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Armenia's 'Revolutionary Sensorium' Shines at 2019 Venice Biennale
2019 Year-End Special Issue
A scene from the Armenian Pavilion at the 2019 Venice Art Biennale
BY TINA CHAKARIAN
The project "Revolutionary Sensorium" reconstructed the 2018 Armenian revolution that took the country by storm, transforming Yerevan into a space where an energized multitude exemplified just what it means to be revolutionary.
This "Velvet Revolution" united the people of Armenia under the motto "Solidarity and Love" — one of the revolution's popular slogans — and facilitated a climate of parity, equality, and collaboration.
Of course, the revolution did not come about in the blink of an eye. It was the accumulation of years of retaliation against the wide-spread corruption, social injustices, authoritarianism, and other reprehensible practices on the part of the country's former government for over 25 years.
The exhibition consisted of three parts. The first segment featured artistic group "Artlab Yerevan," a team comprised of Gagik Charchyan, Vardan Jaloyan, Hovhannes Margaryan, and Artur Petrosyan. The Yerevan-based art collective spent the last year researching, studying, and compiling data chronicling the revolution, before recreating it visually. The group addressed topics such as "Revolutionary Assemblages and the Multitude," "Violence in Revolution," "Revolutionary Participation," and "Revolutionary Aesthetics: the Effectiveness of New Technologies and Drones." The exhibit featured large-scale video projections across the venue's walls.
The curator of the project, Susanna Gyulamiryan, initiated and organized the second segment, featuring videos and recordings of female experts, scholars, and feminist civil society activists Gayane Ayvazyan, Ruzanna Grigoryan, Anna Jamakochyan, and Anna Nikoghosyan. They engaged in thoughtful and critical discussions on post-revolution political agendas, cultural and economic issues, and media bias throughout the course of the revolution. Another female participant staged a silent protest through a performance titled "Not Speaking About the Revolution for the Sake of the Revolution." The segment also included a spoken word poetry performance titled "Revolution: The Event of Return of Reality."
The final element of the project was a public performance by artist Narine Arakelian, who reenacted one of the revolution's most unique protests — the "Cast Iron Pots and Pans." This feminist undertaking saw women in Armenia opening their windows at 11 p.m. every night of the revolution, banging pots and pans together, en masse, to stand in solidarity with disabled women unable to march in the streets. Indeed, this protest led many to point out that the revolution in Armenia could not have succeeded, had it not been for the active participation of the country's women and more specifically, their determined efforts, radical undertakings, innovativeness, and fearless acts of courage. Arakelian recreated this moment along the streets and canals of Venice.
In May 2019, the Republic of Armenia presented "Revolutionary Sensorium" at what is perhaps the most prestigious international art exhibition of our era — La Biennale di Venezia. The Armenian Pavilion was inspired by the 2018 Velvet Revolution, a historical event that quickly became the subject of global media coverage and analyses, with particular attention attributed to its non-violent nature: not a single bullet was ever fired.
What lessons did we learn from the revolution, exactly?
First, it underscored the invaluable role of youth in leading resistance. The protests were almost childlike in nature. Following Serzh Sargsyan's official resignation, a group of teenagers brought snow from the country's mountainous terrain to its Republic Square, only to start a snowball fight in front of parliament. Hundreds of young men and women held signs denouncing Sargsyan, comparing him to Cheburashka — a Soviet cartoon character. The use of drones and modern technologies in the revolution were indicative of a movement led by a new generation of Armenians, tired of outdated politics and Soviet-era politicians.
Second, women were at the forefront of the groups involved in the formation of organized, anti-government protest; to quote an article in Open Caucasus Media, "on top of consistently being involved in the grassroots-organizing of social movements, they [women] also make up the majority of Armenia's journalists." It is women who form the majority of Armenia's NGOs and media, and who had been leading the resistance through their civil activism, decades before the revolution took place.
Armenian Pavilion team members preparing for the "Revolutionary Sensorium"
Last July, international art curator Ralph Rugoff announced the theme of the 2019 International Art Exhibition La Biennale di Venezia. He named it "May You Live In Interesting Times," an ode to the ancient Chinese curse. In December, the Economist named Armenia "Country of the Year." The opening of La Biennale was to take place on May 9 — just two weeks following the one year anniversary of the revolution. And so, we created "Revolutionary Sensorium," a pavilion meant to recreate the events of April 2018 through video installations, artwork, and live performances.
Following my announcement regarding the theme of this year's Armenian Pavilion, I was met with a recurring question which I had difficulty answering, "Can art really effectuate change?" Can "Revolutionary Sensorium" truly honor the decades of work on the part of activists, human rights defenders and journalists who have selflessly fought against the corruption and authoritarianism widespread in Armenia? After all, art cannot monitor free and fair elections. It does not choose who governs and leads nor for how many terms. It will not implement transitional justice, nor will it hold trials to indict individuals responsible for widespread civil and political injustices.
What art can provide is a platform for dialogue. The rise of political art as genre and the incensing number of contemporary artists associating themselves with activism means the historical distinctions between art and politics have begun to dissolve. National pavilions have a special role in the world of political art. They made their debut appearance at La Biennale di Venezia in 1907, and have since featured the greatest modern art hailing from every corner of the world. At La Biennale, there are no closed borders and territorial disputes. There is one exhibition, nearly one hundred participating countries, and an open space to communicate what message your country wants to send to the world, and to its people. Here, art is a space for full, uncensored discourse, accessible to all. It is a space where artists can make otherwise marginalized cultural narratives visible on a global scale. This is what "Revolutionary Sensorium" does so brilliantly.
Armenia is a country reborn. The next few years will be vital to its establishment as a democracy. Last December's elections reflected poorly on that establishment, with few women elected to parliament. Women were an invaluable voice in the revolution, but are now ignored in the decision-making process. "Revolutionary Sensorium" is an immersive experience, yet its purpose is not solely to rekindle the emotions we felt during the revolution. It is a reminder of solidarity and unity in the midst of uncertainty. It is a reminder that peaceful protest can ignite change, and that women and youth are indispensable to this process.
This is not Armenia's first time participating in the Venice Biennale. In 2015, the Armenian Pavilion presented "Armenity," which won the Golden Lion Award for Best National Pavilion. Its theme honored the centennial of the Armenian Genocide and was based on the premise of the formation of nation characterized by a dispersed identity. The artists featured in the pavilion were Armenians of the diaspora, descendants of the 1915 genocide survivors. The pavilion commemorated the darkest hour in Armenia's history while shedding light on perhaps one of the most beautiful aspects of the Armenian nation — the Diaspora. In its portrayal of the diaspora as blossoming and flourishing in every corner of the world, borrowing from its adopted cultures while staying connected to an Armenian motherland, "Armenity" sent a message to the world — we are among you.
Armenia will have the chance to represent itself again at La Biennale di Venezia in 2021. It's a chance for us to support our most talented artists in both the Armenian mainland and the diaspora, allowing them to showcase art inspired by our country's past, present, and future. This is not an easy initiative. To assemble a team of artists, curator, development director, and producers take months to plan and of course, require adequate funding and resources. It can be done, but it's up to our commissioner and sponsors to see that the Armenian Pavilion can create something capable of actually effectuating the change we so often speak of.
Tina Chakarian is an Armenian installation artist and business development specialist currently based in Yerevan. She is the development director of the Armenian Pavilion at La Biennale di Venezia.
The "Cast Iron Pots and Pans" action of disobedience staged by women
Curator's Statement:
BY SUSANNA GYULAMIRYAN
In the recent Armenian history of protest, struggle, and movements of resistance, the tragedy that took place in February and March of 2008 is one of the most memorable and worrisome events. The Armenian presidential elections ran according to the well-known script: the people's freedom to vote was neglected in a systematic manner; a major part of the voters was either bribed or threatened; turnout buying took place; and eventually the candidate of the ruling regime came to power. Public indignation ensued as a result, which hastily grew into an unprecedentedly massive social and political movement. From March 1 onward, the movement was met with severe resistance by the ruling power and its subordinate institutions, the national army, and riot police: ten people were killed, a considerable number of activists were arrested, and all public rallies were banned. The government announced a state of emergency.
The following years saw the situation in the country grow stagnant and tepid, promising little hope for democratic reform in a country ruled by a highly-corrupt regime. The number of people emigrating increased by the year.
Since 2008 – the year bears unequivocal connection with the political events of March 1 – the Armenian contemporary art scene has started to demonstrate a higher level of political, social, and civil engagement, gaining the strength and momentum to break out of conventional artistic spaces, the confines of galleries onto streets and into public spaces. There was a desire to create a form of art that would not hesitate to unmask the social injustices widespread across the country.
This impulse towards politicization paved also the way for highly motivated art curators, art critics, and artists to set a new agenda of incomparably more profound critical (self-) analysis and (self-) definitions.
During the process of merging local artists with civil activism, a so-called "post-conceptual turn" emerged in Armenia's local contemporary art scene: rejection of new theories and contemporary discourses, even though at earlier stages of the ideological formation of the local scene, references to post-structuralist and post-modernist discourses were very common in visual citations and verbal discussions. The political activism inspirited with ideas of revolution became a more preferable and urgent issue for the artists.
The revolutionary events that took place in Armenia in Spring 2018, according to almost all of the participants and analysts, did not come about in a blink of an eye but were, inter alia, the result of continued and consistent struggle comprising protests, resistance, and civil movements for over a quarter of a century. Artists, feminist activists, and civil activists were all part of these processes, struggling against patriarchy, corruption, social injustice, violations of basic human rights and democratic values, unlawfulness, incompetence of the authorities and their incredible wastefulness, and many other issues.
"Revolutionary Sensorium"
The Armenian pavilion of the 58th International Art Exhibition of La Biennale di Venezia is titled "Revolutionary Sensorium." This three-part project is an artistic and analytical representation of the Armenian Revolution of 2018.
The first part of the project is a video installation by "Artlabyerevan" art collective comprising of members Gagik Charchyan, Hovhannes Margaryan, Vardan Jaloyan, and Arthur Petrosyan. Their work is structured thematically and contextually, and is the presentation of the research, collection, and distillation of documentary materials on the most memorable events of the revolution. Another element of the project is a public performance by artist Narine Arakelian, who reenacts one of the revolution's most unique forms of protest — the "Cast Iron Pots and Pans" action of disobedience staged by women.
The final part of the installation is comprised of a series of videos titled "Dialogues about Revolution and Power" initiated and organized by myself — the curator of the Armenian pavilion. In these videos, female experts, researchers, scholars, and feminist and queer activists – Gayane Ayvazyan, Ruzanna Grigoryan, Anna Zhamakochyan, and Anna Nikoghosyan – present reflections and analyses on the Armenian revolution, recite a revolutionary poem-manifesto, and announce a "statement-slogan."
I would like to note that the decision to invite women exclusively was countered by the question as to why the discourse of revolution is put to the analysis of an all-female team. Suffice it to say, I am certain that, were the team to consist only of male experts, intellectuals, and activists, one would take this as self-evident and normal.
Young men and women held signs in protest
In response to that, I would like to establish my rebuttal of the spectator's and reader's traditional expectations from women and from the ways of representing women. I also speak against those who, by way of praise, claim that Armenian women demonstrate almost equal capabilities to men in the process of intellectual ideation and analysis.
Moving forward, I would like to elaborate on the ideas behind each of the above-mentioned projects in their chronological order.
The video series by Artlabyerevan is composed of several thematic video projections, where the focal theme is the "revolutionary multitude." The term multitude was coined by political philosophers Antonio Negri and Michael Hardt. Among the important features of the 2018 Armenian revolution were agility, mobility, new forms of relationships between the resisting and struggling sides, and the formation of self-sufficient and decentralized groups. This corresponds to the definitions and practices of the revolutionary multitude introduced by Negri and Hardt. According to them, the discussion is not limited to the formal structures of resistance. We must also talk about the relationships that exist among these structures and relationships that follow the principle of cooperative action and shared impact. In times of revolt, resistance, and upheaval, neither centralized control, nor individual intelligence, carry any value. Here, a new type of intelligence comes into play — collective intelligence, which is social in essence. The multitude is therefore, a body of networks.
This part of the video series is also about revolutionary balance — when no group, party, organization, or other force in the country can dominate the rest.
In the video series, the artists also emphasize footage shot by drones. Group member Vardan Jaloyan states the following: "When thinking about the Armenian revolution, we should speak about the change of the sensorium during the past twenty years. More specifically, we can point to a sensorium of new technology, keeping in mind the active use of computers, cellphones, the Internet, and, in the case of this revolution, drones. Drone footage extended the human's visual sensorium. The drones captured neither the individual, nor small groups of people. Rather, they filmed a revolutionary society. The shooting process gave the revolution's participants a unique sense of excitement — the notion that "there are many of us." Drone footage enriched the political and revolutionary sensorium with a degree of elevation — both literally and metaphorically."
Digital technology certainly had an essential role in political mobilization. The failed revolution of 2008 had been called a DVD revolution, since, under the information blockade, news was spread via DVD. In 2018, however, the network of decentralized, and mostly self-organized actions and decisions were, among other things, fostered by the presence of information technology. The Internet, accessible to the revolutionary multitude, ensured the rapid spread of information via social networks and messenger applications. The live online broadcasts from drones helped the masses become alert and aware of the attacks initiated by police, as well as widespread violence in general. Drones also helped prevent the spread of misinformation incited by the pro-government press.
Other footage in the video series features the violence used during the days of revolution by representatives of the previous regime and the police, who often labeled the actions of the struggling multitude as "group attacks." Up until the second stage of the revolution clashes occurred between demonstrators and police. Hundreds of citizens were being detained or beaten, and the use of explosives resulted in serious injuries.
Typically, for safety reasons, any activity in and around exhibition venues are often broadcast live via various technical tools and software programs. "Artlabyerevan" also uses this approach in its video series but for a different purpose: the image of the spectator appears on the screen, which is part of the exhibition. This creates an illusion of re-participation, or participating in the revolution anew.
The video series also embodies the creative side of the revolution. According to members of the collective, "the multitude of bodies draws on not only political, but also poetic and creative features." The artists demonstrate diverse means of creativity, such as the procession of cyclists, the sounds of car horns, and the reenactment of the famous Scandinavian "Viking chant," accompanied by rhythmic clapping and drum beats, if we are to mention a few.
It is worth mentioning that the last two aforementioned means of inventiveness are largely androcentric and, to some extent, militant manifestations. Some of the women's public performance acts, on the other hand, had clear messages, establishing a certain relationship between feminist ideology, strategy, and action. For instance, the "Serzh is not our Father [patriarch] — we don't have a Father" act of protest, was an outcry against deep-rooted patriarchy in Armenia, and the corrupt authorities that enjoyed unconditional legitimacy for years on end.
Equally noteworthy is the "Cast Iron Pots and Pans" initiative. During the revolution, women from all walks of life would open their windows at 11 p.m. every night, banging pots and pans en masse throughout Yerevan and other cities in the country. This protest was in support of disabled women, who were unable to join their sisters fighting in the streets. It was also in support of the "revolution is persisting" slogan.
The 2019 Armenian Pavilion was inspired by the 2018 Velvet Revolution
Artist Narine Arakelian reproduces this act of civil disobedience along the streets and canals of Venice with over fifty female volunteers. This symbolic artistic gesture underscores the fact that the revolution in Armenia could not have succeeded, had it not been for the active participation of women and their determination, radicalism, courage, and creativity.
Indeed, feminist artistic practices often feature the public use of subcultural or household-related objects such as ceramics, fabrics, or kitchen appliances, to articulate political messages.
Dialogues about Revolution and Power
Another part of the Armenian pavilion is dedicated to video recordings of talks, post-revolutionary analyses and creative interventions conducted by women. The compilation is titled "Dialogues about Revolution and Power."
Gayane Ayvazyan focuses on one of the most important sources that documented the Armenian revolution — the Armenian press coverage. The spread of misinformation via newspapers and online news platforms in the days of revolution up until now has recently become a subject of common discussion. Much is being spoken about the dangers of commissioned media coverage, journalistic negligence, and the lack of proper analysis of political issues and other professionally vital dicta.
Ayvazyan especially pays attention to the complete incompetency of the official press to perceive phenomena and analyze them through an intellectual prism as well as its description-oriented and narrative-oriented nature of its politico-ideological instability and opportunism.
Anna Nikoghosyan observes the political events that took place in Armenia in 2018 "through the lens of complicated and complex gender relations." She argues that these events were characteristic of mere regime change, not revolution. Nikoghosyan analyzes the phallocentric logic of gender stance and genderized interrelations observed in the neoliberal and conservative political utterances of Armenia. She criticizes gender performativity and hegemonic masculinity – a central notion in patriarchalism – and emphasizes the magnitude of feminism, in its ability to incite revolution and political upheaval.
Nikoghosyan also focuses on women's civil activism and political actions — the dominating interpretations based on the idea of male supremacy. Unfortunately, the majority of Armenians either believes in male supremacy or takes a passive stance, abstaining from responding to the statements about women's innate qualities made by the male leader(s) of the revolution. Women who are in the center of revolutionary struggle are expected to retain their femininity, keeping in mind their important vocation of giving birth and enriching the national army with their male children.
After the revolution, feminists and women activists initiated discussions about women appearing in government. I would like to stress that, during this period of involvement, women should beware of finding themselves engrained in the patriarchal system, and even identifying with it. Many of the women involved in government circles work in a patriarchal environment in a peaceful and non-conflicting manner. They are careful to avoid voicing their stances through feminist language. In this regard, Anna's question is quite urgent: "Should we even expect to have feminist agendas in the government? How can feminism, which is an entirely anti-patriarchal and anti- power ideology, engage in dialogue or negotiation with the power? And, for that matter, is it really a problem that during regime change, women's struggles were not acknowledged in the policies of the new government circles, so much so that women's representation in the decision-making circles… even dwindled?"
Ruzanna Grigoryan's statement-slogan of "Not Speaking of the Revolution for the Sake of the Revolution" emphasizes the apologia of the revolution and the revolution as an Event. Paraphrasing Hannah Arendt, politics can realize that, for which the human brings to life. The human corresponds to this mission, only when she or he is a participant of a revolution, or is, at least, faithful to the heritage of the revolution.
Anna Zhamakochyan's manifesto titled "Revolution: The Event of The Return of Reality" speaks of what is the Revolution, where radical rejection, compassion, and collective, emotional, and political actions merge — if I were shortly to put Anna's poetically charged manifesto in my own words. Revolution does not demand that poetry die.
Dialogues with Power
In a recent collection of texts that I published, which encompasses speeches by and conversations with public intellectuals, I briefly touched upon the post-revolutionary situation in Armenia in the frame of "dialogues with power." Let me share several excerpts from this book.
Different claims regarding reorganization of all the spheres of life in the "new" Armenia have been made, yet nothing has been mentioned about the development of and contribution to the humanitarian and intellectual thinking in the country. Instead, the vision of society's future positive development stresses the formation of a society furnished with good management and a competitive field of information technology. Fiscal privileges for small and medium- sized enterprises as well as the development of economic activities are widely discussed. The desire to have a society that would be impacted by intellectual and even anti-patriarchal thinking seems unrealizable yet. These discourses remain negatively marginal and exist within the sphere of personal undertakings. Here, I am primarily talking about critically thinking intellectuals, who are not hasty to serve big politics, preferring to keep a distance, and instead cherishing the possibility of critically rethinking the social, cultural, and political issues of the country. History reminds us of the dangers of uncritical and non-resistant post-revolutionary consensus in dialogues with power.
These are issues in need of interrogation, examination, and epistemological effort. They are rooted in the critical and political thinking of the participants of this project, as part of their social and political activism.
Susanna Gyulamiryan is an art critic and curator. She is the curator of the Armenian Pavilion at La Biennale di Venezia.
A scene from the opening of "Revolutionary Sensorium"
SENSORY REVOLUTIONS: Art and the Post-Revolutionary Flux at the Armenian Pavilion of the 58th Venice Biennale
BY VIGEN GALSTYAN
When the Armenian pavilion opens its doors on May 9 at the 58th Venice Biennale, it will do so on the back of two major achievements for the country: the 2015 Golden Lion prize for "Armenity" – curated for Armenia by Adelina von Fürstenberg – and the non-violent overthrow of ex-president Serzh Sargsyan's long-reigning government in May 2018. Though immeasurably different in scale and nature, these two milestones are historical reference points to which the current exhibition – curated by Susanna Gyulamiryan – is inevitably anchored to. This "burden" is further compounded by Ralph Rugoff's slyly ironic and challenging Biennale theme, "May You Live in Interesting Times."
Even at face value, the Armenians' "Revolutionary Sensorium" indeed promises to be of much interest for the times we live in. Representing last year's "Velvet Revolution," this pavilion represents a cataclysmic event that the artistic avant-garde often only cautiously hopes for and anticipates. But it is one thing to undergo a revolution in concrete time and place, and quite another to export it as an artwork for the "Olympics" of contemporary art. Consisting of three sections, "Revolutionary Sensorium" will showcase a multipart audio-visual installation by the activist group Artlabyerevan, juxtaposed with more solemn videos of four feminist participants of the May 2018 events and an in-situ performance by artist Narine Arakelyan. The latter half was put together by the curator as a dialectical retort to Artlabyerevan's exultant, interactive, and zealous celebration of the Revolution, which is cobbled together from news media and amateur videos. This inner division is dictated by the post-revolutionary pressures facing Armenian artists, which are succinctly formulated by the curator thus: "How to be in dialogue with power?" That question echoes Armenia's first appearance at Venice – a major harbinger that is worth recalling here.
In 1924, two years after the Union of Soviet Socialist Republics' formation, the communist state presented a 600-piece panorama of its art at the 14th Venice Biennale. Structured around two of the most current and conflicted artistic propositions of post-Revolutionary Russia, the mammoth exhibition included suprematism's total rescinding of mimetic art and the anti-formalist social realism that would become the model of totalitarian socialist-realism during Stalin's reign. Both trajectories had the revolution at heart, but offered fundamentally divergent paradigms for envisioning the utopian Soviet future.
Remarkably, Armenia was the only other republic , along with Ukraine, to have also participated in this important exhibition – a clear acknowledgement of the nation's estimable achievements in fine arts. Fronted by Martiros Saryan's luminous canvases, the Armenian section proposed yet another sub-model for thinking about the "nation" in the universalizing context of communism. Saryan's dexterous fusion of fauvism, medieval art, orientalism, and socialist ideology engendered a prototype that's come to be known as "national modernism." It offered a distilled visual identity that carefully balanced the undifferentiating cultural rhetoric of communism with the Armenian desire for a sense of collective selfhood. Coming so soon after the 1915 Genocide, Saryan's visual model was not merely a formalist ripple in the fabric of international modernism: it was ontological glue that filled the void left by an ancient culture that was eviscerated in a sea of blood and catastrophe. This model of a sun-drenched country rooted in land, community, and tradition, yet relentlessly progressive in its culture and industry, has remained barely challenged to this day. The win of the Golden Lion in 2015, on the 100th anniversary of the Genocide, consolidated the promise of the 1924 appearance at the Biennale. As the only ex-Soviet nation to have been awarded the prize, it seemed like a clear proof that Armenians had finally ascended from the position of post-Genocidal victimhood to stake a claim as a dynamic cultural force of the 21st century. These hopes were amply fulfilled when Serzh Sargsyan was forced to resign on April 23, 2018 – on the eve of Genocide's commemoration day – at a culminative moment of the "Velvet Revolution."
Hence, unsurprisingly, the new Armenian pavilion faces a glut of expectations as a post-revolutionary "manifesto" of sorts. A historical corner has been turned, yet the road ahead is unmarked, shrouded in the uncertainty of our doomsday existence. It is, therefore, reasonable to expect a degree of guidance and edict from contemporary art-makers directly involved in bringing about a political sea-change. But wouldn't this also require a paradigm shift in the modus-operandi of contemporary art? And can art activism really make that particular change happen?
This is a relatively new issue for the figures behind "Revolutionary Sensorium." Understandably, their critically oppositional work has rarely strived to go beyond reactions to immediate and very local problems. Artlabyerevan, has been one of the more vociferous activist art groups in Armenia since the bloody suppression of the March 1, 2008 protests against the Republican Party. Inspired by neo-Marxists ideas, they have instigated dozens of performances, interventions, lectures, workshops, and graffiti, which earned them attention from both the public and the police. But with no one nailing their testicles to the ground, or breaking-in bare-breasted into church services, Armenian art activism did not seem worth the trouble for the authoritarian government, which tended to view contemporary art as a mildly annoying but "harmless" disturbance. Nevertheless, along with other underground collectives such as The Commune and Hakaharvats (Counterblow), Artlabyerevan's presence on the frontlines of social protest was part of activism's crucial role in inspiring many of the creative strategies that made the 2018 uprising a success.
Chanting slogans of peace and unity, the crowds that rose up all over the country used the power of words, images, and sounds, instead of violence, to collectively bring an impossible dream into manifest reality. Akin to a giant happening in the form of disruptive interventions – from barbeques on major crossroads, to children playing soccer on laneways, and housewives banging pots and pans from their kitchens at midnight – the spontaneous actions by ordinary citizens were uncannily similar to the tactics normally employed by contemporary political art: upturning the function of ubiquitous socio-cultural mechanisms to generate critical change. The crowds, thus, instigated a dazzling display of collective creativity that was miles above and beyond any "work" that could have been offered by any single artist or artist. It was hard to beat the surreal sight of young villagers who carted off a truckload of snow from the Aragats Mountain to the capital's Republic square so that the protesters could snowball each other and the police. The paucity of actual artworks during this revolution indicated that the institutional dams, segregating art from daily life, had collapsed. Naturally, like the various occupy movements, this was also a process that came to a close – except that in the Armenian case, it has had a massive outcome: from democratic elections in December to strict anti-corruption regulations and increased ecological accountability.
Then what should the art that comes after this cataclysmic event be like? Should it be celebratory, populist, engaged, reflective, constructively critical, or deconstructively melancholic, unsatisfied, and demanding, museological or dissolved in the social? The pragmatic focus on short-term goals means that much activist art often sidesteps this ambivalent issue. This has been especially the case in countries like Armenia with its economic blockade and the frozen conflict in Nagorno-Karabagh, which often preclude local artists from engaging with discombobulating issues like global warming and AI. The possible conditions of an actual democracy compel local artists to finally engage with these universal dilemmas as well and fully face the enduring predicament of Power.
There are key precedents for similar confrontations between art and post-revolutionary demands, such as the Soviet avant-garde of the 1920s to 1930s. But, as Boris Groys has argued, that was an instance in which the avant-garde "believed in their ability to change the world because at the time, their artistic practice was supported by Soviet authorities." While contemporary art activism never intends to be aligned with power structures, we momentarily find the return of the Russian model in the case of the Armenian revolutionaries. Technically, the artists and feminist intellectuals making up "Revolutionary Sensorium," do represent the new government at the Venice Biennale, with the commissioner of the exhibition being no less than the deputy minister of culture, Nazeni Gharibyan. And the Armenian government is keen to be represented through these leftist figures, who have found themselves in the uncustomary position of thinkers serving the interests of the ("revolutionary" or not) State.
When I questioned Artlabyerevan about this quandary, they were quick to affirm their commitment to resistance as a general condition for their practice. However, "it was too soon to make any concrete proposals or promote new models for post-Revolutionary reality" they opined. The revolutionary dust hasn't settled and what the activist artists suggest instead is to harvest some of it as an archived experience – "revolutionary energy" bottled as a euphoric elixir, so to speak. In his unpublished text written for the project, Artlabyerevan member Vardan Jaloyan puts an unbridled emphasis on the role of new communication technologies, and their employment by "generation Z," in mobilizing the masses towards the victorious finale. Citing Walter Benjamin, Jaloyan puts forth the drone as an example of how such technology has "qualitatively expanded… the human visual sensorium." He goes on to state that drone-vision makes tangible what Siegfried Kracauer has termed as "the mass ornament," a perception of the communal whole that "elevates the political sensorium." In short, such new vision becomes an anti-alienating device, enabling a perspective on the communal body in which individuals can see themselves as part of the revolutionary "multitudes." The latter is a concept proposed by political theorists Antonio Negri and Michael Hardt to describe the alternative resistance model based on decentralized and networked subjects in the age of globalization.
The deft use of new technology and social networks by the Armenian public and especially the popular opposition leader, Nikol Pashinyan was a masterclass in this regard. Making direct contact with the public via live-streams, Pashinyan seized on the opportunity to become omnipotent. This decentralizing tactic meant that the flow of action and information occurred without any mediation or delay and was impossible to stop. Based on a set of common principles, people were given the freedom to become equal actors in a vast horizontal network that pulsated with the speed of internet. Even the news media became secondary as the citizens themselves became the primary producers and consumers of the revolutionary content.
In their video installation, Artlabherevan has focused on this technologically enabled phenomenon, pointing to the way that digital connectivity stimulates hitherto inexperienced sensory states that transform our very understanding of reality and provide new means for transcending the status quo. But feelings pass and all revolutionary content ultimately requires structural translation in order to operate as a fixture of the ongoing present. A process of archiving usually follows in which both Realpolitik and Art are equally engaged in, generating their respective sets of new laws and signs. Artlabyerevan's video assemblage is also an archive that attempts to sustain the effect of the lived experience as a kaleidoscopic rush of images. The visitor is automatically "caught" into this visual loop replayed across different screens, as surveillance cameras within the exposition superimpose the viewers onto the images of the crowds. The resulting effect, however, is one of photographic flattening. The projections of jubilant crowds cannot but become visual memento mori: a spectacle of a spectacle.
Of course, what we see here is the aestheticization of the political – that perennial trap of modern art, which sucks the social exigency of protest into "stabilizing," institutional mechanisms. In his provocative text on the subject, Groys states that all art predating the French Revolution is design: a form of aestheticization that turns reality into functional culture. Art as we know it today is the aestheticization of politics – something that makes signs and images inoperable as anything but art. This is the revolutionary engine of modern and contemporary art. Such art reveals the present "as being already a corpse," embalmed in a museum where historical realities can safely be aestheticized as melancholic ruins that will never come back to life. Following post-modern thinkers such as Guy Debord, Groys goes on to claim that we live – and it is hard to disagree – in a time of total aestheticization, which "means that we see the current status quo [reality] as already dead, already abolished." This gives him hope for the possibility of reaching true political change since total aestheticization is meant to kill off the very system that has produced it (capitalism) by making a "U-turn against progress."
But isn't this then a U-turn against Art itself? The Art of modernity shaped since the French Revolution? And a U-turn to what exactly? More politicized reflection perhaps. This is precisely what "Revolutionary Sensorium's" second section purports to do. The video pieces representing Anna Zhamakochyan, Ruzanna Grigoryan, Gayane Abrahamyan and Anna Nikoghosyan – social researchers, feminist critics, historians and queer activists – provide dramatically different perspectives on the 2018 Revolution. Zhamakochyan presents an actual manifesto, which argues that the "Revolution is the continual reinterpretation and reexamination of the revolutionary event. The Revolution is the unswerving fidelity to the revolutionary event." These edicts emerge with clarity in Susanna Gyulamiryan's curatorial text, which stresses the need for more critical vigilance and an ongoing pressure on authorities to stay true to the ideals espoused by the movement itself, before they lapse back into an "ameliorated" status quo. The critical analyses by Gayane Abrahamyan and Anna Nikoghosyan forensically dissect the April and May 2018 developments by looking at the role of the news media and women during and after the Revolution. Abrahamyan points to the lack of intellectual discourse and analysis in the Armenian media – an ominous sign of the inability of this vital public organ to support revolutionary ideas and influence policy at a time when new power-relations are being formed. That role is assumed to a degree by feminist activists such as Nikoghosyan, who sees the 2018 uprising more as a regime-change, rather than a revolution per se. To her, the patriarchal rhetoric of Armenian society has remained unchallenged and the decisive input of feminists and ordinary women in instigating these political changes has, once again, been swept to the margins – a fact amply illustrated by the symbolic presence of a sole female minister in the new government.
What these perspectives testify is that the work of the Armenian revolution has only just began. Its triumphant inauguration one year ago was simply a microscopic taste of a utopia that has retreated to the social and ideological conflicts embodied by the pavilion itself. The primary question posed by Gyulamiryan is relevant far beyond the contextual confines of her exhibition: how to enter into a constructive relationship with Power when "the possibility of counterinfluence, mutual understanding and dialogue between the new government, artists and intellectuals seems difficult to realize?" How indeed? The show calls for rigorous critical alertness, designating contemporary artists and thinkers with the mission to bring authorities to task when all other social organs fail.
Which brings me back to the issue intoned at the beginning. What is contemporary art meant to do after a major shift in the political reality? Becoming watchdogs of power is a position that most artists with any ethical responsibility will inadvertently fall into. But as key representatives of activist art such as Gregory Sholette have noted, the co-option of artistic resistance by capitalism and its attendant institutional systems has become too ingrained in the "art-world" for such resistance to be truly effective. And being a mere "catalyst rather than a plan" as Lucy Lippard has suggested, no longer seems to be a viable option for politically-engaged art.15 On the contrary, as Mel Evans – a leading figure of British activist art – has recently proclaimed, artists can no longer be "satisfied with art about the political, art must change it." Doing so would require a transformation of art's functionality in the first place.
Though "Revolutionary Sensorium" seems to forego direct, self-reflective reexamination of contemporary art's modus-operandi, the constitutive elements of the exhibition give us valuable insights into where art's revolutionary propensity may lie in the future. The sensory accent of Artlabyerevan's immersive video installation exposes the unbridled sensuality of the revolution and of Armenian culture more specifically. It undermines the very essence of patriarchy by attacking its formal armor. Here, rigid machismo gives way to the tactile, undiscerning fluidity of the Eros, unleashing an empowering flow of previously repressed desire. This positive affirmation of emotion by a group of male artists is all the more remarkable in that affect has long considered to be the domain of feminist contemporary art and activism. In contrast, the ascetic, critically aloof tone of women intellectuals stands as a firm rejection of gender-based qualifications through which the Armenian social sphere has kept everyone "in their right place" thus far. It's not yet another gendered gimmick of "trading places" but a liberating outcome of the revolution itself. One of the reasons behind the success of the 2018 uprising was the freedom that people allowed themselves in choosing the mode of response that best suited their personal experiences and desires outside of prescribed polity of behavior. The recognition of the nation as a cluster of multitudes led to the equalizing effect in which power became horizontally distributed and all forms of action were deemed essential in achieving the common goal. Hence violence was neutralized from the very beginning as it would have precluded any possibility of engaging those that have been crippled, ignored and repressed by systems of Power.
Perhaps this is the "U-turn" espoused by Groys. And yet again, it inevitably pertains to the question of aesthetics. As the 2018 Revolution lucidly demonstrated, the successful transformation of the political realm hinged upon not anti-aestheticization (hard to imagine anything more aesthetic than the burlesque carnival of the revolution), but counter-aestheticization. The entire process entailed a radical "retooling" of public and private spaces, relations, images, and symbols that made explicit the transformative forces hidden in the benign and the derided – modern folk culture, for example. In other words, this was a mass-scale project of redesign. So is a U-turn to Art as design the order of the day? To a degree, I would argue. But this is no longer about aestheticizing the world to fit our base pleasures and pangs for comfort. Rather, it is about redesigning ourselves to fit the needs of the world at large. And that's not a new development either. Consider how contemporary art practitioners have gradually slid towards designing transformative tools, spaces and experiences for the User: from Olafur Elaisson's functionalist, energy-generating art to curator Daniel Birnbaum's recent engagement with VR technology as a content producer.
The constructive possibilities of art to reimagine how we can better serve the planet and each other have long been usurped by capitalism's vicious cycle of production and consumption. By redirecting the arrows of change towards themselves and realigning their needs, beliefs and aesthetic sensibilities, those who took part in "Velvet Revolution" were able to halt that cycle long enough for tangible change to happen. The positive after-effects of this experience are what Armenia brings to the world, ingrained in the tense dialectical structure of "Revolutionary Sensorium." And what they remind us is the immediate need for art to be present in all spheres of life as a revolutionary means not simply for resisting Power, but a 'working' device that liberates us from our dependence on its coercive structures.
Vigen Galstyan is an art historian and curator. He is the director of Lusadaran Armenian Photography Foundation, an organization he co-founded in 2011 with the aim of collecting and researching photo-media art from Armenia and beyond.


Travel Bug: My 3.5 seconds of fame. Being a movie extra in Japan.
My 3.5 seconds of fame. Being a movie extra in Japan.
This is actually something that happened a few years ago. I was asked to help out as an extra on a Japanese movie, 純喫茶磯辺. Anything is worth trying once...once and never again. But at least I got my 3.5 seconds of fame...2 seconds of which was just the camera panning along my huge nose.
A few years ago I was out for beers with one of my publishers and two girls stopped us on the street. They were desperately looking for some "gaijin" (foreigner) extras to be in a movie. The name of the movie was "Jyun Kissa Isobe" (純喫茶磯辺). It was going to be a long day of essentially free work, but my editor buddy Yoshi knew the actor and their company and said it was legit...I was off the next day...so why not. "Yes," I said.
The next day I met up with the two women scouts and the 3 other foreign guys who would also be in the VERY short scene. After lunch, we were taken to the location, which was a basement level "izakaya" (kind of a Japanese pub) just up the street.
It was strange. ALL of the extras they needed for the day were sitting squished up against the walls while the staff ran around setting up the lights and stuff. I was with one of the producers who was ultra cool. He apologized for the delays. He said it was because of the budget, which only afforded them one camera. The director seemed to have his head in the clouds a bit and seemed to be making decisions as he went along -- nobody really seemed to have a clear plan of what was going on. Which is probably why it took 12 hours to make a simple scene. Luckily, we 4 gave an Academy performance (Insert laugh track here).
The main actor guy is a fairly well known "tarento" named Miyasako Hiroyuki. They say "tarento" based on the word "talent" in English. Which is pretty funny, since an extremely small percentage of tarento actually have any real talent. Most of them have what is known as an "uri" -- a salespoint. It's usually some idiotic look or catchphrase that people can copy and forget that there's no talent underlying the uri. On set, he was pretty arrogant and basically ignored everybody except the 3 actors he was working with. Seemed a bit of a douchebag really.
Other than him and the directionless director, most people on the set were cool. The guy playing the waiter you see in the clip was awesome. He's actually an ice hockey player off set and a super nice guy. The lighting people and all of the extras around us were pretty cool as well. And of course, the women who had invited me to help out were fantastic with almost perfect English.
At the end, the actress who played the main female role, Kumiko Aso, asked if we wanted to take a "kinen shashin" -- a photo to remember them by. It was a nice gesture, considering the old Italian dude in the scene kept taking flash photos even during the filming -- can't believe they didn't get the guy playing the yakuza looking extra role to knock his teeth out. So it was a nice end to a long, but pretty informative and interesting day at the movies.
Disclaimer: No actors or extras were injured or abused in the making of this movie. ..That red punch mark on Kumiko's face is make up from a previous scene.


1. Click "Library" and select the following file name and path in Windows XP/Vista/7: "C: Windows System32 acospkcs11.dll".
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There is no limit to the number of your issued certificates.
Does eSign work under an operating system other than MS Windows?
Any operating system that supports globally recognized standard X.509 can work with eSign electronic signature certificates after installation of the drivers for your device.
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In some cases this is an obstacle because the parameter containing the UCC is identifier in most state authorities and banking institutions.
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Use eSign Manager, to view and manage your certificate.
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The only qualified electronic signatures on the territory of Bulgaria are those issued by service providers accredited by CRC, according to the Law on Electronic Document and Electronic Signature Act.
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text:
Diving below the spin-down limit : constraints on gravitational waves from the energetic young pulsar PSR J0537-6910
Angelova, S. V. and Ben Yaala, M. and Gier, C. and Hill, P. and Reid, S. and Wallace, G., LIGO Scientific Collaboration, Virgo Collaboration (2021) Diving below the spin-down limit : constraints on gravitational waves from the energetic young pulsar PSR J0537-6910. Astrophysical Journal Letters, 913 (2). L27. ISSN 2041-8205
Text. Filename: Abbott_etal_AJL_2021_Diving_below_the_spin_down_limit_constraints_on_gravitational_waves_from_the_energetic_young_pulsar_PSR_J0537_6910.pdf
Restricted to Repository staff only until 31 May 2022.
Official URL: https://doi.org/10.3847/2041-8213/abffcd
We present a search for quasi-monochromatic gravitational-wave signals from the young, energetic X-ray pulsar PSR J0537−6910 using data from the second and third observing runs of LIGO and Virgo. The search is enabled by a contemporaneous timing ephemeris obtained using Neutron star Interior Composition Explorer (NICER) data. The NICER ephemeris has also been extended through 2020 October and includes three new glitches. PSR J0537−6910 has the largest spin-down luminosity of any pulsar and exhibits fRequent and strong glitches. Analyses of its long-term and interglitch braking indices provide intriguing evidence that its spin-down energy budget may include gravitational-wave emission from a time-varying mass quadrupole moment. Its 62 Hz rotation frequency also puts its possible gravitational-wave emission in the most sensitive band of the LIGO/Virgo detectors. Motivated by these considerations, we search for gravitational-wave emission at both once and twice the rotation frequency from PSR J0537−6910. We find no signal, however, and report upper limits. Assuming a rigidly rotating triaxial star, our constraints reach below the gravitational-wave spin-down limit for this star for the first time by more than a factor of 2 and limit gravitational waves from the l = m = 2 mode to account for less than 14% of the spin-down energy budget. The fiducial equatorial ellipticity is constrained to less than about 3 ×10−5, which is the third best constraint for any young pulsar.
Angelova, S. V., Ben Yaala, M., Gier, C., Hill, P. ORCID: https://orcid.org/0000-0003-4826-3531, Reid, S. and Wallace, G.;
gravitational waves, pulsars, PSR J0537−6910, stars, neatron, Astronomy, Astronomy and Astrophysics
Science > Astronomy
Faculty of Engineering > Biomedical Engineering
Faculty of Science > Physics
Pure Administrator
https://eprints.gla.ac.uk/244107/

redpajama_set_name: RedPajamaCommonCrawl


text:
package org.vizzini.ai.geneticalgorithm.geneticprogramming.problem.artificialant;

import static org.hamcrest.CoreMatchers.is;
import static org.junit.Assert.assertFalse;
import static org.junit.Assert.assertNotNull;
import static org.junit.Assert.assertThat;
import static org.junit.Assert.assertTrue;
import static org.junit.Assert.fail;

import org.junit.Test;
import org.vizzini.ai.geneticalgorithm.geneticprogramming.Converter;
import org.vizzini.ai.geneticalgorithm.geneticprogramming.Terminal;
import org.vizzini.ai.geneticalgorithm.geneticprogramming.TreeNode;

/**
 * Provides tests for the MoveTerminal class.
 */
public final class MoveTerminalTest
{
    /** Converter. */
    private final Converter<Integer> converter = new Converter<Integer>(Integer.class);

    /**
     * Test the copy() method.
     */
    @Test
    public void copy()
    {
        // Setup.
        final MoveTerminal terminal = new MoveTerminal(converter);

        // Run.
        final TreeNode<Integer> result = terminal.copy();

        // Verify.
        assertNotNull(result);
        assertFalse(terminal == result);
        assertTrue(terminal.equals(result));
    }

    /**
     * Test the evaluate() method.
     */
    @Test
    public void evaluate()
    {
        // Setup.
        final MoveTerminal terminal = new MoveTerminal(converter);
        final AntContext context = new AntContext();

        {
            // Run.
            final Integer result = terminal.evaluate(context);

            // Verify.
            assertNotNull(result);
            assertThat(result, is(1));
            assertThat(context.getX(), is(1));
            assertThat(context.getY(), is(0));
            assertThat(context.getDirection(), is(Direction.EAST));

            final SantaFeTrail environment = (SantaFeTrail)context.getVariable("environment");
            assertTrue(environment.isFootprint(0, 0));
            assertTrue(environment.isFootprint(1, 0));
            assertTrue(environment.isFood(2, 0));
            assertThat(environment.foodConsumed(), is(1));
        }

        {
            // Run.
            final Integer result = terminal.evaluate(context);

            // Verify.
            assertNotNull(result);
            assertThat(result, is(1));
            assertThat(context.getX(), is(2));
            assertThat(context.getY(), is(0));
            assertThat(context.getDirection(), is(Direction.EAST));

            final SantaFeTrail environment = context.getEnvironment();
            assertTrue(environment.isFootprint(0, 0));
            assertTrue(environment.isFootprint(1, 0));
            assertTrue(environment.isFootprint(2, 0));
            assertThat(environment.foodConsumed(), is(2));
        }
    }

    /**
     * Test the MoveTerminal() method.
     */
    @Test
    public void testConstructorNull()
    {
        try
        {
            new MoveTerminal((Converter<Integer>)null);
            fail("Should have thrown an exception");
        }
        catch (final IllegalArgumentException e)
        {
            assertThat(e.getMessage(), is("converter is null"));
        }
    }

    /**
     * Test the equals() method.
     */
    @Test
    public void testEquals()
    {
        final MoveTerminal node0 = create0();
        final MoveTerminal node1 = create1();
        final MoveTerminal node2 = create0();

        assertTrue(node0.equals(node0));
        assertTrue(node0.equals(node1));
        assertTrue(node0.equals(node2));

        assertTrue(node1.equals(node0));
        assertTrue(node1.equals(node1));
        assertTrue(node1.equals(node2));

        assertTrue(node2.equals(node0));
        assertTrue(node2.equals(node1));
        assertTrue(node2.equals(node2));

        assertFalse(node0.equals(null));
    }

    /**
     * Test the hashCode() method.
     */
    @Test
    public void testHashCode()
    {
        final MoveTerminal node0 = create0();
        final MoveTerminal node1 = create1();
        final MoveTerminal node2 = create0();

        assertTrue(node0.hashCode() == node0.hashCode());
        assertTrue(node0.hashCode() == node1.hashCode());
        assertTrue(node0.hashCode() == node2.hashCode());
    }

    /**
     * Test the toString() method.
     */
    @Test
    public void testToString()
    {
        final Terminal<Integer> node0 = create0();

        final String result = node0.toString();

        assertNotNull(result);
        final String expected = "MoveTerminal[returnType=Integer,parent=<null>]";
        assertThat(result, is(expected));
    }

    /**
     * @return a new tree node.
     */
    private MoveTerminal create0()
    {
        return new MoveTerminal(converter);
    }

    /**
     * @return a new tree node.
     */
    private MoveTerminal create1()
    {
        return new MoveTerminal(converter);
    }
}

redpajama_set_name: RedPajamaGithub


"We wanted a quick and easy way to film and upload teaching videos without having to deal with flip cameras and annoying video compression issues."
"I used this product through the Hollyhock Fellowship to record classroom video. After a few months, I began to use the product more extensively, approximately every other week, to record a particular instructional routine I was working on. I wouldn't describe it as a "problem," but this product allowed me to more critically analyze, monitor, and improve my practice."
How did you implement Torsh TALENT?
"We purchased an account for all instructional staff at Brooke and asked all staff to download the app to their phones. We also asked all staff to share all of their videos with the entire network. Now, we have a library of over 1000 videos that principals and teachers can use for professional development."
"I would record myself teaching at least twice per month, analyze the video on the Torsh platform, and creating action steps for myself to move my instruction forward."
We wanted a quick and easy way to film and upload teaching videos without having to deal with flip cameras and annoying video compression issues.
Subscription plan - The cost includes access to the platform and customizations. Both monthly and annual contracts are available. Typical contracts start at about $3,750 per year for 25 users at a small school or about $150 per user per year. Cost per user decreases as number of users increases.


text:
8 officials suspended, show-cause notice to 3 for "failure" to pro
Updated : 3 days, 21 hours ago IST
Lucknow (Uttar Pradesh) [India], July 15 (ANI): Eight officials have been suspended while three others have been issued show-cause notices on the directions of Chief Minister Yogi Adityanath on Sunday for alleged dereliction of duty in the protection of cows.
Heart failure in competitive athletes can be prevented by thorough
Washington D.C. [USA], July 15 (ANI): A recent study has suggested ways, which can prevent and help in managing the risk of cardiac arrest in competitive athletics.
Brad Hogg blames England captain for Ben Stokes' failure
Updated : 2 weeks, 1 day ago IST
New Delhi [India], July 3 (ANI): Former Australia bowler Brad Hogg blamed England captain Eoin Morgan for the failure of Ben Stokes, who was on a three-match half-century streak, in the ongoing World Cup match against New Zealand at Riverside Ground in Durham on Wednesday.
Dikshit, Chacko fighting as they do not have excuse for their fail
Updated : 2 weeks, 4 days ago IST
New Delhi [India], July 1 (ANI): Amidst a rift between Sheila Dikshit and PC Chacko over the dissolution of block committees in the national capital, Delhi BJP Chief Manoj Tiwari on Sunday said the duo are fighting internally as they do not have any excuses to give to the people for their fa
AES deaths due to administrative failure, state apathy: Report
Updated : 3 weeks ago IST
New Delhi [India], June 28 (ANI): This year 154 children have lost their lives in Muzaffarpur to an encephalopathy of unknown origin, says a report of a doctors' forum on Friday which has blamed these deaths on "administrative failure and state's apathy".
IAF aircraft suffers engine failure mid-air, lands safely in Ambal
New Delhi (India), June 27 (ANI): Prompt action by an Indian Air Force (IAF) pilot saved his Jaguar fighter aircraft after it suffered a bird hit soon after taking off from the Ambala air base and landed back safely on Thursday morning.
There was no intelligence failure in the Pulwama attack: Governmen
New Delhi [India], June 26 (ANI): G. Kishan Reddy, Minister of State in the Ministry of Home Affairs said there was no intelligence failure in the Pulwama attack, on Wednesday in Parliament.
Failures are okay, but overthinking about them is problematic: Stu
Washington [USA], June 20 (ANI): Having aspirations and desire might help us keep going and lead our lives in a meaningful way, but they can also cause psychological distress when the same hopes are left unfulfilled, recent findings suggest.
Encephalitis outbreak: Sharad Yadav blames Nitish govt over failur
Muzaffarpur (Bihar) [India], Jun 20 (ANI): Loktantrik Janata Dal chief Sharad Yadav, who visited the SKMCH hospital in Muzaffarpur on Thursday blamed the Nitish Kumar-led state government for the rising cases of encephalitis in the district.
Power failure disrupts metro services on yellow line
Updated : 1 month, 1 week ago IST
New Delhi [India], June 8 (ANI): Train services on the Yellow line of Delhi Metro between Udyog Bhawan and Model Town were disrupted due to the power failure on Saturday.
Sri Lanka: Suspended Police chief blames Sirisena for not allowing
Colombo [Sri Lanka], June 6 (ANI): Sri Lanka's suspended police chief Pujith Jayasundara on Thursday told the special parliamentary select committee, appointed to probe the Easter Sunday blasts, that President Maithripala Sirisena had denied him from attending any meetings of the Na
Overweight teens more likely to develop heart disease in adulthood
Updated : 1 month, 3 weeks ago IST
Washington DC [USA], May 27 (ANI): A study conducted in Sweden has highlighted that those men who were mildly overweight around the age of 18 were more likely to develop cardiomyopathy in adulthood, a rare heart muscle condition that can cause heart failure.


text:
General Workshop Information
Conducting Faculty
Larry Rachleff
Donald Schleicher
Susan Dunn
Michael Sheppard
Thoughts from Past Years
ICWF 2019 Participants
ICWF 2017: Beethoven Concert
ICWF 2021: Brahms Symphonies
ICWF 2011 Session Videos
ICWF 2017 Daily Recap Videos
ICWF 2017 Summary Video
Sextet Demo Video
Lviv Philharmonic National Orchestra
Gustav Meier Conducting Book
Stravinsky Firebird (1919) Errata
Dunn Session
Reference Videos
Known as "a virtuosic soloist possessed of power, sensitivity, earthiness, and humor" (Whitney Smith, Indianapolis Star) with the "power to make an audience sit up and pay attention...thought-provoking for performers and listeners alike" (James Manheim, All Music Guide ), Michael Sheppard studied with the legendary Leon Fleisher at the Peabody Conservatory. He was selected by the American Pianists Association as a Classical Fellow, which designation led to the recording of his Harmonia Mundi CD of 2007. In addition to having recorded a hearty cross-section of the cello and piano repertoire with Baltimore Symphony Orchestra Principal Cellist Dariusz Skoraczewski, an ongoing project, he has another solo album "in the can" (release date TBA) and has as also recently released an experimental album of all improvisations, "12 Images."
Sheppard has performed solo recitals and concertos around the world, as well as across the USA, including several solo Weill (Carnegie) Hall recitals and a solo Kennedy Center debut. As a funny little matter of fact, he happens to have given solo recitals in the hometowns of both Mahler (Jihlava, Czech Republic) and Elvis (Tupelo, Mississippi), and enjoys taking in the local culture wherever in the world he finds himself. Michael gives master classes, teaches regularly and plays with some of the top singers and instrumentalists around; he also coaches singers, instrumentalists, and conductors, and also conducts occasionally himself, having basically assimilated by osmosis (and occasional podium time) 17 years of conducting classes at Peabody taught by the late, great Gustav Meier. Sheppard was, and remains under Marin Alsop, the pianist for the class, reading down all manner of orchestra scores at the piano in mostly the right transpositions.
An improviser and composer since the single digits of age, he has worked closely with fellow composers John Corigliano, Christopher Theofanidis, Michael Hersch, Robert Sirota and the late Nicholas Maw, demonstrating a deep love of new music; his eclectic tastes also led him recently to musical-direct performances of Jason Robert Brown's Broadway show "The Last Five Years" as well as "Elegies for Angels, Punks, and Raging Queens" at the Brighton (U.K.) Fringe Fest, in which show he also made his stage acting debut as the character Dwight, an ex-dancer, even though Sheppard himself in real life, has the physical grace of, approximately, a mailbox. #acting
Anyway, to round this out, he is a native of Philadelphia and resides in Baltimore, where he works at both the Peabody Conservatory and the Baltimore School for the Arts, sharing his love and understanding of music and the artistic process with future generations. His hobbies include avoiding political discussions on Facebook, clumsily attempting to master certain bodyweight exercises so as to be able to eat and drink whatever he wants relatively without consequence (and to ameliorate the aforementioned mailbox situation), and reading. Recently he has also forayed into audiobook narration, because apparently he doesn't have enough stuff to do.
About ICWF
Whether you are highly trained conductor, a promising student, or an avid amateur, our workshops offer many opportunities to improve as a conductor. In order to provide the most enriching experience for all participants, enrollment is limited.
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You can support ICWF by making a tax deductible donation to the Joel Fan Foundation.
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Haptolana somala är en kräftdjursart som beskrevs av Messana och Chelazzi 1984. Haptolana somala ingår i släktet Haptolana och familjen Cirolanidae. Inga underarter finns listade i Catalogue of Life.

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redpajama_set_name: RedPajamaWikipedia


text:
The secret presidency
The exterior of the White House. (Nathaniel Grann/For The Washington Post)
FOR DECADES, and particularly since President Richard Nixon's administration, public pressure has led presidents to become steadily more open with citizens about how they conduct business, and more mindful of ethics. Major party candidates have released their tax returns, revealing information about their finances and any potential conflicts of interest. Presidential relatives have avoided high office. The Justice Department has insulated itself from the Oval Office. And, as of the Barack Obama presidency, the White House has released voluminous records on who visited the executive mansion grounds so citizens could know who was meeting with the president and his staff.
Some of these practices flowed from formal rules, others from norms based on the American notion that the president works for the people and that transparency and ethical guidelines are essential checks against abuse of that trust. Though presidents have chafed at the expectations that follow from this principle, none before President Trump has so brazenly attempted to reverse the decades-long trend toward an above-board presidency.
The latest news is that Mr. Trump will not routinely release White House visitor records, as Mr. Obama did. The White House cited "grave national security risks and privacy concerns." The former is not persuasive, since a national security exception was built into the policy. So Mr. Trump must argue that his right to privacy, or that of the lobbyists coming to see him, outweighs the public's interest in knowing who is getting an audience. We don't find that persuasive, either.
Mr. Trump's decision to claw the White House logs back into the shadows follows several other moves that show contempt for the public. As a candidate, Mr. Trump promised to disclose his tax returns; then postponed the release date; then seemed to decide that he never need keep that promise. His excuse — that the IRS is auditing his recent tax forms — has been thoroughly discredited as a rationale, and provides not even phony cover for refusing to release older returns. Given Mr. Trump's sprawling, secretive business, and unanswered questions about its ties to Russians, his departure from tradition in this matter is particularly unsettling. Nor has he made as clean a break from his business as taxpayers have a right to expect.
Judging from his public statements, Mr. Trump calculates that there is little to no political price to be paid for flouting norms of ethics and openness. But his dismal poll numbers consistently show that Americans question his honesty. A time may come when he needs to ask the American people to have confidence in him. After undoing the nation's progress toward transparency, he may find that the reservoir of trust is very shallow.
Read more about this topic:
The Post's View: The public deserves to know who is visiting the White House
Dana Milbank: The open-and-shut administration


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text:
Sleeps With Monsters
Sleeps With Monsters: Astronaut Ladies
Liz Bourke
Tue Aug 14, 2018 1:00pm 12 comments 1 Favorite [+]
Mary Robinette Kowal's novelette "The Lady Astronaut of Mars" won the 2014 Hugo Award in its category. Now Tor Books brings us a pair of novels about Elma York's life before her final mission: even before Mars.
The simplest way to describe Mary Robinette Kowal's The Calculating Stars and its sequel, The Fated Sky, is as an alternative history of the American space programme. But that's not all it is: it's a story about a young Jewish woman with an anxiety disorder using all the tools at her disposal to gain a place for herself in the astronaut programme, and building coalitions with other women to bring them with her. (It's also a story about how that young woman, Elma York, benefits from white privilege and puts her foot in it with thoughtless bigoted assumptions, and how she keeps trying to learn better.)
In 1952, a giant meteorite strikes earth just off the coast of Maryland, USA. The resulting cataclysmic explosion (and tidal wave) destroys much of the American east coast, including Washington DC. Elma and her husband Nathaniel survive due to being far away, on holiday in a mountain cabin, but Elma loses many of her surviving relatives to the tidal wave. Worse than the devastation of the initial strike, however, are the results that Elma and her brother, meteorologist Herschel, calculate that the strike will have on the earth's atmosphere: after a brief period of extreme cold temperatures, the atmosphere will heat to the point where it will become uninhabitable for human life (just like our climate change problem, but even faster), and there's no way to tell whether mitigation efforts will work until it's too late.
In consequence of Elma and Herschel's calculations, the US government invests in space exploration with an eye to space colonisation. The effort becomes international, and Elma's mathematical skills (and her husband's role as chief engineer) mean she's guaranteed a place in the International Aerospace Coalition's space programme as a calculator. But Elma's a pilot, too, and she's determined to win a place for herself to fly.
The Calculating Stars charts Elma's journey to becoming an astronaut, as she struggles with sexism and bigotry (the bigotry includes her own assumptions about black men and women), and with her own anxiety and intense dislike of the spotlight, to win a place for herself and for other women as real astronauts.
The Fated Sky continues the story of The Calculating Stars, following Elma through selection for the first demanding multi-year mission to Mars, in which bigotry and public relations continue to play a large role—and on into space, separated from her husband and any community bar the one that comes with her by unimaginable distances. With everything about the mission held in fragile balance, Elma must negotiate her steps carefully to help as many people as possible survive to go home again.
Kowal's writing is smooth and compelling, and her characters come to life on the page. Her enthusiasm for the analogue details of pre-mechanical-computing spaceflight is detailed and infectious. But though Kowal doesn't portray the past as free from racism and bigotry, her vision of a post-cataclysmic United States in the 1950s is fundamentally optimistic and invested in a progressive vision of human history. It seems a little unbelievable that a country still under the grip of laws that partially inspired Nazi Germany (Jim Crow) and dealing with an enormous economic and human toll would be as susceptible to moral suasion and Elma's particular brand of advocacy as Kowal's alternative past.
But perhaps that's the point: Kowal's novels are kind, about—largely—decent people, most of whom aren't (or, at least, who don't think of themselves as) personally strongly racist even if they're pretty sexist, and who learn to do better, or at least keep quieter. It's an optimistic vision that does its best to make you feel good about space and the possibilities of human achievement without pretending everything is easy for everyone, and that's… something.
I'd like to be more enthusiastic about these novels. I enjoyed them a hell of a lot. But right now, I'm finding it difficult to see optimistic visions of past futures with much sympathy, when I so desperately want optimistic visions of the future past today.
Liz Bourke is a cranky queer person who reads books. She holds a Ph.D in Classics from Trinity College, Dublin. Her first book, Sleeping With Monsters, a collection of reviews and criticism, was published in 2017 by Aqueduct Press. It was a finalist for the 2018 Locus Awards and is nominated for a Hugo Award in Best Related Work. Find her at her blog, where she's been known to talk about even more books thanks to her Patreon supporters. Or find her at her Twitter. She supports the work of the Irish Refugee Council, the Transgender Equality Network Ireland, and the Abortion Rights Campaign.
Alternate HistorybooksMary Robinette KowalSleeps With Monstersspace explorationThe Calculating StarsThe Fated SkyThe Lady Astronaut of MarsThe Lady Astronaut seriesTor Books
12 SFF Tales Told From Second-Person Perspective
Five Books That Use Wormholes to Fix Plot Holes
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Metal Impressions, Inc. is a rapidly growing sheet metal fabrication and installation company. Established in 2011 as a minority owned business, Metal Impressions Inc. has gained notoriety by providing excellent service with professional expertise. At Metal Impressions Inc., we pride ourselves on being a straight forward company that anticipates client requirements and company deadlines. Our relationship with each client is established through honest communications, integrity and a strong work ethic.
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At Metal Impressions Inc., we do not aspire to be the largest fabrication and installation company in North Carolina, we do strive to be among the best. As a minority owned business we have managed to remain stable in business, while continually expanding our market . We strive to keep up with new fabrication trends and styles to endure that our clients get the best product and service for their budget.
We hold each member of our team high in responsibility and accountability so that our business can achieve its goals. We have constructed an organizational environment that is interdependent with one another in an effort to maximize results. We want to ensure that our clients have full faith that we will fulfill the obligations of our contract in a professional and timely manner.
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Metal Impressions specializes in Aluminum Composite Metal (ACM) Panels and Insulated Metal Panels, fabrication and installation. Composite Wall Panels add strength and beauty to ordinary business structures. Composite panels are mechanically engineered panels commonly used for exterior cladding, partitioning, and load bearing walls. Composite wall panels are used in commercial and residential buildings. Panels are typically aluminum, and are laminated on a continual basis with metal facings encapsulating a foamed polyurethane core. Panels became popular because they offered a high degree of stability, rigidity, and load-bearing capabilities.
Early forms of Composite Wall Panels used for commercial buildings were not considered as attractive as stone, marble or traditional brick. This prevented many professional institutions and government buildings from taking advantage of its superior strength and safety features. This is a goal of Metal Impressions Inc….to merge stability with beauty. Today's Composite Wall Panels are specifically developed to offer superior strength in a lightweight sheet product of steel and aluminum. Composite Wall Panels can be custom designed to imitate almost any traditional building material in a lightweight, customized design. The thickness of the polyurethane foam can range from 30mm to 220mm depending upon application and required insulation characteristics. Panels are available in many colors to match your project.
Adding to the beauty and durability of Composite Wall Panels, are two other attributes that suggest superiority. These are Flatness and Color. Due to the continuous line factory process, composite panels coloring vary from sheet to sheet, nor can it warp or bend. Therefore, we promise consistent flat sheeting with superior coloring that cannot to be easily worn.
Insulated metal panels (IMPs) are ideal for many wall applications, including architectural, commercial, industrial and institutional markets. Insulated panels offer many advantages for building owners, designers and contractors, and are particularly advantageous in sustainable building design by offering excellent R-value and improving energy efficiency. Panel color options and different finish offerings allow for a multitude of design opportunities.
Refer to Products page for additional information on types of materials offered by Metal Impressions.


text:
August 3, 2011 Cybersecurity/Europe/International/North America/Privacy
ValidSoft CEO Talks Privacy Technology
WASHINGTON, August 3, 2011 – U.S. customers may soon begin seeing data security technology involving ATMs and cell phones that would work without tracking people thanks to the efforts of a European security software company. Patrick Carroll, CEO of ValidSoft Limited, discussed the company's real-time fraud detection software VALid-POS last week. The program is already in the works to be deployed through a deal with Visa Europe. Carroll believes his firm's technology answers current privacy issues lawmakers and industry professionals have been trying to tackle for several years. Keep Reading
April 25, 2011 Europe/FCC/International/Net Neutrality
EU to Investigate Network Neutrality Violations
WASHINGTON April 25, 2011 - European Commission Vice President for the Digital Agenda, Nellie Kroes, announced last week that her office, in conjunction with European Union member states, will investigate claims of throttling and service degradation by internet service providers. Keep Reading
October 5, 2010 Broadband Updates/Broadband's Impact
Consumers Willing to Upgrade, but Slow to Embrace Super-Fast Technology
WASHINGTON, October 5, 2010 - Consumers are willing to pay a large amount to upgrade their internet access speeds from slow to fast, but are more reluctant to upgrade from fast to super-fast, according to a research paper discussed at the Telecommunications Policy Research Conference last week. Keep Reading
October 2, 2010 Broadband Data/FCC/Universal Service/Wireless
Mignon Clyburn Expects FCC Universal Service Fund Proposals by Year-End
ARLINGTON, Va., October 2, 2010 – Federal Communications Commissioner Mignon Clyburn emphasized the need for quality research in policy making, particularly with regard to reforming the universal service fund for telephone and internet connectivity. Speaking at the Friday evening dinner session at the Telecommunications Policy Research Conference, a top telecom research conference here, Clyburn also said that she expected the FCC to propose changes to the USF system, and to propose funding for universal broadband, by the end of 2010. Keep Reading
June 17, 2010 Broadband Updates/Broadband's Impact/Fiber/International
U.K. Compels Utilities to Open Up to ISPs for Fiber Deployment
LONDON, June 17, 2010 - The recently elected U.K. government plans to extent the scope of fiber unbundling by compelling gas, electricity and water utilities as well as the incumbent operator BT to open up their ducts to ISPs for fiber-to-the-home deployment. Keep Reading
June 3, 2010 Broadband Updates/Broadband's Impact/International/Privacy
Europe Looks for Economic Growth Through Its Digital Agenda
WASHINGTON, June 3, 2010 - One half of European productivity growth over the last 15 years can easily be attributed to information and communications technology, according to the European Commission. The commission is hoping to continue this trend by unveiling last month the Digital Agenda for Europe - a plan outlining ways for the European Union to embrace technologies contributing to its economic growth and spread its benefits throughout European society. Keep Reading
May 28, 2010 Broadband Updates/Broadband's Impact/Mobile Broadband/States/Wireless
Emergency First Responders Suffer from Lack of Interoperable Communications Equipment
WASHINGTON, May 28, 2010 – Emergency first responders should be able to use similar technological standards on their equipment so that they can effectively communicate during times of crisis, but rapidly evolving technology makes it difficult to stay in sync, said experts at a Thursday House hearing. Keep Reading
May 27, 2010 Broadband Updates/Broadband's Impact/International/Wireless
Broadband Escapes Europe's Spending Ax
LONDON, May 27, 2010 - A new era of austerity may be dawning in Europe in the wake of the Greek debt crisis and its cascading effect on other countries in the region, but broadband is set to escape the swinging spending cuts afflicting other sectors. Keep Reading
March 11, 2010 Broadband Data/Broadband Updates/Broadband's Impact/International/National Broadband Plan/Wireless
European Countries Leave U.S. Trailing in Race for Universal Broadband
LONDON, March 11, 2010 - European countries are adopting measures to reach 100 percent broadband penetration - and they're going to reach that goal well before the United States. Keep Reading
November 10, 2009 Broadband's Impact
U.S., EU At Odds Over Proposed Oracle Merger With Sun
WASHINGTON, November 10, 2009 - The United States and European Union antitrust regulatory bodies are at odds over whether Oracle Corporation should be allowed to go through with its proposed acquisition of Sun Microsystems. While the U.S. has not found any issues with the proposed merger, the EU has been putting on the breaks. On Monday, the European Commission issued a statement of objections concerning the acquisition of Sun by Oracle and the deal's potentially negative effects on competition in the database products market. Keep Reading
European Union Says It's Up To Users If They Want A Lot Of Cookies
WASHINGTON, November 10, 2009 - The European Union's independent supervisory authority devoted to protecting personal data and privacy said Monday that member states will soon be required to implement new privacy rules including requirements that users be offered easier ways to control whether they want cookies stored on their computer equipment. Keep Reading
November 6, 2009 Net Neutrality
European Union Takes Its Own Open Internet Stance
WASHINGTON, November 6, 2009 - While the U.S. takes steps to make so-called Network Neutrality principles mandatory under official rules, the European Union moved forward this week with its own set of internet access requirements. Under the proposed EU rules, "national telecoms authorities will have the powers to set minimum quality levels for network transmission services" so as to promote Net neutrality or "net freedoms" for European citizens. Keep Reading


মিলিমিটার তরঙ্গ ব্যবস্থা প্রনয়ন করা হয়েছে ডাউনলোডের গতি সর্বোচ্চ ২০ গিগাবাইট/সেকেন্ড অর্জনের জন্য। এগুলোর আনুমানিক গড় গতিসীমা ৩.৫ গিগাবাইট/সেকেন্ড।  অতিরিক্ত বৃহৎ এমআইএমও এন্টেনা সহকারে, ৩.৫-৪.২ গিগাহার্জ তরঙ্গের ব্যান্ডটির আনুমানিক মিডিয়ান ব্যান্ডউইডথ প্রতি সেকেন্ডে ৪৯০ মেগাবাইট। মিড-ব্যান্ড ফ্রিকোয়েন্সি এর ক্ষেত্রে, বর্তমানে প্রণিত ৫জি এর গতি এলটিএ গতির অনুরূপ, যখন একই ব্যান্ডউইথ এবং অ্যান্টেনা কনফিগারেশন ব্যবহৃত হয়।.
Also in November 2012, the iJOIN EU project was launched, focusing on "small cell" technology, which is of key importance for taking advantage of limited and strategic resources, such as the radio wave spectrum. According to Günther Oettinger, the European Commissioner for Digital Economy and Society (2014–19), "an innovative utilization of spectrum" is one of the key factors at the heart of 5G success. Oettinger further described it as "the essential resource for the wireless connectivity of which 5G will be the main driver". iJOIN was selected by the European Commission as one of the pioneering 5G research projects to showcase early results on this technology at the Mobile World Congress 2015 (Barcelona, Spain).
In February 2013, ITU-R Working Party 5D (WP 5D) started two study items: (1) Study on IMT Vision for 2020 and beyond, and; (2) Study on future technology trends for terrestrial IMT systems. Both aiming at having a better understanding of future technical aspects of mobile communications towards the definition of the next generation mobile.
১২ মে ২০১৩ তারিখে, স্যামসাং ইলেকট্রনিক্স জানায় যে তারা একটি ৫ জি" সিস্টেম তৈরি করেছে। মূল প্রযুক্তিটি ১০ গিগাবাইট পার সেকেন্ড এর বেশি গতি অর্জন করতে সক্ষম. In testing, the transfer speeds for the "5G" network sent data at 1.056 Gbit/s to a distance of up to 2 kilometres.with the use of an 8*8 MIMO.
On 6 November 2013, Huawei announced plans to invest a minimum of $600 million into R&D for next generation 5G networks capable of speeds 100 times faster than modern LTE networks.
In September 2014 "Millimeter Wave Wireless Communications" authored by researcher: Theodore Rappaport (NYU), Robert Heath (UTAustin), Robert Daniels (UTAustin), and James Murdock (UTAustin).
On 7 July 2016 European Commissioner for Digital Economy and Society, Günther Oettinger received the 5G Manifesto for timely deployment of 5G in Europe which sets out industry recommendations on how the EU can support and foster 5G innovation and deployment, and timelines for 5G demonstrations and commercial deployment, signed by representatives of BT Group, Deutsche Telekom, Ericsson, Hutchison Whampoa Europe, Inmarsat, Nokia, Orange, Proximus, KPN, SES, Tele2, Telecom Italia, Telefónica, Telekom Austria, Telenor, Telia Company and Vodafone.
On 14 July 2016, the Federal Communications Commission (FCC) unanimously passed a proposal to free up vast amounts of new bandwidth in the underutilised high-band spectrum for the next generation of wireless communications (5G). The Spectrum Frontiers Proposal (SFP) will double the amount of millimeter-wave (mmWave) unlicensed spectrum to 14 GHz and create four times the amount of flexible, mobile-use spectrum the FCC has licensed to date.
On 17 October 2016, Qualcomm announced the first 5G modem, the Snapdragon X50, as the first commercial 5G mobile chipset.
On 18 July 2017, the 28 telecom ministers of the EU and Norway signed a declaration of intent in Tallinn, Estonia, seeking "…to establish a common baseline on future 5G standards and confirm the willingness of member states to position Europe as the lead market for 5G."
↑ The Korean IT R&D program of MKE/IITA: 2008-F-004-01 "5G mobile communication systems based on beam-division multiple access and relays with group cooperation".


And of these one and all I weave the song of myself. 16 I am of old and young, Walking the path worn in the grass and beat through the leaves of the brush. The Matrix: Path of Neo is an action-adventure video game, the third spin off from The Matrix series and the second developed by Shiny Entertainment.