text:
Christine Wong Yap
Artist's Talks
C.V. PDF
Christine Wong Yap (she/they) is a visual artist and social practitioner working in community engagement, drawing, printmaking, publishing, and public art. She partners with organizations to conduct participatory research projects to explore dimensions of psychological wellbeing such as belonging, resilience, interdependence, and collaboration. She has participated in over a dozen residencies and studio programs. She is based in the San Francisco Bay Area, after a decade of living in New York City.
Longer Bio
Christine Wong Yap (she/they) holds a BFA and MFA from the California College of the Arts. Her work has been exhibited by Times Square Arts (NYC), the John Michael Kohler Arts Center (Sheboygan, WI), the Queens Museum of Art (Queens, NY), Bronx Museum of Art (Bronx), Yerba Buena Center for the Arts (San Francisco), Wattis Institute for Contemporary Art (San Francisco), and Centre for Chinese Contemporary Art (Manchester U.K.), as well as in Los Angeles; Portland, OR; Manila; and Poland. Recently, her work was featured in a billboard and poster campaign by Avant Arte in collaboration with For Freedoms in London U.K.
An honoree of the 2020 YBCA 100, she has been awarded grants from the Queens Council on the Arts, the Jerome Foundation, and the Center for Cultural Innovation. She has served as a visiting artist at Ox-Bow School of Art (Saugatuck, MI) and the University of Wisconsin at Madison.
Currently, she is a Kala Art Institute Print Public municipal artist-in-residence with the City of Berkeley's Health, Housing & Community Service. This past spring and summer, she was a public artist-in-residence at Times Square Arts. She has participated in over a dozen artist residencies and studio programs, including the Centre for Chinese Contemporary Art (Manchester U.K.), the Headlands Center for the Arts (Sausalito, CA), Woodstock Byrdcliffe (Woodstock, NY), Tides Institute and Museum of Art (Eastport, ME), Montalvo Arts Center (Saratoga, CA), Harvester Arts (Wichita, KS), c3:initiative (Portland, OR), Lower Manhattan Cultural Council (Governor's Island, NY & Lower Manhattan, NY), Kala Art Institute (Berkeley, CA), Center for Book Arts (NYC), Sanitary Tortilla Factory (Albuquerque, NM), Little Paper Planes (San Francisco, CA), and the Othering & Belonging Institute (formerly the Haas Institute for a Fair and Inclusive Society) at U.C. Berkeley.
Reviews of her work have appeared in the Los Angeles Times, San Francisco Chronicle, and Art Practical. Her work has also appeared on WCBS-TV, in print in the Oakland Tribune, the East Bay Express, and Sing Tao Daily, and on the websites of Artforum, CNN, The Guardian (UK), KQED Arts, New York Magazine, New Yorker Magazine, Oprah, SFMOMA's Open Space blog, and White Hot Magazine. She has contributed to books published by Montez Press, INCA Press, Workman Publishing, New Press, Routledge, and New York University Press.
Born in California, she was a longtime resident of the San Francisco Bay Area. She lived in New York City for 10 years, and relocated back to the Bay Area this year.
Public Projects & Commissions
Solo Shows
Born in California.
MFA. California College of the Arts, San Francisco, CA.
BFA with High Distinction. California College of the Arts, San Francisco, CA.
Selected Public Projects
Flags of Safety and Resilience, Off Lomas, Albuquerque, NM.
How Do You Keep Your Heart Open? (For Susan), Avant Arte x For Freedoms, billboards & posters, London, U.K.
How I Keep Looking Up, Times Square Arts, New York, NY.
Welcome Club at Lee Newcomer School, California College of the Arts, San Francisco, CA.
How I Keep Looking Up, John Michael Kohler Arts Center, Sheboygan, WI.
Art, Culture, and Belonging in Chinatown, Chinatown Arts & Culture Coalition and Chinese Culture Center, San Francisco, CA.
2020 Awakening, For Freedoms & Unfinished, Omaha, NE / 50 US States + Washington D.C., Puerto Rico, Guam, and the U.S. Virgin Islands.
Messages for the City. Times Square Arts with For Freedoms, Poster House, & Print Magazine. Times Square, New York, NY & Mint Museum, Charlotte, NC.
Color Factory contributing artist/collaborator, New York, NY & Houston, TX.
Guiding Stars public artwork, Bay Meadows, San Mateo, CA.
The Pictures Full of Happiness (mobile billboard exhibition), Galeria Rusz, Kujawsko-Pomorskie region, Poland.
Art Moves Festival of Billboard Art, Toruń, Poland.
Here & Now, Invisible Venue / Mills Art Museum, Oakland, CA. Curated by Christian L. Frock. [catalog]
FRED festival, Cumbria, UK.
Solo Shows and Projects
Belonging (online exhibition), Santa Clara University Department of Art and Art History, Santa Clara, CA.
The Eve Of..., Portland 'Pataphysical Society & PDX Contemporary, Portland, OR.
All the Steps in the Process: a research project on collaboration, Harvester Arts, Wichita, KS.
The Eve Of..., Pop-up Gallery/Falchi Building, Long Island City, NY.
Irrational Exuberance (Asst. Colors), Chinese Arts Centre, Manchester, UK.
Irrational Exuberance (Asst. Colors), Sight School, Oakland, CA.
Creative Attention: Art and Community Restoration, Palo Alto Art Center, Palo Alto, CA. (January)
To Oakland With Love, ProArts Commons @ The Loom, Oakland, CA.
Between You and Me, John Michael Kohler Art Center, Sheboygan, WI. Curated by Shannon Stratton. Catalog.
Poetry Is Not a Luxury, San Francisco Center for the Book. Curated by Maymanah Farhat.
Poetry Is Not a Luxury, Center for Book Arts, New York, NY. Curated by Maymanah Farhat.
Queens International 2018: Volumes, Queens Museum, Queens, NY. Curated by Sophia Marisa Lucas and Baseera Khan.
Take Action, CCA Hubbell Street Gallery, San Francisco, CA.
Political Birthdays, Dream Farm Commons, Oakland, CA. Curated by Susannah Magers.
Into Action, 1726 N. Spring Street, Los Angeles, CA.
Forward Union Fair, 714 Broadway, New York, NY.
Free Trade, CCC Design Store, San Francisco, CA. Curated by Alice Wu.
Workspace Artists in Residence, Center for Book Arts, NYC. Curated by Alexander Campos.
Disarming Geometries, Dorsky Gallery, Long Island City, NY. Curated by Gabriel de Guzman.
Social Energies, Legion, San Francisco, CA. Curated by Alice Wu.
Forms + Public, INCA, Seattle, WA.
Appro-propagation, Kala Art Institute, Berkeley, CA.
Document V, The Luminary Arts, St. Louis, MO.
Artists' Annual, Kala Art Institute, Berkeley, CA.
Bronx Calling: The Third AIM Biennial, Bronx Museum of Art, Bronx, NY. Curated by Hatuey Ramos-Fermín and Laura Napier.
Published by the Artist, International Print Center New York, NYC, NY. Organized by Erik Hougen.
Rummage, Presented by Whitney Lynn, Open Source Gallery, Brooklyn, NY.
Material Practices in the Everyday, Artery Art Space, Quezon City, Phillipines.
Make Things (Happen) (a project I initiated and organized with 45 artists' contributions), Interface Gallery, Oakland, CA.
Most Likely To Succeed, Wave Pool Gallery, Cincinnati, OH
Social In Practice: The Art of Collaboration, Nathan Cummings Foundation & NYU Tisch Galleries, New York, NY. Curated by Deb Willis and Hank Willis Thomas.
Earthtwerks & Other Celestial Familiars, SideCar, Hammond, IN.
Happiness Is..., Montalvo Arts Center Project Space Gallery, Saratoga, CA. Curated by Donna Conwell.
Summertime..., Jenkins Johnson Gallery, New York, NY.
Come Healing, Montalvo Arts Center Park Grounds, Saratoga, CA.
Obsolete Californias, Shipping & Receiving at Storefront Lab, San Francisco, CA.
Nomad, Kearny Street Workshop, San Francisco, CA.
Voices of Home, Jenkins Johnson Gallery, New York, NY and San Francisco, CA.
In Other Words, Intersection for the Arts, San Francisco, CA.
Enter a Small Room Arranged for this Purpose: Part Three / Peering Sideways, Untitled Gallery / Project Space Leeds, Leeds, UK.
Negative Space, Steven Wolf Fine Arts, San Francisco, CA.
Summer Selections, Jenkins Johnson Gallery, New York and San Francisco.
Re-Covering, Untitled Gallery, Manchester, UK. Curated by Mike Chavez-Dawson.
The Beautiful Kiosk, As Is Exhibitions, Oakland, CA. Curated by Brandon Holmes.
The Black Portrait, Rush Arts Gallery, New York, NY. Curated by Hank Willis Thomas & Natasha L. Logan.
T_XT_RT, Jenkins Johnson Gallery, New York, NY. Curated by Courtney Johnson.
Procedural, MacArthur B Arthur, Oakland, CA. Curated by Jackie Im and Aaron Harbour.
Portraiture: Inside Out, Walsh Gallery, Seton Hall University, South Orange, NJ.
Shadowshop, a project by Stephanie Syjuco. San Francisco Museum of Modern Art.
We have as much time as it takes, Wattis Institute for Contemporary Art, San Francisco, CA. Curated by CCA's Graduate Program in Curatorial Practice. [catalog]
Unrealised Potential, Cornerhouse, Manchester, UK. Curated by Mike Chavez-Dawson with Sam Ely & Lynn Harris (Unrealised Projects).
Lending Library, Adobe Books Backroom Gallery, San Francisco, CA. Curated by Dena Beard.
Living. 4707 Telegraph, Oakland, CA. Curated by Brandon Drew Holmes.
So Many Products, So Little Time, Soap Gallery, San Francisco, CA. Curated by Andy Vogt & Sarah Smith.
Hello! My Name is..., Invisible Venue, College Art Association Conference, Chicago, IL. Presented by Christian L. Frock.
Flatfile, Golden Parachutes, Berlin.
Chain Reaction 11, San Francisco Arts Commission Gallery, San Francisco, CA. Nominated by Glen Helfand.
Palimpsests, Tarryn Teresa Gallery, Los Angeles, CA. Curated by Elizabeth Williams.
Exercises in Seeing, Queen's Nails Projects, San Francisco, CA. Curated by the Post Brothers.
Bellwether, Southern Exposure, San Francisco, CA. [catalog]
Involved, Socially, Triple Base, San Francisco, CA. Curated by Michelle Blade. [publication]
The Kiss of a Lifetime, Vane, Newcastle, UK and Bearspace, London, U.K. Curated by Mike Chavez-Dawson.
Tech Tools of the Trade: Contemporary New Media Art, De Saisset Museum, Santa Clara, CA.
Dark Into Light, Swarm Gallery, Oakland, CA. Solo project.
Sorry!, Frey Norris Gallery, San Francisco, CA.
Activist Imagination, Kearny Street Workshop, San Francisco, CA. [catalog]
Shifted Focus, Kearny Street Workshop, San Francisco, CA.
Galleon Trade: Bay Area Now 5 Edition, YBCA, San Francisco, CA.
Moving Cultures, Euphrat Museum, Cupertino, CA.
Galleon Trade, Green Papaya Art Projects, Quezon City, Philippines. Curated by Jenifer K. Wofford.
Centennial Graduate Exhibition, California College of the Arts, San Francisco, CA.
Beats per Minute: Contemporary Artists Influenced by Craft and Folk Art Practices, Museum of Craft and Folk Art, San Francisco, CA. Curated by Julio Cesar Morales.
Supermarket 2007, Koh-i-noor booth, Copenhagen.
Alumni at the Centennial, Oliver Art Center, Tecoah Bruce Gallery, Oakland, CA. Juried by Julie Joyce and Jo Lauria.
Immediate Futures, San Francisco Arts Commission Gallery, San Francisco, CA.
Print Exchange, Osaka University of Arts, Japan & Oliver Art Center, Oakland, CA. Catalog.
Home, Kearny Street Workshop / Space 180, San Francisco, CA.
Fling, SomArts Gallery, San Francisco, CA. Curated by Han Pham and Derek Chung.
CirCA Now. Oakland Museum Restaurant Gallery, Oakland, CA. Juried exhibition; jurors included Phil Linhares and Karen Tsujimoto.
Justice Matters, Berkeley Art Center, Berkeley, CA.
Bayennale, Oakland, CA.
Paper Bullets. Intersection for the Arts, San Francisco, CA.
APAture. Kearny Street Workshop / SomArts Gallery, San Francisco, CA.
Kaleidoscope. Craft & Cultural Arts Gallery, Oakland, CA.
Coasticated. Punch Gallery, San Francisco, CA.
To Conjure a Language. ProArts Gallery, Oakland, CA.
Visible Resistance. Asian Arts Initiative, Philadelphia, PA.
War and Silence. Kearny Street Workshop / SomArts Gallery, San Francisco, CA. [catalog]
Magician's Day Off. Euphrat Museum, Cupertino, CA.
Roots. Chinese Culture Center, San Francisco, CA.
War! What is it Good For? Asian Resource Gallery, San Francisco, CA.
A.I.R. Gallery, New York, NY.
Limited Edition. Kearny Street Workshop / Asia Pacific Cultural Center, Oakland, CA.
17 Women. Juice Design, San Francisco, CA.
Asian Resource Gallery, Oakland, CA.
Y2K. Southern Exposure, San Francisco, CA.
Limner Gallery, New York, NY.
University of the Pacific, Stockton, CA.
Juried Annual. Kala Art Institute, Berkeley, CA.
Beyond Borders. V.U. Gallery, Bellingham, WA.
Alameda County Art Collection, CA.
The Center for Book Arts, NYC.
Residencies, Fellowships & Studio Programs
Residency Project, Palo Alto Art Center (with Eastside Prep Academy and Avenidas), Palo Alto & East Palo Alto, CA.
Public Artist in Residence. Times Square Arts, NYC.
Artist in Residence. Print Public, Kala Art Institute / City of Berkeley's Department of Health, Housing, and Community Services, Berkeley, CA.
Artist in Residence. Workspace, Lower Manhattan Cultural Council (LMCC), New York, NY.
Inaugural Artist in Residence. Othering & Belonging Institute (formerly the Haas Institute for a Fair and Inclusive Society) at U.C. Berkeley, Berkeley, CA.
Inaugural Artist in Residence. Sanitary Tortilla Factory, Albuquerque, NM.
Artist in Residence. Little Paper Planes, San Francisco, CA.
Kala Fellowship Award. Kala Art Institute, Berkeley, CA.
Workspace Artist-in-Residence. Center for Book Arts, New York, NY.
Artist in Residence. Process Space, Lower Manhattan Cultural Council, Governor's Island, NY.
Artist in Residence. c3:studio residency, c3:initiative. Portland, OR.
Artist in Residence. Harvester Arts. Wichita, KS.
Fellow. AIM (formerly Artists in the Marketplace), Bronx Museum of the Arts, Bronx, NY.
Artist in Residence. StudioWorks. Tides Institute and Museum of Art, Eastport, ME.
Artist in Residence. Lucas Artists Program. Montalvo Arts Center, Saratoga, CA.
Artist in Residence. Byrdcliffe Art Colony, Woodstock Byrdcliffe Guild, Woodstock, NY.
Artist in Residence. Breathe, Centre for Chinese Contemporary Art (formerly the Chinese Arts Centre), Manchester, UK.
Affiliate Artist. Headlands Center for the Arts, Sausalito, CA.
Grants, Awards & Honors
Honoree. YBCA 100, Yerba Buena Center for the Arts, San Francisco, CA.
Grant. Queens Arts Fund, Queens Council on the Arts, Queens, NY.
Grant. Travel and Study Grant. Jerome Foundation.
Investing in Artists grant recipient. Center for Cultural Innovation, San Francisco.
Fund for New Work Grant (with Bob Hsiang, lead artist Donna Keiko Ozawa, and Kearny Street Workshop). Creative Work Fund. San Francisco.
Fund for Artists Matching Commissions Grant (with Bob Hsiang, lead artist Donna Keiko Ozawa and Kearny Street Workshop). San Francisco Foundation.
Murphy Fellowship in the Fine Arts, San Francisco Foundation. Juried by Anuradha Vikram, Julio Morales and Jerome Reyes.
Yozo Hamaguchi Endowed Scholarship, CCA, San Francisco.
Local Hero. KQED Youth Media Corps. San Francisco.
Sister of Fire Award. Women of Color Resource Center. Oakland, CA.
Local Hero. Best of the Bay Awards, San Francisco Bay Guardian.
Grant. Active Element Foundation. New York.
Visiting Artist. University of Wisconsin, Madison, WI.
Visiting Artist. Ox-Bow School of Art & Artists' Residency, Saugatuck, MI.
Guest Lecturer. Chautauqua School of Art, Chautauqua, NY (remote).
Selection Panel Member. New Glass Review 41, Corning Museum of Glass, Corning, NY.
Selection Panel Member. 2020 c3:letterpress residency program, c3:initiative, Colton, OR.
Selection Panel Member. 2019-2020 Artist-in-Residence program, Haas Institute for a Fair and Inclusive Society at UC Berkeley, Berkeley, CA.
Selection Panel Member. Art Moves Festival of Billboard Art, Toruń, Poland.
Juror. LPP+ Residency Program, Little Paper Planes, San Francisco, CA.
Selection Panel Member. Workspace Artist-in-Residence. Center for Book Arts. NYC.
Juror. Residency programs. Signal Fire. Portland, OR.
Juror. StudioWorks Residency. Tides Institute and Museum of Art. Portland, OR.
Member/Silent Member, Ortega y Gasset artists' collective. Brooklyn, NY. [Oct. 2014–Sept. 2015]
Selection Panel Member. Interface Gallery, Oakland, CA.
Selection Panel Member. I'll Look Forward to It, a project by Oliver Braid for New Work Scotland Programme 2011, Collective, Edinburgh.
Contributor. Open Space, San Francisco Museum of Modern Art blog.
Contributor. Art Practical.
Volunteer. Art in Odd Places, The Laundromat Project, Flux Factory art auction, New York, NY.
Juror. MFA & Affliate Artist Awards, Headlands Center for the Arts, Sausalito, CA.
Curator. This & That International Mail Art Swap. An exhibition and exchange between 32 artists and artists' groups spanning the U.S., U.K., Vienna, Prague, Hong Kong and Manila. Exhibited within Involved, Socially at Triple Base Gallery.
Hotchkiss, Sarah. "Asian American Artists Light Up Buildings With Guerilla Messages of Solidarity." KQED Arts. July 1. Mention.
Irwin, Veronica. "Anti-Racist Bat Signals Light Up S.F." SF Weekly. July 14.
Oh, Ellen. "Be Bold, Be Proud, Speak Up: Raising Asian American Daughters Now." Time Magazine. March 21. Mention.
Darden, Jenee & Green, Precious J. "Sights & Sounds: Chinatown Pretty Picks." KALW. December 3.
Irven, Donovan, "Disclosures: Christine Wong Yap and Hoi Leung or, The Places You Belong To," Filo Sofi Arts Disclosures, White Hot Magazine of Contemporary Art, December 2020. Philosophical essay based on interview with images.
Kazior, Jon. "Amid a Fraught Election, For Freedoms Encourages Nuanced Civic Discourse Through Art." AIGA Eye on Design. November 2. Image.
Millsap, Taina. "Cara Levine / 'This Is Not a Gun' project raises conversation about racism." Flaunt.com. Image.
Ng, Rachel. "Why does the U.S. have so many Chinatowns?" National Geographic, September.
Rozental, Rotem. "This Is Not a Gun." Tohu Magazine. November 17. Image.
Sporn, Stephanie. "Jenny Holzer, Carrie Mae Weems, and More Craft Digital Works of Gratitude Across NYC." Galerie Magazine, May 15. Image.
—. "藝術家創作支持華埠 葉黃嘉雯領銜" (Artwork Supporting Chinatown Led by Christine Wong Yap), Sing Tao Daily, June 7. Photo and article.
—. "Buckle Up for a Virtual Culture Road Trip This Weekend." Bloomberg Philanthropies Blog. May 1.
Grossman, Sara. "In Discussion with Christine Wong Yap." Haas Institute for a Fair and Inclusive Society News Magazine. Spring.
Hotchkiss, Sarah. "Christine Wong Yap Asks: Where Do You Feel a Sense of Belonging?" KQED Arts, February 24.
Mirsky, Maya. "It's official: This Berkeley rabbi's home is a 'place of belonging.'" J. Weekly. March 14.
O'Neill-Butler, Lauren. "Lure of the Local." Artforum. December 11. Diary on the Queens International.
Embuscado, Rain. "How to Spend the Day Seeing Amazing Art All Over Queens." New York Magazine. November 21.
Harris, Gareth. "Artists' campaigns for better pay are picking up pace – but will museums take note?" Apollo Magazine. November 12.
Moynihan, Colin. "A Seedbed of New Images to Protest Trump." New Yorker. January 18.
Takayama, Robynn. Interview. APEX Express, KPFA 94.1. February 2.
Chiragdin, Neil. "Artists use geometry to convey the shape of things." Queens Chronicle. Jan 19.
Burke, Sarah. "Make Things (Happen)." East Bay Express. February 25.
Jahn, Jeff, "First Thursday Picks, June 2015," PORT/PortlandArt.net, June 4.
Tudor, Silke. "DIY Gallery." SF Weekly. January 28.
Varinsky, Dana. "Emerging Artists Take the Bronx," Time Out New York, July 15, 2015.
—. Congratulations Pine Tree podcast. Episode 25. February 9. Guest.
—. "Six Dazzling Messages for a Woman Who Wants More—from Herself." Oprah.com. June 12. Images.
Brook, Pete. "Exhibition Review: 'Social Practice: The Art of Collaboration.'" PrisonPhotography.net. June 19.
Frock, Christian L. "Like, Comment, Share: Inside Facebook's Artist-in-Residence Program." KQED Arts. August 21.
Frock, Christian L. "W. A. G. E. Against the Machine: Art and the Business of Gettin' Paid." KQED Arts. October 22.
Fitzsimmons, Claire. "Happiness Is." Joe's Daughter. May 7. Interview.
Helfand, Glen. "From Saratoga: Happiness Is..." Art Practical. Issue 4.10, February 27. Review.
Hunn, Sarrita. "What Post-Artists Make Happen," Temporary Art Review. May 14. Essay, information graphic.
Sarwari, Khalida, "Happiness Is—well, it's coming to Montalvo," Silicon Valley Mercury News, January 21, 2013.
—. The Aphorists podcast. Episode 7. January 29. Guest.
Bliss, Oly. "Pop-up Art: Christine Wong Yap at Chinese Arts Centre." Creative Tourist. November 21. Interview, photo.
Clark, Robert. "The Exhibitionist." The Guardian. October 25. Preview, photo.
Giedrys, Grzegorz. "Billboardy reklamują sztukę wysoką." Gazeta Toruń. September 1. Preview, photo.
Orłowski, Mariusz and Błażej Antonowicz. "Wielkoformatowi artyści." Toruń TV. September 18. Interview.
—. "Białoruskie i irańskie billboardy w Toruniu." Polskie Radio. September 13.
—. Teraz Toruń. September 13. Preview, photo. mp3.
Le Duc, Aimee. "As Museum Websites Evolve, Will They Draw More Visitors or Replace the Real Thing?" Bay Citizen. April 4.
Reyes, Eric Estuar. "Fictions of Return in Filipino America." Social Text Vol. 29, No. 2 107. (Summer): 99–117.
Sussman, Matt. "Just Say No." San Francisco Bay Guardian. Volume 45, Issue 44. August 2. Review.
—. "Positive Signs by Christine Wong Yap!" Redefinemag.com. June 1.
Allen, Annalee. "Art installations ready for viewing at three historic sites in Oakland." Oakland Tribune, May 30.
Barich, Steven. "Art of Conversation: Christine Wong Yap." Artopic.org. May 12. Interview.
Braman, Samantha. "Alumna Christine Wong Yap's Work is Fueled by Positive Psychology." California College of the Arts website, News section. October 4.
Brier, Jessica. "Chain Reaction 11." Art Practical. Issue 11, March 25.
Brier, Jessica. "We Have as Much Time as it Takes." Art Practical. Issue 16, June 3. Review and photo.
Brown, Brandon. "Lending Library." Open Space blog, SFMOMA.org. June 17.
Mallouk, Elyse. "Lending Library." Art Practical. June 17.
Messer, Ari. "Involved Socially: Artists meld life and art." San Francisco Chronicle. F-11. August 20. Review and photo.
Ollman, Leah. "'Palimpsests': by Christine Wong Yap, Annie Vought, Cara Barer on exhibit at Tarryn Teresa Gallery." Los Angeles Times, October 9. Review and photo.
Sheridan, Sarah Robayo. "Book Reviews." Camerawork: A Journal of Photographic Arts, Vol. 36, No. 1, Spring/Summer 2009. 43-44. Review of Activist Imagination catalog, photo of curatorial project.
Swanhuyser, Hiya. "Involved, Socially: Inspiration Name of Game." SFWeekly.com, August 14.
—, Profile segment. Zeitgeist, Channel M, Manchester, U.K. Aired on October 20.
—, Spraygraphic Interview with Visual Artist Christine Wong Yap. Sprayblog.net, May 20, 2009.
Eisenhart, Mary. "Galleon Trade: Bay Area Now 5 Edition." San Francisco Chronicle, September 18.
Light, Claire. "Art Review: Christine Wong Yap: Activist Imagination." KQED.org website, Arts & Culture section, Visual Arts section. March 9.
Nataraj, Nirmala. "Sorry, at Frey Norris Gallery." SFStation.com. April 18.
Ritchie, Andy. "Gallery Hop Around Town with Andy Richie—Dark into Light." Artslant San Francisco, February 24.
—, "Local Artist." Profile. San Francisco Bay Guardian. April 16–22, 2008. p. 22. [PDF, 96 kb]
Dumancas, Pedro. "Galleon Trade, Fil-Am Exodus Back to the Motherland," Philippine Daily Inquirer. August 5. [PDF, 420 kb]
Harmanci, Reyhan. "Galleon Trade: Ship Launch!" San Francisco Chronicle. June 28.
Killian, Kevin. "Studio Visit." Mirage #4/Period(ical) zine, Issue #138, February. [PDF, 48 kb]
Meeker, Cheryl. "CCA's 2007 Graduate Exhibition." Stretcher.org. May 11.
New, Jennifer. "Not by the Book: Reinventing Your Journal." Photo and brief profile. DivineCaroline.com. January 8.
—, "Artepreneur." Q&A. The Angel Journal. March 1.
—, "Creative Work Fund." Photo. Artweek. September.
—, "FRED—An Art Invasion." Arts Update 59. Sept./Oct./Nov. [PDF, 420 kb]
Nguyen Qui Duc. "Asian Americans' Notions of Home." Pacific Time, KQED, July 13. [Audio file at KQED.org]
Petty, Matt. Post and lead photo. "Monster Drawing Rally." SF Gate Culture Blog. Feburary 27.
Olson, Marisa S. Photo with review of exhibition at Intersection for the Arts. ArtWeek, December 2004 / January 2005.
Hill, Lori. "First Friday Focus." Philadelphia City Paper, March 12.
Koppman, Debra. "Review: To Conjure a Language." Artweek, March.
Lin, Serena. "Artists Speak Out Against the War." Tea Party Magazine. Issue #13.
Ng, Darlene. Local hero public service announcement. KQED.
Sabir, Wanda. "Wanda's Picks." San Francisco Bay View, March 26.
Yuen, Jennifer May. "Bay Area Artists Speak out for Peace in New Exhibit." AsianWeek, February 28.
Inglis, Titiana Leung. "Young Artists show at the Asia Pacific." Oakland Tribune, March 31.
—, BLU Magazine. Profile with several photos. The Radical Pacific Issue.
Zoll, Daniel. "Local Hero: Christine Wong." San Francisco Bay Guardian, July 26.
Lewis, Andrea. Interview on Oakland Technical High School mural. The Morning Show, KPFA 94.1.
Soong, C.S. Interveiw on two-person exhibition. Flashpoints, KPFA 94.1.
Critical Writing
"From New York: Love Me." Art Practical. Issue 3.19. July 19. Review of group exhibition at Benrimon Contemporary.
"From the Bronx: This Side of Paradise." Art Practical. Issue 3.14. May 2. Review of No Longer Empty's exhibition.
"From New York: Infinite Line." Art Practical. Issue 3.8. February 2. Review of Sarah Sze's exhibition at Asia Society.
"Residency Projects II." Art Practical. Issue 3.2. October 6. Review, Kala Art Institute. Reprinted on KQED Arts.
"Under Destruction I & II." Art Practical. Issue 2.19. June 16. Review of exhibition at Swiss Institute. Re-printed on Daily Serving, June 30.
"Art Competitions: A Selective Comparison of Applicant Pools, Awards, and Odds." Temporary Art Review. June 15. Information graphic and essay. Reprinted in Rejected, a collection of rejected letters by artist Tattfoo Tan.
"Portrait of an Artist, Wily and Engaged." Art Practical. Issue 2.16. May 5. Feature with interviews of three artists and a collaborative.
"From New York: Curtain Call." Art Practical. Issue 2.13. March 10. Review of Robert de Saint Phalle's exhibition at Dodge Gallery, NYC.
"Should I Stay or Should I Go?" Art Practical. Issue 2.10. Jan 28. Feature with interviews of five local and international artists. Reprinted on KQED Arts.
"From New York: Recipes For An Encounter." Art Practical. Issue 2.2. Sept. 30. Review of group show at Dorsky Gallery Curatorial Projects, Long Island City, NY.
"From New York: A Bell For Every Minute." Art Practical. Issue 2.1. Sept. 16. Review of public project by Stephen Vitiello, NYC, NY.
"From New York: Usable Pasts." Art Practical. Issue 2.1. Sept. 16. Review of group show at the Studio Museum in Harlem.
"Best Of: Christine Wong Yap." Art Practical. Issue 1.21. Aug. 10. Top ten list.
"They Knew What They Wanted." Art Practical. Issue 1.19. June 3. Review of group show at John Berggruen Gallery and Altman Siegel Gallery, San Francisco, CA.
"Inventory." Art Practical. Issue 11. Mar. 25. Review of show by Miriam Böhm at Ratio 3.
"Jars Filmed Inside." Art Practical. Issue 16. Jun. 3. Review of show by Elaine Buckholtz at Triple Base Gallery.
"Black Glass." Talking Cure Quarterly. Summer. Jun. 4. Review of show by Carina Baumann and Cliff Hengst at [2nd floor projects].
Wong Yap, Christine. "Primero La Caja." Art Practical. Dec. 17. Review of show by Pablo Guardiola at Galería de la Raza.
MacPhee, Josh, ed. Celebrate People's History (2nd Edition). New York: Feminist Press. Contributor.
Levine, Cara, ed. This Is Not a Gun. Chicago: Candor Arts & Sming Sming Books. Contributor.
Christine Wong Yap and contributors, 100 Stories of Belonging in the S.F. Bay Area. Oakland: self-published as artist-in-residence at the Haas Institute for a Fair and Inclusive Society at UC Berkeley. Editor, artist, designer, contributing writer.
Levine, Cara, ed. This Is Not a Gun Interjection Calendar. London: Montez Press. Contributor.
Hunn, Sarrita & James McAnally. To Make a Public: Temporary Art Review 2011–2016. Seattle, WA: INCA Press. Contributor.
Jobin-Leeds, Greg; Hernandez-Vazquez, Dey; Agitarte. When We Fight, We Win: Twenty-First-Century Social Movements and the Activists That Are Transforming Our World. New York: The New Press. Image.
Kennedy, Christopher Lee. "Let It Decay: Cultural Precarity in the Anthropocene." Temporary Art Review. October 12. Animated data visualization/commission on the occassion of Common Field convening.
Petras, Kathryn and Ross. "Nothing Is Worth More Than This Day." Workman Publishing. Quote.
Leong, Michael, ed. "Lines of Sight: Visual Art in Asian American Poetry." The Margins. Asian American Writers Workshop. March 3. Art contribution.
—Gazette. Ortega y Gasset Projects, Ridgewood, NY. January. Drawing.
Davenport, Philip. The Dark Would. Manchester, UK: Apple Pie Editions. Art contribution.
—"Profile: Walden-Inspired Accounting." Art Practical. Issue 4.11. March 12.
Guardiola, Pablo and Large, J. Brent, eds. SetToSignal.com. Essay: "Notes on Object-Viewer Relations."
Cloutier, Julie, ed. City Reader. San Francisco: Reading Conventions, 2010. Art contribution.
Frock, Christian L. and Hanor, Stephanie. Here and Now. Oakland, CA: Mills College Art Museum / Invisible Venue. Catalog for commissioned public intervention series.
Tilton, Jennifer. Dangerous or Endangered: Race and the Politics of Youth in Urban America. New York: New York University Press, 2010. Cover art.
—, We have as much time as it takes. San Francisco: Wattis Institute for Contemporary Art. Exhibition catalog with interviews. [PDF]
Curreri, Amanda and Scollon, Erik, eds. Color&Color #0. New York / San Francisco, 2009. Image contributions.
—. Involved, Socially. San Francisco: Triple Base Gallery/Michelle Blade, 2009. Publication featuring contributions by members of 5-person exhibition, with essays by Matthew Rana.
Wazwaz, Maysoun, et. al.. Bellwether. San Francisco: Southern Exposure. Catalog for inaugural exhibition featuring 10 newly commissioned works, with "mirrorsblack" essay, 44-47.
—. Activist Imagination. San Francisco: Kearny Street Workshop, 2008. Exhibition catalog with essays by Kevin B. Chen and Samantha Chanse.
Sudbury, Julia, ed. Global Lockdown: Race, Gender and the Prison-Industrial Complex. New York: Routledge, 2005. Cover art (in collaboration with Lucha).
Wong Yap, Christine. Hyphen Magazine. Issue 7, Fall. Reproduction of a painting.
Wong, Christine. "Come on Down [Expect Stereotypes as South Asians Make U.S. Film, TV Debuts]." Oakland Tribune & KALW 91.7, Feb. 2. Public Radio Exchange piece profile.
Wong, Christine. "An ABC Comes Home: An Ancestral Pilgrimage to Guangdong, China." Pacific News Service, Nov. 19. San Francisco Chronicle, 13 January.
Wong, Christine. "Forget Cinderella [Bride Laments Mother's Gown]." Pacific News Service and KALW 91.7, April 3. Public Radio Exchange piece profile.
I am a visual artist and social practitioner who works in community engagement, drawing, printmaking, and publishing to explore dimensions of psychological wellbeing like resilience, belonging, collaboration, and interdependence.
I partner with organizations to engage communities and conduct research to inform site-specific public artworks and publications. I prefer common materials and familiar forms to lend accessibility and abundance to elusive sentiments and abstract concepts.
My participatory projects invite participants and audiences to engage in self-reflection, social connection, or salient emotional experiences. My work is informed by 10 years of autodidactic study of positive psychology—the empirical study of human flourishing and subjective wellbeing. Guided by the principle of affirming the positive, my projects typically aim to increase personal agency and emotional intelligence. I strive to practice the values of accessibility, transparency, generosity, and reciprocity in my process.
I see my practice as aligned with the idea of "artists as researchers who can design, experiment, fail, innovate, and contribute to society's knowledge production" whose "different kinds of questions and outcomes" can help us to "regain our sense of connection, agency, and empathy—which are vital to a just and sustainable society." (Louisa MacCall*)
My goals are to become a better social practitioner, to hone my craft in formulating original, elegant, and equitable social entanglements, and to contribute new knowledge to the world.
*—Louisa MacCall, co-director, Artists in Context. As quoted in "Public Servants: Art and the Crisis of the Common Good," edited by Johanna Burton, Shannon Jackson and Dominic Willsdon (MIT Press, 2016)
"I'm also so thankful for the inspiration and solace I am finding in art and artists. I watched this beautiful animated meditation by Jess X Snow over and over again. I learned about this gorgeous poster series by Amanda Phingbodhipakkiya. I revisited Christine Wong Yap's recent project in S.F. Chinatown and asked myself, How do I keep my heart open?"
–Ellen Oh, "Be Bold, Be Proud, Speak Up: Raising Asian American Daughters Now." Time Magazine. March 21, 2021.
White Hot Magazine on Public Art & Philosophy
An essay that weaves together philosophical ideas from Hegel, Edward Casey, and Kongzi (Confucius), with billboards and a project on belonging in Chinatown.
"As daily life continues to be disrupted, we can begin to appreciate again the need for recognition that places afford. The art produced by Wong Yap and her collaborators, curated by Leung, reminds us of the role that art plays in the formation of place, our identity within it, and our need to recognize and communicate this belonging between us. Places are dynamic, as people are, full of tensions, contradictions, scenes of joy as well as despair. We are all touched by the places we belong and, by belonging to them, are able to become who we are. There, in the places we belong, we might come to recognize one another again."
—Donovan Irven, "Disclosures: Christine Wong Yap and Hoi Leung or, The Places You Belong To," Filo Sofi Arts Disclosures, White Hot Magazine of Contemporary Art, December 2020.
NatGeo on Art, Culture, and Belonging in S.F. Chinatown
"This year, CCC partnered with artist Christine Wong Yap for the Art, Culture, and Belonging in Chinatown project, for which people were asked to submit their personal recollections of San Francisco's Chinatown. Through intentional art and educational programming, CCC hopes visitors and residents view the neighborhood like a museum, "where it becomes an interactive site to deepen their understanding and sense of belonging through engaging with stories, people, and history," Leung says, cautioning that without care and activism, Chinatowns will eventually disappear."
—Rachel Ng, "Why does the U.S. have so many Chinatowns?" National Geographic, September 2020.
Galerie Magazine on Messages for the City Billboards in Times Square
"For the campaign's second part, launching May 15, more than ten established and emerging contemporary artists, including Jenny Holzer, Carrie Mae Weems, Mel Chin, Duke Riley, and Pedro Reyes, contributed images and animations to be shared during minute-long video rotations, with new releases over the next several weeks.
"In addition to the 24 massive Times Square screens donated by Morgan Stanley, American Eagle, Maefield Development, and Branded Cities' NASDAQ and Thomson Reuters displays, the videos will be shown on 1,774 LinkNYC kiosks across the five boroughs, and 300-plus JCDecaux Screens in New York, Boston, and Chicago."
—Stephanie Sporn, "Jenny Holzer, Carrie Mae Weems, and More Craft Digital Works of Gratitude Across NYC," Galerie Magazine, May 15, 2020.
Sing Tao Daily on Hopes for Chinatown
"I wanted to do something to support the community as shelter in place took hold. It's become more urgent for the project to provide counter-narratives to xenophobic hate, to encourage the public to patronize small businesses in Chinatown, and to give participants opportunities to connect with and celebrate meaningful aspects of their identities and personal histories. Social distancing, isolation, and othering actually underscores my role as an artist: to offer space for participants to connect (even if virtually, or by memory or imagination right now) with the people, places, and cultural assets that help them feel a sense of belonging in SF Chinatown." —Christine Wong Yap
—. "藝術家創作支持華埠 葉黃嘉雯領銜" 星島日報, 2020年06月07日.
Read 读
Bloomberg Philanthropies Blog on Art, Culture, and Belonging
"The Chinese Culture Center in the heart of San Francisco, California's Chinatown, is working tirelessly to support artists during COVID-19 and share examples of creative work on Facebook and Instagram. Artist Christine Wong Yap recently did an Instagram takeover to encourage everyone to practice storytelling as part of the Art, Culture, and Belonging Project, which invites people to discuss how arts and culture contribute to their sense of belonging in Chinatown."
—. "Buckle Up for a Virtual Culture Road Trip This Weekend." Bloomberg Philanthropies Blog. May 1, 2020.
KQED Arts on Belonging (Bay Area)
"Do you feel belonging in your local library, a neighborhood bar, a regular meeting in city hall? Or do you carry your sense of belonging with you from place to place?
"New York-based artist and Oakland expat Christine Wong Yap is making that often-intangible feeling visible—by identifying, commemorating and sharing others' sites of belonging—based on a survey of nearly 100 participants in the nine-county Bay Area region.
"Belonging happens when people feel safe, seen and accepted, Wong Yap says. Her questionnaire, issued over a five-week period at the end of 2018, asked participants identify a place where they think to themselves either 'This is my community,' 'These are my people,' or 'I can be me here.'"
Hotchkiss, Sarah. "Christine Wong Yap Asks: Where Do You Feel a Sense of Belonging?" KQED Arts, February 24, 2019.
Artforum on The People's Guide to the Queens International
"Tucked into a library near the museum's café is a glass-walled gallery housing the installation for The People's Guide to the Queens International, 2018. This meta-collaborative project by Brian Droitcour and Christine Wong Yap departs from the possibly terrifying idea that everyone's a critic—as well as Droitcour's ongoing interest in vernacular criticism and Wong Yap's background with participatory events."
O'Neill-Butler, Lauren. "Lure of the Local." Artforum. December 11, 2018.
New York Magazine on The People's Guide to the Queens International
"As you proceed through the galleries, be sure to pick up a copy of The People's Guide to the Queens International placed throughout the Museum. The single-page forms were designed by artists Brian Droitcour and Christine Wong Yap to stimulate deeper encounters with the works on view. 'Anyone,' they propose in the accompanying wall text, 'can be an art critic!'"
Embuscado, Rain. "How to Spend the Day Seeing Amazing Art All Over Queens." New York Magazine. November 21, 2018.
New Yorker Magazine on a Just Seeds graphics archive
"Over the weekend, an organization in Brooklyn called the Interference Archive gave away about five thousand stickers, three thousand printed posters, a thousand buttons, and almost two gallons of red and black paint that ended up silk-screened onto T-shirts, tote bags, and patches in the form of mottoes like 'Don't Mourn, Organize.'"
Moynihan, Colin. "A Seedbed of New Images to Protest Trump." New Yorker. January 18, 2017.
Selected recent press. For full list, see the C.V. Bibliography
My favorite way to learn about art is to hear artists talking about their work. So here are links to screen recordings of my recent online talks, panels, and conversations from 2020.
Virtual Armory Live | Public Art: The Way Forward
Jean Cooney, Director, Times Square Arts; Michelle Woo, Director, For Freedoms; and Artists Christine Wong Yap and Nekisha Durrett discuss their current project Messages for the City and the role of public art in light of the 2020 pandemic and in response to the current protests against racial injustice. Moderated by Nicole Berry, Executive Director, The Armory Show.
Virtual Studio Visits with LMCC Workspace Artists-in-Residence
For a snack-sized intro and overview of my 2020 projects, check out my five-minute artist's talk (43:43)... (Then check out the other nine talented artists.)
During the 2020 Open House New York Weekend, LMCC hosted two live, Virtual Studio Visits, each featuring five members of the current Workspace artist residency cohort.
Scratch Space: How Do You Keep Your Heart Open?
A dialogue featuring artists Christine Wong Yap and Leah Rosenberg hosted by Curator Donna Conwell and Director Kelly Sicat of the Lucas Artists Residency Program at Montalvo Arts Center, Saratoga, CA. We look back at recent projects and Happiness Is..., a 2013 exhibition curated by Donna of work by Leah, Christine, and Susan O'Malley.
Add Oil, Chinatown! Artist Talk on Public Art & Neighborhood Recovery
A two-part series on public art's role in Chinatown San Francisco. What's the role of art during a time of crisis? How can artists participate in neighborhood recovery? Presented by the Chinese Culture Center in collaboration with 100 Days Action. With Hoi Leung, curator, and Jeremiah Barber, artist and member of 100 Days Action.
Part 2: Christine Wong Yap X Jocelyn Tsaih
( Part 1: Chelsea Wong X Jennifer k Wofford)
Conversations on Care: A Panel Discussion
Curator Shannon R. Stratton leads a round-robin discussion with the artists participating in Between You and Me, an exhibition at the John Michael Kohler Art Center. Artists: Chloë Bass, Sara Clugage, General Sisters (Dana Bishop-Root and Ginger Brooks Takahashi), Lisa Jarrett and Harrell Fletcher (Harriet Tubman Center for Expanded Curatorial Practice), John Preus, Benjamin Todd Wills, and Christine Wong Yap.
Unfinished Live: Democracy & Voice
[I do not appear in this video, but my art does. I couldn't be more honored to have my work be a spark in this conversation.]
Eric Liu asks Yo-Yo Ma to respond to the question in my billboard, "How do you keep your heart open?" Part of 2020 Awakening, a collaboration between Unfinished and For Freedoms.
Instagram @christinewongyap
Receive updates (12/year maximum).
R+D: on art, transparency, and happiness
© Christine Wong Yap 2021
WAGENT #221


I put this together the other night and I thought I would share.
Mix together and dump into an oven safe container – I used a pyrex. Bake at 375 for 20-30 minutes until chickpeas are hot through and the cheese has melted.
Makes a yummy side dish for pretty much anything. My kids love anything when you add cheese. If you wanted to make it a main dish you could always add more chickpeas and any kind of diced meat to turn it into more of a casserole. Chickpeas are more versatile than most people think.


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Local Artist Featured at Kent Art Association Elected Artist and Solo Artist Show
The Kent Art Association's (KAA) Elected Artists and Solo Artist Show opens on Saturday, May 26, with an Opening Reception beginning at 2:00 p.m. with an awards presentation at 3:00 p.m.
"Adirondack Trail" by Linda Puiatti
Elected Artist is the highest status of membership offered by the Kent Art Association. The distinction is given to a select group of artists whose work has been accepted in at least two juried shows in the past three years and who have submitted an application for Elected Artist status. The applicants are then required to submit three examples of their work to a panel of Elected Artists who view it and then vote on whether to accept or reject the application. Elected Artist signifies that the artist's work consistently meets the high standard of quality set by the KAA for its members. Judges for this show are Karen Bahrenburg and Thomas Franken
A solo show was awarded to the winner of "Best in Show" at last year's Presidents Juried Show. The winner, Holmes resident Linda Puiatti, will exhibit a collection of her paintings in the Aiken Room on the first floor of the Gallery. Ms. Puiatti works primarily in oil. Working with light and shadow and eliminating non-essential information, she creates paintings that are filled with mood and atmosphere. Her paintings seek to capture a unique moment in time that draws the viewer into the painting, creating a personal connection with the subject.
The KAA's "Gallery in Kent" is located at 21 South Main Street, Kent, CT. Hours are 1:00 p.m. – 5:00 p.m. Thursday through Sunday. The Gallery will also be open from 1:00 p.m. – 5:00 p.m. on Memorial Day, Monday, May 28. The Elected Artist & Solo Artist show runs from May 26 – June 17. For more information about this and other shows, examples of the judge's work with a short biography, membership information and photos of winning artwork from previous shows go to www.kentart.org or contact us at (860) 927-3989 during gallery hours or email: Kent.Art.Assoc@snet.net.
The KAA is owned by its members, and all artwork is for sale. The association retains a portion of each sale to support functions throughout the year. The next show at The Gallery is the President's Juried Show, June 30 – July 22. On Saturday, June 16, at 3:00 p.m., Karen Chase, chair of the KAA 95th anniversary celebration will give the second talk in the series, "Discovering Our Founders." She will talk about the artist Rex Brasher who dedicated his life to painting the birds of North America. His life's work of 875 paintings, covering 1,100 species and sub-species of birds and some 3,000 individual birds, 80% of which are life size, is owned by State of Connecticut.
Currently on exhibit on the front lawn of the KAA Gallery is a stainless steel sculpture of a 1920's "Flapper" created by W. David Herman of W. David Herman Gallery, Kent, CT especially for the KAA's 95th Anniversary. Mr. Herman works primarily in Stainless Steel creating one-of-a-kind sculptures in "the image of his personal passion and imagination, never to be repeated."

redpajama_set_name: RedPajamaCommonCrawl


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Current (https://current.org/2012/06/film-explores-influence-of-wbai-freeform-pioneer/)
Film explores influence of WBAI freeform pioneer Bob Fass
By Jon Kalish, Freelance Contributor | June 11, 2012
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A documentary on this year's film festival circuit examines the legacy of a New York countercultural legend whose techniques for mixing music and conversation in live radio shows had a profound influence on noncommercial broadcasting and the musical sensibilities of his generation.
Fass behind the mic with Abbie Hoffman, a frequent guest on Radio Unnameable. (Photo: Robert Altman)
Radio Unnameable is a love letter to the radio show hosted by Bob Fass, who has produced a live free-form broadcast under the same title on Pacifica's WBAI for close to 50 years. Fass is acknowledged as the master of the spontaneous mix and the man who turned free-form radio into an art form.
"What I do is entertain and spread compassion," Fass said of his career during a 2005 benefit event honoring him. "I sit in a room and have great thinkers, musicians and comedians talk to me. It's been great."
Radio Unnameable premiered in April at the Full Frame Documentary Festival in Durham, N.C., and will be screened at the Silverdocs Documentary Festival in Silver Spring, Md., June 23 and 24. It will also be screened — and celebrated — in New York on June 26 during the Brooklyn Academy of Music's BAMcinemaFest.
Fass, who will turn 79 this month, began Radio Unnameable in late 1961. At the height of his popularity, which extended through the first half of the 1970s, he was on the air five nights a week from midnight to 5:00 a.m. His program, which now airs every Thursday after midnight, is a mix of listener calls, studio interviews, recorded music, live performance and anything else Fass can patch into a mixing console.
New York–based filmmakers Jessica Wolfson and Paul Lovelace, a husband-and-wife team, produced and directed the film. While neither are longtime WBAI listeners, Wolfson reports that her mother was "a big BAI fan." Wolfson grew up in New York but had never heard of the events Fass had a hand in instigating.
"He's someone who was so influential during a specific time and touched a lot of people, but he has fallen to the wayside in terms of his popularity, and that really drew me to the story," she said.
Fass came to the filmmakers' attention when Lovelace was working on a documentary about the psychedelic folk duo the Holy Modal Rounders. Peter Stampfel, a member of the now-defunct group, still performs live on Radio Unnameable broadcasts.
The documentary describes Fass as a pioneer in presenting live music on the radio, and credits him for introducing radio listeners of the 1960s to an unknown artist named Bob Dylan, one among many who strummed their guitars in appearances on Radio Unnameable. Arlo Guthrie's "Alice's Restaurant" had its first radio airing as a live performance on Fass' broadcast, and when Jerry Jeff Walker sang "Mr. Bojangles" for the first time before an audience, it was for "Cabal," the name Fass coined long ago for his listeners.
Before flash mobs, there was Fass
"What really struck us about Bob's story is how all of these things he was doing in the '60s and '70s are evident today," Wolfson told Current. "You really can make parallels to all the interesting things he was doing on the radio with things . . . like Twitter and flash mobs and even Occupy Wall Street."
There was no such term as "flash mob" in 1967, but that's what showed up at the International Arrivals Building at New York's Kennedy Airport on Feb. 11, 1967. Dubbed the "Fly-In," the mass gathering of likeminded souls was the first countercultural happening in the city, and Fass organized it on the air. Several thousand people showed up to join the party. Two months later, hordes of Fass' listeners eager to re-create the good vibes converged in Manhattan's East Village for a "Sweep-In," to clean streets deemed neglected by the city's sanitation department.
"That was a brilliant piece of organization and radio," Fass protégé Steve Post said in the documentary. Post, who worked at WNYC after many years at WBAI, refers to Radio Unnameable as "stream of consciousness radio" and said Fass "used the mixing console the way an artist uses paint."
Independent radio producer Larry Josephson, who had a long run doing a free-form morning show on WBAI, credits Fass with teaching him how to do live radio.
"The way Bob propagated free-form radio was to teach us how to do mixes, how to use silence, how to talk, how to be yourself," said Josephson, who also appears in the film. "Bob was absolutely himself."
Fass "used the mixing console the way an artist uses paint," says Steve Post.
Longtime colleagues have noted that Fass was never able to pursue a broadcasting career outside of WBAI and Pacifica, despite his bitterness at not being paid in 35 years. Whether that resulted from an unwillingness to forego the great freedom he has had at Pacifica, or an inability to function in the straighter world of commercial or public radio, is a debatable question that the film does not explore.
Listeners from distant states do catch Radio Unnameable over WBAI's live Web stream, but the show has had only limited success in gaining carriage on community radio stations around the country. A handful of small outlets in upstate New York, Alaska and British Columbia once carried the program, but Fass said all three have dropped it, citing excessive fundraising on WBAI.
WBAI alumnae who have seen the film described another omission, saying it doesn't adequately reflect Fass' generosity of spirit.
"Not only did Bob share his airtime with virtually anyone who called or showed up at the station, he shared his show," said Jan Albert, who spent five years assisting Fass on Radio Unnameable before moving on to a career as a television producer for CBS and other major networks. "Bob allowed a diverse group of wannabes, including me, to try out their radio communication skills by guest-hosting Radio Unnameable for a night. He was the best mentor anyone could ever have."
The film project included an effort to preserve Fass' audio recordings. Mitch Blank, a self-described musical archaeologist who provided rare recordings to Fass over the years, worked with Wolfson and Lovelace to rescue and preserve the Radio Unnameable archive, which had been in disarray inside Fass' house on Staten Island. In 2008 and 2010, dozens of listeners and friends of Fass participated in weekend work parties. About 4,000 reels were organized by year, placed in more than 100 large plastic bins, entered into a database and moved off the premises.
"We realized that in order to make this film we needed access to that material," Wolfson said.
The archive, now stored in a warehouse in the Washington, D.C., area, was appraised in 2011 by Syracuse University. The archive includes Fass' field recordings at the tumultuous 1968 Democratic National Convention in Chicago, hours of in-studio appearances by Paul Krassner, Abbie Hoffman and other Lower East Side activists who, with Fass, co-founded the Yippies. Considered a treasure trove of 1960s counterculture politics, the archive is said to be valuable for its recordings of a wide range of folk and popular music. Sean Quimby, senior director of special collections for the Syracuse University Library, confirmed that negotiations to purchase the Radio Unnameable archive are ongoing.
Wolfson said one closet in Fass' home still holds more than a thousand reels of "the best stuff."
Bob Fass
freeform radio
WBAI
Documentary 'ode' to Steve Post's many talents leaves out key verses
"Playing in the FM Band: The Steve Post Story," a feature-length documentary about a pioneer of freeform radio, zooms in on some odd stuff.
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2 thoughts on "Film explores influence of WBAI freeform pioneer Bob Fass"
citizen lissening on September 13, 2012 at 6:16 pm said:
terrific details and cannot wait to see doc if it gets to LA LA land….
Pingback: [BLOCKED BY STBV] Radio Unnameable | Jon Kalish


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FIFA World Cup 2018: England defeat Colombia 4-3 on penalties - photos
England held their nerve against Colombia to win their first ever penalty shootout in a World Cup and reach the quarter-finals in dramatic fashion on Tuesday. Eric Dier scored the decisive spot-kick to win the shootout 4-3 and send Gareth Southgate's young team through to a meeting with Sweden, who earlier beat Switzerland.
The England players celebrate after Eric Dier of England scores the winning penalty in the penalty shoot out during the 2018 FIFA World Cup Russia Round of 16 match between Colombia and England at Spartak Stadium on July 3, 2018 in Moscow, Russia.
Eric Dier of England scores the winning penalty during the 2018 FIFA World Cup Russia Round of 16 match between Colombia and England at Spartak Stadium on July 3, 2018 in Moscow, Russia.
England's forward Harry Kane celebrates after scoring the opening goal from the penalty spot during the Russia 2018 World Cup round of 16 football match between Colombia and England at the Spartak Stadium in Moscow on July 3, 2018.
England's goalkeeper Jordan Pickford saves a penalty kicked by Colombia's forward Carlos Bacca during the penalty shootouts during the Russia 2018 World Cup round of 16 football match between Colombia and England at the Spartak Stadium in Moscow on July 3, 2018.
England's coach Gareth Southgate celebrates after the penalty shootout at the end of the Russia 2018 World Cup round of 16 football match between Colombia and England at the Spartak Stadium in Moscow on July 3, 2018.
England's defender Ashley Young (down C) falls as he vies for the ball with Colombia's defender Santiago Arias during the Russia 2018 World Cup round of 16 football match between Colombia and England at the Spartak Stadium in Moscow on July 3, 2018.
England's defender Danny Rose and England's defender Kieran Trippier celebrate after winning the penalty shootout at the end of the Russia 2018 World Cup round of 16 football match between Colombia and England at the Spartak Stadium in Moscow on July 3, 2018.
England's defender Kieran Trippier and Colombia's forward Falcao in action during the Russia 2018 World Cup round of 16 football match between Colombia and England at the Spartak Stadium in Moscow on July 3, 2018.
Colombia's defender Yerry Mina celebrates after scoring the equalizer during the Russia 2018 World Cup round of 16 football match between Colombia and England at the Spartak Stadium in Moscow on July 3, 2018.
David Ospina of Colombia celebrates after he saves the third penalty from Jordan Henderson in the penalty shoot out during the 2018 FIFA World Cup Russia Round of 16 match between Colombia and England at Spartak Stadium on July 3, 2018 in Moscow, Russia.
Colombia's players react at the end of the Russia 2018 World Cup round of 16 football match between Colombia and England at the Spartak Stadium in Moscow on July 3, 2018.
Colombia's midfielder Mateus Uribe (front) reacts after missing to score a penalty kick next to England's goalkeeper Jordan Pickford (rear) celebrating during the penalty shoot-out of the Russia 2018 World Cup round of 16 football match between Colombia and England at the Spartak Stadium in Moscow on July 3, 2018.
Colombia's goalkeeper David Ospina reacts after missing to stop the England's midfielder Eric Dier's penalty kick during the penalty shoot-out of the Russia 2018 World Cup round of 16 football match between Colombia and England at the Spartak Stadium in Moscow on July 3, 2018.
US referee Mark Geiger (C) gives a yellow card to Colombia's midfielder Wilmar Barrios (unseen) during the Russia 2018 World Cup round of 16 football match between Colombia and England at the Spartak Stadium in Moscow on July 3, 2018.
A Colombia fan reacts at the end of the Russia 2018 World Cup round of 16 football match between Colombia and England at the Spartak Stadium in Moscow on July 3, 2018.
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Randa Abou Bakr, née en 1966, est une universitaire égyptienne, doyenne de la faculté de lettres de l'université du Caire.

Biographie

Fille d'un poète, elle étudie les lettres anglaises à l'université du Caire. Elle devient ensuite traductrice et enseignante, et soutient sa thèse de doctorat en 1998.

En 2005, elle est cofondatrice du Mouvement du 9-mars pour l'indépendance des universités, dont elle devient ensuite présidente. Elle fonde la revue poétique Muse.

Elle est la première doyenne élue de la faculté de lettres de l'université du Caire, le  avec 73 voix sur 360.

Notes

Liens externes

Personnalité féminine égyptienne
Universitaire égyptien
Étudiant de l'université du Caire
Professeur à l'université du Caire
Naissance en 1966
Naissance au Caire

redpajama_set_name: RedPajamaWikipedia


Deliberation over the status of student interest clubs dominated the most recent Associated Student Government (ASG) meeting on Thursday, Sept. 28.
Clubs requesting Registered Student Organization (RSO) status presented their platforms to the Senate, followed by updates from the Executive Board and committee divisions.
Talk circulated around the Senate of creating a new type of RSO that gives a club RSO status, but does not require ASG funding. That way, the club can table on campus to promote interest, but would not automatically receive funding from ASG if said club does not anticipate any expenses.
This concept has been temporarily dubbed "RSO Lite." The topic will be discussed further at another meeting.
Six clubs requesting RSO status presented proposals to the senate and two passed.
The other four clubs were tabled and the senate will vote on their status during the week three meeting.
The first club to present and gain RSO status was the Forge Garden Club. Junior Evie Kinkade, an intern at the Forge Garden, senior Lois Om and sophomore Sammi Zamora shared their passion for the agricultural sustainability with ASG. Their goal is to team up with the Forge Garden to promote healthy eating and to integrate sustainable practices into students' lives.
They plan on getting students involved by holding events such as an ice creammaking workshop with fresh ingredients from the garden and a succulent pot painting workshop.
The second club to present and pass was the Golf Club. President Ryan Blair and Vice President Colin Alexander explained their stance on the addition of a golf club at Santa Clara in their fiveminute time allowance.
In the absence of a club golf team, students who want to play a round of golf with others will now have an organized group to play with. The goal is to gather people with a common interest in golf and play at times that are most accessible for students.
Vice President Sam Pérez announced that ASG will be producing a new sexual assault awareness video that is expected to replace How to Thread a Moving Needle. ASG has received money from donors for this endeavor and is working with the theater department.
Maggie Hurlbut of the Public Relations branch spoke to the importance of the Bronco News videos that will consistently be posted on the ASG website.
"One of our missions this year in the PR branch is to shed more light on the positive things that you guys are doing. I think there are a lot of initiatives that don't get widely noticed," Hurlbut said to the Senate.
Alex Perlman of the Facilities and Operations Committee mentioned getting ACCESS cards available to students on their phones. He also spoke about potentially adding digital art as a major or minor and getting compost bins for off-campus housing.
The ASG Senate will meet again during week three on Thursday at 7 p.m. in the California Mission Room.
Contact Meghan McLaughlin at mmclaughlin@scu.edu or call (408) 554-4852.


text:
Il Giro di Polonia 2020, settantasettesima edizione della corsa, valido come settima prova dell'UCI World Tour 2020 categoria 2.UWT, si è svolto in cinque tappe dal 5 al 9 agosto 2020 su un percorso di 891,3 km, con partenza da Stadion Śląski e arrivo a Cracovia, in Polonia. La vittoria è stata appannaggio del belga Remco Evenepoel, che ha completato il percorso in 21h29'50" precedendo il danese Jakob Fuglsang ed il britannico Simon Yates.

Al traguardo di Cracovia 138 ciclisti, dei 154 partiti da Stadion Śląski, hanno portato a termine la competizione.

Tappe

Squadre e corridori partecipanti

Dettagli delle tappe

1ª tappa
 5 agosto: Stadion Śląski > Katowice – 195,8 km

Risultati

2ª tappa
 6 agosto: Opole > Zabrze – 151,5 km

Risultati

3ª tappa
 7 agosto: Wadowice > Bielsko-Biała – 203,1 km
Risultati

4ª tappa
 8 agosto: Bukowina Resort > Bukowina Tatrzańska – 152,9 km
Risultati

5ª tappa
 9 agosto: Zakopane > Cracovia – 188 km
Risultati

Evoluzione delle classifiche

Maglie indossate da altri ciclisti in caso di due o più maglie vinte
 Nella 2ª tappa Marc Sarreau ha indossato la maglia bianca al posto di Fabio Jakobsen.

Classifiche finali

Classifica generale - Maglia gialla

Classifica a punti - Maglia bianca

Classifica scalatori - Maglia fucsia

Classifica a squadre

Note

Altri progetti

Collegamenti esterni

Giro di Polonia
Ciclismo nel 2020


text:
Published Poetry
© 2017 Amelia Fleetwood. Ojai, California
Website by SESPE Creative
Reimagine Fashion: Radical Women Who Wear Pants
(Reimagine Fashion: a series about TechStyle heroes who challenged the status quo)
Joan of Arc a an original radical woman in pants.
Joan of Arc (1412-1431) was an early example of an heroic, radical woman in pants. Joan wore britches, and for good reason.
Imagine leading troops into battle, engaging in combat, and riding on horseback in a dress!
Additionally, Joan's almost impenetrable getup had the advantage of blocking soldiers' groping hands. But dressing in drag has never been taken lightly. Joan's clothing enraged religious leaders to such an extent it became one of the reasons she was burned at the stake.
Fast forward to the beginning of the American women's suffrage movement, when the 'Turkish pant' was made famous in 1851 by Amelia Bloomer, who took the design and ran with it. 'Bloomers' provided women with more physical freedom. Polite society frowned upon women wearing pants, maybe for just that reason. Meanwhile, women on the western frontier all wore pants as a matter of practicality; there were no fashion police out on the range.
Even today, women have to fight to wear pants. In 2016 British Airways female cabin crew members were awarded the right to wear pants as part of their uniform. This came after a two year legal battle, which began when 83% of their union demanded the freedom of pants.
Our favorite pants crusader is Los Angeles kindergarten teacher, Helen Hulick. Helen pushed the boundaries of attire in 1938, when she arrived in a courtroom to testify in a case against two burglary suspects. All eyes were on the pants Helen was wearing. The judge, enraged, insisted that she come back 'dressed as a woman.' "You tell the judge I will stand on my rights," Helen said to the reporter from the Los Angeles Times. "If he orders me to change into a dress I won't do it. I like slacks. They're comfortable."
The old fashioned judge forbade Helen Hulick to testify while dressed in pants. He claimed that she 'drew too much attention from spectators.' Numerous times, Helen was ordered to return to the courtroom, 'properly dressed.' Helen continued to show up in pants. Eventually she was jailed for five days for contempt of court.
"Listen," Helen said. "I've worn slacks since I was fifteen. I don't own a dress except a formal. If the judge wants me to appear in a formal gown that's okay with me. I'll come back in slacks and if he puts me in jail, I hope it will help to free women forever from 'anti-slack-ism'."
Although Helen Hulick was jailed and handed a prison-issued denim dress by the prison matron, she was soon released, after numerous letters protesting her treatment were sent to the courthouse, letters overwhelmingly in favor of Helen's right to choose. Her contempt citation was overturned and she was free to wear slacks to court.
Our heroine's punishment was not on par with Joan of Arc's, but still, the stakes were high. These women paved the way for the freedoms we, as modern women in our jeans, often take for granted.
Reimagine Fashion: These African American Women Made Fashion History
Elizabeth Keckly, Anne Lowe and Zelda Wynn Valdes. These three, African American women from different times in history had much in common. Each used her design talents and skills in dressmaking to push through barriers of both race and gender, achieving success and fame in careers that primarily excluded women, especially women of color.
Designer Elizabeth Keckley
Elizabeth Keckley (1818-1907) was born a slave in Virginia. A "house slave" who learned to read and write, she acquired fine dressmaking skills. When her owners fell upon hard times, with the help of her patrons, Elizabeth was able to buy her freedom. In 1860 she made her way to Washington D.C., where she created her own dressmaking business, catering to the wives of the political elite. There, Elizabeth met First Lady Mary Todd Lincoln. A year later she took on the role of Mrs. Lincoln's personal dressmaker, dresser, and confidente. She wrote a book about her time with the First Lady, entitled Thirty Years a Slave and Four Years in the White House (1868).
Designer Anne Lowe
Ann Lowe (1898-1981) came from a long line of seamstresses, and was considered 'society's best kept secret' by New York's elite. Early in her career, the one-of-a-kind designs Ann created for major stores like Chez Sonia refused to include her name on the labels. Believing she had not received proper credit for much of her high-profile work, Ann opened Ann Lowe's Gowns on Lexington Avenue in New York City in 1950. The first African American fashion designer of note; Ann made history in 1953 when she designed Jacqueline Bouvier's silk wedding gown for her marriage to John F. Kennedy. Lowe was the creative brains behind the dress worn by Olivia de Havilland the night she won an Oscar for Best Actress in 1946. Calling herself a 'terrific snob,' Ann would only design for the very crème de la crème of society.
Zelda Wynn Valdes (1905-2001) once told The New York Times, "I just had a God-given talent for making people beautiful." A fashion and costume designer best known for her skill in highlighting the curves of the female body, Zelda was the go-to favorite of Hollywood starlets in the 1940's and 50's. Joyce Bryant, Dorothy Dandridge, Josephine Baker, Ella Fitzgerald and Mae West were among her early patrons. Later on, she designed for Gladys.
Designer Zelda Wynn Valdes
Knight. She even caught the eye of Playboy founder and CEO, Hugh Hefner, who commissioned Zelda to design the first-ever Playboy bunny costume. The low-cut, skintight, sexy outfit remains an iconic symbol of sexuality to this day. In addition to her work in Hollywood, Zelda designed costumes for The Dance Company Of Harlem, until her death at ninety-six.
Elizabeth Keckly. Ann Lowe. Zelda Wynn Valdes. Three sadly obscure fashion pioneers who deserve to be better-known. TechStyle salutes these talented, African American designers who broke barriers for all women, by designing for America's elite.
by Amelia Fleetwood features writer and former West Coast Associate Editor for Vogue.


After a gap of several years, the government has aloft absorption on baby savings, including NSC and PPF, by up to 0.4 per cent for the October-December quarter, in band with ascent drop ante in the banks.
The move, Accounts Minister Arun Jaitley said in a cheep is aimed at acknowledging baby savers as the absorption ante for baby accumulation arrangement accept been added by 0.3-0.4 per cent for the third division of this year.
In addition cheep he said, it will "promote abundance of the babe adolescent and advance banking aegis of the elderly. The government, from 1st October, has added allotment on Sukanya Samridhi Yojana from 8.1 per cent to 8.5 per cent, and on Chief Citizens Accumulation Arrangement from 8.3 per cent to 8.7 per cent".
The absorption amount on about all baby extenuative schemes accept been crumbling back April 1, 2012.
As per the accounts admiral notification, the absorption amount on accepted Public Provident Fund has been added to 8 per cent for the third division from 7.6 per cent.
The absorption amount on PPF deposits was as aerial as 8.8 per cent on April 1, 2012. Back again it beneath gradually. PPF deposits are absolved from assets tax.
Kisan Vikas Patra will now crop absorption amount of 7.


Jones College's JC Voices will present their annual spring concert, "Live, Laugh, Love," on, March 26, 2019, at First-Trinity Presbyterian Church in Laurel. The public is invited to the free, 7 p.m. concert featuring works by composers such as Brahms, Barnum, Copland, Rardin, Halloran, and Tallis.
"'To laugh is to live profoundly,' said the author Milan Kundera and JC Voices explore some humor through music in this program. From the 'Four Whatevers' to the familiar folk song, 'Camptown Races,' you will smile and maybe even sing along," said Dr. Susan Smith, Director of JC Voices.
In the "love" set, the chamber singers will perform a hauntingly, beautiful, Spanish love song, "Amor de me Alma," text by a 16th-century poet, Garcilaso de la Vega, with music by twentieth-century composer, Z. Randall Stroope. Selections from Brahms' Liebeslieder Op. 52 will delight the audience as the chamber choir performs with a four-hand piano accompaniment featuring, Dr. David Goldblatt and faculty pianist, Dr. Theresa Sanchez.
"'Brahms' Liebeslieder (Love Songs) are actually waltzes, but Brahms imagined them as being sung. He composed the piano part, however, so that it could be played without the voices," said Smith.
For more information, contact the JC Fine Arts Division at 601-477-4203.


text:
In 1776, a month after the Declaration of Independence had been signed Tadeusz Kosciuszko arrived from Poland to fight for the independence of the American colonies.
What does Community Preservation Act (CPA) surcharge on your tax bill enable the City of Holyoke to do?
The CPA enables cities and towns in Massachusetts to create a local dedicated fund for open space, historic preservation, community housing, and outdoor recreation projects. Cities and towns that adopt the act also receive funds from the statewide Community Preservation Trust Fund each year to help fund these projects.
Who is exempt from the CPA surcharge?
Low income families and seniors who are low to moderate income would be fully exempt from the CPA surcharge. To find our if you may be exempt, contact the Assessor's Office at City Hall at 322-5550.
Holyoke has opted to collect the surcharge quarterly but because of a late start your April 2018 tax bill will reflect a full year's surcharge payment. Going forward your surcharge payment collected quarterly will be divided by four for the fiscal year 2019, July, October, January, and April billing periods.
The City voted to adopt the Community Preservation Act on November 8, 2016. The Mayor and City Council have established a nine-member Community Preservation Committee (CPC) to review proposals for local CPA-funded projects, and recommend projects to the City Council for approval. All CPA projects must be approved by Holyoke's City Council to receive CPA funds. Public input at the CPC's bi-monthly meetings is encouraged. Informational meetings and public hearings will be held throughout the City.
CPA communities exercise local control over their CPA budget. Input from residents and community boards and committees will determine what types of CPA projects will most benefit the community each year.
How is CPA funding generated?
CPA funds are generated through two sources: a voter-approved surcharge of up to 3 percent on property tax bills, and an annual disbursement from the statewide Community Preservation Trust Fund, which distributes funds each November to communities that have adopted CPA. The Trust Fund's revenues are derived from fees collected at the Registry of Deeds, and from state budget surplus funds. Holyoke voters adopted a 1.5% surcharge.
Example: the average home in Holyoke is assessed at $1 79,340 and the homeowner would pay an additional $23 per year for the proposed 1.5% CPA surcharge which is assessed only on the portion of the property tax bill after the first $100,000 is exempted.
Why the CPA is great for Holyoke?
The local fund for Holyoke would generate approximately $460,760 annually, based on FY2016 data. This does not include state CPA matching funds nor additional larger grants using CPA funds as a seed start.
What can CPA funds be spent on?
Each fiscal year, CPA communities must spend, or set aside for future spending, the following share of their annual CPA revenues on three core areas:
10 percent for open space and recreation
10 percent for historic resources
10 percent for community housing
The remaining 70 percent of the revenues may be spent or reserved for future projects in any of these three programmatic areas. CPA funds may never be directed to the general city fund; they may only be spent on the CPA core areas of open space, historic preservation, community housing, and outdoor recreation.
What types of projects may Holyoke fund with CPA?
Restore and preserve historic city halls, libraries, schools, and other structures,
Create new or restore existing ball fields, playgrounds, and recreational trails,
Preserve land to protect drinking water, local agriculture, and wildlife habitat,
Develop a housing plan to determine the housing needs of local residents and then use CPA to address those needs (i.e., support housing for seniors; rehabilitate old apartments to create condos to serve young families or small households)
Leverage additional dollars from state, federal, and foundation grant
Where can you find out more?
There will be public hearings in the future to solicit input from city residents on how and where CPA funds should be spent. Community input is key in assuring successful projects! Please visit the city calendar for upcoming meetings..


text:
using EdjCase.JsonRpc.Router;
using EdjCase.JsonRpc.Router.Abstractions;
using System;
using System.Collections.Generic;
using System.Reflection;
using System.Security.Claims;

namespace EdjCase.JsonRpc.Router.Abstractions
{
	public class RpcContext
	{
		public IServiceProvider RequestServices { get; }
		public RpcPath? Path { get; }

		public RpcContext(IServiceProvider serviceProvider, RpcPath? path = null)
		{
			this.RequestServices = serviceProvider;
			this.Path = path;
		}
	}

	internal interface IRpcContextAccessor
	{
		RpcContext Get();
		void Set(RpcContext context);
	}
}

redpajama_set_name: RedPajamaGithub


text:
Tag Archives: Ocampo Six
Kenya Awaits ICC Rulings; Calls Continue for New Charges on Kibera and Kisumu and for Local Tribunals
Posted on January 4, 2012 by Ken
The International Criminal Court is widely expected to announce rulings by its Pre-Trial Panel in the cases against the "Ocampo Six" during the third week in January. Today's Standard details the various options available to the Panel:
The ICC could commit all or some of the six to trial, or decline to confirm the charges if it determines that there is insufficient evidence.
It could also opt to adjourn the hearing and request the Prosecutor to consider either providing further evidence or conducting further investigations, or amending a charge because the evidence submitted appears to establish a different crime within the jurisdiction of the Court.
Once the charges have been confirmed, the Presidency of the court shall constitute a Trial Chamber.
Ruto and Kosgey are charged with being indirect co-perpetrators of murder, forcible transfer of populations and persecution. The court ruled that there was not enough evidence that Sang was an indirect co-perpetrator in the crimes, but accused him contributing to the same set of crimes. . . .
Uhuru and Muthaura are accused of being co-perpetrators of murder under Articles 7(l)(a)), forcible transfer of persons, rape, persecution and other inhumane acts while Ali is accused of contributing to their commission.
In an article yesterday, the Institute on War and Peace Reporting discusses the calls for renewed attempts to prosecute cases on the violence in Kibera and Kisumu:
Rights activists say international indictments in cases arising from post-election violence in Kenya in 2007-08 must be expanded to cover killings and other abuses committed by police in a Nairobi neighbourhood and the city of Kisumu.
Judges at the International Criminal Court, ICC, removed the two elements when they considered the prosecutor's application for charges in March, saying there was insufficient evidence to pin them to the individuals accused.
Lawyers say the failure to charge three of the six suspects with the shootings means the victims of violence in Kibera and Kisumu feel left out of the justice process.
Kibera, a slum area of Nairobi, and Kisumu in western Kenya experienced some of the most brutal attacks in the violence that followed a December 2007 presidential election. The Commission of Inquiry into the Post-Election Violence, set up in February 2008 to investigate the violence, found that overall, the police killed 405 of a total of 1,100 people who died during the violence, and injured a further 557. The vast majority of killings by police are thought to have occurred in Kibera and Kisumu.
When he formulated charges against six senior figures accused of responsibility for the violence, ICC prosecutor Luis Moreno-Ocampo accused a group of three of them, who fall into one of the two cases he brought, of being behind the Kibera and Kisumu attacks.
When ICC judges issued their ruling on Moreno-Ocampo's application for charges on March 8, they found insufficient evidence had been presented to link the three PNU suspects to events in Kibera and Kisumu.
The judges said there were reasonable grounds to believe that Kenyan police shot and killed more than 60 people in Kisumu, and that police killed and raped civilians in Kibera. However, they took the view that the prosecutor had failed to demonstrate that crimes in Kibera and Kisumu were part of a wider state policy, so that they would fall within the court's jurisdiction.
"The material presented by the prosecutor does not provide reasonable grounds to believe that the events which took place in Kisumu and/or in Kibera can be attributed to Muthaura, Kenyatta and/or Ali under any mode of liability," the judges said in their ruling.
The judges' ruling provoked outrage among victims and raised questions about the scope of the justice process, given the omission of two key focal points of the violence.
"[Nairobi] experienced a lot of violence and Kibera was the epicentre of it," Priscilla Nyokabi, executive director of the legal aid centre Kituo Cha Sheria in Nairobi, said. "It will be so bad if Kibera is not made to feel a sense of justice."
According to Godfrey Musila, an expert on international law based in Nairobi, "Ideally, charges brought by the prosecutor should reflect patterns of the violence. It undermines the court when the perception around is that the epicentres of the violations are out of the scope of the cases."
Rights activists and legal experts are urging the ICC prosecutor to renew his request for judges to include Kibera and Kisumu in the charges against Muthaura, Kenyatta and Ali.
Moreno-Ocampo told IWPR in early December that he was gathering additional evidence on crimes committed in Kibera and Kisumu, but that he would not decide whether to ask for these charges to be added to the case until ICC judges had assessed his evidence of other crimes.
And Human Rights Watch's "Turning Pebbles" report last month on accountability for post election violence called on Kenya to establish a special judicial mechanism or "local tribunal" to go beyond the few and limited charges being brought in the ICC system.
On Kibera, please see the report of exiled investigative journalist Clifford Derrick regarding his own experience as a victim of violence intended to stop him from reporting on illicit activity to disrupt the vote in Kibera.
Posted in democracy, elections, International Criminal Court, Justice/Impunity, Kenya, Nairobi, Security | Tagged Clfford Derrick, elections, impunity, International Criminal Court, Kenya, Kibera, Kisumu, Ocampo Six, post election violence | Leave a reply
Will Kenyan ICC defendants ever become "too hot to touch" for the U.S. and other Western players in Kenya? If so, when?
Posted on September 22, 2011 by Ken
With the second round of "confirmation" hearings underway in the Hague for the charges against "the Ocampo Six" this week and next, the U.S. and other Western "donors" and supporters of Kenya's Grand Coalition Government are confronted with the spectacle of Kenya's Deputy Prime Minister and Finance Minister in the dock facing charges of egregious crimes of international significance. Of the six, five either have significant current jobs in the Kenyan government or are Members of Parliament (or both in the case of the Deputy Prime Minister/Finance Minister Uhuru Kenyatta).
The current Grand Coalition Government was formed as the preferred donor approach to the 2007 Kenyan election debacle–the U.S. quickly asserted that it was impossible to conduct any sort of remedial activity about the election, that both sides "needed each other" and should cut a deal to share power. The Europeans soon fell in line. The current Kenyan government, as represented in the Hague trials, is not a creation of the Kenyan voting public, but rather of the political elites on "both sides" along with the "international community" led by key players in Kenya, most especially the United States. The U.S. is said to have insisted that the coalition not be temporary but remain in place a full five years as if ordinarily elected. In playing this role, did we not take on some responsibilities besides promoting conceptual reforms that might or might not bear fruit in the future?
I was in Kenya as these crimes were happening. Who really believes that Ocampo is making these things up?
Irrespective of whether Ocampo, or more likely his successor, ultimately wins convictions eventually, what is it that we need to know that we don't know now to decide whether or not the defendants are ordinary political leaders of an allied country which we support and with whom we conduct "business as usual" or are ordinary defendants charged with crimes against humanity directed at their own people, and while facing trial worthy of some decent level of distance and disapproval?
Make no mistake about the defendants continued reliance on attempts to rally tribal solidarity. Take note of Uhuru Kenyatta's approach to the charges that he was a primary mover in unleashing the Mungiki to murder Luos in the eastern Rift Valley as a political counterbalance to Kalenjin militia attacks on Kikuyu further west, from today's Standard:
A lawyer representing 233 victims of post-election violence accused Finance Minister and Deputy Prime Minister Uhuru Kenyatta of uttering inflammatory statements on the eve of his appearance at The Hague.
The lawyer, Mr Morris Anyah, used press reports carried on September 19 in which the minister was allegedly quoted saying, "we are going to The Hague and we know justice will prevail, because we did nothing wrong and all we did was to support our people".
He claimed that the statement had tribal connotations and was intended to justify retaliatory attacks that are subject of charges against Uhuru before the ICC.
On Wednesday, the lawyer said the statement, which seems to proclaim Uhuru's innocence holds a deadly meaning in the tribal context of the 2007/2008 post-election violence.
If the defendants at the Hague this week had wanted to "support" any of the Kenyan people, or otherwise defend Kikuyu farmers and villagers in the Rift Valley, they could have used the government security forces at their disposal to secure "hot spots" in the Rift Valley rather than Uhuru Park in Nairobi, and could have more generally used the security forces for security instead of for the election effort. What Ocampo is laying bare on both sides is tactical mass murder for politics–this was never war, it was politics by Kenyan means.
Kenya violence case at The Hague (bbc.co.uk)
Posted in democracy, elections, International Criminal Court, Justice/Impunity, Kenya | Tagged Francis Muthaura, Hague, International Criminal Court, Kenya, Mungiki, Ocampo Six, Rift Valley, Uhuru Kenyatta, United States, William Ruto | Leave a reply
"A reply to concerned commenters on the Ocampo charges" and preparing for 2012 in Kenya
Posted on April 28, 2011 by Ken
This is something I prepared last December at the time the ICC prosecutor initiated his charges against "the Ocampo Six". Now that another four months has gone by, and we are many more months away from knowing whether any trials for the Kenyan post election violence will proceed, I thought it was worth revisiting:
With respect, it is hard for me to believe that anyone seriously thinks that [former ECK Chairman] Kivuitu himself was the primary manipulator of the election results. It happened on his watch, yes. He failed, but was not the primary instigator, nor beneficiary. I am very sad that the Kreigler Commission charged with investigating the election chose to fence off from review what happened with the presidential results–this is a great loss. Nonetheless, the charges of crimes against humanity sought by Ocampo as prosecutor before the ICC will stand or fall on their own merits. While Mr. Ocampo was not elected, he was appointed through a lawful process established by the countries, including Kenya, who are State Parties to the ICC convention. What prosecutors in Kenya are elected? Yes, there are more people who could be charged with more crimes–but the cold reality is that it is almost three years since the election, and it is the ICC or nothing and no one. This is less than it could have been, but far better than nothing.
Having lived with my family in Nairobi through the campaign, voting and violence, aside from my role in supporting the election process , the observation mission and exit poll, I fully appreciate the angst over the manipulation of the results after a peaceful vote, and over the role of the authorities in both the manipulation itself and in contributing to the violence by suppressing lawful protest and even murdering innocent citizens. To date no one has been prosecuted for any of this–Ocampo's charges against Ali are a breakthrough in this regard. Ocampo is not seeking charges against anyone from the opposition for the chaos caused by the stolen election, but rather for crimes against humanity in the Rift Valley that are akin to the violence there in 3 of the last 4 elections. The judges will decide whether the indictments are issued, and if so, the trials will proceed with both sides presenting their evidence.
To say something further that I have not said publicly before, I do want to be clear that it is my personal belief that bribery of Kenyan election officials is "what happened" in the presidential election. I have not written or spoken publicly of this before because I claim no evidence or personal knowledge. In the first instance, it is what I was told by a senior diplomat (not U.S. Ambassador Ranneberger or anyone who worked for him) during that the post election period. It was explained to me that clear evidence had been identified. I accepted this as being explained to me not as gossip or a matter of personal interest, but as important information that I needed to know in the context of my job. There was no discussion of confidentiality, but it was what I will call a "private conversation in a public place". Nothing clandestine, nothing that I was not to report back privately or act on but obviously not something I could "go public" with without being provided more detail and evidence which wasn't offered.
Everything else I have learned since then is consistent with what I was told, and nothing is contradictory. I still have no personal knowledge or evidence, but it is what I do believe. This is one significant part of why I continued to be of the opinion that the exit poll indicating an opposition victory in the presidential race should be released.
Certainly the last election is very much "water under the bridge", but now Parliament must grapple with constituting a new Election Commission for the current election season with campaigns already gearing up. Kenya very much needs better election officials this time than last time. The technical capacity to hold a clean election is certainly there–as we know from 2002, and the referendum in 2005 and in 2010. The moral capacity for tragedy and chaos is there, too, as we know from 2007.
Posted in corruption, democracy, elections, International Criminal Court, Justice/Impunity, Kenya, Parliament, Security, US | Tagged 2007 election, 2012 election, Electoral Commission of Kenya, International Criminal Court, Kenya, Luis Moreno-Ocampo, Ocampo Six, parliament | Leave a reply


The mercury switch can be used to detect the tilt of something with respect to gravity. For example, suppose your robot needs to know when it's going up a hill that's too steep (in which case it will flip over), the mercury switch could give a warning to your robot when it reaches a certain angle. Another application I used it for is to count hills while driving around.
The easiest way is to buy a cheap mechanical thermostat and hack out the mercury switch (see below image). Don't get the digital thermostat type because it will probably not have a mercury switch in it.
After taking it out, mount it on a block of wood in whatever way you like. I like to keep part of that long metal strip with it so I can use it as an angle adjuster. On the bottom I attached Velcro so I can put it on various robots real easy.
Notice that the mercury is encased in glass, with wiring going inside the encasing. Typically inside there is either air, an inert gas, or a vacuum.
There is also a middle state that lasts for a very very short time between the mercury transistion, in which case your ADC will float. If this is a problem, you can always connect it to ground via a 300k resistor - if it's in the transition state it will go to logic low.
You may be wondering, why use a mercury switch when you can use an accelerometer? The advantage of a mercury switch is that it can handle very high currents. If you want, you can have it directly control a DC motor or some other high powered device directly. Plus, its fairly easy to find an old thermistat around to scrap for free!
Not to give you bad ideas, but apparently this sensor was also used in car bombs because acceleration would trigger it . . . but you didn't read that here . . .
There are some problems you will have with using the mercury tilt switch on a mobile robot. When your robot is driving around on rough terrain, the mercury in the switch will also bounce around. This is bad because it has the potential to give false readings.
I remember the first time I tried out my sensor, my robot would do a stop-start motion. Acceleration would cause the sensor to false trigger, causing my motors to reverse . . . and the sudden deceleration would cause the sensor to un-trigger, once again making the robot accelerate . . . It was a really bad control algorithm, but I was a noob back then too . . .
The mechanical fix to this problem is to adjust the tilt angle more steeply (bend the metal beam coming out the wood mount more).
An electrical solution would be to put a capacitor between the ADC and ground. Depending on the size of the capacitor, you can vary the time it takes for it to trigger. Higher values would result in lower possibility of a false trigger, but would also slow the sensor response speed. Experimentation will be required for your robot . . .
Mercury (Hg) is poisonous - be careful at all times!
"It can be inhaled and absorbed through the skin and mucous membrane, so containers of mercury are securely sealed to avoid spills and evaporation. Heating of mercury, or compounds of mercury that may decompose when heated, should always be carried out with adequate ventilation in order to avoid exposure to mercury vapor."
"Acute exposure to mercury vapor has been shown to result in profound central nervous system effects, including psychotic reactions characterized by delirium, hallucinations, and suicidal tendency."


text:
Shivers and shrieks in a haunted house
Sintra, Portugal Rafael Marchante
Updated 17 May 2016 16 images
At the Quinta Nova da Assuncao mansion near Lisbon, all is not quite right.
During a tour of the empty house, there are apparitions, shadows and the sound of doors randomly shutting. All accompanied by the terrified shrieks from the group of visitors.
18 Mar 2016 . Sintra, Portugal. Reuters/Rafael Marchante
Portuguese theatre company Reflexo is terrifying audiences with its "Casa Assombrada" (haunted house) project, an immersive show where small groups of visitors walk through the 25-room house with just an audio guide - and each other - for company.
14 Apr 2016 . Sintra, Portugal. Reuters/Rafael Marchante
Facing some scary scenes as well as riddles to get from one room to the other, there are plenty of screams as well as tears.
Some do not even make it to the end of the show, fleeing through the front door.
The project has been running since last June at the house, which has stood empty for several years, drawing visitors from all over the country for the freaky experience in the village of Belas, near the town of Sintra.
9 Apr 2016 . Sintra, Portugal. Reuters/Rafael Marchante
"Normally what you see is the scary actor running through corridors ... It's not like this. You don't see the things, you are not sure if you are seeing things," said director Michel Simeao. "It's a very intense experience."
Rafael Marchante
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