009-12 was co-director of Post Works, a studio which produced performance environments for theatre, dance and gallery contexts. Melissa has a background in architecture (Cambridge University and UCL) and has worked with practices including Rem Koolhaas/OMA, New York and Superpool, Istanbul.
Robert Cervera (b. Barcelona, Spain) lives and works in London. He graduated with an MA in sculpture from the Royal College of Art, London in 2014 having gained a Postgraduate Diploma in Fine Art from Byam Shaw/ Central Saint Martins, London in 2011. Solo and two-person exhibitions include Re:Pro, OK Corral, Copenhagen (with Robin Seir) (2015); Prova, Dyson Gallery, Royal College of Art (with Youngju Oh) (2014); Access, solo installation at St Mary Aldermary, London, UK (2013) and A Few Words In Material Nepali, Patan Museum, Kathmandu, Nepal (2012). Group exhibitions include Concrete + Clay, Roaming Room, London, UK (2017); New Material, APT Gallery, London, UK (2017); Salón ACME, Zona MACO week, Mexico City (2017); OUTPOST OPEN FILM 2016, Selected by Ed Atkins, Outpost, Norwich, UK (2016); Charlottenborg Spring Exhibition, Kunsthal Charlottenborg, Copenhagen (2016) and Exeter Contemporary Open, Exeter Phoenix, Exeter, UK (2014) amongst others. Residencies and awards include; Kenneth Armitage Young Sculptor Prize (2014); Atelier Concorde residency, Lisbon (2014) and Coutts Cowley Manor Arts Award (outdoor sculpture commission) (2013).
Steven Claydon (b.1969, London, UK) lives and works in London. He graduated in 1997 with an MA in Fine Art from Central Saint Martins School of Art and Design, London having gained a BA in Fine Art from Chelsea School of Art and Design, London in 1991. Solo exhibitions include Mount Stuart Castle, Isle of Bute, Scotland (2017); The Archipelago of Contented Peoples: Endurance Groups, The Common Guild, Glasgow, Scotland (2017); Der Uberlebensinstinkt, Kimmerich, Berlin (2016); The Gilded Bough, Sadie Coles HQ, London (2016); The Fictional Pixel and The Ancient Set, Bergen Kunsthall (2015); Analogues, Methods, Monsters, Machines, Centre D'Art Contemporain Geneva, Geneva, Switzerland amongst others. Group exhibitions include Drawing Room Biennial 2017, Drawing Room, London (2017); November's Bone, Halsey McKay Gallery, East Hampton, New York, USA (2016); The Science of Imaginary Solutions, Breese Little, London (2016); Solid Liquids, Kunsthalle Münster, Münster, Germany (2016); What People Do for Money: Some Joint Ventures, Manifesta 11, Zurich, Switzerland (2016) and Hepworth Sculpture Prize, Hepworth Wakefield, Wakefield, UK (2016) amongst others. His work is held in many public collections including Henry Art Gallery, University of Washington, Seattle (WA), USA; Haus der Kunst, Munich, Germany and Tate Gallery, London.
Jemma Egan (b. 1982, Liverpool, UK) lives and works in London, UK. She graduated in 2015 with MA in Sculpture at the Royal College of Art having gained her BA (Hons) Fine Art at Liverpool school of Art and Design in 2005. Solo exhibitions include; It means more to me than most people, ZC invites, Zabludowicz Collection, London, UK (2016); The space between here and there, VSVSVS, Toronto, CA (2011), Eh?, Gallery at Plymouth College of Art, Plymouth, UK (2011). Group exhibitions include: Bloomberg New Contemporaries 2016, ICA, London, UK and the Bluecoat, Liverpool, UK (2016), Dip, CBS Gallery, Liverpool, UK (2016), And so it was and so it is, Turf Projects, Croydon, UK (2016), Is it Heavy or Is it Light?, Assembly Point, London, UK (2016); It was a dark and stormy night…, Castlefield Gallery, Manchester, UK and Two Queens, Leicester, UK (2015).
Dustin Ericksen (b. 1970, New York) lives and works in London. He graduated in 2005 from the Royal Academy of Art, London, UK having gained an MA in Fine art from Otis College of Art and Design, Los Angeles, in 1997 and a BA in Fine Art from Stockton State College, Pomona, New Jersey in 1992. Solo exhibitions include A Singular Object,The Secession, Grafic Cabinet, Vienna (2014); Looking good, Rachmaninoff's Smith Arnatt, London (2012); Lazy Dustin, Rachmaninoff's, London (2009) and Perfume Bottles, Feature Inc, New York, Zeugma, Arcade (2002) amongst others. Group exhibitions include Rican/Struction, Galería Agustina Ferreyra, San Juan (2016); SnT, Centre d'art, Neuchâtel, CH (2014); Nothing Is Forever, South London Gallery, London, UK (2010); Read Me!, Armory Center for the Arts, Pasadena, CA (2007); Unit/Structures, Lisboa 20 Arte Contemporânea, Lisbon, Portugal (2006); Eat Art, Vom Essen in der Kunst, Kunstmuseum Stuttgart, Stuttgart (2010) and Sharjah International Biennial 6, Sharjah Art Museum, U.A.E (2003).
Jamie Fitzpatrick (b.1985) lives and works in London. He graduated in 2015 with an MA in Sculpture from the Royal College of Art, having gained a BA (Hons) in Fine Art, Philosophy and Contemporary Practice in 2009 from Duncan of Jordanstone College of Art, Dundee. Solo exhibitions include: (loudly) chomp, chomp, chomp, VITRINE, London, UK (2016) and Into the Hands of Housewives & Children, Telfer Gallery, Glasgow, UK (2012). Group exhibitions include: New Contemporaries, ICA, London and Bluecoat, Liverpool (2016); XL Catlin Art Prize Exhibition, Londonnewcastle Project Space, London, UK (2016); UK/RAINE, Saatchi Gallery, London, UK (2015); New Contemporaries, ICA, London and Backlit, Nottingham, UK (2015); Which one of these is the non-smoking lifeboat? and Taking Shape: Sculpture on the Verge, Pangaea Sculptor's Centre, London, UK (2015); Off The Wall, HQS Wellington, London, UK (2015); Cowley Manor Sculpture Garden Show, Cheltenham, UK (2015) and Pause Patina, Camden Arts Centre, London, UK (2015) amongst others. Fitzpatrick is represented by VITRINE and was presented at ARTISSIMA in the Dialogue Section in 2016.
Lilah Fowler (b.1981, London, UK) lives and works in London. Solo exhibitions include Which pixel am I standing on?, Maria Stenfors, London, UK (2015); Passage and pair, Maria Stenfors, London, UK (2013); Circles, props and edges, Siobhan Davies Studios, London, UK (2013) and Band, Space in Between, London, UK (2011) amongst others. Group exhibitions include PURE LIGHT, The Museum of Fine Arts, Budapest (2016); INTRO, Galerie Gisela Clement, Germany (2015); Academy of Visual Arts, Hong Kong, Baptist University (2014) and JTAG, Joshua Tree, California, USA (2013) amongst others. Fowler has also produced Public Art Commissions for New Bridewell, Bristol, UK (2017); One Bedford Avenue, London, UK (2017) and Bristol Magistrates Court, Bristol and Froomsgate, Bristol, UK (2016). She graduated in 2008 with an MA in Sculpture from the Royal College of Art, London having gained a BA (Hons) in Sculpture at Edinburgh College of Art in 2005.
Laurent-David Garnier, born in France, currently lives and works in the Netherlands.Garnier holds a Master of Fine Arts. His work has previously been exhibited among others at the Kunsthalle Bremerhaven (DE); Ellen de Bruijne Projects, Amsterdam; de Appel arts centre, Amsterdam; Kunstverein Amsterdam; Ausstellungsraum Klingental, Basel (CH). His practice navigates between benign objects and technology through works that often directly appeal olfaction, often overlaid with institutional system codes. His works have no definite meaning and are only achieved by the unique embrace nearness of the "viewer", pushing the limitation and boundaries of perceptual experience in the 'visual' arts through volatility, failure or success.
Katherina Heil (b. 1982 in Hamburg, D), currently lives and works in Rotterdam (NL). She graduated from the MFA program at AKV / St. Joost in 's-Hertogenbosch (NL) in 2015 and was a resident artist at the European Ceramic Work Centre in Oisterwijk (NL) and Stichting Kaus Australis in Rotterdam (NL) during 2016. Her work explores a variety of materials and techniques and has been shown in several group exhibitions in Berlin and The Netherlands including a recent solo exhibition at De Fabriek in Eindhoven (NL). Her artistic process is based on the intuitive approach towards objects and materials and the associations created by those. The objects extend further than their singular appearance, in form, shape and dimension, they are considered as actants, constantly constructing the context among each other.
Martijn Hendriks (b. 1973 in Eindhoven NL), currently lives and works in Amsterdam (NL). Hendriks studied at the Tilburg Academy for Fine Arts and received his MA from Maastricht University's Faculty of Arts and Social Sciences. Since 2015 he is a tutor at the independent artists' institute De Ateliers. His work has previously been exhibited among others at the New Museum, New York City (USA); the Massachusetts Museum of Contemporary Art, North Adams (USA); Museum Boijmans van Beuningen, Rotterdam (NL); De Vleeshal, Middelburg (NL); the Monash University Museum of Art, Melbourne (AU); and De Hallen, Haarlem (NL).
Vlatka Horvat (b. 1974, Croatia) works across a wide range of forms, namely sculpture, installation, drawing, performance and photography, presenting her work in various contexts – from gallery spaces through to theatre and dance festivals to the public realm. Her projects often focus on re-arranging or reconfiguring objects, built space and social relations at play in it. Recent solo exhibitions include Millennium Gallery, Museums Sheffield (with Tim Etchells); Wilfried Lentz (Rotterdam); CAPRI (Dusseldorf); Zak|Branicka (Berlin); Disjecta Contemporary Art Center (Portland); MMC Luka (Pula); Galerija SC (Zagreb); annex14 (Zurich); Boston University Art Gallery; Rachel Uffner (NYC); Bergen Kunsthall and the Kitchen (NYC). Recent commissioned projects include a 3-month-long performative project – part of the Art in the Public Space program of the City of Zurich; a series of spatial interventions in a disused flower shop storefront for VOLT (Bergen) and installations for Bard Center for Curatorial Studies (NYC); Bunkier Sztuki (Krakow); Marta Herford Museum; MGLC Ljubljana; Kunsthalle Osnabrück; the 53rd October Salon (Belgrade); Stroom (the Hague); MoMA PS1 (NYC); Galerija Skuc (Ljubljana) and the 11th Istanbul Biennale. Vlatka's performances have been presented internationally at numerous venues and festivals. Her first full production for the stage premiered in January 2017 at Hebbel am Ufer in Berlin. She is represented by annex14 (Zurich) and Rachel Uffner Gallery (NYC). After 20 years in the US, she's currently based in London.
Saskia Noor van Imhoff (b. 1982, Mission, CA) currently lives and works in Amsterdam. She studied at the Gerrit Rietveld Academie. Her work has previously been exhibited among others at the Stedelijk Museum, Amsterdam; De Appel, Amsterdam; Centre Pompidou, Paris; Kunstlerhaus Bethanien, Berlin; and Thomas Bernards Gallery, Paris. Among others van Imhoff won the Ruisdael-Stipendium, Bad-Bentheim (DE) in 2012 and the Long List, Berlin Art Brice, Berlin in 2015. Van Imhoff's installations combine everyday objects, replicas and artworks, without hierarchy. Methods of conservation, research, classification and presentation also form part of her work.
Karolina Lebek (b.1989, Sroda Slaska, Poland) lives and works in London. She graduated in 2016 with an MA in Photography from the Royal College of Art having gained a BA (Hons) in Photography and Video Art from University of Bedfordshire in 2012. Selected exhibitions include : Orientations - Locate and Reshape, Studio RCA Riverlight, London, (2017), MK Calling, MK Gallery, Milton Keynes, UK (2017), Uncertain States, Four Corners Gallery, London (2015), Sensing Grounds, The Horse Hospital, London (2015), Landscapes of Poland, Project Space, MK Gallery, Milton Keynes (solo show, 2012).
Max Leiß (b. 1982, Bonn, DE) lives and works in Basel, CH; Marseille, FR and Oberammergau, DE. Leiß studied Fine Arts at AdBK Karlsruhe and ENSBA Paris and graduated in 2012. His work has been exhibited among others in Kunsthaus Baselland, Muttenz, CH (2016); Aargauer Kunsthaus, Aarau, CH (2014), Nicolas Krupp Contemporary Art, Basel, CH (2014); V8 Plattform, Karlsruhe, DE (2013); Swiss Art Awards (2017/2013). Max Leiß won the Kalinowski-Preis (2017); Kunstkredit Basel-Stadt Werkbeitrag (2015) and was artist-in-residence, Atelier Mondial, Cité Internationale des Arts Paris (2014).
James Lewis (b.1986 London, UK) lives and works in London and Vienna and graduated from Royal College of Art in 2012. Recent solo exhibitions include; Can't you hear my voices? w/ Jenine Marsh, Rupert, Vilnius, LT (2017); Mouse cleaning, Futura: Karlin Studios, Prague (2016); Before the hyle, Galerie Hubert Winter, Vienna (2016). The problem I can no longer read, Galerie Joseph Tang, Paris (2016). Recent group exhibitions; opening stable, Futur II, Vienna, Austria (2016); not really really, Collection Frédéric de Goldschmidt, Brussels; Future Days, Le Doc, Paris (2016); DOC, Le Doc, Paris (2016); Tomorrow Today, Galerie Hubert Winter, Vienna (2016); Collecting Artist, Galerie Joseph Tang, Paris (2016); Là où sont mes pieds je suis à ma place (curated by Shanaynay, Paris), Paramount Ranch, California, USA (2016).
Céline Liebi (b. 1994, Bern) lives in Spiez (CH). Liebi graduated with a Bachelor of Arts in Fine Arts, FHNW at HGK Basel, CH. Her works have been exhibited amongst others in 'Every Contact Leaves A Trace', Kunsthalle Basel, CH (2016); 'LISTE Total', Kasko Basel, CH (2016); 'Voyage Voyage', Cantonal Berne Jura, Stadtgalerie Bern, CH (2015); 'Lockeres Denken. Loose Thinking', Kunsthaus Baselland, CH (2015); 'Übermorgenkünstler', Staatliche Kunsthalle Baden-Baden, DE (2015); PrismBreak, OT301 Amsterdam, NL (2015); Installation im öffentlichen Raum, Strand in Scheveningen, Den Haag, NL (2015).
Michael D. Linares (Puerto Rico, 1979) lives and works in San Juan, Puerto Rico. He holds a BFA from Escuela de Artes Plásticas de San Juan Sculpture, and is pursuing his MA in archeology at the Centro de Estudios Avanzados de Puerto Rico y El Caribe. Linares is the founder of La Sonora (2010-present), a free online audiotheque that contains translations of texts relevant to contemporary art discourse and culture, most of which did not previously exist in Spanish. He has been featured in many international exhibitions including the Bienal de Sao Paulo in 2016, An Aleatory History of the Stick at Art in General in New York in 2015, and Useless, curated by Pablo Leon de la Barra, at the PINTA Art Fair in London in 2010, among others. In 2016, Linares was guest teacher at the Art Institute, Basel, and artist in residence in collaboration with Davidoff Art Initiative at Atelier Mondial. In 2017, Linares will be taking part in the group exhibition, A Universal History of Infamy at Los Angeles County Museum of Art (LACMA).
Arnout Meijer (b. 1988 in Rotterdam, NL) currently lives and works in Amsterdam. He studied at the Technical University Delft and the Design Academy Eindhoven. His work has been exhibited in numerous exhibitions including at Musée des Arts Décoratifs, Paris; Moscow Biënnale, Moscow; PAD Paris - ToolsGalerie, Paris; Art/Design Miami, Miami (USA); Salone del Mobile Milan, Milano (IT); Villa Noailles, Hyeres (FR); Het Nieuwe Insituut Rotterdam (NL) and Art/Design Basel (CH). Meijer's work explores the physicality and philosophy of perception. By sculpting with light, he manipulates its spatial and sensory properties while illuminating the aesthetics and immateriality.
Suzanne Mooney (1976) is a visual artist, born in Ireland currently based in New York. Since graduating from the RCA London, her work has been exhibited in many solo and group exhibitions internationally, including: The Lewis Glucksman Gallery, Cork: Foxy Production, New York; The Sunday Painter Gallery and Contemporary Art Society, London; Biblioteka Uniwersytecka, Warsaw and Spike Island, Bristol. Mooney has received awards and grants from Arts Council of Ireland & England and have undertaken various residencies, including at Banff Arts Center, Canada. Forthcoming projects include 'Golden Record', a group exhibition at The Galway Arts Centre, in July and a residency at WSW, Rosendale, NY in August.
Craig Mulholland (b. Glasgow), lives and works in Glasgow. He studied drawing and painting at Glasgow School of Art. Recent exhibitions include SAY WHAT YOU MEAN WHAT YOU SAY, Koppe Astner, Glasgow (2017); AS YOU WERE, Glasgow International (2016); GYMNASIA, Glasgow International (2014); TEMPORAL DRAG, Kendall Koppe, Glasgow; ILLEGITIMI NON CARBORUNDUM, LGP Gallery, Coventry; DUST NEVER SETTLES, SWG3 Gallery, Glasgow; GRANDES ET PETITES MACHINES, Glasgow School of Art; touring in expanded form to Spike Island, Bristol, (2008); RISING RESISTANCE, Sorcha Dallas, Glasgow; HYPERINFLATION, Tate Britain, London. Mulholland was a recipient of the Glasgow Visual Artists Award and the Creative Scotland Artist Award. He lives and works in Glasgow and is currently a lecturer in Fine Art at The Glasgow School Of Art. He recently founded the artists collective OPERA AUTONOMA and also collaborates with artist Michelle Hannah as PICANA ELECTRICA.
Michael Phelan (b. Beaumont, TX) lives and works in New York City and Marfa, Texas. He is a graduate of the Rhode Island School of Design. His work has been exhibited extensively throughout the US and Europe including Mary Boone, Andrew Kreps, Elizabeth Dee, D'Amelio Terras, Leo Koenig, Eleven Rivington, Horton Gallery John Connelly Presents, Daniel Reich, P.S. 1/MoMA, The Kitchen, and Artist's Space, New York; Sculpture Center, L.I. City, NY; Bard Center for Curatorial Studies, Annandale-on-Hudson, NY; Kantor/ Feuer, QED Gallery, and Champion Fine Art, Los Angeles; Shane Campbell, Chicago, Lora Reynolds Gallery, Austin, TX; Ballroom Marfa, Marfa, TX; Kevin Bruk Gallery, Miami, FL; Nice & Fit Gallery, Berlin; Galerie Edward Mitterrand, Geneva and Mitterrand + Sanz | Contemporary Art, Zurich. Recent exhibitions include 'California Dreamin' curated by Fred Hoffman, Portugal Arte '10, Lisbon; 'The Morning After (aka RU-486)' curated by Benjamin Godsill, 2nd Tbilisi Contemporary Art Exhibition, Capital of Georgia, Tbilisi; 'Abstract America 2: New Paintings from the US', Saatchi Gallery, London; 'Sparking Dialogue', curated by Senior Curator Jen Mergel, Linde Family Wing for the Contemporary Art Collection, Museum of Fine Art, Boston; 'Blind Cut' (catalogue), Marlborough Gallery, NY; 'Watch Your Step', FLAG Art Foundation, NY; and most recently 'More Young Americans: An overview of the American Contemporary Art Scene', curated by Marc-Olivier Wahler, from the collection of Susanne van Hagen, L'Enclos des Bernardins Hôtel de Miramion, Paris. Recent solo exhibitions include JGM Galerie, Paris Horton Gallery, NY. Michael Phelan's work is included in prominent public and private collections throughout the US and Europe. His work has been featured in numerous publications including Artforum, Frieze, Modern Painters, Art in America, Flaunt Magazine, Art Lies | Contemporary Art Journal, Men's Vogue, Vogue Italia, The New York Times, T Magazine, The Boston Globe, and The Huffington Post, among others.
PUTPUT was established in 2011 by Stephan Friedli (CH) and Ulrik Martin Larsen (DK) and is currently based in Copenhagen. PUTPUT is the visual and conceptual meeting of two minds, a collaboration in thought and practice. Neatly placed between input and output, PUTPUT navigates the increasingly busy intersection where photography, sculpture and design meet. A shared and deeply rooted fascination with metaphysical relationships connected to everyday objects guides and perpetuates their work. A humoristic undercurrent runs through the reduced, ambiguous and profoundly superficial visual universe that defines PUTPUT. Since the inception, PUTPUT's work has been exhibited among others at Galerie Esther Woerdehoff, Paris; Fabulous Failures, Bruxelles; Les Rencontres Arles, Arles (FR); The Finnish Museum of Photography, Helsinki and Galleri Nabolos, Copenhagen.
Sarah Roberts lives and works in London and Mid Wales. Solo exhibitions include Torremolinos Tableaux Tongue Twister (Aftersun), Block 336, London, UK. Group exhibitions include The High Low Show, Laure Genillard, London (2017); I'M Feeling So Virtual I'm Violent [BAS8 Associates], HaHa Gallery, Southampton, UK (2016); P A N D I C U L A T E [The Joy of Stretching], The Koppel Project, London, UK (2016); The London Open, Whitechapel Gallery, London, UK (2015) and Treat Yo Self, (it's all) Tropical, Bloc Projects, Sheffield (2015) amongst others. Since graduating from Chelsea College of art in 2014, she has since been selected for the 2015/16 Into The Wild Residency Programme, Chisenhale, London, UK; ACAVA /ArtQuest Lifeboat residency (2014/15); The Parasol Unit Exposure Award (2014), and Saatchi New Sensations, London, UK (2014).
Kato Six (b. 1986 in Bruges, BE) lives and works in Brussels. She obtained a MA in 3D-multimedia in 2010 and a MA graphic design in 2008 from School of Arts / KASK, Ghent, BE. Her work has been exhibited in CHANGE-CHANGE Budapest; c-o-m-p-o-s-i-t-e Brussels; KIOSK Ghent, BE and P/////AKT, Amsterdam. She was an artist in residency at Wiels in Brussels and RU in New York. In her installation work Six makes minimal but incisive spatial interventions that act as sculptural marginalia – annotations that are often literally placed in the margins of the space they occupy. With elements, forms, and materials that recall former interior designs as a starting point, Six employs familiar material culture at times reactivating haunting collective embodied memory. By abstracting mental, affective and physical resources from their original function, setting or occurrence, Six aims at reconfiguring our experience of the ways we make ourselves at home in the world. Formally, she does this in a rather radical way, for abstraction is pushed to the limits of its own artificiality — whether it concerns the works' comprehension, matter or shape.
Mathew Smith (b.1976, Burton-on-Trent, UK) lives and works in London. He graduated from Central Saint Martins College of Art and Design in 2005 having gained BA at the University of Sheffield and a BFA at Hallam University Sheffield. Solo exhibitions include Pussycat, Koppe Astner, Glasgow, UK (2016); Fat Tulip, Troy Town, London, UK (2015); OFF, Limoncello, London (2012); PLUMING, Lüttgenmeijer, Berlin (2012) and Typical Works, Rivington Arms, New York (2008) amongst others. Group exhibitions include English Summer, Elizabeth Dee, New York (2015); You Will Find Me in The Garden, Valentin, Paris (2015); Emotional Resources, Northern Gallery For Contemporary Art, Sunderland, UK (2014); Open Heart Surgery, The Moving Museum, London, UK (2013) and SALTS, Basel, Switzerland (2010) amongst others.
A British artist of Balinese descent, Sinta Tantra (b. New York, 1979) studied at the Slade School of Fine Art, University College London 1999–2003 and at the Royal Academy Schools London 2004–06. Highly regarded for her site-specific murals and installations in the public realm, commissions include; Newnham College, Cambridge University (2016); Songdo South Korea (2015); Royal British Society of Sculptors (2013); Liverpool Biennial (2012); Southbank Centre (2007) and Transport for London (2006). Tantra's most notable work includes a 300-metre long painted bridge commissioned for the 2012 Olympics in Canary Wharf, London. Solo exhibitions include A Romance of Many Dimensions at Pearl Lam Gallery in SOHO Hong Kong (2016) and Fantastic Chromatic at Kristin Hjellegjerde Gallery (2015). Group exhibitions include Quotidian, Pearl Lam Gallery, Shanghai (2017); I Lost my Heart to a Spaceship Trooper at Griffin Gallery London (2017); Lost and Found: Place, Space and Identity opening at The World Trade Centre in Jakarta (2016); Nick Hornby & Sinta Tantra: Collaborative Works, Choi and Lager Gallery, Cologne (2015); Bend Sinister, i-CAN, Yogyakarta (2014); Gatekeeper, William Holman Gallery, New York (2014); Indonesian Contemporary Art and Design, Grand Kemang Hotel, Jakarta (2013); The Fine Line, Identity Gallery, Hong Kong (2013); and Confined, NEST Gallery, The Hague (2012). She is the recipient of many awards including the British Council's International Development Award (2014) and Deutsche Bank Award (2006) Tantra's work is in the UK's Government Art Collection as well as private international collections. She is currently the Bridget Riley Drawing Fellow at The British School at Rome and will be taking part in this year's Folkestone Triennial 2017.
Jennifer Tee (b. 1973) lives and works in Amsterdam. She was a resident artist at the Rijksakademie in Amsterdam, and ISCP, New York. Tee was awarded the 2015 Cobra Art Prize. Forthcoming solo exhibitions include: Bonner Kunstverein, Bonn, (DE); Camden Arts Centre, London (UK). Recent solo exhibitions include: 'Tulip Palepai, navigating the River of the World', Rijksmuseum, Amsterdam (NL), 'The Soul in Limbo', 6th Cobra Art Prize, Cobra Museum, Amstelveen (NL); 'Occult Geometry', Signal at Kunsthal Charlottenborg, Copenhagen (DK); 'Heart Ferment', Galerie Fons Welters, Amsterdam (NL); 'Practical Magic', Project Art Centre Gallery Dublin (UK); 'Local Myths', Eastside Projects, Birmingham (UK); 'Nameless Swirls, an Unfolding in Presence', Van Abbemuseum, Eindhoven (NL). Selection of group shows: 'Retour sur Mulholland Drive', La Panacée, Montpellier (FR); Manifesta 11, Zurich (CH); 'The Peacock', Grazer Kunstverein (AT); 'Six Possibilities for a Sculpture', La Loge, Brussels (BE); 'Beyond Imagination', Stedelijk Museum Amsterdam (NL); 'Secret Societies', Schirn Kunsthalle, Frankfurt (DE); Nether Land, Dutch Culture Center, Shanghai World Expo (CN); Sao Paulo Biennial (BR).
Charlie Godet Thomas (b.1985, London, UK) lives and works in London, UK. Having studied a BA in Fine Art (Sculpture) at Manchester School of Art in 2009, he graduated with an MA in Fine Art (Sculpture) from the Royal College of Art, London in 2014 where he was awarded the Bermuda Arts Council Scholarship and the Peter Leitner Scholarship. His work has previously been exhibited, among others, at the Carillon Gallery, Forth Worth Texas, USA (2017); Castlefield Gallery, Manchester, UK (2017); Set The Controls For The Heart Of The Sun, Leeds (2016); Bermuda Biennial, The Bermuda National Gallery, Bermuda (2012, 2014 and 2016); VITRINE, London (2015); Telfer Gallery, Glasgow (2015); Cactus, Liverpool (2015); BALTIC Center for Contemporary Art, Newcastle, UK (2014). Charlie Godet Thomas is concerned with the connections between visual art and literature, the act of writing, the autobiographical, the tragic and the humorous. His work is summoned from unlikely places; be it street signage, American drain cleaning products, documentaries about motorcycle stuntmen, or an extensive archive of personal photographs.
Jonathan Trayte (b.1980) lives and works in London. He graduated in 2010 with a postgraduate diploma in Fine Art from the Royal Academy schools in 2010 having gained a BA (Hons) in Fine Art from Kent Institute of Art in 2004. Solo exhibitions include Polyculture, The Tetley, Leeds, UK (2016); Experiments in Consuming, The King's School, Canterbury, UK (2016); Pazar, Marcelle Joseph Projects and Istanbul Art Project, Istanbul, Turkey (2014) and Nude, Identity Gallery, Hong Kong (2011) amongst others. Group exhibitions include Art Ikon, Whitechapel Gallery, London, UK (2017); Last Chance to Paradise, Collar, Manchester, UK (2017); Milk, Christies, London, UK (2016); Table, Tannery Projects, London, UK (2016); Shoppers Guide Converse X Dazed Artist Award, Royal Academy of Arts, London, UK (2015) and Alignment, Backlit Gallery, Nottingham, UK (2013) amongst others. He has been the recipient of numerous awards and residencies including Fibre Artist Residency, Bogota, Columbia (2018); Fashion Arts Foundation Award (2016) and Converse X Dazed Emerging Artist Award (2015).
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