The Los Angeles Center for Digital Art was established in April of 2004 as a venue to support the efforts of the burgeoning scene revolving around art and technology. Also known as "LACDA," its founder and director of the gallery, Rex Bruce, had his first experience with art and computers in 1980 creating control voltages for analog synthesizers using an IMSAI 8080 computer and the C+ language. His subsequent extensive career and education in the field of electronic interdisciplinary art led to the creation of LACDA spawning many novel approaches to funding and programming for computer oriented fine arts.
The first location for LACDA was on Melrose Avenue in Hollywood utilizing two spaces at RBC Studios, a building variously occupied by musicians, artists, writers and other creatives. After a short six months of early success there garnering notices in publications such as the L.A. Weekly and L.A. Times, director Rex Bruce became involved in the development of the nascent scene in the area now dubbed "Gallery Row" in the Historic Core of downtown Los Angeles. A new space was secured on 5th Street at South Main where five galleries were established simultaneously in an organized effort involving the gallery owners, the support of the L.A. Board of Supervisors, DLANC (Downtown Los Angleles Neighborhood Council), and developer Rob Frontiera who was then owner of the two Rosslyn Hotel buildings where the cluster of galleries resided.
Bert Green, owner of Bert Green Fine Art, established the monthly "Downtown Art Walk" in 2005 which began with a draw of 75 people and grew to about 15,000 visitors and over 40 galleries by 2010. The Downtown Art Walk, along with collaborations with the Downtown Film Festival, California Museum of Photography, Guggenheim Gallery, PhotoLA, College Art Association, New Media Caucus, SIGGRAPH, The Grammy Museum, ArtSpot Miami and other similar organizations and festivals established LACDA as a viable presenter of new media art to a broad based public as well as engaging the core art scene of critics and curators in Los Angeles and beyond.
While known for some success as a commercial gallery (selling new media work largely being regarded as more of an experiment than an established market), the LACDA maintains sustainability through its series of calls for entries, including juried competitions and open exhibits such as "Snap to Grid" where every artist submitting is exhibited without any curation. The center is also involved in printmaking, utilizing wide format inkjet printers, and has had success raising funds sustaining LACDA exhibition programming through its printmaking efforts. The printmaking allowed for a series of large group salon style exhibits giving exhibition opportunity to more artists while creating economic viability for the gallery especially through the downturn caused by the great recession beginning in 2007.
Het festival heeft dit jaar als speciaal thema het slavernijverleden en de openingsfilm is Hoe duur was de suiker. Regisseur Jean van de Velde en actrice Wong-Loi-Sing zullen in de Cubaanse hoofdstad aanwezig zijn en hun film presenteren aan het publiek. Daarnaast zullen ze een bezoek brengen aan de filmacademie van Havana en er een workshop geven aan studenten. Ook het Engelstalige slavernijdrama Tula the Revolt van de Nederlandse filmmaker Jeroen Leinders wordt vertoond.
De Filmweek brengt een hommage aan Pim de la Parra, die vorig jaar te gast was op het festival, met de documentaire Parradox van In-Soo Radstake en met de la Parra's Odyssee d'Amour, door Eye International opnieuw in première gebracht in het Caribisch gebied, met integrale Spaanse ondertiteling.
Verder staan dit jaar een aantal succesvolle Nederlandse films op het programma die nog niet eerder in Cuba zijn vertoond: de speelfilms Wolf van Jim Taihuttu, Alles is familie van Joram Lürsen, Theo van Gogh's 06/05 en Interview, de jeugdfilms Mees Kees van Barbara Bredero en Spijt! van Dave Schram. De Nederlandse schilderkunst komt aan bod in Rembrandt's J'Accuse van Peter Greenaway en Pim van Hoeve's Van Gogh's Legacy en tot slot kan het Cubaanse publiek de dance documentaire I am Hardwell zien.
DC Sircar observes that palaeographically the Hathigumpha record is slightly later than Naneghat record whereas the letters of Sanchi inscription of Satakarni resemble the script of Hathigumpha inscription. Kharavela in his inscription mentions one Satakarni, who is identified as Satakarni II, who is also identical to the one who inscribed in Sanchi.
The 'Great Stupa' at Sanchi is the oldest structure and was originally commissioned by the emperor Ashoka the Great in the 3rd century BCE. Its nucleus was a hemispherical brick structure built over the relics of the Buddha. It was crowned by the chatra, a parasol-like structure symbolising high rank. A pillar of finely polished sandstone was also erected. The old stupa was later covered when it was expanded. The bottom part of the pillar still stands. The upper parts of the pillar are placed under a canopy nearby. The pillar has an Ashokan inscription (Schism Edict) and an inscription in the ornamental Sankha Lipi from the Gupta period.
Sometimes you don't think about miso soup as an appetizer until dinner is almost on the table. Well, that's my life, anyway. Miso soup is a great accompaniment for any Asian fare, especially dishes...
Jan Bergmans's insight:
* But really — does anyone else feel that spreading sensation after you swallow that first spoonful? It’s like dragon’s fire (albeit, less scalding) slowly flames down your throat in waves. It hits your stomach and spreads around its walls in a beautiful hug, and soon it’s coursing through your veins and your limbs. OK, not exactly an ideal experience in summer, but you’d be surprised how many temperature-hot/spicy-hot foods Asian cultures love to eat in hot weather.
The point: You still have time to make a few bowls of miso soup, if you have hondashi powder on hand. I’ve decided to document an official recipe for the miso soup I make with hondashi and white miso paste. Feel free to add or subtract whatever other garnishes you like — there is no exact science here.
Geld? Bezit? Kredietcrisis? Regisseur Pim de la Parra, gevallen miljonair, maalt er allemaal niet om. Al dertien jaar leeft de man van Blue Movie en Wan Pipel in zijn vaderland Suriname, de ene dag nog berooider dan de ander. ‘Ik maak mij nooit zorgen om geld.’
Kate Gross died of cancer on Christmas morning. She was 36, and left behind a husband and five-year-old twin boys. Her mother describes Kate’s final moments
Jan Bergmans's insight:
“Down, down, down into the darkness of the grave
Gently they go, the beautiful, the tender, the kind;
Quietly they go, the intelligent, the witty, the brave
I know. But I do not approve.
AND I AM NOT RESIGNED.”
After that there was another year of chemo to try to hold off the further spread of the disease, and side effects, and a hundred different drugs.
Finally, in the last few months, there was the period of what Atul Gawande, the surgeon and writer, in his book Being Mortal, calls the One Damn Thing After Another or ODTAA syndrome. This, he says, “is what the closing phase of modern life often looks like – a mounting series of crises from which medicine can offer only brief and temporary rescue”.
The last two weeks were hard. They don’t tell you about dying, in the colour supplements. John Diamond, Ruth Picardie, Philip Gould – Kate’s cancer canon – they stop writing when they can’t focus any more. So, the unbroadcast pain, the indignities and the long hours of waiting are forgotten, like childbirth.
Indignities first. Actually, the fact that Kate’s bodily functions ended up outsourced to a number of external bags was convenient when she was mostly in bed, towards the end. But earlier, when she was less ill, it seemed unkind that when other lovely mummies were wondering which designer/investment/statement bag to take out with them, Kate’s choices were the large or small catheter bag, and which particular type of stoma bag (known to Kate’s circle as the AbdoBum™). “Mummy can poo into a bag,” noted Oscar and Isaac with interest.
Then, there was pain. These days there shouldn’t be much pain, they said. She’ll just get sleepier and sleepier. Not totally true. Palliative care is wonderful but always seemed a step behind the infinitely clever disease, reacting to each escalation of pain with higher doses or different medication – but only after some hours of sickness and discomfort, and only after summoning help via the tortuous mechanisms of out-of-hours GP services.
I went out one day to take the boys on a playdate, shopping distractedly, and found myself weeping in the car at Somewhere Over the Rainbow on the radio. “Birds fly over the rainbow, why oh why can’t I?” Why can’t she, I thought. And I came back home to the ruins of my daughter.
She had bursts of energy, deciding to come downstairs and sit in her chair for a while, drifting in and out, mostly making sense but with slurred, soft speech. It was lovely, but somehow seeing this almost-Kate made things harder.
Then she became very confused. “Katie doesn’t know what day it is ... she doesn’t know who Jesus was or what praying is ...” I sang to myself, almost as crazy as she was.
Kate and Billy in 2004.
Christmas won’t be spoiled for us for ever. A wise friend of Kate’s, who lost his own wife years ago, told us that because he remembered and thought about her every day the “big” days (anniversaries and Christmas) held no fears. I think he is right.
Kate once said, in relation to a mother’s love for her children, that “worry is love’s currency”. Well, for the first time in two years I don’t wake up worrying how she is. And two years of advance grieving has helped prepare us for today.
It has helped to have the love of family and friends, and the kindness of strangers, the thousands of messages we have received. Newspaper obituaries (I hadn’t realised until now quite how much it helps to have the life of someone you love rounded off in this way).
It helps that we can feel so proud of Kate’s work. She had always been high achieving. In her 20s she worked closely with two prime ministers; at 30 she was CEO of a charity that supported fragile democracies in Africa, hanging out with heads of state and wealthy American philanthropists. There are lots of babies who wouldn’t be alive now without Kate’s work, lots of children being educated, lots of parents able to find work and feed their families.
More than anything, it helps that we have Kate’s book, Late Fragments, written so that her sons may one day discover who she was and what she held dear. If anything good is to come from losing Kate, it will be that book and the effect it has on all who read it. Kate had, as her friend Katy Brand, the actress, said to her, the ability “to choose just the right word – to roll all the words around your head like ball bearings, until the perfect one drops into the hole”. But if not for the cancer, she probably wouldn’t have become a writer – like most high-flying working parents, she wouldn’t have had time.
The last two years taught us the importance of time, of stepping off the treadmill. As Kate writes in her book: “Everything has changed and yet nothing has changed. In other words, the petty frustrations and stupid ambitions and general rushing around have melted away, but the good stuff remains. And it’s better than ever.”
Because of the Nuisance, we became a much closer family. We bridged the distances that grow between parents and their adult children and came to know and admire Kate and Jo, much more than we would have otherwise. We became part of Oscar and Isaac’s daily lives instead of occasional visitors. And we were – and still are – overwhelmed at the way Kate’s friends and our own have responded to her illness.
I’ve learned that there is more love in the world than I ever knew and that perhaps all we need to do is learn to ask for what we need.
• Kate Gross died peacefully at home from colon cancer on 25 December 2014. Kate finished writing her book in September and received finished copies a few weeks before her death. She leaves behind her devoted husband, Billy Boyle, and her five-year-old sons, Isaac and Oscar.
Late Fragments: Everything I Want to Tell You (About This Magnificent Life) by Kate Gross is published by William Collins, £14.99. To order a copy for £11.99, including free UK p&P, go to bookshop.theguardian.com or call 0330 333 6846
Nederlands actrice, voluit Delaloranne Marietje Vaags. Had een vaste rol als cipier in de televisieserie Vrouwenvleugel (1993-95) en speelde ook een hoofdrol in de minimal movie Dagboek van een zwakke yogi ('Ronald da Silva' alias Pim de la Parra, 1993). Kleinere rollen in films als De avonden (Rudolf van den Berg, 1989), Romeo (Rita Horst, 1990), The Baby of Mâcon (Peter Greenaway, 1993), de eindexamenfilm Buenos Aires, Here We Come (Marc van Uchelen, 1996), de televisiefilm Lolamoviola: Benidorm (Jaap van Eyck, 1997), de televisieserie "Quidam, Quidam" (Maria Uitdehaag en Robert Wiering, 1999) en Sinterklaas en het geheim van de Robijn (Martijn van Nellestijn, 2004). Speelde voorts in de zelden of nooit vertoonde minimal movies Het gelukzalig lijden van Derek Beaujon (De la Parra, 1991), Het labyrint der lusten (De la Parra, 1991), Extravaganza (De la Parra, 1991) en Round of Prisoners (De la Parra, 1995). Tevens coregisseerde en schreef ze met De la Parra de eveneens obscure minimal movie Vrouwen van vandaag (1993).
The best-known Brahmi inscriptions are the rock-cut edicts of Ashoka in north-central India, dated to 250-232 BCE. The script was deciphered in 1837 by James Prinsep, an archaeologist, philologist, and official of the East India Company.
The best-known Brahmi inscriptions are the rock-cut edicts of Ashoka in north-central India, dated to 250–232 BCE. The script was deciphered in 1837 by James Prinsep, an archaeologist, philologist, and official of the East India Company. The origin of the script is still much debated, with current Western academic opinion generally agreeing (with some exceptions) that Brahmi was derived from or at least influenced by one or more contemporary Semitic scripts, but a current of opinion in India favors the idea that it is connected to the much older and as-yet undeciphered Indus script.:20
The Gupta script of the 5th century is sometimes called "Late Brahmi". The Brahmi script diversified into numerous local variants, classified together as the Brahmic scripts. Dozens of modern scripts used across South Asia have descended from Brahmi, making it one of the world's most influential writing traditions.
Piprahwa is a village near Birdpur [historical British variant as Birdpore] in the Siddharthnagar district of Indian state of Uttar Pradesh. The scented rice 'kalanamak', very famous and spicy, is grown in this area. This Stupa was discovered by William Claxton Peppe, a British colonial engineer and landowner of an estate at Piprahwa.
This recent expert opinion concerning the authenticity of the Piprahwa reliquary once more raises questions about the exact whereabouts of Kapilvastu, tilting the evidence back towards it being located in India. Competing claims believe that Kaplivastu is at Tilaurakot in Nepal.
Today, the relics from the original and the 1970s excavations of the Piprahwa Stupa are revered by many Buddhists the world over with ten million people in 1978 paying homage to the relics when they travelled to Sri Lanka, and in August 2012 the Indian government once more allowed the relics to be lent to Sri Lanka.
The Piprahwa relics, are located in the Calcutta and New Delhi Museums, the Golden Mount Temple in Bangkok, in Burma, the Dipaduttamrama Temple (also known as the Jewel Stupa) in Colombo, Sri Lanka, and the Anuradhapura Temple, Kandy, Sri Lanka. A portion of the relics were retained by W. C. Peppe, and these are still owned by a descendant of the Peppe family in England.
Just a few steps away from commercial thoroughfares, this former imperial lake garden ushers city dwellers from the urban hustle and bustle into a peaceful haven of weeping willows, arch bridges, paddle boats and visually stunning flowers.
Whatever the season, the 4.4 square-kilometre park showcases a distinctive colour: pink cherry blossoms in spring, emerald lotus leaves in summer, golden ginkgos and red maples in autumn, and snow-covered pines in winter.
Much of Nanjing’s downtown is built around this massive, smooth body of water. A casual stroll around the lake and through its five islands – all connected by bridges -- can take up to five hours.
Various gates. The main one is Xuanwu Gate, near Metro Line 1 Xuanwumen Station; free; open daily 6.00 a.m.-8.00 p.m.; round-the-lake sightseeing bus RMB 30 (US$4.80) per person per trip
Wuchaomen Park (午朝门公园)
Every morning, retired locals practice tai chi, sing opera and walk backwards in circles in what was once the forbidden grounds of the Ming Palace.
Inside the park stands Wumen, one of Nanjing’s few remaining palace gates, dating back to 1367. Visitors can climb the grey-bricked structure to experience a good view over Yudao to the south, the straight and tree-lined former imperial road.
Philip Roth confronts age and beauty, and turns—well, not exactly sentimental, but surprisingly warm.
Jan Bergmans's insight:
Everyman takes its title from a medieval morality play, a nasty little allegory of what happens when the party ends. Called by Death, the central character is abandoned by his “false friends”—friends, family, wealth—and leans instead on Good Deeds, Strength, Beauty, Intelligence, and Knowledge. By play’s end, he is alone: All but Good Deeds have left him, and he must confront his grave with Christian humility. The world he has left behind is “drowned in synne,” as God complains in the play’s prologue, overflowing with “pryde coueteyse wrathe and lechery.”
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