It is our hands that have the power to create. Our hands are also associated with the fifth totonalcayo our energy centers which some call chakras. The fifth energy center is associated with our throat and the scepter which is our power source. The hands represent our power to create. Taking into consideration the energy and the number of the day, today would be a great day to create something that you may have been putting off. You can also reclaim any energy that you have left in the past or future. Enjoy the day today. Embody the energy of the monkey.
Do something fun. For my students tonight would be a great night to dream plant with the monkey. For my students and everyone else you can do the following: Sit with your eyes closed and think about any events where you need to recall your energy from. Then think about all of your future plans and call your energy back from them. Call it back to your healed. You can just set the intent to call all of your energy back to you healed from the past and the future to return to your power center. If you would like to assist me and find these posts helpful here are some free ways you can support me and create an exchange of energy May you and all your dreams blossom with beauty.
Kanc Run northernlights kancamagushighway kancrun tacomaoffroad toyotatacoma toyota solotraveler maine newhampshire ecampME aroraborealis longexposure sky stars nikon milkywaygalaxy galaxy notripod. To All the Stars that Shine space poetry stars beauty vastness reflection shine milkyway constellation moon glimpse.
Tonight I found myself back in perspective.. Frail I started thinking about bubbles and then the concept sort of transformed into this composition. Though as an astronomer I should have expected this Very excited to see what this will help me make in the future. Day 8 of inktober I used the original, elentober and reltober 's prompts for today. Today's drawing truly represents what I'm feeling rn Sutherland Lake timtannerphotography landscapephotography senicphotography followtoseetheworld mybestshot PureMichigan Michigan harrisonmichigan lake upnorth reflection stars nightphotography star.
They shared the power they usually have to make individual decisions with the artists and dancers who they had never worked with earlier members of the teams often were from three or four different European countries , they had to rehearse at residencies with a very limited amount of days and hours, coordinate their decisions with a number of people, and adapt to the financial conditions of the project. Most of the performances will be shown in exhibition halls that are limited in space, which is why the repertoires will be shown during the duration of the entire biennial for a total of almost three months.
The authors of the all the projects already introduced in the section of this article about invited artists had new experience in cooperation. But the visitor only wins with such an array of choice. The REWIND and PLAY programs which we have discussed, which are oriented toward the past and present, Thus from the very birth of the initiative the beginning needed a view toward the future, a turning forward of of , the PLAY program has been coordinated by the the tape.
These goals in the biennial strategy were to. As in the case of our partner Aura Dance Theatre, Beatrijs Sterk Germany , who is the head of ETN and who organizes a conference that moves to a different country every two years, suggested to organize the biennial in Kaunas together with the 16th ETN conference.
Most of the above-mentioned speakers were invited by biennial organizers to put on personal exhibitions in Kaunas. The conference is expecting over one hundred and fifty art, design and industry experts and scientists from around the world. First of all, there will be creative workshops that analyze the future of art and textile in the fields of hi-tech, smart textiles and interdisciplinary experiments.
Creative workshops, open to young artists, art and technology students, will take place at the beginning of October when the wave of opening events of the biennial will taper off. Rachel Wingfield and Mathias Gmachl London, UK will lead the ArchiLace creative workshops, where objects will be designed for spacious public spaces in the city that are brought to life on textile-binding principles, absorbing light during the day, and give it off at night.
Estonian Art Academy Ph. The four-member British group sampler-cultureclash will lead a two-day live sound and textile creative workshop and have a DJ performance led by David Littler. We will see the works of students from the Vilnius Academy of Arts Prof. The Kaunas Biennial has already been participating for three years in the international solidarity program Hemispheres, the initiator of which is the French organization Freres des Hommes.
Estonian, Italian, Catalonian and Irish organizations are participating in the program along with the Lithuanians and French. During , we sent almost thirty young artists to a three-week seminar in Paris for training, whose view and models for behavior are changed by information and presentations from speakers that come from countries from the southern hemisphere like the Democratic Republic of Congo, Brazil, Peru, Senegal, and Indonesia. Upon returning from their training, the young Lithuanian artists along with their colleagues from other European countries organize events that help to bring to life international solidarity and personal responsibility in local communities.
There were also film evenings or personal exhibitions on social themes. Not only are all the Lithuanians that took part in the training invited to bring this project to life, but also friends of the program from other European countries. The young par-. We are all united around the world by daily bread. The bread may have a different taste or color, but it is necessary to sustain life.
Giving out bread in a public space reveals one of the most important aspects of the Kaunas Biennial, which is a good community feeling, and nurturing in our case through textile culture. Textile, like bread, is something that is every day. Derrida metafora. They are the foundation of this curated exhibition, the idea of.
Thus having a textile work creative principles. Artists whose ages ranged from twen- designed by a painter or sculptor made at a textile maty to 80 years of age answered my questions. The works nufacturer has a long tradition in European art, however they mentioned became the works that formed the basis today in Lithuania it is a possibility that has become soof the works that were to be made with a computerized mewhat forgotten. Jacquard loom and shown at the exhibition. When professional textile art made its way into exhior canon of ideas and images thought up by someone, bition halls this happened for the first time in Lithuania formed by entrenching some things while throwing out in the s , it seemed like a rebel to the apologists of others.
In Lithuania, its emancipation took place at the be called parallel stories, small stories, personal stories. Those that are indifferent to the past are of contemporary art, and for no good reason. This is yet very few. The relationship of artists with art history is of- another reason why works that textile artists are attracten ambivalent, encompassing feelings from nostalgia to ted to and admire are being shown at the exhibition, dissatisfaction and denial.
One often observes a spiritual most often paintings and graphic works. Of- Lithuania, unlike textile. The using of computerized loom ten contemporary artists have personal art histories that technology, which does exhibit characteristics of leveling, have formed from works that they are close to and in this is a kind of symbolic act of control, an act that is inspired way they create their own canons.
This is why works from by an attitude of not being in it for itself only and having Lithuanian art history from the 20th and 21st century are long-term interest in art and its own cultural atmosphere. The technological transone that is canonical in nature which is usually formed formations of image and action in the thinking of the modern person seems to be trying to occupy a place of by art historians. But there are also positive aspects. This exhibition is a conceptual attempt to see new things and see old things in a different way, because 20th century Lithuanian art history, its works and images with the changing of the method of conveying the image, through the eyes of textile artists, works that are impor- each repetition becomes a partial interpretation or protant to current textile artists.
This is not only an intriguing vocative improvisation. A question is raised in this project version of Lithuanian art history of the 20th and 21st centu- as to what a painting, graphic work or photographic piery, but a platform for an informal, non-traditional way of ce of art becomes when it is touched by computer textile getting to know Lithuanian art. How does its idea transform, when a dab, a color, or a stroke experiences computer expansion?
The exposition Rewind History is comprised of textile interpretations. On the contrary, weaving enabled to heat up the discussion to an extreme concerning the specific aspects of a plastic language and possibilities of separate spheres of art. The original works of these textile interpretations are works of different artists, often far apart from one another in their artistic ideas, and done with contrasting styles, manners and techniques.
The works in this exposition are united by the computerized Jacquard loom and status as an object of research. But the most important is that these works have been noticed by colleagues from another creative field, thus this exhibition is a kind of declaration of recognition of favorite works. However a kind of cultural research has been carried out on the textile artists and their interests in this exposition a metaphor from J. Of course, it is fragmented, and closer to a sliver of thinking and seeing than a whole.
This impression of being a fragment of art history is unavoidable, because due to various reasons, not all the answers of textile artists have been used. This fragmented nature is even emphasized consciously in repeating and reproducing images, manipulating sizes, using colors or rejecting them. The original works here become a part of the textile and technological experiment. What happens with drawn lines, oil painting strokes and shades, and illusions of depths, distances and planes when they are thoroughly permeated by the rationality of a computer Jacquard loom?
What is also just as interesting is with what meanings and what kind of emotions the textile surface complements and enriches the original image. Or perhaps the textile and computer invasion into a painting or graphic work has the power to give birth to totally new meanings and a new work that contrasts and discusses the original image? One should look for answers to these questions at the exhibition. They should be. No less important to this project were the decisions of Lithuanian museum employees and the relatives of artists who are not here anymore. Their creative work would not have been possible without the good-hearted attitude of the manufacturers.
The exhibition Rewind History is the result of the collegial cooperation of all of these creative people. Always the avant-garde artist, and always a bit of an underground artist, he holds importance for a new generation of artists because of his artistic and pedagogical work. At the end of the s, he began actively studying the body, movement, time and experimented with hyperrealistic painting, which was not popular at the time in Lithuania. This went against the trend of Neo-expressionist painting that was dominant at the time.
At the time, this painting expanded the understanding of portrait painting, and changed the attitude toward reality and Realism, which for Lithuanian artists that had to endure life in a country under Soviet rule, seemed to be something ideological, repulsive and totally one-sided.
Pagal A. Already at the time, small and fine things, such as a hair, wrinkle or crumb from a knife became enormous and threatening objects in her colorist work. Pagal J. Consciously using opposing meanings, banal images, levels of visualness that have different natures painting, graffiti, and fumage , he changes the attitude toward painting step by step as an art of individual expression, and forces one to re-think its meaning in the present.
It is a present where there is often a lack of simplicity, stability, and values, but one that is overflowing with visual noise, contradicting news, amnesia of memory and feeling of repressions — a lot of unpleasant things that is coming from media tools, and a lot from what has been experienced or gone through by generations of people.
They were fated to live on this side of the Iron Curtain in the second half of the 20th century.
The bewil-. Those that did not experience this atmosphere because they were not born in Eastern Europe or later will notice the allusions to the myths, archetypical images or stereotypical behaviors of the anonymous city dweller in his paintings. It is re-thought, but not celebrated or even questioned. He claims that for him, reality seems to be unknowable and deceptive. The picture Radar gives rise to a number of associations: graffiti, a tower, alert ears, all-seeing eye. The rose color of a sunrise or sunset here does not wish everyone a good day.
Her video projects are also full of a courageous self-criticism. She happily researches herself as an artist and as a woman, all while keeping her good mood and not complicating her attitude too much. Pagal L. His work is a kind of game of imitation. Ancient artifacts are important to him in two ways: as a testimony to a harmonious past and material and media for an art of the present that can be freely manipulated, striving to express his idea.
Pagal P. Tai neveikianti Kauno sinagoga senamiestyje ir.
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Pagal R. Rimvidas Jankauskas , nicknamed Kampas, was a totally atypical personality in Lithuanian art. He brought a principle of unseen inner freedom and carefree courageousness to Lithuanian painting. His painting is marked by a hypertrophied expressivism, spontaneity, and even brutalness.
His works openly and accurately express the world view of his generation, city kids of the s and s who considered themselves the successors of the hippies. There was no time for details in the heat of painting, and the simplified motif takes on a symbolic meaning. Music plays a role in his painted visions. However a motif that was seen in reality, the city or in nature and the emotional impulse he got out of it was just as important to him. In he died suddenly at the age of thirty-five.
Kampas was and has remained the standard of a courageous artist, a free bohemian personality and deeply sensitive artist. An artist whose life and creative experiences no one could ever manage to repeat. Pagal V. Differently from the primary work in Lithuanian painting, it is rich, open and easy-to-follow. You can see colors and tastes of the present in canvases that are like television sets. Erotomaniacs know that they have earned the scourge of God, but they still look at us with the innocent eyes of a child. Just to let you know, no one is afraid of that kind of attitude except for young people, at least in Lithuania.
He is a favorite most probably for this reason. Still: George at St. Still: Klein Party, June 2, Jonas Mekas g. Jonas Mekas is a film director, writer, film critic and curator. He is the driving force behind American independent film and the founder of the Anthology Film Archives. He Jonas Mekas is a film director, writer, film critic and curator. He has been written into 20th century film history as a leading figure of avant-garde film and charismatic personality, carrying out important cultural and public work in the US since Jonas Mekas crystallized a unique language in the form of film diaries.
They could be described as subjective personal notes that are done while filming. With a camera in his hands, he reacts to these moments in life that are important for him personally. His way of filming creates the impression of absolute naturalness, as if everything was happening as it should. Everything that is happening is important for him. In his own. What is filmed by Jonas Mekas seems joyful and simple at first glance.
But that is only a superficial impression — there is existential sadness, tragedy and feelings of unusual danger in his daily filmed stories, though no specific point is made to show this. Jonas Mekas is truly a fascinating person, and truly a free and independent artist. Sauka artwork. It is still filled with polyphony and exotic attributes that are characteristic of opera, however its allegories have been unmasked. A new myth is being weaved out of old threads, where distortion full of wonder is treated as a sign of everydayness and an unwritten law.
Vilnius: Maldis, , p. In essen-. Kaunas: Nacionalinis M. Liudas Triukys was a famous scenographer who always looked for synthesis between the arts and who belonged to that particular group of world artists whose light burns bright even after their death. He served as department head and taught there. During he greatly contributed to the teaching of the first specialists in this field. Today the generation of Lithuanian textile artists that studied in Kaunas in recognize the influence of his creative principles and importance as an individual was in forming their creative and ethical principles.
Officially Liudas Triukys taught composition to students. Today it is important to remember the kind of social and artistic conditions Liudas Triukys that taught students in and did his art under. It was a period of a brutally enforced ideological Social Realism.
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On this side of the Iron Curtain, getting to know classical Modernism was limited, while it was forbidden to even publically utter anything about abstraction. Stage Alchemist: Liudas Truikys [catalogue]. Pagal S. In parallel with her wall painting that was hailed as Soviet work perhaps as a price needed to be paid to the system , this energetic woman painting memorable portraits of the Lithuanian intelligentsia.
Doctors, actors, musicians and scientists are not only heroic characters of their time in her canvases the kind of depiction that was demanded of an artist by Soviet art doctrine , but individuals that are full of a unique inner freedom. What is interesting is that her striking personal style did not level the inner uniqueness of those being portrayed, though most of the. Our Surgeons is a conceptual portrait of doctors, perhaps even more of an old-style historical painting where the people depicted are joined by an idea and common interests.
Ten different characters that are provided with an expressive language that is revealed not only in their faces, but in the movements of the figures. Today she is one of the most important Kaunas painters. In the s just as she had started to paint, she continued the expressive tradition of Lithuanian painting in an important way with her humanist and Christian principles.
The scenes of reality in her painting are not trivial, but similar to quiet rituals in life. It seems that the people painted by this artist contemplate on and know the truths which we live for, and which we need to live for. Women holding babies, a man embracing a woman, girls forever waiting. All of them are joined by a promise of hope and goodness. She speaks about simple but essential things of life for man she speaks about woman separately , and in this way tames and awakens the timid soul of modern man.
Pagal E. To once again see or simply find the work of your fellow countrymen that have naturally merged into Western culture was an unforgettable spiritual experience and impetus for creative quests. Gravures sur bois. Conte populaire Lituanien. Vilnius: Baltos lankos, , p. The Bride From the Barn is an amazing fairytale that has mythological elements that are based on wedding customs and traditions. It is often an inseparable part of art works, but in Lithuania the unique symbolism of a work of art that was tied to archaic Balt symbols and expression of nationality was well-respected by artists who worked in the atmosphere of Social Realism.
Oppositions such as male and female, black and white, and top and bottom that are characteristic for this mythical world view are expressed in this woodcut. Grafikos kontekstai: deklaracija. It is tied to the generation of Lithuanian artists that formed a strong foundation for national art in the s. After a tragic period of deportations, war, occupations and Stalinist coercion , Lithuanian could once again breathe freely, and for a new generation of artists that wanted to turn away from Social Realism, Viktoras Petra-.
Virginity Taken. Tai praeitis ar ateitis? Tragedijos nuojauta ar asmeninis prisiminimas? Pagal I. Painter Igoris Piekuras liked to elevate the primary ideas of painting storytelling to the surface of the plane of painting. He did not unmask them with an avalanche of expressive strokes. He always painted smoothly, detailed, and of course, totally different than most Lithuanian painters. Igoris Piekuras liked to compose spaces containing several levels in his paintings using combinations of unusual objects and unusual moods. For a long time the surrealism of his paintings seemed to be well thought out and rational, but at the same time tempting with the fatal mood of his works.
The face of the girl that is depicted in painting Reflection. Above her is a patch of a burning sky that is included like a photographic inclusion. Is it the past or the future? A drawing of the conscious or subconscious? A feeling of tragedy or personal memory? Pagal M.
I-V, The canvas compositions are ra-. The impression of logicalness, the coldness of the medical equipment is strengthened by the exact, detailed drawing, and the adaptation of a raster by employing the use of screen printing. This composition and technology on the surface reminds one a bit of pop art, though the concept of the picture and structure is closer to Estonian painting of the Soviet period, which she regularly came into contact with at the Vilnius Painting Triennials […] Contrast is one of M.
Vilnius: Aidai, She is one of the few artists of the time that searched for totally different paths other than compromise and adaptation to the system. She had to pay dearly for her creative freedom. Having dreamed of painting, she was forced to study textile. For a period of time she made weave printing projects in factories.
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Afterwards she was submerged in a vacuum of silence without orders and without opportunities to participate in exhibitions. Her answer to this were large format abstractions, a diary, bilingual poetry, actions and space installations, which only close friends saw in More than ten years were to pass before her first public art actions were shown in Lithuania with the groups Green Leaf and Post Ars.
In speaking about Silent Modernism in Lithuania, somewhere the idea has already been mentioned that in the s and s, avant-garde expression appeared not in the atmosphere of visual art creators, but in that of applied art creators. Pagal K. Spalvinga ne tik tapybinio kolorito turtingumo prasme. They are colorful not only in the sense of the richness of color. She reveals herself as an unrivaled and distinguished continuer of colorist Lithuanian painting.
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Her paintings are colorful and full of thought and emotional meaning. In the s she became fascinated with the harmony of gold and wine-colored tones as well as the fantasy of bright dreams. This space of a rural house serves as that big world for the painter that others still try to conquer. Bent jau vizualiai. Using classical Italian Renaissance imagery, she shows mothers with buildings made out of children in the background, where their husbands are working as construction workers. The charmingly aesthetic kaleidoscope of the double portraits of twelve families forced to leave the province and go to the city due to economic circumstances explain not only personal stories, but also the deeper structures of cultural change with culture understood in the broadest of senses.
If one had to find a textile parallel for this work, you would have to describe its character as a study in comparative cultural studies. Mothers, grandmothers, great-grandmothers and aunts were remembered through the objects and actions that represent them. However this certainly was not because of the openness of the female line. I have to admit that the criteStories, Narratives and ria which can become personal of the selection process Meta Texts were risky, because with textile art becoming emancipated, it is simply not helpful to mention this.
Here is a It is a competition exhibit that is devoted to the telling good occasion to flip the question and check whether the and retelling of stories. Regardless of how you look at it, knowledge about the part of contemporary art that grew we suggest you look at it from a personal perspective.
As is known, artists from Eastern countries unquestionable mark of maturity. Thus Wang textile as a field where the contemporariness of the work Haiyuan talks about the desire for freedom through an depends on the material, and not the idea that one works installation of flags that are waving in the wind, and in with. Beili Liu recalls the ancient Chinese le- and Ghada Amer along with many others would simply gend about the unseen ties between people from birth laugh heartily upon hearing this.
She weaved a textile of delayed whom she also happens to share a name. In this case, she emotions that have the red color of lava. It represents the treats the creation of art as magic that involves using the angered inner state and with its enormous size allows the personal things of people in order to cast spells on them. This is certainly not desired by those who of growth of Beijing with all of its indirect consequences are comfortably established, which is why change hap-.
And it seems that change has yet to reach Lithuania. The theme of the exhibition makes me happy not only with its courage to look back, but also with its relevance. When you stop to think about it, telling a story is the only real criteria in a society of excess. A story is hidden behind a name, a recommendation, or getting to know someone. But when you have to choose, starting with shampoo or a CD and ending with a home or piece of art, a story that is tied to many other stories plays a part in that decision. In some places the narrative is expressed with images, while in others it is done with words.
Even the most abstract art would not exist without a story. I would suggest thinking of the texts provided near the work which were requested under the conditions of the organizers or stories that are written down as film subtitles, which merely introduce you to the theme. Some of them are not articulated, and influence one through the senses.
For example, Kyung-ae Wang weaves enormous archetypical forms, which not only show the depression she experienced, but speak of the time needed to overcome such a condition. The rings of ghostly shapes frighten you, but also calm you. Other works are fragmentary, but are more articulate in their storytelling.
Tilleke Schwarz puts everyday phrases into images. There are two fictional characters that always travel through her work — linguist Jeremy Adagio and his obedient dog Hyperion. What is interesting is that the characters can change their gender or turn into totally different creatures. There are a number of male artists and in general male and female artists whose professional education is not connected with textile. The organizers methodically strive to include contemporary artists who understand tangibility and textile as yet another method, theme or aspect of interdisciplinary expression.
A magnified scale is provided for her work, and the viewer is physically pulled into the space of the work.
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She convinces you that the parts of the world are a set of equivalents. By joining together different medias video and a sound installation , she offers new ways of understanding music, film and texts. Or F4 Artist Collective, which is a famous of artists from New Zealand who examine the links between one another like the structure of a textile. At least visually. The clothes, which were remade into almost unwearable design objects, speak of childhood as a period of discipline, when the subject of the dresser the child is still beyond the limits of language.
If the body expects elasticity from clothing in the name of freedom of movement, then what kind of flexibility should the garb of an extremely dynamically changing shadow have? It is an interactive piece, where the viewer can put clothing on his or her shadow.
This interesting game raises totally unexpected, almost phi-. Where does being end? Should we worry about our shadow? As there are 32 artists, there are also that many stories. She makes the theme of love relevant in a consistent and varied manner, this time highlighting the destructive force of a strong feeling. For this she employs references to the depiction of textiles in the iconography of art history. Love works as a destructive like light to an are not only told subjectively, but also understood just as undeveloped role of film , but unavoidable unit. That is why your participation is necessary.
One of the regular stars of the biennial, Fiona Kirkwood, continues to look for ways to conquer or at least lessen the hostility between people that arise due to race or cultural differences. For this she uses human hair, the changing color of which is tolerated without any problem. She uses the hair not as an abject a term from Julija Kristva, which means a part of the body is separated from the body, which just a moment before was alive, and now has become a reference to death , but like a decorative textile work.
Hair of different colors is braided together, creating beautiful ornaments. The visual dance is created not so much for beauty as for a hint at a perfect togetherness of society. She had the privilege and responsibility of being the Estonian Minister of Culture, and as an artist she was interested by the symbolic weight of carpets laid out in the corridors of the ministry.
They clearly showed their power, which is why they were destined to become a subject of reinterpretation. Katie Waugh goes the same route by shaking up the landscape of images of political symbols. And it is precisely in her drawings that she lumps together the tablecloths and curtains from official meetings, and in one artistic act manages to truly create a threatening feeling of instability. After all, decisions that are crucial to people and nations are made in board rooms as well as conference, rally and debate halls. Tapestry, classic gobelin weaving. Tai lyg gyvenimas kitoje planetoje, kitame pasaulyje, kuris jau dingo visam laikui.
My parents met after the war. Dad taught physical culture in the institute where my mother studied math, and soon they liked each other.
She came to Moscow from Yaroslavl, young and beautiful on the old photographs. As an officer and institute teacher my dad received special ration, including tinned stew, condensed milk and even chocolate. He even had a separate room in a dormitory, and very soon there were already four of us living there.
At first I was an octobrist, then - a pioneer, and later - a young communist. And then I grew up, got married and gave birth to a son, I studied at school, went into sports and visited pioneer who now already has a family of his own. Life is passing camps. I was keen on music and designing. I was a reaso- very fast, in fact. Such mi- net, in a different world which is gone forever. I can revive litary units in fact were still in use at that time.
He used to tell us often, me and my younger sister, a story about him being sent back Does memory at all exist? Or is it only the imagination of to the home front with a mission to return with bicycle the past? We lived in Moscow, near the famous Lefortovo prison. A friend of mine had windows with a sight of a prison yard, where political prisoners walked around. Adults jokingly frightened us with this jail, and we were really scared to pass it by.
But all this was somewhat unreal or irrelevant, as if it was seen with peripheral vision. Cotton 3 x x 75 cm. My own sense of personal and cultural identity is shaped not only by my life experiences but also by hers. Her father my great grandfather was a Quaker and conscientious objector in World War I and was imprisoned for refusing to fight. As his health deteriorated in prison, my great grandfather finally agreed to take part in the non-combatant service in the last year of the war, but the physical and mental scars of his prison experiences stayed with him and his family for many years.
There was much lingering resentment towards conscientious objectors and their families in the post war period. The crosses on their home also continued to single them out in their new community, where so many men had been lost to war. By World War II my grandmother had married and my father was born. This work was exhibited in the UK in without a content description in order to research the range of meanings that viewers derived from the work and the cultural and personal histories and experiences that informed their readings of the textiles.
Buvo ne taip. In art I make up characters. The dog, Hyperion, is one of them. His master, the self taught linguistic researcher, Jeremi Adagio, is another. Jeremi wants to find the truth about everything, to save the world. He sends Hyperion to seek through all the different layers of language we have at our disposal. The overriding questions are: How do we make use of our communicative abilities in verbal layers and in non-verbal layers? And how do we promote ways to express our wordless experiences as well as those suited to be processed in theoretical analysis? In the beginning darkness faded from premonitions, visibility, sound and rhythm.
And by the influence of the surrounding, language made way in between the stars and landed in our mouth like a giant nebula. Language was made of scattered words that were all one million times bigger than the thought or just as much smaller. It could grow from this nebula, because the thought was so slow it could not resist its own attraction and grow into shapes. Meaning appeared through the words, sometimes as a conceptual appendix to thought. It is unknown when, but it turned out that concepts, in a temporary manner, would show to be surprisingly accurate in their presentations of phenomena and occurrences.
In the excitement and satisfaction over this conceptual precision it got mistaken for permanence and attempts were made to actually carve the language in stone. So, language transformed from nebulous gas to stone; the time span is not known, but it is obvious that this caused difficulties. Both religions and sciences were carved before it was decided that no concepts were to be specified without an account for their temporariness.
This was not the case. I start again: the official representatives of science, whisking their magic wands in the rest mass of history, ought to have understood that no linguistic ability of any kind must be. This was not realized. The others are still carving away in stones and rocks. All communicative ability is of eternal value, but it is also very shy and etheric, it gasifies easily and can even cease to be, if threatened.
But at the same time it holds magnificent possibilities if one does not get too infatuated with the idea of exactness. Back to minor planet lists. Search this site. Navigation HOME. Mars Science Lab. Manned Space Missions. Unmanned Space Missions. WISE Mission. Join Our E-Mail List. Name Provisional designation Discovery date Discovery site Discoverer s 1— edit 1 Ceres dwarf planet. Sternwarte Lilienthal. Lesser , W. Copenhagen Observatory.
Ann Arbor. Wolf, A. Mount Hamilton. Wolf , A. Wolf, L. Wolf , L. Wolf , P.