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How Important Is Context In Contemporary 100%

“How  Important  Is  Context  In  Contemporary  Architectural  Design?”     ARCH  11019:


20161219 R27SuccessfulApplicantsRadio 98%

'the best road race in the country' WitchHunt The Story of Florence Newton TV/Radio Funding Recommended Percent Funding Recommended Format Language Genre Number of programmes Duration of Programmes Radio 4,366 80 Entertainment English Arts/Culture 6 0:30:00 Radio 6,000 91 Drama English Contemporary Society 1 0:46:00 Radio 10,000 90 Education English Children's 12 0:15:00 Radio 16,500 95 Education English History/Heritage 52 0:10:00 Radio 6,100 85 Drama English Children's 3 0:20:00 Radio 3,200 95 Documentary English Contemporary Society 1 0:55:00 Radio 4,000 95 Education Bi-lingual Children's 6 0:20:00 Radio 6,000 95 Drama English Arts/Culture 1 0:46:00 Radio 6,500 95 Drama English Arts/Culture 1 0:46:00 Today FM Radio 3,500 88 Documentary English Arts/Culture 1 0:52:00 Community Radio Youghal Radio 2,257 95 Documentary English Contemporary Society 1 0:56:00 Community Radio Youghal Radio 2,330 95 Documentary English History/Heritage 1 0:39:00 Community Radio Youghal Radio 3,600 95 Documentary English Contemporary Society 1 0:56:00 Community Radio Youghal Radio 4,350 94 Drama English History/Heritage 1 0:40:00 Channel RTÉ Radio 1 Extra Shannonside 104FM RTÉ Junior/Chill Athlone Community Radio RTÉ Junior/Chill Athlone Community Radio Athlone Community Radio Newstalk 106108FM Newstalk 106108FM Broadcasting Authority of Ireland 2016 Applicant Project Name Channel TV/Radio Funding Recommended Percent Funding Recommended Format Language Genre Number of programmes Duration of Programmes 15 Community Radio Youghal Addicted Community Radio Youghal Radio 7,700 95 Documentary English Contemporary Society 4 0:56:00 16 Conor McGinnity Escape from Dundalk Gaol LMFM Radio 4,200 95 Documentary English History/Heritage 1 0:50:00 Kildare's Wild Places KFM Radio 9,500 95 Documentary English Science/ Nature/ Environment 6 0:20:00 The Professor Newstalk 106108FM Radio 4,250 95 Documentary English Contemporary Society 1 0:46:00 Talking to Mr.


Antonella Selvaggi tgs tn pdf1 98%

Contemporary Art Photo by Stedelijk Museum Amsterdam, Biennale diVenezia 2015, Centre Pompidou Paris.


CADAPanelSponsor 96%

SPONSORSHIP PACKAGE FOR THE 5th Annual Art Basel Panel Discussion ON CONTEMPORARY AFRICAN DISAPORA ART Call Ludlow Bailey at 786 290-7359 or email ludlowebaley@gmail for details.



Jennifer West, organized by Valerie Cassel Oliver, curator, for the Contemporary Arts Museum Houston, July 15, 2010–September 26, 2010.


2012 bedroom 95%

The medium walnut finish on walnut veneers is the first break with contemporary tradition that this unexpected gem makes.


TIMETABLE 2013-(E) 94%

4:00-4:30pm 4:30-5:15pm 5:15-6:00pm 6:00-6:30pm 6:30-7:30pm 7:30-8:45pm – Open Ballet (Miss Kate) – Senior JFH (Miss Kate) – Senior Contemporary (Miss Kate) - Senior Tap (Miss Kate) – Senior Jazz (Miss Kate) – Senior Troupe (Miss Kate) TUESDAY:


cameron platter cv 92%

2017 Screaming Hallelujah, Ever Gold [Projects], San Francisco, California, United States 2016 2016 U-SAVED-ME, Depart Foundation, Los Angeles, California, United States Scream, Whatiftheworld/ Gallery, Cape Town, South Africa 2014 2014 Monster, Galerie Hussenot, Paris, France I Saw This, Whatiftheworld/ Gallery, Cape Town, South Africa 2012 You, Galerie Hussenot, Paris, France 2011 Fucking, Whatiftheworld/ Gallery, Cape Town, South Africa 2010 2010 Hard Times, Great Expectations, Whatiftheworld/ Gallery, Cape Town, South Africa I Am Loneliness, Hilger Contemporary, Vienna, Austria 2009 Black Up That White Ass II, YOUNGBLACKMAN, Cape Town, South Africa 2008 Studio, KNSA Gallery, Durban, South Africa 2006 2006 Party Time, Blank Projects, Cape Town, South Africa Beware the Curves, Blank Projects, Cape Town, South Africa 2004 2004 Storm, NSA Gallery, Cape Town, South Africa The Love is Approaching, João Ferreira Gallery, Cape Town, South Africa Selected Group Exhibitions:


Kizuna Dance Marketing Kit 2017-18 92%

KIZUNA DANCE MARKETING KIT 2017 ABOUT KIZUNA DANCE Kizuna Dance is a NYC‐based contemporary dance company founded by Artistic Director Cameron McKinney in June 2014.


resume 92%

The Last Picture Show, Gallery Joe, Philadelphia, PA           New Abstraction, Traywick Contemporary, Berkeley, CA 2014:


Pestana CV abridged 92%

Solo 2017 2015 2013 Title TBD, Chazan Gallery, Rhode Island College, Providence RI
 Geometer, Grin Contemporary Gallery, Providence RI Prolegomenon, Grin Contemporary Gallery, Providence RI Exhibitions:


Biennale 2015 PR Merged 90%

                                                                                                  THE SECOND JERUSALEM BIENNALE FOR CONTEMPORARY JEWISH ART WILL SHOWCASE THE WORK OF NEARLY 200 ISRAELI AND INTERNATIONAL ARTISTS • 10 EXHIBITIONS • 7 CITY CENTER VENUES September 24 - November 5, 2015 Jerusalem, August 6, 2015 - The 2nd Jerusalem Biennale for Contemporary Jewish Art (September 24 November 5) will showcase the work of nearly 200 Israeli and international professional artists in 10 exhibitions hosted in seven city-center venues.


Slowind Dnevnik Review Nov 2016 90%

A Broad View of Fedele’s Music This year’s Slowind Festival was marked by contemporary Italian composer Ivan Fedele, about whom we had heard very little prior to his arrival.


S11Timetable 2011 Version 3 89%

Turns 6-7pm Pre Senior/Senior Hip Hop 7-8:15pm Senior Contemporary 8:15to 9:30 pm Senior Leaps &


Contested Spaces, Shared Places 89%

Becoming a male primary school teacher Corinne Woodfine, Faculty of Education, MMU c) Deep Pink Meriel Lland, Department of Contemporary Arts, MMU 2:15 Session 4:


phony bardolatry identifying info removed 89%

Depending on time and location, these adaptations may be made to accommodate the realities of the status of theater companies, to use the work to make a statement about a contemporary issue, or simply to bring it more into alignment with contemporary tastes.


TimeandLightAlienationinContemporarySpace 88%

  Time and Light: Alienation in Contemporary Space   Traditional spaces serve to facilitate movement and commerce1, simplifying life through  efficient design. The mall, casinos, airports, and other commodity­centres function to encourage  a numbing alienation and propagate consumption. Alternative, non­traditional spaces undermine  these aims, instead providing a space for self­reflection and repositioning away from the  capitalist trajectory of space, and therefore the mechanics of the everyday through their  manipulation of time and light. A synartetic, or nonhistorical, approach to the analysis of these  alternative spaces provides an avenue that cannot be periodized or folded back into the more  traditional narratives of space.  Benjamin’s arcades and the shopping mall participate in the traditional trajectories of  capital, commerce and space. In this traditional narrative, spaces function to serve us by  facilitating movement and commerce through their architectural makeup. Benjamin references  An Illustrated Guide to Paris​  in his seminal​  Passagenwerk:   These arcades, a recent invention of industrial luxury, are glass­roofed, marble­paneled  corridors extending through whole blocks of buildings, whose owners have joined  together for such enterprises. Lining both sides of these corridors, which get their light  from above, are the most elegant shops, so that the passage is a city, a world in miniature2    These enclosed microcosms, with their monumental facades and wide array of consumer options,  parallel the 1960s American mall in both form and purpose. Victor Gruen, a prominent  shopping­plaza designer, believed that suburban malls could become the epicenter of suburban  1  Here I mean commerce as a signifier of the implicit narrative of traditional spaces.   Benjamin, Walter, and Rolf Tiedemann. ​ The Arcades Project​ . Cambridge, MA: Belknap, 1999. Print.  2   social interactions.3 The community sphere Benjamin detected in the Arcades was perhaps fully  realized by the American mall.4   This traditional trajectory directs us towards spaces that facilitate commerce and  movement. Space is treated as an engine of capital, chained to an insatiable desire for goods and  services. Although overlooked by this narrative, there is a rich history of non­consumable spaces  in the 20th century. These spaces resist us: they are non indexical, serving to neither facilitate  commerce or movement. These spaces manipulate time and light in order to motivate  self­reflection; through them we examine the positioning of our bodies in the contemporary  environment. Unlike in the mall, within the alternative spaces we are faced with an introspective  experience that unveils (rather than obscures) the true nature of alienation in the contemporary  environment.   For instance, James Turrell’s ​ A Frontal Passage ​ (Figure 1)​  ​ transforms the passivity of  light into an active force by endowing it with a physical presence as the singular artistic medium  utilized in the work. This manipulation increases the awareness of one’s own body, and therefore  one’s positioning in the space. Light becomes a marker of the existential moment in that to  become aware of one’s body and its temporal limitations is the feeling of existentialism. The  properties of light, when manipulated through structures, forces a reorientation that is  symptomatic of an experience with existential questions5. This existential moment hinges on  3  ​ Davidson, Ronald A.. “Parks, Malls, and the Art of War”. ​ Yearbook of the Association of Pacific Coast  Geographers​  73 (2011): 27–51. Web...  4  ​ I think it is important to note here the furthest articulation of this spatial impulse: e­commerce. However, this  conclusion of the narrative seems to function more to implode the dialogue in on itself rather than furthering it. In  this way, e­commerce becomes the ouroboros. By shedding it’s locus, e­commerce distances itself from a discourse  on physical structures or site and moves towards one regarding modes of consumption.   5  These existential questions, and the experience attached therefore, mark a new sublime differing from the historical  sublime in form and function. The sublime is no longer an individual experience, instead it is marked by a collective  existential experience. Furthermore, the new sublime is no longer strictly attached to “art space” or feats of god,  instead it is extended into commodity space and the everyday.      manmade structures with alienation as a key determinant of the contemporary experience. The  self­reflexive manipulation of time and light open the body to the feeling of existentialism and  causes a subsequent repositioning in the contemporary landscape. Turrell's work provides us a  lens through which to examine the intersection of time, space, and light as mechanics of the new  social existentialism. As the catalogue establishes: “​ Instead of diffusing freely from one side of  this wall to the other, the light ends abruptly in space, as if it had density. The power of the work  lies in this paradox, in which nothingness gains physical presence.”6  The physical presence of  nothingness, manifested through the physicality of light, confronts us with our own finitude. In  other words, we disappoint the desire to fill space undefined, as light can. Therefore,  disappointing the accompanying wish for immortality. As one moves around the work, the work  itself changes. The positioning of the body to the piece transforms it from a mere light show to  an expansive view of the abyss. Our body’s relationship to the piece is therefore of tantamount  importance. The experience of becoming re­aware of the limitations of our body is in fact the  experience of existentialism. Light, space, and time function in the work to trigger a new  awareness of our body in the space. Our awareness of our body in this space then triggers an  awareness of our body in the contemporary environment. This repositioning is symptomatic of  the new social existentialism.  This new understanding of the contemporary environment  includes an acknowledgement (or a purposeful un­acknowledgment) of our own alienation from  other bodies and space itself.    ​ Publication excerpt from The Museum of Modern Art, ​ MoMA Highlights​ , New York: The Museum of Modern Art,  revised 2004, originally published 1999, p. 343      6   Shopping malls and casinos are designed to encourage naive alienation; their windowless  facades obscure natural light, and the passing of time. Naive alienation encourages an acceptance  of our positioning and a continuation of the rhythm of neoliberalism through a shrouding of the  potential for collectivity. If we are all individual consumers, then we are alone and must  consume products to bridge the gap between ourselves and others. Alternatives to these  traditional structures, such as Isamu Noguchi’s ​ California Scenario (​ Figure 2)​ , ​ use light as a  physical force to express a revelatory alienation. Revelatory alienation functions to unveil our  positioning, allowing for self reflection and a radical repositioning. Revelatory alienation tears  down the constructed individualism of neoliberalism. In its place emerges a collective  existentialism experienced through the body's relationship to space. Noguchi’s work is  symptomatic of this type of unveiling. Nestled in between the largest mall in California, several  office centres, and a parking lot, ​ California Scenario​  is a dramatic pause in the monotony of the  everyday7. Light in Noguchi’s work is as present as the sculptural elements, arguably becoming a  sculptural object in itself. Standing in ​ California Scenario ​ feels similar to standing on a sundial­  one becomes aware of the passing of time as a physical presence. During the afternoon, the sun  bouncing off the neighboring parking lot causes the space to become so bright and hot that it is  physically overpowering for many viewers.8 The heat and light reflecting off the adjacent  parking garages dramatically changes the environment. It is through this heat that light becomes  a texture in the work; this heat makes it uncomfortable to be within the space and therefore  7  Ironically, in reading the Yelp reviews of the California Scenario it becomes clear that (when not reflected upon)  the work often becomes an elaborate stage for the everyday. Vivian A. writes “​ My friends and I took our prom  pictures here (...) It was an impeccable place to take pictures at; nice, quiet and may I add, very clean too! Although  it's a quite a small space, there's a lot of different artsy backgrounds you can choose from, which made it the perfect  photo spot!”  8  Yelp user Tilla L. writes “​ I came around 2 pm which was so hot that day so it could have a huge impact based on  my experience here.”    changes how one composes their body within the space. Compare this to the florescent lights of  an office building or mall, lights within these structures pass as neutral and unremarkable. They  work to neutralize the space, anesthetizing the aesthetic experience of existing within them and  therefore distancing us from a real awareness of our bodies and the passing of time. Light within  California Scenario ​ functions as the only real temporal marker. The piece does not change; the  landscape and sculptures are constantly preserved as to appear atemporal and unchanging. Even  in just moving across the plaza, one can observe how light is utilized as haptic and dynamic.  Approaching the forested area of the plaza feels like approaching a mirage, the heat reflecting off  the stone ground contrasts the lush grass and temperate shade (Figure 3). The transitioning  between the two environments within the larger scenario shocks the body into a revelatory  alienation. Using this experience as a key; one can then reconsider the positioning of their body  outside ​ California Scenario ​ instead of naively accepting the conditions of their positioning in the  world.     Naive alienation, or acceptance, suggests an abstraction or denial of space. To follow  Worringer’s ​ Abstraction and Empathy ​ to its conclusion would be to admit that to productively  exist in the contemporary environment one must mentally abstract space. Completely absorbing  the myriad of hyper­real contemporary spaces would be overwhelming to an individual.  Worringer elaborates;   While the tendency of empathy has as its condition a happy pantheistic relation of  confidence between man and the phenomena of the external world, the tendency to  abstraction is the result of a great inner conflict between man and his surroundings, and


JULIAN DAY - comp+sound+art CV - 2015 2pp - A2 88%

JULIAN DAY Lives and works Sydney, Australia EXHIBITIONS 2015 STATIC, Berlinskej Model, Prague, Czech Republic White Noise, William Wright Projects, Sydney Studies In Unison, Kings ARI, Melbourne Aesthetica Award, York St Mary’s, UK Asia Pacific Triennial, Gallery of Modern Art, Brisbane Prague Quadrennial of Performance Space and Design, Czech Republic envelop(e), Dark MOFO, Contemporary Art Tasmania, Hobart Sound And Vision, Galerie pompom/MOP, Sydney (with Tim Bruniges, Heath Franco, Richard Kean) the NOW now, SNO Projects, Sydney 2014 Consensus, bb15, Linz, Austria Lovers, La Trobe University Visual Arts Centre, Bendigo CUSP, Jam Factory, Adelaide;


S.AGE Paulo Lucas von Vacano bio 86%

This love for the Eternal City constantly generates new and multi-faceted activities enacted by DRAGO, a capital international observatory for urban and contemporary art.


GEKUN-1 85%

At the same time, Zeng Fanzhi participated in a series of important international and domestic art exhibitions, including the first Guangzhou Biennale (1992), Guangzhou Triennial (2002), Venice Biennale (2009) and so on, and in Shanghai Art Museum, Suzhou Art Museum, Singapore Art Museum, Bulgarian National Museum of Art, France Saint-Etienne Museum of Contemporary Art and other famous art institutions held a personal exhibition.


bad bitch choir (2) 85%

Think 20+ femme fatales devoted to reclaiming beloved classics and contemporary bangers alike:


Slowind Review Zlobec Nov 2016 83%

At the same time, he enriched our knowledge of a particular segment of European contemporary music culture, including, of course, our own culture, which is for him a neighbouring culture.


cv Eko Bambang Wisnu 2015 83%

Experimental Drawing Workshop, Industrial Design Studio, Art and Design Faculty, National Institute of Technology, Bandung, Indonesia 2014 The Diary of Nothingness, Lahore, Pakistan Interrupting Beuys, Lahore, Pakistan 4A A4, 4A Centre of Contemporary Asian Art, Sydney, Australia Drawing Room, Mils Gallery, Sydney, Australia Headgear 4, Mils Gallery, Sydney, Australia Indofest Art Award, Nexus Multicultural Arts, Adelaide, Australia Air, 107 Projects, Sydney, Australia 2013 4A A4, 4A Centre of Contemporary Asian Art, Sydney, Australia Headgear 3, Mils Gallery, Sydney, Australia Sculpture by The Sea, Bondi, Sydney, Australia Diantara Hujan, Kepenak Art Space, Yogyakarta, Indonesia 2012 Self Potrait, Commonroom | Bandung Centre for New Media Art, Bandung Badai Asmara, Indonesia Contemporary Art Network (iCAN), Yogyakarta Parallel Activities, International Artists with Improvisation Exhibition, Room 619, Yogyakarta Pagi, Art Book Project Exhibition, Jakarta UCAS VOL.01, Xerox Art Exhibition, Jakarta Arts Institute, Jakarta Art, Design and Hacktivism:


Johnson DrThesie AugustinTrinitas 82%

    A “TRINITARIAN” THEOLOGY OF RELIGIONS?  AN AUGUSTINIAN ASSESSMENT OF SEVERAL RECENT PROPOSALS  by  Keith Edward Johnson  Department of Religion  Duke University    Date:_______________________  Approved:    ___________________________  Geoffrey Wainwright, Supervisor    ___________________________  Reinhard Huetter    ___________________________  J. Warren Smith    ___________________________  J. Kameron Carter          Dissertation submitted in partial fulfillment of  the requirements for the degree of Doctor  of Philosophy in the Department of  Religion in the Graduate School  of Duke University    2007          ABSTRACT  A “TRINITARIAN” THEOLOGY OF RELIGIONS?  AN AUGUSTINIAN ASSESSMENT OF SEVERAL RECENT PROPOSALS  by  Keith Edward Johnson  Department of Religion  Duke University    Date:_______________________  Approved:    ___________________________  Geoffrey Wainwright, Supervisor    ___________________________  Reinhard Huetter    ___________________________  J. Warren Smith    ___________________________  J. Kameron Carter       An abstract of a dissertation submitted in partial  fulfillment of the requirements for the degree  of Doctor of Philosophy in the Department of  Religion in the Graduate School  of Duke University    2007                                               Copyright by  Keith Edward Johnson  2007      Abstract Contemporary theology is driven by a quest to make the doctrine of the Trinity  “relevant” to a wide variety of concerns.  Books and articles abound on the Trinity and  personhood, the Trinity and ecclesiology, the Trinity and gender, the Trinity and  marriage, the Trinity and societal relations, the Trinity and politics, the Trinity and  ecology, etc.  Recently a number of theologians have suggested that a doctrine of the  Trinity may provide the key to a Christian theology of religions.  The purpose of this  study is to evaluate critically the claim that a proper understanding of “the Trinity”  provides the basis for a new understanding of religious diversity.    Drawing upon the trinitarian theology of Augustine (principally De Trinitate), I  critically examine the trinitarian doctrine in Mark Heim’s trinitarian theology of  multiple religious ends, Amos Yong’s pneumatological theology of religions, Jacques  Dupuis’ Christian theology of religious pluralism and Raimundo Panikkar’s trinitarian  account of religious experience (along with Ewert Cousins’ efforts to link Panikkar’s  proposal to the vestige tradition).  My Augustinian assessment is structured around  three trinitarian issues in the Christian theology of religions: (1) the relationship of the  “immanent” and the “economic” Trinity, (2) the relations among the divine persons  (both ad intra and ad extra) and (3) the vestigia trinitatis.      iv   In conversation with Augustine, I argue (1) that there is good reason to question  the claim that the “Trinity” represents the key to a new understanding of religious  diversity, (2) that current “use” of trinitarian theology in the Christian theology of  religions appears to be having a deleterious effect upon the doctrine, and (3) that the  trinitarian problems I document in the theology of religions also encumber attempts to  relate trinitarian doctrine to a variety of other contemporary issues including  personhood, ecclesiology, society, politics and science.  I further argue that  contemporary theology is driven by a problematic understanding of what it means for a  doctrine of the Trinity to be “relevant” and that Augustine challenges us to rethink the  “relevancy” of trinitarian doctrine.    v