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Sense III
Jasper Johns Untitled 2018
"Johns's early paintings declared independence from European influence like nothing before them. Incredulous on this score, some observers at the time took refuge in calling him Neo-Dada, but there's an Atlantic Ocean's worth of distance between his work, which is dead serious even when playful, and, say, the satiric displacements of common objects by Marcel Duchamp. Tellingly, Johns has never been as esteemed in other countries as he is on these shores. To my mind, his art jibes with America's chief contribution to philosophy, the pragmatism of Charles Sanders Peirce, William James, and John Dewey. It is about how art works work. In addition, despite Johns's fastidiously ironic detachment, the early paintings could seem to symbolize American imperial confidence at its peak and on the march, waging the Cold War. We know where that went. The "Farley Breaks Down" pictures could be seen to acknowledge the subsequent horrors of national hubris, most irreparably in the blood vat of Vietnam. But here I am verging on yet another wordy thesis about the intentions of Jasper Johns, which, to be authoritative, would need confirming testimony from him. Fat chance." [Peter Schjeldahl on Jasper Johns]
"Mr. Johns himself is loath to offer biographical interpretations of his work — or any interpretations, for that matter. He is famously elusive and his humor tends toward the sardonic. He once joked that, of the dozens of books that have been written about his art, his favorite one was written in Japanese. What he liked is that he could not understand it…
He says outright that he does not have faith in the process of memory, insisting it is less likely to disclose truths than to twist them. One of his frequent rejoinders is, "Interesting, if true," in response to statements of incontestable fact...
One thing that Mr. Johns understood at an early age is that language and truth are not the same. Growing up in the South, at a time when its citizens saw no contradiction between the cultivation of perfect table manners and the barbarism of segregation, he was well aware that people were not always logical. Born in 1930, Mr. Johns was the only son of an alcoholic farmer and a mother accustomed to hardship. His parents divorced in 1933, by which time he had been sent to live with his paternal grandfather, the first of many painful dislocations in his childhood. "I was a good guest," he said, without rancor. "I was always a guest." [Deborah Solomon on Jasper Johns]
What about the link that Johns establishes between the landscape (mountain) and the human body (lips)? Are the inward-looking eyes pondering our destination, as part of a landscape that is itself a minute speck within something unfathomable (the Milky Way)? Why is the painting's ground largely blue with hints of orange peeking through? Why has the right edge of "poster" of the Milky Way started to curl up? Was the proportion of the older painting — whose dimensions convey landscape — what bothered Johns? Is this why he made his response on a square, or abstract, format?
Regardless of whether the viewer knows about the earlier painting or not, what "Untitled" conveys is a curiosity about looking, both as an outward act and an inward one, in pursuit of some understanding of our material relationship to time, space, and the world we inhabit. What is the connection between them? How might we see ourselves in the world we must let go of, in the end? [John Yau on Jasper Johns]
Mark Stone	Painting	1 Comment December 6, 2019 December 1, 2019 2 Minutes
Sense II
Charles Demuth I Saw the Figure 5 in Gold 1928
"The painting has futurist and cubist features: the prismatic breakdown of space and light, which in part refers to the rain and lights, and the use of words and numbers to help establish the two dimensionality of the picture plane, as in the largest 5. the word Blew., and at the bottom of the painting the initials C.D. and W.C.W., referring to the artist and the poet. However, the letters and numbers are used not only to establish the surface plane but also to suggest the opposite: deep space. We see this, obviously, in the diminishing and therefore needing 5s and in the word Carlos, the latter cut off by an element that lies behind the planes of the 5s. The painting is pulled back from being a complete abstraction only by the use of the words and letters and by the presence of the street lamp and distorted buildings. The angularity of the prismatic background is played off against the recurring circles: those of the four lights in the top half, the curve of the streetlamp standard, the bulbs at the lower tips of the 5s, and the quite arbitrary curve at the lower left and upper right of the painting. We feel not only the tremendous activity within the picture but also its final calm and control. Despite the directional lines borrowed from the futurists and the intellectually organized space that comes from cubism, the cumulative effect of immediacy, sense of scale, and clarity is American. Of his relationship to the work of a fellow American painter Demuth once observed, "John Marin and I drew our inspiration from the same source, French modernism. He brought his up in buckets and spilt much along the way. I dipped mine out with a tea spoon but I never spilled a drop." [Henry Geldzahler on Charles Demuth and William Carlos Williams]
Charles Demuth O'Keefe 1923-1924
Probably the closest any of Demuth's posters really comes to Pop is I Saw the Figure 5 in Gold, the William Carlos Williams one, where the advancing figure 5s compare with Jasper Johns' inert rows of numbers or with Robert Indiana's emblazoned numbers; Indiana did model his Demuth Five, 1963, and other of his paintings upon it. Otherwise, they are quite different, in purpose as well as form. Their seemingly haphazard and random objects and words were meant to evoke the presence of a friend or associate from Demuth's world of art and letters by alluding cryptically to his or her interests, or style of art or writing. More than that: I've come to see that the very means of arrangement of the objects—their number and shapes—suggest the personality of the "sitter."
There are eight, perhaps nine posters (rather than the seven I once believed there to be), including one of a nonposter character: a picture of calla lilies rising out of a shell that had been intended as an object-substitute for an actor and female impersonator named Bert Savoy, to whom Demuth (a homosexual) had been introduced backstage by his friend Robert Locher. A shell in this Savoy painting had already appeared in a painting by Georgia O'Keeffe of 1919, Music—Pink and Blue No.1, and it belonged to her: "I knew one of his girl friends who gave me a beautiful shell because she knew he had always wanted it, and she wanted him to see that she gave it to me. The shell is in that large portrait of calla lilies at Fisk."4 Demuth saw, then, in the erotic suggestiveness of the undulating flower, an appropriate object-substitute for one who traded on the aura of sexuality. [Abraham A. Davidson on Charles Demuth's Poster Paintings]
Charles Demuth Love Love Love Homage to Gertrude Stein 1928
Charles Demuth (1883-1935) is in many ways an unlikely herald of a new and dynamic sensibility celebrating technology. He was a dandified, langorous figure who with his moustache bore a resemblance to Joris-Karl Huysmans, the leader of the fin de siecle French Decadent Movement and thus remembered for his fantasy novel, "Against Nature." Demuth was burdened: His homosexuality was a definite problem in that era and he was also plagued by diabetes and a bad hip.
Yet these poster portraits (this show marks the first time all of them have been assembled together) are fairly bursting with energy. They have a strong basis in billboard and magazine advertisements, as is thoroughly explained in the catalogue by the curator Robin Jaffee Frank, but countering this very public aspect is their ultimate recondite and cryptic character. [William Zimmer on Charles Demuth]
Charles Demuth Poster Portrait of Arthur Dove 1924
The Hell Hole (the "Golden Swan" in the Village), the Baron Wilkins (a cafe) in Harlem, a costumed ball at Webster Hall, Cafes Brevoort [The building occupies almost half its entire block and many revelers from the old Cafe Brevoort probably wandered eventually into the Cedar Tavern that became the famous hang-out of the Abstract Expressionists until its building was torn down to make way for an annex to this building known as the Brevoort East at 20 East Ninth Street] and Lafayette were Demuth's favorite places about 1915-16 and he used to take me along. . . .
He had a curious smile reflecting an incessant curiosity for every manifestation life offered.
An artist worthy of the name, without the pettiness which afflicts most artists; worshipping his inner self without the usual eagerness to be right.
Demuth was also one of the few artists whom all other artists liked as a real friend, a rare case indeed.
His work is a living illustration of the disappearance of a "Monroe Doctrine" applied to Art; for today, art is no more the crop of privileged soils, and Demuth is among the first to have planted the good seed in America. [Marcel Duchamp on Charles Demuth]
Mark Stone	Painting	Leave a comment December 4, 2019 December 8, 2019 4 Minutes
Sense I
Tomma Abts Samke 2019
"This is about inventing an image that had not been in the world. I don't want it to look like I painted an object. But as I work I get to the point where images make sense to me, and maybe you might recognize something in them. The problem is I can't explain for you what that something may be. I do think my work is a little representational, but I just can not tell you what they are representational of." [Tomma Abts in conversation with Christopher Borrelli]
Tomma Abts Oeje 2016
"Abts's canvases present themselves as events, in which color and form are only the most visible occurrences in a series of decisions, revisions, corrections, and adjustments that are suggested by the ridges and seams of underlying layers. "I try to define the forms precisely. They become, through shadows, texture, etcetera, quite physical and therefore 'real' and not an image of something else. The forms don't symbolize or describe anything outside of the painting. They represent themselves." Indeed, the paintings are self-reflexive, and this effect is furthered by the artist's titling rubric: once a painting is complete, she names it after an entry in a dictionary of first names from a particular region in Germany. The names selected for the titles are neutral and abstract and thereby resist direct references to gender." [IAC Press Release for Tomma Abts]
Tomma Abts Inte 2013
Is it true that you used to go out with Chris Ofili?
The smile falters. "I won't talk about that."
I tell her that I hope she did.
Because then you could be characterised as a former golden couple, the Posh and Becks of the art world. (Ofili won the Turner Prize in 1998.)
Abts looks horrified. "No comment! I don't think these private things should be part of art, in a way." Without naming names, she goes off on a riff about self-cannibalising artists who make their careers by rummaging about in their own detritus. "It [the Turner] used to be such a personality-based prize and I think that's not appropriate, necessarily, for art. I think it should be about the art and not the personality. These private things should not be mentioned." [Tomma Abts in conversation with Emma Brockes]
Mark Stone	Painting	2 Comments December 2, 2019 December 1, 2019 2 Minutes
Alter3
Wangechi Mutu Howl 2006
I start with these observations in order to place in proper context the current conditions of production, dissemination, and reception of contemporary art. Contemporary art today is refracted, not just from the specific site of culture and history but also – and in a more critical sense – from the standpoint of a complex geopolitical configuration that defines all systems of production and relations of exchange as a consequence of globalization after imperialism. It is this geopolitical configuration and its post-imperial transformations that situate what I call here "the postcolonial constellation." The changes wrought by transitions to new forms of governmentality and institutions, new domains of living and belonging as people and citizens, cultures, and communities, define the postcolonial matrix that shapes the ethics of subjectivity and creativity today. Whereas classical European thought formulated the realm of subjectivity and creativity as two domains of activity each informed by its own internal cohesion, without an outside, such thought today is consistently questioned by the constant tessellation of the outside and inside, each folding into and opening out to complex communicative tremors and upheavals. Perhaps, then, bringing contemporary art into the context of the geopolitical framework that define global relations – between the so-called local and the global, center and margin, nation-state and the individual, transnational and diasporic communities, audiences and institutions – offers a perspicacious view of the postcolonial constellation. [Okwui Enwezor The Postcolonial Constellation]
Ugo Rondinone Zweiundzwanzigsterjulineunzehnhundertachtundneunzig No. 108 1998
The Anthropocene is the space of a new promiscuity, a brutal bringing-together of all reigns and spheres in a space suddenly devoid of boundaries. This image of a universe without fixed boundaries (without skin) allows us to better understand the ambition of Pierre Huyghe: "Not to exhibit something to someone, but to exhibit someone to something."In the Anthropocene, everything is being exposed, and the subject has lost its monopoly on the gaze. In 1964 Jacques Lacan proposed a strikingly similar thesis: the world is an "omnivoyeur," he explained, but without reference to the notion of human consciousness: "I see only from one point, but in my existence I am looked at from all sides." He continued: "In our relation to things, in so far as this relation is constituted by way of vision, and ordered in the figures of representation, something slips, passes, is transmitted, from stage to stage, and is always to some degree eluded in it — that is what we call the gaze." This difference between vision and the gaze "in our relation to things" and "ordered in representation" could well be the key to allowing us to address the new status of the subject in the art of today.
Contemporary art plays host to a productive entanglement between the human and nonhuman, a presentation of coactivityas such: indeed, the universe is made of multiple energies working side by side or together; the work of human beings is nourished by bacteria, other mammals, or the flow of nature. In many artworks, organic growth proceeds with the operation of software, and human relations are entangled with marketing channels or algorithms. All relations among different regimes of the living and the inert are in tension. [Coactivity: Between the Human and Nonhuman by Nicolas Bourriaud]
Pierre Huyghe Zoodram 5 2011
BACK IN 2009, Nicolas Bourriaud explained in the manifesto accompanying his "Altermodern" exhibition at Tate Britain in London that "multiculturalism and identity is [sic] being overtaken by creolisation." Setting it apart from multiculturalism, which is based on the fusion of different categories of race and gender, Bourriaud defines creolization as a process of cultural nomadism, where one can wander, identity unfixed, among a globalized "archipelago" of signs and codes.
While I agree with much of what Bourriaud says, I bring him up because I'm tired of white male thinkers who keep dismissing identity as if it's some denim cut that's no longer in fashion. Try telling an Egyptian waiter in Amsterdam that he's no longer burdened by his ethnicity and religion, that he is now free to wander as a cultural flaneur. He'd tell you to fuck off. Today, given the world's turbulent waves of racial unrest, Bourriaud's comment couldn't be more out of sync. I'm also unsure how creolization can "overtake" identity when creolization has always been a part of identity; translation, global connections, and shape-shifting have been essential to who I am. [Cathy Park Hong on Artists and Identity]
Monster Chetwynd Jesus and Barabbas (Odd Man Out 2011) 2018
We have reached a point where we cannot have one homogenized narrative, one view of the future, a singular idea of what constitutes the good life, even though we have inherited certain monolithic cultural, social, and political ways of thinking about the world. This monolithic narrative has become increasingly untenable and can no longer hold. That's why George W. Bush and the neocons' version of enlightened despotism did not take hold in Afghanistan and Iraq. That's why there are multiple insurgencies occurring around us—political, intellectual, philosophical, economic. There is a search for alternatives.
One must rethink what the multiple frames of reference might be, what other paths might constitute new versions of the future, and the direction each might take. What if, say, in Nigeria we don't get it right? And we don't become like London, don't have the same luxury brands, along the same streets, owned by the same two companies? What if Beijing does not become like Washington? Is it possible to have multiple ways of looking at social conditions that are not necessarily in alignment with the dominant Western ways of thinking? [Okwui Enwezor in conversation with Michelle Kuo]
Mark Stone	Painting	4 Comments November 29, 2019 November 29, 2019 4 Minutes
Rirkrit Tiravanija, DO NOT EVER WORK (Chair edition) 2016
"The Altermodern, as coined by Bourriaud, assumes the end of post-modernism. He argues that though post-modernism has  an inherent value, it is no longer necessarily relevant in today's world. There is a pervasive fear of the shifting dynamic of society and global culture; of the unfamiliar allegiances and relationships that are being created that negate the idea of a sole, identifiable origin. Post-modernism, according to Bourriaud, was obsessed with this idea of the artist's origin and how culture, traditions, and geographical biography played a part in their work. The artists chosen for the Tate Triennial "are starting from a globalised state of culture — not anymore working as logotypes of their own culture, or their own tradition. The question is not anymore where are you coming from but where are you going to?" The exhibition includes artists such as Subodh Gupta, Tacita Dean, and Gustav Metzger, and examines how their work fits into, and is emblematic of, this theory of the Altermodern." [Niamh Coghlan The End of Postmodernism]
Stephen Prina, galesburg, illinois+, John Cage, Knox College, Galesburg, Illinois, April 1983, Photographer unknown. All documentation of John Cage's visit to Knox College in February 1972— including photographic documentation and an audio recording of his talk—is missing from the Knox College Library. This photograph holds the place of the earlier event., 2015
"Prina's project presents the small Midwestern city of his birth via an aerial photograph (Harbor Lights Supper Club, Galesburg, Illinois, 1947–1986, former site, 2015, Photography: Foley Photo Studio, Galesburg, Illinois, 2018), artifacts (a penny acquired as change at a Galesburg drug store and a photograph from the Knox College Library in Galesburg), and two anecdotes, which appear as wall texts in the gallery. In one of these epigraphs, the artist describes an unexpected cameo by his hometown supper club in a video screened at the Kitchen in New York. In the other, Prina recounts performing in a band at the local Taco Hideout Lounge, only to discover that John Cage may have been in the audience.
These stories about the collapse of perceived distance (physical or cultural) add another dimension to his long-running series Exquisite Corpse: The Complete Paintings of Manet, 1988–, in which the artist produces brushy monochromatic analogues of each work in Manet's catalogue raisonné. Monochrome painting was once seen as a transcendent conclusion to the progression of modern aesthetics. But within the exhibition's matrix of personal biography, the 45-degree (right-handed?) back-and-forth strokes of Prina's abstract ink-wash drawings are notably grounded in the ineffable complexity of context while offering deadpan matter-of-factness to the supposedly subjective gesture." [David Muenzer on Stephen Prina]
"The next real literary 'rebels' in this country might well emerge as some weird bunch of anti-rebels, born oglers who dare somehow to back away from ironic watching, who have the childish gall actually to endorse and instantiate single-entendre principles. Who treat plain old untrendy human troubles and emotions in U.S. life with reverence and conviction. Who eschew self-consciousness and hip fatigue. These anti-rebels would be outdated, of course, before they even started. Dead on the page. Too sincere. Clearly repressed. Backward, quaint, naive, anachronistic. Maybe that'll be the point. Maybe that's why they'll be the next real rebels. Real rebels, as far as I can see, risk disapproval. The old postmodern insurgents risked the gasp and squeal: shock, disgust, outrage, censorship, accusations of socialism, anarchism, nihilism. Today's risks are different. The new rebels might be artists willing to risk the yawn, the rolled eyes, the cool smile, the nudged ribs, the parody of gifted ironists, the 'Oh how banal!' To risk accusations of sentimentality, melodrama. Of overcredulity. Of softness. Of willingness to be suckered by a world of lurkers and starers who fear gaze and ridicule above imprisonment without law." [David Foster Wallace on the end of Postmodernism]
Ursula Mayer Prosthetic Kiss (III) 2013
There is a permanent collapse between image and text in this film. It is a filmic language that I have been experimenting with for a while – a language against the grammar that we would normally be used to, and which is deeply rooted with conventional norms. There is no ground you can just walk on, you need to create a path while watching, to develop while you are experiencing. I am interested in testing possibilities of new ways of seeing. When you say "beyond meaning", I think it creates another meaning, but with a permanent collapse somehow. It's not giving you the comfort of knowing, but it's mixing images together, and in a way developing something else, knowledge beyond meaning. It is like drifting with images in a more haptic visuality. It functions almost like the sense of touch by triggering all forms of bodily experience.
As the spectator you are totally embodied (embedded?) in the images – the eye is an organ of touch. It travels like the camera on the surfaces, which means it is like caressing and entering (or intruding upon) an image. [Ursula Mayer in conversation with Maud Jacquin]
Matthew Barney Djed: The Case for Saving Detroit 2010
'The forces that once drove postmodernism seem now to be depleted, however. Postmodernism rejected grand narratives, including those of religion, the concept of progress and of history itself. Angela Carter's fiction, and particularly The Bloody Chamber, provides a clear example of the typical postmodernist impulse: in rewriting traditional fairy-tales she subverts grand narratives of gender, sexuality and female subjectivity. In contrast, in today's cultural climate there appears to be a renewed engagement with history and a revival of mythic meaning-making that the arch-postmodernists would have abhorred. Ruth Ozeki's A Tale for the Time Being (2013), for example, relates interconnecting histories – among them the story of a Japanese Kamikaze pilot in the Second World War and the 2011 Tōhoku Earthquake and Tsunami in Japan, contextualizing both in a history of ideas, by reflecting throughout on the principles of Zen Buddhism." [Alison Gibbons Postmodernism is Dead]
Mark Stone	Painting	Leave a comment November 27, 2019 November 4, 2019 4 Minutes
Jonathas de Andrade Zumbi Encrando 2014
… what we traditionally call reality is in fact a simple montage. On the basis of that conclusion, the aesthetic challenge of contemporary art resides in recomposing that montage: art is an editing table that enables us to realize alternative, temporary versions of reality with the same material (basically, everyday life). Thus, artists manipulate social forms, reorganize them and incorporate them in original scenarios, deconstructing the script on which the illusory legitimacy of those scenarios was grounded. The artist de-programs in order to re-program, suggesting that there are other possible usages for techniques, tools and spaces at our disposition. [Nicolas Bourriaud in conversation with Bartholomew Ryan]
If twentieth-century modernism was above all a western cultural phenomenon, altermodernity arises out of planetary negotiations, discussions between agents from different cultures. Stripped of a centre, it can only be polyglot. Altermodernity is characterised by translation, unlike the modernism of the twentieth century which spoke the abstract language of the colonial west, and postmodernism, which encloses artistic phenomena in origins and identities. [Nicolas Bourriaud AlterModern Manifesto]
Vanessa Beecroft Untitled (gray body)2017
The cultural or social structures in which we live are nothing more for art than elements to be used, objects that must be examined and formally addressed. That, to my mind, is the essential content of the political program of contemporary art: maintaining the world in a precarious state or, in other words, permanently affirming the transitory, circumstantial nature of the institutions and the rules that govern individual or collective behavior. The main function of the instruments of communication of capitalism is to repeat a message, which is: we live in a finite, immovable and definitive political framework, only the decor must change at high speed. Art questions this message, and reverses it. It is an idea that was actually the core of Relational Aesthetics already, the Marxist idea that there is no stable "essence" of humankind, which is nothing but the transitory result of what human beings do at a certain moment of history. I think this might be the cornerstone of all my writings, in a way. [Nicolas Bourriaud in conversation with Bartholomew Ryan]
We are entering the era of universal subtitling, of generalised dubbing. Today's art explores the bonds that text and image weave between themselves. Artists traverse a cultural landscape saturated with signs, creating new pathways between multiple formats of expression and communication. [Nicolas Bourriaud AlterModern Manifesto]
Maurizio Cattelan Untitled 2009
The artist becomes 'homo viator', the prototype of the contemporary traveller whose passage through signs and formats refers to a contemporary experience of mobility, travel and transpassing. This evolution can be seen in the way works are made: a new type of form is appearing, the journey-form, made of lines drawn both in space and time, materialising trajectories rather than destinations. The form of the work expresses a course, a wandering, rather than a fixed space-time. [Nicolas Bourriaud AlterModern Manifesto]
…this 'globalised state of culture' is already a matter of fact: in every spot of the planet, you can see this new cultural stratus, coexisting with the layer of traditional culture and some local specific contemporary elements. Saying that it is the privilege of the artistic jet set is a pure denial of the worldwide violence of the capitalist system, or an extreme naiveness. I think that this theoretical resistance, which consists in sticking to the multiculturalist dogma, is hiding a paternalist pattern : it jails the individuals into their so-called 'origins' and their 'identities'. Let's face it: artists now have access to information, and they all use the same toolbox, from Stockholm to Bangkok. Or shouldn't they? We have to get out of this dialectical loop between the global and the local, to get rid of the binary opposition between globalization and traditions. And what is the name of this third way? Modernity, whose historical ambiguity is directed against both standardization and nostalgia. [Nicolas Bourriaud in conversation with Bartholomew Ryan]
Jorge Pardo Untitled, 2017
Altermodern art is thus read as a hypertext; artists translate and transcode information from one format to another, and wander in geography as well as in history. This gives rise to practices which might be referred to as 'time-specific', in response to the 'site-specific' work of the 1960s. Flight-lines, translation programmes and chains of heterogeneous elements articulate each other. Our universe becomes a territory all dimensions of which may be travelled both in time and space. [Nicolas Bourriaud AlterModern Manifesto]
Mark Stone	Painting	Leave a comment November 25, 2019 November 25, 2019 3 Minutes
Meta III
Ellen Gallagher Ecstatic Draught of Fishes, 2019
"The thing that's interesting is this idea of journalism and the actual person or event. I am interested in the combination of journalistic fact, like, Eunice Rivers is a real person. Peg-Leg Bates is a real person. Isaac Hayes is a real person. Captain Lloyd Sealy is real person. And they function both as themselves and as this other presence in the work. It's about multiple readings of the characters." [Ellen Gallagher in conversation Brooklyn Rail]
"I'm noticing a new approach to artmaking in recent museum and gallery shows. It flickered into focus at the New Museum's "Younger Than Jesus" last year and ran through the Whitney Biennial, and I'm seeing it blossom and bear fruit at "Greater New York," MoMA P.S. 1's twice-a-decade extravaganza of emerging local talent. It's an attitude that says, I know that the art I'm creating may seem silly, even stupid, or that it might have been done before, but that doesn't mean this isn't serious. At once knowingly self-conscious about art, unafraid, and unashamed, these young artists not only see the distinction between earnestness and detachment as artificial; they grasp that they can be ironic and sincere at the same time, and they are making art from this compound-complex state of mind—what Emerson called "alienated majesty.
Much of the most effective work in "Greater New York" also involves the artists' leaping from medium to medium in madly unexpected ways: Sculpture, music, video, and photography get mashed up; techniques like collage and assemblage are combined with unusual materials like mud, magnets, stolen record albums, and art reviews (even one of my own, in Franklin Evans's walk-in installation-painting). Mariah Robertson's long strip of photographs looping along the ceiling and across the floor is photography as sculptural installation, so smudgy and phantasmagoric and unruly that it looks like drawing, a painting, and a filmstrip all at once." [Jerry Saltz on Sincerity and Irony]
Elizabeth Peyton Practice (Yuzuru Hanyu) 2018
I just have a feeling of urgency that I want to make a picture of somebody. Probably because I'm very inspired by them or there is something I really want to know about or understand in them. So, fascination? Yes. Admiration? Yes. But also curiosity — I get fascinated by what people are doing and what they're making and how it's what I need at that moment. [Elizabeth Peyton in conversation with Uwe-Jens Schumann]
The ecosystem is severely disrupted, the financial system is increasingly uncontrollable, and the geopolitical structure has recently begun to appear as unstable as it has always been uneven. CEOs and politicians express their "desire for change" at every interview and voice a heartfelt "yes we can" at each photo-op. Planners and architects increasingly replace their blueprints for environments with environmental "greenprints". And new generations of artists increasingly abandon the aesthetic precepts of deconstruction, parataxis, and pastiche in favor of aesthethical notions of reconstruction, myth, and metaxis. These trends and tendencies can no longer be explained in terms of the postmodern. They express a (often guarded) hopefulness and (at times feigned) sincerity that hint at another structure of feeling, intimating another discourse. History, it seems, is moving rapidly beyond its all too hastily proclaimed end. [Notes on MetaModernism Timotheus Vermeulen & Robin van den Akker]
Dana Schutz Shame 2017
Meta-reflexivity inevitably spawns a sensibility that my thinking partner Linda Ceriello like to refer to as "Life-As-Movie," wherein people's identities are constructed quite self-consciously through a narrative lens. In other words, people regard and "make" themselves, as actor, director, lighting designer, etc. (even audience member) in their own 4-D movies. This self-awareness or witnessing mentality is kind of like a breaking of the 4th wall, and is expressed through popular slang and other cultural expressions prevailing during the metamodern era, such as the use of the word "awesome" to point to the poignant, strange, awkward, exceptionally human — and going beyond its earlier meaning that signified the hyped-up "super-great!"
Meta-reflexivity, of course, points to one of the meanings of "meta" in "metamodernism": A work that is about itself, or even about aboutness. [Greg Dember After PoMo]
"The long-term effect of the controversy, she said, is that she has internalized the viewpoints of the protesters even when making new work.
"I've had so many conversations with people who were upset by the painting," Ms. Schutz said, adding that she has included them in "my imagined audience when I'm painting. It's good those voices were heard."
Ms. Schutz, 42, established her reputation with expressionistic compositions featuring figures that seemed to be pushing at the edges of the picture planes with their limbs akimbo, barely skirting — or is it courting? — disaster.
Either way, emotion and empathy seem to drive her work. "I'm interested in how something feels, rather than how it looks," she said at her studio, explaining her approach." [Dana Schutz in conversation with Ted Loos]
Meta II
Katherine Bradford Hold Up, 2019
I began as a mark-maker and I wanted to stay somewhat in that vocabulary. I didn't want to get into the tradition of figure painting or use perspective or shadows. I like spare, simple paintings. I admire Rose Wylie's work so much. When I want more courage, I look at the way she draws a leg. It is even one step farther than Philip Guston. She's very personal. She's invented a way to make paintings and paint figures.
These are very brave ways to make a painting. And that gave me the self-confidence to do that myself – to not try for it to be right, but to make it expressive of something. I think about why we love Judy Garland so much. It's because she's so open. She's so human. She's not perfect. I think at the end of the day, what people admire and value is personal openness. [Katherine Bradford in conversation with Jennifer Samet]
Reviving once great artistic styles can be a fraught pursuit, whether or not they are part of an artist's cultural heritage. Such styles must be transformed into something personal and contemporary that ideally also survives comparison with its inspiration. In her second solo show at this gallery, subtitled "How Iraqi Are You?" Hayv Kahraman largely pulls off this difficult feat, building on the refined figuration of Persian miniatures that are part of her Iraqi background. In Ms. Kahraman's hands the delicacy and stylization of the source are writ large and on raw linen — evoking the pages of a Persian album — and complicated with allusions to other times, places and styles. The paintings depict pairs and groups of nearly identical women who may or may not be in a harem. Shown in conversation or listening to one of their number, these women have pale skin, gestures and becalmed features that recall both the female subjects of Renaissance painting and the powdered geisha of Japanese woodblocks. Their articulated hands seem puppetlike. Their largely strapless gowns and black bouffants seem of recent American vintage even as the fabric patterns of their gowns elaborate a veritable lexicon of Arabic geometric decoration. [Roberta Smith on Hayv Kahraman]
Hayv Kahraman Heads on Plate 2008
An allergy is an uncontrolled negative emotional response towards some idea or person. It's the gut-wrenching feeling that a person you dislike provokes in you, or the feeling of anger and discontent certain ideas or concepts can spawn.
We all have these emotions, but the metamodernist has developed its mind (what researchers call metacognition) to keep these allergies in check, so as not to let them pollute the capability to make objective judgments and fair analysis. The wisdom is, just because something makes you feel bad, doesn't mean it's wrong.
It's not your feeling towards something that makes it right or wrong, no, determining the truth and value of something must be based on careful analysis. The trick is to know when your brain is bullshitting you, often one's emotions will seduce reason to construct truths that correspond with that intuitive feeling. That's ok if it'll lead you towards good arguments, but you need to be aware that, that's what's going on – that your brain is biased and your emotions don't tell the whole truth. To be aware of your emotion's impact on the way you're thinking is a personal development stage towards a metamodern mindset. Don't bullshit yourself; become aware of your emotions. [Hanzi Freinacht on Metamodernism]
Rebecca Morgan After Work Sunset 2016
Drawing on influences such as R. Crumb, Francisco Goya, and MAD Magazine, with an ice-cold splash of Dutch style — e.g. Pieter Brueghel, Hans Memling, and the Van Eycks — Morgan shakes the bottle and pours out a delicious mixture of exaggerated bumpkin-looking characters. This is evident in Family Reunion (2016), which depicts a trio of all-American country folk indulging in a buffet of cake, soda, corn, and Cheezies Puffs snacks, some of which are served on a matriarch's saggy, bra-less breasts — yummy!
All of the manically detailed complexity and bright color of Morgan's work may make viewers envy the pair of awesome shades worn by a stoned young man in After Work Sunset (2016). Although the characters are made comically freakish, Morgan's cartoonish renderings are imbued with a proud sense of charming guilelessness and self-acceptance. In a 2015 interview with Priscilla Frank for The Huffington Post Morgan says, "These characters are blissfully unaware, unruly, wild, and untamed. They are off the grid and free and not affected by anyone or anything's influence and I'm very attracted to that concept." [Stephanie O'Connor on Rebecca Morgan]
…we can clearly get the idea that, metanarration – specific to the modernist project – is now decentralized, or simply deconstructed, and it is not surprising, as mentioned earlier, that deconstruction is playing a central role in postmodernism. On the other hand, the main concern of metamodernist sensibility, as previously outlined, is to reclaim what has been deconstructed – as if it hopes to fix it – without committing a total decline of the traits of postmodernism – the oscillation. Additionally, searching for a narration based on intersubjectivism is of essential value as to understand the promise of metamodernism, because intersubjectivity, in general sense, is an interpersonal phenomena, a shared understanding "that helps us relate one situation to another" (Bober & Dennen, 2001), moreover, it is also "central to everyday functioning; only through shared meanings can we work and build knowledge together" (Bober & Dennen, 2001). In my opinion, this mode of thought, by taking empathy seriously, can be regarded as a rather naive one, compared to the harsh, deconstructive nature of the postmodern condition, and this contrast, although not so conclusively, illustrates the claimed difference between the postmodern and the metamodern to a certain degree. [İlker Çelen on Metamodernism]
Aliza Nisenbaum Randy 2018
Nisenbaum taught English by way of feminist art history, using the politics of representation as a frame for language instruction. In order to get to know her students outside the context of the class, she asked if she could paint their portraits. The paintings give form to the evolving relationships between the artist and her subjects and among the subjects themselves: Individuals are shown in quiet states of interiority and imagination, and in portraits of two or more people, bodies typically support each other. Veronica, Marissa, and Gustavo, 2013, represents three members of a family variously touching, leaning against, and slinging their arms over one another—and since they are rendered almost without contour, it takes a moment to discern which limbs belong to whom. In keeping with the feminist starting point of her project, Nisenbaum's work celebrates interdependent ways of being, as opposed to a defensive posture of self-sufficiency and sovereignty. Indeed, the understanding of the subject in relational terms implicit in her practice brings to mind Judith Butler's positive concept of vulnerability: Emphasizing its foundation in receptivity and responsiveness, Butler posits that it is a precondition for mobilization and resistance. [Emily Liebert on Aliza Nisenbaum]
Meta I
Urs Fischer Chemical Problem 2015
When we say that metamodernism is a structure of feeling, we intend to say, very much like Fredric Jameson and, later, David Harvey when they describe postmodernism, that it is a sensibility that is widespread enough to be called structural (or as the cultural historian Ben Cranfield recently paraphrased it in a brilliant talk about the "emergent" in art at UCL, a "feeling that structures" (2015, unpublished conference paper), yet that cannot be reduced to one particular strategy. For Jameson, for instance, postmodernism was the structure of feeling of endings – the end of History, the end of "ideology", the end of the social, the end of art; one that was expressed in many different forms: pastiche, eclecticism, the nostalgia film, photorealism and so on. For us, metamodernism is a structure of feeling associated with the increasingly widespread sentiment that each of these debates are kickstarted, not as project perhaps as much as a projection, the premise on which new projects may be endeavoured. This structure of feeling, however, too, finds its expression in many different formal languages that have been described in detail by others: the new sincerity, quirky, freak folk, New Romanticism, new materialism, speculative realism, to name just a few. In any case, the 2000s are the defining period for the shift from postmodernism to metamodernism to occur (just as the sixties were the defining transitional period for the shift from modernism to postmodernism). [Timotheus Vermeulen & Robin van den Akker on Misunderstandings and Clarifications]
Sterling RubyWIDW. RED RIFT. 2018
In a 2015 essay, metamodernism theorist Timotheus Vermeulen proposed the term depthiness to to try to name a certain phenomenon observable in much of contemporary art and culture. He quotes a piece of dialogue from Lena Dunham's show Girls: "Just because it's fake doesn't mean I don't feel it." Depthiness, explains Vermeulen, is a play on both Frederick Jameson's term "Depthlessness" (from his book The Postmodern Condition), and Steven Colbert's satirical term "Truthiness." The basic idea is that, whereas modernist art was confident in its ability to evoke a deeper, underlying, "real" truth with its representations, and postmodernism rejected as naive such attempts at depth, and instead made surface its focus, metamodern works play in an awareness of the postmodern skepticism of depth, and yet choose to perform or fabricate depth, or do whatever it takes to render the experience of it. Whether or not Anthony James is aware of the theoretical notions of depthiness or metamodernism, this work of his does seem to render a sensory experience of both. [Greg Dember on MetaModernism]
Dan Colen Everybody's Gonna Die 2014
There is a strand within the newly emerging Speculative Realist philosophies called Object-Oriented Ontology (OOO) that seeks to place all objects, rather than man alone, at the centre of existence. Its speculations attempt to escape what has become known as the correlationist trap, described by Quentin Meillassoux in After Finitude as "the idea according to which we only ever have access to the correlation between thinking and being, and never to either term considered apart from the other." The anthropocentrism that has dominated philosophical discourse since Kant's Copernican Revolution, and the resultant split that such thinking necessitates between man and the world, is here being radically rethought. As Graham Harman states, "the human/world relation is just a special case of the relation between any two entities whatsoever." Harman, alongside Levi Bryant, Tim Morton and Ian Bogost, proposes an object-oriented philosophy that would instate a flat ontology, removing the primacy of human-object relations, thus granting all objects similar ontological status. The worldview advocated by OOO approaches something akin to panpsychism, or as Harman prefers to call it, "polypsychism", whereby all objects are considered to actually "perceive" their relations to other objects. [Luke Turner The New Aesthetic's Speculative Promise]
Différance???
Bronzino, Il- Eleonora of Toledo with Her Son Giovanni 1545
Tradition (the pre-modern era, perhaps going back to the depths of humanity's origins) prioritizes the transmission of knowledge and culture from the past. Its limitations are that it reinforces ways of seeing and doing that are not available to optimization, and it does not promote individuation. Traditional types of cultural artifacts include folk songs and nursery rhymes, communal dances and rituals, nature-based medicine and spiritual healing, liturgical music, grand long-lasting architectural projects built over many generations, myth, folk tales, the notion of "canonical literature" — things that reify the unassailable wisdom of the old and the cyclical nature of reality. [Greg Dember After Postmodernism: Eleven Metamodern Methods in the Arts]
Henri Matisse. Woman with a Hat, 1905
Modernism (circa 1900ish to 1950-ish) attempts to escape Tradition's limitations by emphasizing invention, intention, seeing below surface layers to (what are perceived as) essential structures, and making clear delineations by ranking, rating or typologizing things. Its own limitation is that it often fails to recognize interrelationships, contexts, and the wisdom of organically evolved knowledge structures and things, perspectives from the margins, etc. Examples: the Bauhaus Movement in architecture, Schoenberg's Twelve-Tone music, novelists such as Virginia Woolf and James Joyce, visual artists such as Picasso and Dali, and the origination of motion pictures as an art form. [Greg Dember After Postmodernism: Eleven Metamodern Methods in the Arts]
Cindy Sherman, Untitled (Self Portrait with Sun Tan) 2003
Postmodernism (1950-ish to 2000-ish) seeks to correct Modernism's hubris through irony, playful juxtaposition, bringing attention to subcultures that are outside the dominant, the re-elevation of traditional patterns rejected by modernism, etc… Its eventual limitation is that it often nullifies a sense of meaningfulness or purpose and deflates the affective dimension and interior subjectivity. Examples: Minimalist Classical composers John Cage and Steve Reich; rock music in general, and then specifically within the arc of rock music, the Punk Rock, New Wave and Alternative Rock genres of the 80s and 90s; novelists such as William S. Boroughs, Thomas Pynchon and Brett Easton Ellis; visual and conceptual artists such as Andy Warhol, Yoko Ono and Robert Rauschenberg; architects such as Frank Gehry and Robert Venturi who defied modernist austerity and functionalism; film-makers such as Quentin Tarantino and David Lynch. [Greg Dember After Postmodernism: Eleven Metamodern Methods in the Arts]
Stacy Leigh Madolyn 2017
Metamodernism (largely beginning in the late 1990s and continuing in the present) reacts to or embraces aspects of all three prior epistemes. In my formulation, the central motivation of metamodernism is to protect interior, subjective Felt Experience from the ironic distance of Postmodernism, the scientific reductionism of Modernism, and the pre-personal inertia of Tradition. Does it have a limitation, in the way that I've claimed for the other epistemes? Probably, but we don't know yet, because we're not yet at a point in history where this episteme has played itself out! Representative artists/artworks include: the music of Sufjan Stevens and Jenny Lewis; television shows such as Community and Modern Family; the architect Freddy Mamani Silvestre; film-makers such as Wes Anderson and Miranda July; authors such as Dave Eggers, Elif Batuman and Jennifer Egan. [Greg Dember After Postmodernism: Eleven Metamodern Methods in the Arts]
Mark Stone	Painting	1 Comment November 15, 2019 November 2, 2019 2 Minutes
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text:
How DQPro Helped Markel Instil Data Accountability Globally
As a truly diversified global insurer writing over $9.3B of premium globally, Markel faced a typical set of challenges in managing their daily data issues, including:
Managing data issues found at the technical "back end" with non-technical business teams in the front office, across multiple teams, systems, markets and territories.
Improving on cumbersome monthly exception reporting with manual, email-based workflow and a lack of visibility as to how and when issues were addressed.
Ensuring upstream accountability for data with relevant business users and teams.
Evolving from a traditional technical approach to one embedded within a regular business user's daily workflow, delivering company-wide ownership and adoption.
Starting with the Underwriting Services Team in London, Markel quickly deployed an initial series of 20 DQPro rules across 10 + legacy policy, exposure and bordereaux systems to demonstrate and realise immediate business value. Driven by their Data Governance team, rules were then extended across multiple teams at Markel International; Compliance, Claims, Exposure Management and to their UK retail division, Markel Direct. In 2020 the success of the roll-out expanded to a global roll out with usage expanding to Markel's US headquarters in Richmond, Virginia.
Deploying DQPro has transformed how Markel check and control their data, replacing traditional manual processes or overly technical, enterprise solutions by delivering:
Rapid Adoption Amongst Business Users – starting with 50 users in London and expanding to a global deployment of 150 users and 200+ critical rules in 2020, with daily usage in UK, US, Europe and Latin America.
A Comprehensive set of 200+ Controls – now helps support internal and external data audit, reducing audit preparation time from 3 weeks to just 30 minutes.
SLA Driven Accountability – users' accountability for their data is now an integral part of their annual performance review process which is informed by DQPro.
Cost Reduction – by eliminating a lot of the manual, frictional cost associated with traditional exception reporting in terms of notification, timely resolution and evidencing the action taken, for example: $250k USD of premium income "saved" at renewal, ensuring acquisition costs are correctly assigned or flagging rate changes.
Evidence and Clear Reporting – around regulatory data controls required by the Lloyd's Minimum Standards and Solvency II.
About Markel Corp:
Markel Corp (NYSE:MKL) is a market leading Fortune 500 insurer and reinsurer writing over $9.5B of premium globally across retail, commercial and specialty lines of business. With a headquarters in Richmond, Virginia and over 18,000 employees, Markel Corp has a global reach with 76 offices in 21+ countries.

redpajama_set_name: RedPajamaCommonCrawl


Frank is the Director of the McCormick Educational Technology Center at Rush University Medical Center. A former teacher and corporate trainer, he earned his B.A. in teaching from the University of Illinois at Urbana-Champaign where he studied language acquisition theory. He earned his M.S. in computing technology in education from Nova-Southeastern University where he focused on online learning environments. He previously directed distance education programming at the Illinois Mathematics and Science Academy and the School of Continuing Studies at Northwestern University.


I love lettuce wraps! They're so easy to make, and you can't really go wrong with whatever you throw in there as long as you have a good amount of spices so it's not just bland meaty lettuce pockets. I got a large Bibb lettuce and bag of basil in my CSA bag this week, so I thought it was a perfect meal to make. The whole thing took about 20 minutes and was a perfect healthy weeknight meal.
Add some olive oil to a large pan and cook the ground chicken. Add the garlic, onion, bell pepper, and water chestnuts, cooking until the onions are translucent. Add the lemongrass, ginger, cumin, salt and pepper. Mix well into the meat. Next add the oyster sauce, soy sauce, and fish sauce. Lastly, toss in the basil and cook for another minute or so, then turn off the heat and squeeze in the lime.
For the dressing, simply mix together the rice vinegar, scallion, sriracha, and lime juice. Place some ground chicken mixture into the lettuce, topped with a drizzle of the dressing and enjoy!


Well furnish and ready to move immediately, modern/contemporary 3 story home is located in the heart of the Museum District. Just blocks from 445 acres Herman Park, Golf Course, & Centennial Gardens; walking distance from MFAH, Rice University, & The Medical Center. Luxurious attention to detail with Designed high-end surfaces, LED fixtures and premium grade appliances. This is luxury living with the advantages of an amazing centralized location.
Listing courtesy of Holland & Holland Realty Llc.


CALGARY – The Transportation Safety Board of Canada (TSB) is deploying a team of investigators to the site of a Canadian Pacific train derailment near Field, British Columbia. The TSB will gather information and assess the occurrence.
Three members of the Teamsters Canada Rail Conference (TCRC) have died as a result of a major Canadian Pacific (CP) train derailment. The accident occurred at approximately 1 a.m. Mountain Time between Field, British Columbia and Calgary, Alberta.
The head of CP Rail has issued a statement.
Keith Creel CP President and CEO: "It is with deep sadness that I learned of the passing of three CP family members early this morning. As a westbound grain train was making its way toward Vancouver, it derailed in between the Upper and Lower Spiral Tunnels just east of Field, B.C.
"As a result of the derailment, which occurred at approximately 1 a.m. mountain time, we lost three professional railroaders. The three-person crew included conductor Dylan Paradis, engineer Andrew Dockrell and trainee Daniel Waldenberger-Bulmer.
"In the hours ahead we remain focused on employee safety and the safety of our first responders, in addition to working closely with the families of the deceased and all our employees. This is a tragedy that will have a long-lasting impact on our family of railroaders. The incident is under investigation and we will not speculate at this time on a cause – we owe it to those involved to get it right.
"We are working closely with Parks Canada and other agencies to ensure the environment is not negatively impacted. Recovering will be complex and challenging given the remote location and extreme weather, but with collaboration and communication, we will get there.
"To all those who have offered their thoughts and prayers – thank you. As we work to safely recover from this tragedy, we do so with our fallen colleagues in mind. Our entire railroad family mourns this tragic loss".
Details are sparse at this stage. Teamsters have learned that the Transportation Safety Board (TSB) has deployed a team of investigators to the crash. The union will cooperate fully with the TSB and CP, monitoring the investigation's progress closely.
"Our hearts and our deepest condolences go out to the victims' loved ones and co-workers. Our union and its 125,000 members stand with them in mourning," said François Laporte, president of Teamsters Canada.
The three victims are believed to be a locomotive engineer, a conductor, and a conductor trainee. Their names have not yet been released.
Eight railway workers have now died in Canada since November 2017. Investigations into these accidents are still ongoing.
"Today, our focus is on this accident as well as the victims' friends and families. But moving forward, the government and the rail industry will have to recognize that something is wrong and change is needed. Eight workplace fatalities in a little over a year is not something that should be expected or accepted," said Lyndon Isaack, President of the TCRC.


text:
Microsoft Cloud accelerates in Canada and expands to South Korea
在 五月 10, 2016 上貼文
Takeshi Numoto Commercial Chief Marketing Officer, Microsoft
Today, the Microsoft Cloud takes another leap forward in our mission to empower every person and every organization on the planet to achieve more. I'm proud to announce Microsoft Azure is generally available from local datacenter regions located in Toronto and Quebec City, Office 365 is now offering data residency for business customers in Canada, and in South Korea, we will expand the Microsoft Cloud from new datacenter regions, including a datacenter region based in Seoul.
As one of the largest cloud operators in the world, Microsoft has invested more than $15 billion (USD) in building a resilient cloud infrastructure and cloud services that are highly available and secure while lowering overall costs. With the introduction of new regions in Korea, Microsoft has now announced 32 Azure regions around the world with 24 generally available today – more than any other major cloud provider.
This latest investment is further proof of Microsoft's commitment to empower customers to embrace a cloud-first world on their terms and is expected to accelerate public and hybrid cloud adoption within Korea. Businesses in Korea and throughout Asia Pacific will be able use the massive computing power available locally to fuel growth, spur innovation and accelerate digital transformation.
"This news shows us the clear evidence that Microsoft actively responds to market needs. The announcement of Microsoft's investment in datacenter regions is very meaningful in the sense that Microsoft has a strong vision for Korea, a country that is a clear leader in the global gaming industry." – Taeyoung Kim, CEO, WEBZEN
"The ultimate goal of driving innovation through cloud services is to reduce the total cost in business operation and maximize IT efficiency to achieve business agility. I believe that the expansion of the Microsoft Cloud in Korea will create big momentum for many Korean companies to very actively adopt cloud services." – Chan Park, Chief Technology Officer (CTO), JYP Entertainment
In Canada the transformation is underway. The Microsoft Cloud is now providing Azure and Office 365 business customers with the benefits of enterprise-grade reliability and performance combined with data residency. This includes data replication in multiple locations within the country for business continuity and the option of a private connection to the public cloud with Azure ExpressRoute. Microsoft Cloud customers in Canada will also be able to benefit from Dynamics CRM Online coming in Q3 2016.
"Working with Microsoft is a tremendous opportunity for Nova Scotia. We encourage innovation and we are excited to be taking advantage of the newly opened Microsoft Canadian data centre where we will begin moving more than 35,000 users to the Microsoft Canadian cloud over the coming years. Nova Scotia continues to be an innovative leader in Canada in many areas and this solution supports this visionary type of thinking." – Labi Kousoulis, Minister Internal Services, Province of Nova Scotia
The new cloud regions available in Canada and those coming to Korea will feature the same industry-leading levels of security, privacy and control, compliance, and transparency that define the Microsoft Trusted Cloud globally and will help spur technology innovations and economic opportunity. Customers choosing Microsoft Cloud services benefit from the company's experience in enterprise computing and hybrid cloud – offering everything from optimization of compute resources to higher-level services for advanced analytics, media services, the Internet of Things (IoT), and big data. In addition, the Microsoft Cloud provides best-in-class productivity and collaboration across all of the major device platforms.
"The core of cloud service is security. Microsoft Azure is perceived as the trusted cloud service as it has numerous certifications from many international organizations. I hope the Microsoft announcement today provides Korea with an opportunity to increase awareness of the need for security in cloud services." – Chun Shik Park, Professor of Information Security of Seoul Women's University and the former Chairman, KIISC (Korea Institute of Information Security and Cryptology)
The Microsoft Cloud is a global leader in compliance, with the broadest portfolio of certifications in the industry. Azure, Office 365, and Dynamics CRM Online have received ISO 27001 certification and are audited under the SSAE 16/ISAE 3402 SOC 1 and SOC 2 standards. In addition, Microsoft was the first cloud service provider to adopt the uniform international code of practice for cloud privacy and data protection, ISO/IEC 27018, which provides guidelines for protection of personally identifiable information.
With Canada regions now live and serving customers locally, and the announcement of our cloud expansion in Korea, I am truly excited to enable our customers to leverage the power of the cloud!
Announcements Security Trust Center Compliance Trusted Cloud


My Birthstone Collection was requested from numerous preferred customers. I loved the idea! Not only does it give you a personalized gift but also gives me a color palette for you to choose from. I also love the mineral and gemstone connections. (I am a closet rock hound). Please feel free to choose them just for the interesting colors.


text:
Susana Sumelzo Jordán (born 1969) is a Spanish politician of the Spanish Socialist Workers' Party (PSOE) who has been serving as member of the Congress of Deputies since 2011.

Early life and career
Born on 22 December 1969 in Zaragoza, Sumelzo graduated in Law at the University of Zaragoza. She later worked for a time at a law firm, as well as a 8-year spell at the Provincial Deputation of Zaragoza.

Political career

Early beginnings
Sumelzo joined the Spanish Socialist Workers' Party (PSOE) in 1990, when she was 20 years old. She ran as PSOE senatorial candidate for the province of Zaragoza vis-à-vis the 2008 general election; Sumelzo was elected and she served as member of the Upper House for its 8th term integrated within the Socialist Parliamentary Group.

Member of Parliament, 2011–present
Regarding the 2011 general election, she ran in the PSOE list for Zaragoza for the Congress of Deputies. She was elected, and she has renovated her seat at the 2015, 2016, and 2019 general elections. She was one of the 15 MPs of the Socialist Parliamentary Group who, in October 2016, broke party discipline and refused to abstain in the investiture vote of Mariano Rajoy, voting against instead. Once Pedro Sánchez made a comeback to party leadership, Sumelzo joined the PSOE's Federal Executive Board in June 2017, charged with responsibilities at the Area of Municipal Politics.

Following the 28 April 2019 general election, Sumelzo was elected to chair the Joint Congress-Senate Committee for the European Union on 30 July 2019.

In addition to her committee assignments, Sumelzo has been a member of the Spanish delegation to the Parliamentary Assembly of the Council of Europe (PACE) since 2019. In the Assembly, she has served on the Committee on Political Affairs and Democracy (since 2022); the Sub-Committee on Democracy (since 2022); the Sub-Committee on the Europe Prize (since 2020); the Sub-Committee on the European Social Charter (since 2020); the Sub-Committee on Children (2020–2022); the Committee on Social Affairs, Health and Sustainable Development (2019–2022); and the Sub-Committee on Gender Equality (2020–2021).

References

1969 births
Living people
Members of the 10th Congress of Deputies (Spain)
Members of the 11th Congress of Deputies (Spain)
Members of the 12th Congress of Deputies (Spain)
Members of the 13th Congress of Deputies (Spain)
Members of the 9th Senate of Spain
Women members of the Congress of Deputies (Spain)
Members of the 14th Congress of Deputies (Spain)

redpajama_set_name: RedPajamaWikipedia


text:
Filterall
Search results for 'free+software'
Ten Theses on WikiLeaks
These 0.
"What do I think of WikiLeaks? I think it would be a good idea!"
(after Mahatma Gandhi's famous quip on 'Western Civilisation')
The Critical Engineering Manifesto
The Critical Engineering Working Group - Berlin, October 2011
critical engineering
Art, Resistance and Rebellion on the Net
Call to join the cybernetic edition of CompArte "Against Capital and its Walls, All the Arts"
network cultures,
net.activism,
net criticism
Tactical Media, the Second Decade
The tactical media concept originates in post-1989 Europe when political change coincided with a wild phase in thinking about media technologies. It was the decade when both artists and activists started to discover digital technologies on a massive scale. Prizes dropped and expectations rose to incredible heights.
tactical media,
Tactical Media After 9-11
It is tempting to portray '9-11' as a turning point. Gore Vidal warns that, since September 11, the US is in danger of turning into a "seedy imperial state." Make war, not politics. The new patriotism requires: "Disruption, including obstructing the view or hearing of others, will not be tolerated." The list of measures to restrict civil liberties, freedom of speech and privacy, or what?s left of it, doesn?t stop. A recent conference in Perth concluded that post-September 11 reporting adds to divisions and stereotypes. "The media's failure to provide more perspectives to news consumers and ask critical questions is fuelling a culture of fear and blame around the world, experts say."
Twelve Theses on WikiLeaks
(after Mahatma Gandhi's famous quip on "Western Civilization")
infopolitics,
net.congestion
International Festival of Streaming Media
De Balie, Paradiso, Melkweg
Amsterdam, October 6 - 8, 2000
Binary Dispatches
net.radio days 98 was this year's manifestation of the annual Radio Days forum, exploring the innovation and experimentation of radio art. This year's conference was hosted in Berlin in June of this year. It was a symposium focused on a new generation of streaming media practitioners, utilising software such as Real Audio to broadcast audio content live on the internet. This phenomena is being dubbed, net.radio.
radio,
World Charter of Free Media
Tunis March 2015
We, communicators and activists committed to multiple emancipatory communication practices across different regions of the world, freely assembled in March 2015 in Tunis, on the occasion of the 4th World Forum on Free Media, organized in the framework of the World Social Forum 2015, adopt this World Charter of Free Media, as the result of our collective reflection initiated in 2013, and as an expression of our resistance, and our commitment to just and emancipatory communication, and our engagement with world developments and humanity.
media,
activism,
globalisation,
info-activism,
participatory media,
Free/Libre Culture Forum Declaration
We can no longer put off re-thinking the economic structures that have been producing, financing, and funding culture up until now. Many of the old models have become anachronistic and detrimental to civil society. The aim of this document is to promote innovative strategies capable of defending and extending the sphere in which human creativity and knowledge can prosper freely and sustainably.
copyleft,
precarity,
copyright,
Tactical Television in Italy
Overview and manifesto of urban tv movements in Italy
urban intervention,
tactical television,
telestreet
Looking into the practice within the labs
To talk about the Cybermohalla project is to talk about concrete practices and how they relate to forms of knowledge. This is essential when we reflect on being producers of knowledge. What we are trying to follow and understand is the intricate web of processes involved in the development of a group - not just an aggregate of specialised selves. We also try to follow how this group generates within it a capacity for self recognition, for intersubjective recognition, for understanding the social biography of the neighbourhood and for developing a sense of and addressing diverse publics.
A Rift in Empire?
The antiwar demonstrations of February 15, 2003 proved it: theself-organization of free singularities is possible on a planetaryscale. And that was an event, despite all that followed. In amanifesto-text written just after those demonstrations, I used thelanguage of Negri and Hardt to say that the multitudes could create arift in Empire. In a context where the Aristocracy (the greattransnational companies) had been weakened by a string of financialdisasters, where the Monarchy (the political and military command ofthe earth) had fallen apart in serious dissension, I wanted toencourage the democratic action of the Plebe, against the scorn of theAmerican, British, Spanish and Italian leaders. It was a moment thathad multiplied the world's political stages, overflowing thetraditional mechanisms of representation.
Distance versus Desire
The desire to transcend distance and separation has accompanied the history of media technology for many centuries. Various attempts to realise the demand for a presence from a distance have produced beautiful imaginaries such as those of telepresence and ubiquity, the electronic cottage and the reinvigoration of the oikos, and certainly not least among them the reduction of physical mobility in favour of an ecologically more sustainable connected life style. As current systems of hypermobility are confronted with an unfolding energy crisis and collide with severe ecological limits - most prominently in the intense debate on global warming - citizens and organisations in advanced and emerging economies alike are forced to reconsider one of the most daring projects of the information age: that a radical reduction of physical mobility is possible through the use of advanced telepresence technologies.
electrosmog,
im/mobility,
SWARMACHINE
Activist Media Tomorrow*
* BH: When I wrote this text five years ago, it really was not clear whether the swarming tactics of the counter-globalization movement would get a "second chance." But they have, and now the subtitle could be "activist media today."
What happened at the turn of the millennium, when a myriad of recording devices were hooked up to the Internet and the World Wide Web became an electronic prism refracting all the colors of a single anti-capitalist struggle? What kind of movement takes to the barricades with samba bands and videocams, tracing an embodied map through a maze of virtual hyperlinks and actual city streets? The organizational aesthetics of the networked movements was called "tactical media," a concept that mixed the quick-and-dirty appropriation of consumer electronics with the subtle counter-cultural anthropology of Michel de Certeau. The idea was to evoke a new kind of popular subjectivity, constitutionally "under the radar," impossible to identify, constantly shifting with the inventions of digital storytelling and the ruses of open-source practice. Too bad so much of this subversive process was frozen into a single seductive phrase.
The GHI of Tactical Media
Tactical media are the field being worked by artists adopting a positive attitude towards contemporary digital technology, in a critical, innovative spirit. Media artists reveal a preoccupation with aesthetics as a concept, not with a particular style. This trend is part of the creation of a new language for the communications network era, a user language which is successful as art because it transmits an effective activism. Media activists are a hybrid of artist, scientist, theoretician and political activist that shuns labels and categorizations. Their creations are characterised by integration of user and machine in the work itself, so that interactivity has an important place within it. The concept of tactical media allows Art with a capital and grassroots political activism to be combined and, in this sense, we could include in it the tactical struggle that is part of anti-globalisation movements. Media activists point to the power of tactics as a means of breaking down the barriers between mainstream values and alternative ones, between professionals and amateurs and even between people who are creative and those that are not.
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The Brazilian Context
Many are the social, political or economic problems in Brazil. Socially, there's an extremely unequal distribution of wealth. Such a big social unequality is reflected, for example, in the extreme differences between the center and the periphery in the big cities, regional unequalities, criminality, racism. Besides that, we live in an unnoficial police state that acts in defense of the elites, murdering and arresting poorer citzens, because of the color of their skin or social condition.
The Network of Waves
Public Agency in Hybrid Space
Lead-essay for the theme issue "Hybrid Space" of OPEN, Journal for Art and the Public Domain, #11, (Amsterdam / Rotterdam, 2006).
media theory,
hybrid space,
Notes for a R-evolution 2 (version 2.0): Stage two: Vices vs. New Tactical Virtues
What we've learnt from the Net and how we can extrapolate it to all spaces of struggle.
(Some thoughts geared towards action, compiled for the Radical Community Manager courses that we organise at X.net)
post-governmental organisation,
free culture,
Dawn of the Organised Networks
At first glance the concept of "organised networks" appears oxymoronic. In technical terms, all networks are organised. There are founders, administrators, moderators and active members who all take up roles. Think also back to the early work on cybernetics and the "second order" cybernetics of Bateson and others. Networks consist of mobile relations whose arrangement at any particular time is shaped by the "constitutive outside" of feedback or noise.[1] The order of networks is made up of a continuum of relations governed by interests, passions, affects and pragmatic necessities of different actors. The network of relations is never static, but this is not to be mistaken for some kind of perpetual fluidity. Ephemerality is not a condition to celebrate for those wishing to function as political agents.
info-activism


It is pretty certain that the laborer is hereafter to have more time for himself. That fact is already settled, and the demand will be conceded sooner or later. Eat, work and sleep is the ancient trinity of slavery. The modern life demands leisure; the opportunity for enjoyment and self-improvement. How it is best to be secured is a question about which there is a variety of opinions. One of the plans to give the workingman more time for himself is that of the Saturday half-holiday. We see no particular advantage in this over the eight-hour-for-a-day's-work plan.
It seems to us that if laborers worked eight hours a day and had Sunday for a holiday instead of a holy day, all their requirements would be better answered than in any other way. We do not need a day nor an hour when either work or play would be a crime, and before any other portion of the week is set apart for a holiday, let Sunday be made free to enjoyment and recreation.
There is the eternal bugbear of religion to oppose this scheme, but that is all. The minister, who under free trade on Sunday would be obliged to close up his business, is in favor of a Sabbath law of protection for sermons and prayers, but why should a few clergymen who have six holidays in the week and only one work-day, be favored against millions of toilers, who work six days in the week and are liable to be arrested if they do not go to church on the seventh day? Not a Saturday half-holiday but a Sunday whole-holiday is the first rational step towards justice to the working-man. There is very little in the average Sunday service that is instructive and nothing that is entertaining, and it is based upon the erroneous notion that man owes something that he knows nothing about, a debt of worship one day in seven. Man's brain should be emancipated from the superstition that there is a God in the universe that requires him to sacrifice his own good to divine vanity. Work is holier than worship, and to play is better for man than to pray.
Man wants leisure to enjoy himself, not to worship God. He can have it when he becomes sensible enough to demand it.


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text:
Lineage Episode 10: Too Late, Yet Right On Time
Title: Lineage Episode 10: Too Late, Yet Right on Time
Author: rivermoon1970
Fandom: SG1, NCIS, Criminal Minds, SGA, Sentinel
Characters: Tony DiNozzo, Alec Sheppard (OMC), Gibbs, Fornell, Aaron, Derek, Dr. Lam, Jack O'Neil, Sam Carter
Pairings: Tony/Alec Sheppard, Gibbs/Fornell
Genre: Sentinel and Guides, Bonding
Rating: General
Series: Lineage
Beta: None
Tags: Two snarky men who are mates
Warnings: None
Tony had finally found his Guide after so long, to bad its the gorgeous son of Patrick Sheppard, and the fact that he has just as much sarcasm as Tony the two are going to drive everyone crazy.
"Seriously, what are we doing here Boss?" Tony asked as he stepped out of the SUV that he, Gibbs and Fornell had been picked-up in. The bells and whistles that the three of them had to go through had put Tony on edge, and he knew something was up with Gibbs and his Guide. How the two men worked, Tony never knew, but they seemed to have, however, with their constant bickering you'd never would have been able to tell. Though, when Gibbs needed centering, Fornell was there, and anyone watching could see the affection between them.
"I wanted you here DiNozzo." Tony knew something was up with the man, but he'd let it play out. The trio was led to an elevator where they actually descended, which also put the NCIS agent on edge. When the elevators opened up, he was surprised to see Aaron Hotchner and his Guide Derek Morgan. Though they hadn't crossed paths very often, he knew who they were. Except Aaron Hotchner was looking very, very different these days. Are those…scales? Tony asked himself as he furrowed his brow while trying not to stare at the man.
"That's a new look," Gibbs twisted his lips in a crooked smile.
"Long and interesting story." The man smiled and Tony couldn't help thinking that if the man wasn't bonded, he would have climbed him like a tree. "But it can wait. I'm sure you want to see it."
"Are you absolutely sure it's her?"
"Yes, Jethro. It's her."
"And Spencer?"
"He's gone." Tony frowned and felt a wave of pain coming from Aaron. He wondered at it till a rather attractive woman moved to stand next to him and placed a hand in Aaron's and the pain subsided. Tony sometimes hated that he had more empathy than most Sentinels, it had been much harder to control as a child. It wasn't until he had been placed at the S&G center in Hawaii after his father had left him in that hotel room, that he had gotten a handle on his senses. He was lucky in that Officer McGarrett had decided to take him in, got emergency custody papers based on his father's abandonment, and took care of Tony from there. When John had gotten into something bad, he sent both himself and Steve to a Sentinel friendly boarding school, to get them out of harm's way. The two boys unsure of what was going on with the man. Tony tried to take it in stride, but his friend had a harder time.
"Aaron," the woman smiled softly as she squeezed his hand.
"I know. It's just hard to have seen him leave."
"Hey, for me too. Kid's like a little brother to me," Derek felt like he wanted to say more and Tony felt his grief as well.
"Would someone like to actually explain what we are doing here?" Tony asked as he stepped forward.
"You brought your protege but didn't explain the situation? Really Gibbs?" Fornell snorted and shook his head.
"Like he explains anything he does," Tony half-chuckled, but the amusement he knew didn't reach his eyes. He was long past finding his Boss's idiosyncrasies amusing.
"It's about my adopted daughter and goddaughter, Tara Gideon."
"I don't understand, Boss."
"Follow us. We'll show you the video, then explain what's going on." Aaron led them towards a conference room where they all sat down. A small monitor was on the table, and Aaron slipped a disk into a computer off to the side. He hit play then showed them the video. Tony was hit by the force of Gibbs' emotions and he almost doubled over with the shock.
"This real?" Tony looked at his Boss, his friend and saw actual fucking tears in his eyes.
"Yes, Agent Gibbs, it is very real." A General walked into the room and Gibbs and Fornell stood to greet him, Tony then did the same. "General Jack O'Neil. I see you have a lot of questions."
"Where in the hell is she? Aaron was very vague on the phone."
"Jet," Aaron started. Only few people were allowed to call Gibbs that and for Aaron to use the diminutive, he knew they had a much closer friendship than his Boss had ever let on. "I need you to listen, and not do a damn thing. Steps are being taken and you will stay out of it."
"Aaron?"
"Remember that secret meeting that Spencer and Tara had been invited to?" Gibbs nodded as he frowned while sitting back in his chair. Fornell had grabbed his hand, helping to ground him. "This is going to be hard to take in, but it was about a ship that had been backwards engineered. It was going to be a one way trip to another galaxy. In fact one of our nearest neighbors called the Pegasus Galaxy. They both wanted to go, and Jason found out. Jason helped to facilitate her kidnapping and eventual trip offworld."
The explosion was expected as Gibbs lost it. He shoved out of his chair and paced around the room, anger poured out of him and Tony was having a hard time dealing with all of the powerful emotions. He was torn between wanting the whole story, and trying to siphon off what everyone in the room was feeling. Finally he just couldn't take anymore.
"Excuse me, I ah, I just need to step out of the room for a few minutes." The others just nodded, and Tony almost fled the room. Needing to get a little farther away, he went down a long corridor, then when he no longer felt all of those emotions coming at him, he closed his eyes and slid down the wall at his back. He wasn't sure how long he stayed like that, but he felt something new, something reaching out for him filling up that dark, lonely spot in his soul that had been empty since he had left Hawaii.
"Sir, are you okay?" Tony looked up into the face of one of the most gorgeous Marine's he had ever seen. Slowly he stood and felt that pull even more. It made him wonder if the man in front of him was his Guide. He had refused a search when he joined the police force, he hadn't wanted to be responsible for another person at that time, but as time stretched on he realized how foolish that had been.
"Well, soldier, I think I am now," Tony just couldn't help flirting. It was as natural to him as breathing.
"I ah, I felt someone trying to control their senses. Followed that feeling and found you sitting here on the floor."
"Should we even try to fight this?" Tony asked as he stepped towards the Marine.
"I don't know, I haven't even gotten your name or what you're doing here."
"I'm here with my boss, something about a missing woman that is his goddaughter. And name is DiNozzo. Anthony DiNozzo." The Marine was staring at him like Tony had two heads. After a moment or so, he started to get really uncomfortable. "Is there something wrong Marine?"
"Sorry, I'm sorry just thinking of something ridiculous my brother would say about how there are no such thing as coincidences. Yet, here you are."
"I think I'm quickly losing the thread of this conversation. Please, enlighten me." Tony leaned back against the wall and waited.
"My brother is Spencer Reid, he's a Guide and when he was seventeen, his Sentinel went missing. That was almost nine years ago. It was hard on everyone, especially our older brother John, who tried to help Spencer. The goddaughter you mentioned? That is Spencer's Sentinel."
"Oh, and what's your name?"
"Alec, Alec Sheppard. Youngest son of Patrick and Adele Sheppard and Guide extraordinaire." Alec grinned wide as he leaned his side against the wall next to where Tony was.
"Hmm, I think you are going to have to let me decide on the extraordinaire part." Tony itched to touch, but he was going to wait to see what Alec was going to do.
"Cheeky," Alec grinned as he moved closer, the heat from his body making Tony shiver just a bit. The longer Alec was there, the better Tony was feeling, the more those dark places were lighting up inside him.
"We could stand here and flirt all day long with each other, or we can go to your bunk." Tony didn't even try to hide the heat in his eyes as he looked at his guide, and didn't that just hit him right in the gut.
"I think I want to do this first, a little experiment, just you know, to make sure." Alec moved in even closer as he lifted a hand and cupped Tony's cheek.
"Yeah, okay, good idea." Tony let the kiss happen as his hands wandered down to Alec's hips, gripping him tight he pulled the man even closer to him. The obscene moan that escaped when his half-hard erection pressed against Alec's made Tony open his mouth just a bit. It was enough that Alec was able to slip the tip of his tongue inside making teasing passes as lips slid together. The kiss spun out as Tony gripped the back of Alec's neck and held him right where he wanted him. They didn't actually break apart till they heard a throat clearing. Alec jumped back as he looked at the blonde woman standing there with a half-amused expression on her face.
"Lieutenant."
"Ma'am." Alec had snapped to attention and Tony stood there unashamed at his current predicament.
"I should ask what is going on here."
"Well, Colonel, my name is Tony DiNozzo and I came here with Gibbs and his Guide. I needed a break and, well, just happened to find my Guide."
"Sheppard? Is this true?"
"Ma'am, yes ma'am it is."
"Uh huh. Standard bonding time, go see Dr. Lam about a bonding room and I'll see that you are taken off rotation. Get to know your Sentinel, Lieutenant." The Colonel smiled at them both as she patted Alec's upper arm.
"Dr. Lam?"
"Base Doctor. No bonded to Agent Hotchner and his Guide Agent Morgan."
"Ahh, the hot chick back in the conference room."
Alec grinned wide as he shook his head, then he took Tony's hand and led him back towards the conference room. He knocked, and when he got the all clear he opened the door.
"DiNozzo, where'd you go?" Gibbs barked, then looked down at his hand still in Alec's.
"Went wandering and just happened to find my Guide."
"Lieutenant Sheppard."
"General. Colonel Carter, she ah she said to come see Dr. Lam, Sir."
The Doctor looked towards the two men and smiled at them.
"Come on, I'll take you to a bonding suite. You two," she narrowed her eyes at Aaron and Derek, "behave. I'll only be gone a moment." She turned and placed a hand on Tony's and Alec's shoulders, steering them out of the conference room and through the base. When they neared he infirmary, she steered them further where there were several rooms that looked like they were sound proofed.
"Suite two. Rooms are soundproofed, dampners and white noise machines available. Once you switch on the sign, the windows will also be blacked out. No one will bother you till you come out. I'm assuming that the Colonel is giving you the standard four days?"
"Yes ma'am."
"I'll make sure food, water and some electrolytes are sent to the room each day. Have fun you two. And congratulations." The Doctor patted them on the back before leaving them to it.
Tony didn't have to be told twice as he pulled his Guide into the room, fulling intending to take every single advantage of the four days that he could. When the door shut behind Alec, Tony didn't waste any time at all.