Monuments should not be trusted exhibition

Monuments Should Not Be Trusted brings together over 30 leading artists and groups from the “golden years” of the Socialist Federal Republic of Yugoslavia - the period between the early 1960s and the mid 1980s. Over 100 artworks and artefacts illuminate the key contradictions of this single party state – built after WWII on socialist principles, yet immersed in “utopian consumerism.” This is the first time in the UK that the art of this period, which has attracted increasing attention, has been shown in the context of the social, economic and political conditions that gave rise to it. It draws on new and innovative research on this period, and features many of its most celebrated artists. The exhibition begins with the rise of consumerism, midway through President Josip Broz Tito’s 37 year presidency, and ends a few years after his death in 1980. As well as artists’ works in moving image, collage, photography, sculpture and painting, the exhibition encompasses music, TV clips and fascinating artefacts, such as gifts made by workers for President Tito’s birthday, and relay batons which were carried across the country and ceremonially presented to him.

Contribution to The World Goes Pop exhibition catalogue

Biographies for artists Barel, Joav (p.174), Brudascu, Cornel (p.177), Bucan, Boris (p.178), Chicago, Judy (p.182), Ivekovic, Sanja (p.197), Komar and Melamid (p.200), Lach-Lachowicz, Natalia (p.203), Otasevic, Dusan (p.212), Overstreet, Joe (p.214), Pininska - Beres, Maria (p.215), Rosler, Martha (p.222), Schifano, Mario (p.223), Self, Colin (p.224), Tajiri, Thinkichi (p.228), Tanaami, Keiichi (p.229), Tilson, Joe (p.231), Vardea, Chryssa (p.233), Yokoo, Tadanori (p.234), Zelibska, Jana (p.235) and Zielinski, Jerzy (p.236).

Exoplanet discoveries with the CoRoT space observatory

The CoRoT space observatory is a project which is led by the French space agency CNES and leading space research institutes in Austria, Brazil, Belgium, Germany and Spain and also the European Space Agency ESA. CoRoT observed since its launch in December 27, 2006 about 100 000 stars for the exoplanet channel, during 150 days uninterrupted high-precision photometry. Since the The CoRoT-team has several exoplanet candidates which are currently analyzed under its study, we report here the discoveries of nine exoplanets which were observed by CoRoT. Discovered exoplanets such as CoRoT-3b populate the brown dwarf desert and close the gap of measured physical properties between usual gas giants and very low mass stars. CoRoT discoveries extended the known range of planet masses down to about 4.8 Earth-masses (CoRoT-7b) and up to 21 Jupiter masses (CoRoT-3b), the radii to about 1.68 x 0.09 R (Earth) (CoRoT-7b) and up to the most inflated hot Jupiter with 1.49 x 0.09 R (Earth) found so far (CoRoT-1b), and the transiting exoplanet with the longest period of 95.274 days (CoRoT-9b). Giant exoplanets have been detected at low metallicity, rapidly rotating and active, spotted stars. Two CoRoT planets have host stars with the lowest content of heavy elements known to show a transit hinting towards a different planethost-star-metallicity relation then the one found by radial-velocity search programs. Finally the properties of the CoRoT-7b prove that rocky planets with a density close to Earth exist outside the Solar System. Finally the detection of the secondary transit of CoRoT-1b at a sensitivity level of 10(-5) and the very clear detection of the ""super-Earth"" CoRoT-7b at 3.5 x 10(-4) relative flux are promising evidence that the space observatory is being able to detect even smaller exoplanets with the size of the Earth.

Thermodynamic Stabillity of Hydrogen-Bonded Systems in Polar and Nonpolar Environments

The thermodynamic properties of a selected set of benchmark hydrogen-bonded systems (acetic acid dimer and the complexes of acetic acid with acetamide and methanol) was studied with the goal of obtaining detailed information on solvent effects on the hydrogen-bonded interactions using water, chloroform, and n-heptane as representatives for a wide range in the dielectric constant. Solvent effects were investigated using both explicit and implicit solvation models. For the explicit description of the solvent, molecular dynamics and Monte Carlo simulations in the isothermal isobaric (NpT) ensemble combined with the free energy perturbation technique were performed to determine solvation free energies. Within the implicit solvation approach, the polarizable continuum model and the conductor-like screening model were applied. Combination of gas phase results with the results obtained from the different solvation models through an appropriate thermodynamic cycle allows estimation of complexation free energies, enthalpies, and the respective entropic contributions in solution. Owing to the strong solvation effects of water the cyclic acetic acid dimer is not stable in aqueous solution. In less polar solvents the double hydrogen bond structure of the acetic acid dimer remains stable. This finding is in agreement with previous theoretical and experimental results. A similar trend as for the acetic acid dimer is also observed for the acetamide complex. The methanol complex was found to be thermodynamically unstable in gas phase as well as in any of the three solvents. (C) 2010 Wiley Periodicals, Inc. J Comput Chem 31: 2046-2055, 2010

Bendadaite, a new iron arsenate mineral of the arthurite group

Bendadaite, ideally Fe(2+)Fe(2)(3+)(AsO(4))(2)(OH)(2 center dot).4H(2)O, is a new member of the arthurite group It was found as a weathering product of arsenopyrite on a single hand specimen from the phosphate pegmatite Bendada. central Portugal (type locality) Co-type locality is the granite pegmatite of La via do Almerindo (Almerindo mine), Linopolis, Divmo das Laranjeiras county, Minas Gerais, Brazil Further localities are the Vein Negra mine, Copiapo province, Chile, mid-East, Bou Azzer district, Morocco, and Para Inferida yard, Fenugu Sibirt mine, Gonnosfanadiga, Medio Campidano Province, Sardinia. Italy Type bendadaite occurs as blackish green to dark brownish tufts (<0 1 mm long) and flattened radiating aggregates. in intimate association with an intermediate member of the scorodite-mansfieldite series It is monoclinic. space group P2(l/c). with a = 10 239(3) angstrom. b = 9 713(2) angstrom, c = 5 552(2) angstrom. beta = 94 11(2)degrees. = 550 7(2) angstrom(3). Z = 2 Electron-microprobe analysis yielded (wt %). CaO 0 04, MnO 0 03. CuO 006, ZnO 004. Fe(2)O(3) (total) 43 92, Al(2)O(3) 115. SnO(2) 0 10, As(2)O(5) 43 27. P(2)O(5) 1 86, SO(3) 0.03 The empirical formula is (Fe(0 52)(2+)Fe(0 32)(3+)rectangle(0 16))(Sigma 1 00)(Fe(1 89)(3+)Al(0 11))(Sigma 2 00)(As(1 87)P(0 13))(Sigma 2 00)O(8)(OH)(2 00) 4H(2)O based. CM 2(As,P) and assuming ideal 80, 2(OH), 4H2O and complete occupancy of the ferric on site by Fe(3+) and Al Optically, bendadaite is biaxial, positive, 2V(est) = 85+/-4 degrees, 2V(eale) = 88 degrees, with alpha 1 734(3). 13 1 759(3), 7 1 787(4) Pleochrosim is medium strong X pale reddish brown. Y yellowish brown, Z dark yellowish brown. absorption Z > V > X, optical dispersion weak, r > v. Optical axis plane Is parallel to (010), with X approximately parallel to a and Z nearly parallel to c Bendadaite has vitreous to sub-adamantine luster, is translucent and non-fluorescent It is brittle, shows irregular fracture and a good cleavage parallel to 1010} 3 15 0 10 g/cm(3), 3 193 g/cm3 (for the empirical formula) The five strongest powder diffraction lines [d in angstrom (I)(hkl] are 10 22 (10)(100), 7 036 (8)(110), 4 250 (5)(11 I), 2 865 (4)(311), 4 833 (3)(020,011) The d spacings are very similar to those of its Zn analogue, ojelaite The crystal structure of bendadaite was solved and refined using a crystal from the co-type locality with the composition (Fe(0 95)(2+)rectangle(0 05))(Sigma 1 00)(Fe(1 80)(3+)Al(0 20))Sigma(2 00)(As(1 48)P(0 52))(Sigma 2 00)O(8)) (OH)(2) 4H(2)O (R = 16%) and confirms an arthurite-type atomic arrangement

Solvatochromic and lonochromic Effects of Iron(II)bis-(1,10-phenanthroline)dicyano: a Theoretical Study

Solvatochromic and ionochromic effects of the iron(II)bis(1,10-phenanthroline)dicyano (Fe(phen)(2)(CN)(2)) complex were investigated by means of combined DFT/TDDFT calculations using the PBE and B3LYP functionals. Extended solvation models of Fe(phen)(2)(CN)(2) in acetonitrile and aqueous solution, as well as including interaction with Mg(2+), were constructed. The calculated vertical excitation energies reproduce well the observed solvatochromism in acetonitrile and aqueous solutions, the ionochromism in acetonitrile in the presence of Mg(2+), and the absence of ionochromic effect in aqueous solution. The vertical excitation energies and the nature of the transitions were reliably predicted after inclusion of geometry relaxation upon aqueous micro- and global solvation and solvent polarization effect in the TDDFT calculations. The two intense UV-vis absorption bands occurring for all systems studied are interpreted as transitions from a hybrid Fe(II)(d)/cyano N(p) orbital to a phenanthroline pi* orbital rather than a pure metal-to-ligand-charge transfer (MLCT). The solvatochromic and ionochromic blue band shifts of Fe(phen)(2)(CN)(2) were explained with preferential stabilization of the highest occupied Fe(II)(d)/cyano N(p) orbitals as a result of specific interactions with water solvent molecules or Mg(2+) ions in solution. Such interactions occur through the CN(-) groups in the complex, and they have a decisive role for the observed blue shifts of UV-vis absorption bands.

Visuell Perception : En studie av visuella faktorer kring ett musikaliskt framträdande

The essay investigates the visual element as seen by the audience and artist to be of greatest importance to a musicalperformance. The study was conducted in the form of a field work which included doing interviews with artists, surveys of the audience and interpretive observations of live performance. The fieldwork was conducted in three different environments in which I found myself on the spot and performed the various stages included in the field work. It was done to create a surface that could be used in an essay, and through that use this material to compare and analyze my results and in the end be able to answer my questions. I started from eight different factors which all could beexperienced visually on stage. The factors were light / colors, costumes, props, effects, stage presence, attitude / image, nervousness and dance / body language. Those factors would then be examined in the various musical performances and to be answered by the audience and performers which of those factors they considered to be of great importance or small importance when it comes to visual perception in a musical context. The result was a clear statement where two factors were considered to be most crucial for a musical performance, and a clear statement in which two factors were considered by the majority to be less important. The results demonstrate a common understanding what the artist and the audience thinks is important. A result that can act as a template for what an artist should think about regarding the visual elements before an performance. My theory is my assumption that the visual elements of musical performances can play an important or decisive role, an assumption that was strengthened by my empirical experiences at a concert visit. I wanted in this essay explore and give a clear picture of what it is that artists and audiences consider to be visually crucial for a musical context

Inkzine : Redesignandet av en tatuerings- och piercingcommunity

Our employer, Gaddad, is a tattoo and piercing community that was created in 2006 with the basic idea to make it easier for people to get in touch with the tattoo artists and piercers from all over Sweden. With the homepage’s popularity at 2009 they decided to expand with the news page Inkzine. 2011 they contacted us with a plan to expand the homepage to Europe and then merge their two sites under the name Inkzine.The goal of this project was to create design suggestions for Gaddad / Inkzine that both the administration and the current users liked and would consider implementing on the website. In order to evaluate the current design and our suggestions we decided to use two questionnaires . The first questionnaire evaluated the currentdesign to provide us with information for the redesign. The second questionnaire evaluated our new suggestions.With these questionnaire we also carried out an analysis to see the differences in opinions among the users and also between the administration and the users.We also investigated other community homepages, company homepages that had been internationalized, and other tattoo homepages. To see what others had done to adapt to the international market and to investigate the design of tattoo homepages.We also did literary studies in redesign and internationalization, in order to obtain a theoretical foundation for our work.The results of the investigation of other homepages showed that in order to perform an internationalization of a web site no major changes to the looks were necessary, only linguistic changes. The results of our questionnairesshowed that users had in most cases put the majority of their votes on

Ensamhet - gemenskap : Ett spänningsfält i Vilhelm Ekelunds författarskap

For the Swedish poet, essayist and aphorist Vilhelm Ekelund, ensamhet (solitude) and gemenskap (intellectual and spiritual community) were highly complex notions, with various and often contradictory meanings. In this article, I argue that both concepts have positive as well as negative connotations in Ekelund’s texts. Solitude can be sweet and delightful and the poet/writer may long for it, but it can also appear to him as a sordid and painful state. In the same way, life with other people may be just as difficult and complicated. I show that Ekelund as a young poet both embraced solitude as a positive notion and suffered from depressing isolation. The theme of solitude also appeared in his early prose as a heroic stance fitting for an extraordinary person. According to Ekelund, the fate of the truly gifted artist is loneliness, and he will find great difficulties connecting with people around him. In fact, he will find intellectual and spiritual community only when communicating with the great precursors – in Ekelund’s case that meant the prominent figures of Greek and Roman cultural heritage. “Modern” artists interested him only in so much as they openly venerated this classicist tradition. Ekelund may have despaired at the idea of an intellectual or spiritual community with his contemporaries; he was, nevertheless, optimistic regarding the ability of later generations to understand him. He was convinced that he did not write for people in his own time but, indeed, for posterity.

The Björling 'Opera' : A children's Nursery Academy and an Italian Conservatory in Miniature

The aim in this chapter is to develop a deeper understanding about the informal Björling 'School' in Sweden. Contextually the example is related to the micro history of opera education contributing to the macro perspective illuminating a provincial example of the concept of domestic opera schooling. The specific focus was on Karl David Björling (1873-1926), the teaching parent of the Swedish tenor Jussi Björling (1911-1960) and his brothers Gösta and Olle.   The Björling family model of opera schooling belongs to the classical canon of domestic home education which was common during the epoch. The phenomenon is also within the field of opera singing an important reference to the historical context of the Nordic opera history of vocal education.   The uniqueness concerning the Björling School seems to be the rigorous and exceptionally early training. David Björling’s pedagogy was rooted in earlier German theories of musical upbringing. It's clear from his results that he was familiar with the neo-humanistic ideal on which reformed music education was based. Of a specific interest is the term Gesang als Unterricht as a concept for developing childrens musical and memorising capacities.   Conceptually the roots of the Björling model are in the eighteenth-century Romantic view of prodigies and their abilities. The extensive touring is connected to the promotion of wonder-children, and David Björling’s educational style to the conservative Master-pupil tradition.   David Björling's vocal ideal was a part of the contemporary debate about “The decadence of the singing art”, and seems to have its roots in an older Italian tradition. There are recurring similarities between his educational methods and the didactic principles of the Lamperti School: Enjoying a revival around the late 1800s and early 1900s, it has been called the natural or the national school. Nevertheless, through authentic experiences and gramophone recordings the Italian tenor Enrico Caruso became David Björling’s pedagogical role model.

Musilian Concept of Modern Man

German-Austrian Robert Musil (1880-1942) is considered an artist with an extremely unorthodox conception of art to a basic human problem. In his time, there existed a dissociation of substance from social values. Musil actually started with this foundation in considering the taunting dilemma that the accelerating technology of the century is overstepping each day the ability of the human mind to adjust to it. Musil maintained that social organization, patterns of thought and cherished ideals correspond to a reality that no longer exists

1987 Yearbook

TOC: Clubs & Organizations…18 / Current Events & Music…30 / Faculty & Staff…33 / Activities & Events… / Honors & Graduation…65 / Graduates…75 / Yearbook Credits…111 / A Thank You…112 YEARBOOK COMMITTEE: Project Director, Vincent Banrey; Asst. Project Director, Catherine Whan; Editors (1986): Maricruz Saunders; (1987): Juan Jimenez, GloryAnn Torres; LAYOUT DESIGNERS: Vincent Banrey, Stephanie Bowen, Yvonne Brown, Jacqui Fernandez, Milton Ferreira, Omar Harris, Cornelius Huskins, Juan Jimenez, Wayne Keane, Richard Massie, Victoria Pamias, Richard Provost, Maricruz Saunders, GloryAnn Torres, Pedro Torres, Joan Walker, Catherine Whan. PHOTOGRAPHERS: John Carrero, Young Baek Choi, Randy Fader-Smith, Milton Ferreira, Roger Ince, Juan Jimenez, Umoja Kwanguvu, Seymour Lerman, Clinton Linton, Richard Provost, Jaidee amsinghani, Maricruz Saunders, Frank Tocco, GloryAnn Torres, Catherine Whan, Alan Young. ARTISTS: Cover Design: Madeline Vega; Endsheets: Oscar "DJ Ozzie" Ramirez; Division Pages: Jose Marti; International LaGuardia: Jacqui Fernandez; Illustrations: Richard Massie, Jacqui Fernandez, Madeline Vega. WRITERS: Yasmin Ahmed, Vincent Banrey, Warren Gardner, Juan Jimenez, Umoja Kwanguvu, Luis Merchant, Victoria Pamias, Richard Provost, Christiana Somerville, GloryAnn Torres, Joan Walker, Catherine Whan. SIGNIFICANT OTHERS: Word Processing: Blanca Arbito, Edward Hollins, Catherine Whan. Vincent Banrey Spread: developed by Blanca Arbito, Edward Hollins and GloryAnn Torres, Jacqui Fernandez, Catherine Whan. Creative Consultant: Edward Hollins. Promotions: George Condors. SPECIAL THANKS TO: Frank and Seymour of Classic Studios; Chuck Lindsey, Photo Workshop Instructor; Ted Schiffman of Taylor Publishing Co.; Dan Horn and Thurston Reyes of LaGuardia Theatre; and the Recreation staff. ALAN BERMAN IN MEMORIAM: Sketch, Tom Fink; Alan Speaking, Brian Gallagher; Remembering Dr. Alan Berman, Tuzyline Allan.

Análise econômica das políticas de incentivos à cultura no Brasil

O Brasil conta hoje com uma legislação que o coloca seguramente entre os melhores países, senão o melhor, para se realizar projetos culturais. Ao menos na teoria. Essa dissertação tem como objetivo trilhar o caminho das leis de incentivo, desde a sua criação, com a Lei Sarney até a Lei Rouanet, analisando inclusive as leis estaduais e municipais, que também surgiram como respostas a descontinuidades no processo. O mercado cultural brasileiro é caracterizado por externalidades que dificultam sua viabilidade, fazendo necessária a intervenção governamental. A política cultural brasileira tem como principal instrumento as leis de incentivo à cultura, que utilizam a renúncia fiscal para atrair o capital privado. São formalizadas parcerias onde as empresas privadas patrocinam projetos de interesse do governo e, como contrapartida, recebem o direito de deduzir esse valor, integral ou parcialmente, de seus impostos. Contudo, esse modelo de contrato de parceria é mal formulado, e traz perdas para a sociedade. O risco é assumido integralmente pelo Estado, o que acarreta problemas sérios de Moral Hazard. Além disso, devido às diferentes características dos projetos, o modelo acaba também por gerar problemas de Seleção Adversa. Para uma melhor comparação e análise da política cultural brasileira, foram levantados casos internacionais - Estados Unidos, Inglaterra, Portugal e Espanha. Levando-se em conta as análises e críticas levantadas, serão sugeridas alternativas para o modelo de contrato adotado pelo governo para incentivo à cultura, e formas alternativas de financiamento ao setor cultural, de forma a assegurar um melhor retorno para a sociedade sem deixar de cumprir o papel de fomentar o setor e corrigir as externalidades presentes.

Sobre a formação e o acesso a acervos de arte contemporânea: o caso do Ateliê Carlos Vergara

A institucionalização de acervos particulares de artistas não é um fenômeno recente, mas esse processo se acelerou nos últimos 30 anos. As transformações sociais decorrentes do estabelecimento de uma ordem econômica globalizada criaram novas regras no universo das organizações culturais. Este trabalho é o resultado de uma pesquisa sobre instituições responsáveis por gerir acervos de artistas contemporâneos realizada com o objetivo de encontrar diretrizes para a constituição de uma iniciativa da mesma ordem: o Ateliê Carlos Vergara. O tema foi examinado com base em entrevistas com cinco artistas plásticos brasileiros e em um levantamento sobre a trajetória de Carlos Vergara e de seu ateliê. Algumas questões relacionadas à organização e à preservação dos acervos, à sustentabilidade das instituições, ao papel dos herdeiros em sua gestão, assim como ao alinhamento dessas iniciativas aos princípios dos artistas, são discutidas neste texto.

Parceria público-privado na área cultural

Este projeto examina a recente experiência (1992-1997) de incentivos fiscais para estimular o patrocínio empresarial à cultura. Uma lei federal ("Lei Rouanet"), e aproximadamente 20 leis, entre estaduais e municipais, estão em vigor atualmente. Elas fornecem um indispensável complemento ao dispêndio governamental em cultura. Constituem uma experiência a ser encorajada e avaliada em seus aspectos quantitativos e qualitativos. Esta pesquisa poderá servir como o primeiro passo para se construir uma ferramenta para acompanhamento dessa política pública, que vem sendo hoje, aliás, adotada em quase todos os países desenvolvidos, em qualquer parte do mundo.