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Втори лекционен тур с Лъчезар Бояджиев - 11 юни 2016 г.
Въведение в съвременното изкуство 2016 – София
Лекционни турове с Лъчезар Бояджиев
Втори тур - 11 юни 2016 г.
Тема: тела в града, човекът в действие и формиране на културното наследство - как се присъства в градската среда и как се формират музеите, какво е отношението между човек и наследство и как то бива интерпретирано, пресъздавано и преосмисляно в съвременното изкуство.
Маршрут: Църквата „Св. Неделя“, площад между Министерски съвет и Президенството, Ларгото, Църква „Св. Петка Самарджийска“, КАТ, бивш квартал „Червена звезда“, ул. „Николай Хайтов“, Музей на социалистическото изкуство
За шестото си издание в София платформата Въведение в съвременното изкуство стартира новия формат лекционни турове с художника Лъчезар Бояджиев. Платформата продължава образователната си линия за създаване на познание и съзнание за съвременното изкуство, а новият формат цели да предложи нов подход за включване на публиката и възприемането на изкуството и градската среда в по-широк контекст.
През май, юни, септември и октомври 2016 г. ще се проведат четири лекционни тура, всеки един от които със своя собствена тема, концепция и маршрут на различни локации в София в градска среда, паметници, галерии и музеи. Туровете са насочени към хора, които се занимават или интересуват от съвременно изкуство, но не е необходима предварителна подготовка или образование.
Повече информация:
Камера и монтаж: Калин Серапионов
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„Въведение в съвременното изкуство” е проект на Фондация „Отворени изкуства” и Галерия SARIEV Contemporary.
Проектът „Въведение в съвременното изкуство” 2016 – София е финансиран от Столична програма „Култура” на Столична община за 2016 г.
С подкрепата на награда „Гауденц Б. Руф”.
Партньори: Национална художествена галерия
Медийни партньори: Виж! София, Timeart.me, Stand.bg, artnewscafé бюлетин, егоист.
Words at War: Assignment USA / The Weeping Wood / Science at War
The Detroit Race Riot broke out in Detroit, Michigan in June 20, 1943, and lasted for three days before Federal troops restored order. The rioting between blacks and whites began on Belle Isle on June 20, 1943 and continued until the 22nd of June, killing 34, wounding 433, and destroying property valued at $2 million.
In the summer of 1943, in the midst of World War II, tensions between blacks and whites in Detroit were escalating. Detroit's population had grown by 350,000 people since the war began. The booming defense industries brought in large numbers of people with high wages and very little available housing. 50,000 blacks had recently arrived along with 300,000 whites, mostly from rural Appalachia and Southern States.[2]
Recruiters convinced blacks as well as whites in the South to come up North by promising them higher wages in the new war factories. Believing that they had found a promised land, blacks began to move up North in larger numbers. However, upon arriving in Detroit, blacks found that the northern bigotry was just as bad as that they left behind in the deep South. They were excluded from all public housing except Brewster Housing Projects, forced to live in homes without indoor plumbing, and paid rents two to three times higher than families in white districts. They also faced discrimination from the public and unfair treatment by the Detroit Police Department.[3] In addition, Southern whites brought their traditional bigotry with them as both races head up North, adding serious racial tensions to the area. Job-seekers arrived in such large numbers in Detroit that it was impossible to house them all.
Before the attack on Pearl Harbor, the U.S. government was concerned about providing housing for the workers who were beginning to pour into the area. On June 4, 1941, the Detroit Housing Commission approved two sites for defense housing projects--one for whites, one for blacks. The site originally selected by the commission for black workers was in a predominantly black area, but the U.S. government chose a site at Nevada and Fenelon streets, an all-white neighborhood.
To complete this, a project named Sojourner Truth was launched in the memory of a black Civil War woman and poet. Despite this, the white neighborhoods opposed having blacks moving next to their homes, meaning no tenants were to be built. On January, 20, 1942, Washington DC informed the Housing Commission that the Sojourner Truth project would be for whites and another would be selected for blacks. But when a suitable site for blacks could not be found, Washington housing authorities agreed to allow blacks into the finished homes. This was set on February 28, 1942.[4] In February 27, 1942, 120 whites went on protest vowing they would keep any black homeowners out of their sight in response to the project. By the end of the day, it had grown to more than 1,200, most of them were armed. Things went so badly that two blacks in a car attempted to run over the protesters picket line which led to a clash between white and black groups. Despite the mounting opposition from whites, black families moved into the project at the end of April. To prevent a riot, Detroit Mayor Edward Jeffries ordered the Detroit Police Department and state troops to keep the peace during that move. Over 1,100 city and state police officers and 1,600 Michigan National Guard troops were mobilized and sent to the area around Nevada and Fenelon street to guard six African-American families who moved into the Sojourner Truth Homes. Thanks to the presence of the guard, there were no further racial problems for the blacks who moved into this federal housing project. Eventually, 168 black families moved into these homes.[5] Despite no casualties in the project, the fear was about to explode a year later.[6]
In early June 1943, three weeks before the riot, Packard Motor Car Company promoted three blacks to work next to whites in the assembly lines. This promotion caused 25,000 whites to walk off the job, effectively slowing down the critical war production. It was clear that whites didn't mind that blacks worked in the same plant but refused to work side-by-side with them. During the protest, a voice with a Southern accent shouted in the loudspeaker, I'd rather see Hitler and Hirohito win than work next to a nigger.
Words at War: Soldier To Civilian / My Country: A Poem of America
Russell Wheeler Davenport (1899—April 19, 1954) was an American publisher and writer.
Davenport was born in Bethlehem, Pennsylvania, the son of Russell W. Davenport, Sr., a vice president of Bethlehem Steel, and Cornelia Whipple Farnum.
He served with the U.S. Army in World War I and received the Croix de Guerre. He then enrolled at Yale University and graduated in 1923, where he was classmate of Henry Luce and Briton Hadden, who founded Time magazine. While at Yale he became a member of the secret society Skull and Bones. In 1929, he married the writer Marcia Davenport; they divorced in 1944. He joined the editorial staff of Fortune magazine in 1930 and became managing editor in 1937.
At age forty-one, he turned to politics and became a personal and political advisor to Wendell Willkie. Willkie was the Republican nominee for the 1940 presidential election and lost the election to Franklin D. Roosevelt. After Willkie's death in 1944, Davenport became a defacto leader of the internationalist Republicans.
Following World War II, he was on the staff of Life and Time until 1952. His book The Dignity of Man was published posthumously in 1955.
Albanian nationalism (Albania) | Wikipedia audio article
This is an audio version of the Wikipedia Article:
Albanian nationalism (Albania)
00:02:40 1 History
00:02:48 2 Ottoman period: Development of Albanian Nationalism during National Albanian Awakening
00:03:02 2.1 Background
00:05:38 2.2 Eastern Crisis and Albanian National Awakening
00:09:42 2.3 Myth of Skanderbeg
00:11:33 2.4 Hellenism, Orthodoxy and Albanian nationalism
00:16:02 2.5 Western influences and origin theories
00:20:10 2.6 Geopolitical consequences and legacy
00:27:13 3 Independence, Interwar period and World War Two (1912-1944)
00:27:28 3.1 Independence
00:31:14 3.2 Interwar period (1919-1938)
00:36:01 3.3 World War Two (1939-1944)
00:39:13 4 Albanian Nationalism during the People's Republic of Albania (1945–1991)
00:41:05 4.1 Nationalist ideology during communism
00:43:02 4.2 Origin theories during communism
00:45:04 4.3 Nationalism and religion
00:47:17 4.4 Name changes
00:49:24 5 Contemporary Albanian nationalism (1992-present)
00:49:36 5.1 Post-communist developments in society and politics
00:55:30 5.2 Greater Albania and Albanian politics
00:58:10 5.3 Influence of origin theories in contemporary society and politics
01:02:12 5.4 Contemporary Albanian identity
01:04:31 6 See also
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The only true wisdom is in knowing you know nothing.
- Socrates
SUMMARY
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Albanian nationalism emerged in Albania during the 19th century. By the late Ottoman period Albanians were mainly Muslims with close ties to the Ottoman Empire. The lack of previous Albanian statehood to draw upon resulted in Albanian nationalism developing later unlike neighbouring nationalisms of the Serbs and Greeks. The onset of the Eastern crisis (1870s) that threatened partition of Balkan Albanian inhabited lands by neighbouring Orthodox Christian states stimulated the emergence of the Albanian national awakening (Rilindja) and nationalist movement. During the 19th century, some Western scholarly influences, Albanian diasporas such as the Arbereshë and Albanian National Awakening figures contributed greatly to spreading influences and ideas among Balkan Albanians within the context of Albanian self-determination. Among those were ideas of an Illyrian contribution to Albanian ethnogenesis which still dominate Albanian nationalism in contemporary times and other ancient peoples claimed as ancestors of the Albanians, in particular the Pelasgians of which have been claimed again in recent times.Due to overlapping and competing territorial claims with other Balkan nationalisms and states over land dating from the late Ottoman period, these ideas comprise a national myth that establishes precedence over neighboring peoples (Slavs and Greeks) and allow movements for independence and self-determination, as well as irredentist claims against neighboring countries. Pan-Albanian sentiments are also present and historically have been achieved only once when part of Kosovo and western Macedonia was united by Axis Italian forces to their protectorate of Albania during the Second World War. Albanian nationalism contains a series of myths relating to Albanian origins, cultural purity and national homogeneity, religious indifference as the basis of Albanian national identity, and continuing national struggles. The figure of Skanderbeg is one of the main constitutive myths of Albanian nationalism that is based on a person, as other myths are based on ideas, abstract concepts, and collectivism. These ideas and concepts were further developed during the interwar period under Ahmet Zog and later the Socialist People's Republic of Albania (1945–1991), which mainly focused on Illyrian-Albanian continuity in addition to reinterpreting certain Ancient Greek figures and history as Albanian. In a post communist environment, Albanian National Awakening values, ideas and concepts that were enforced, developed further and expanded during Enver Hoxha's regime are still somewhat present within Albanian society and politics that have been reinterpreted within the context of Euro-Atlantic integration.
The Great Gildersleeve: Eve's Mother Stays On / Election Day / Lonely GIldy
The Great Gildersleeve (1941--1957), initially written by Leonard Lewis Levinson, was one of broadcast history's earliest spin-off programs. Built around Throckmorton Philharmonic Gildersleeve, a character who had been a staple on the classic radio situation comedy Fibber McGee and Molly, first introduced on Oct. 3, 1939, ep. #216. The Great Gildersleeve enjoyed its greatest success in the 1940s. Actor Harold Peary played the character during its transition from the parent show into the spin-off and later in a quartet of feature films released at the height of the show's popularity.
On Fibber McGee and Molly, Peary's Gildersleeve was a pompous windbag who became a consistent McGee nemesis. You're a haa-aa-aa-aard man, McGee! became a Gildersleeve catchphrase. The character was given several conflicting first names on Fibber McGee and Molly, and on one episode his middle name was revealed as Philharmonic. Gildy admits as much at the end of Gildersleeve's Diary on the Fibber McGee and Molly series (Oct. 22, 1940).
He soon became so popular that Kraft Foods—looking primarily to promote its Parkay margarine spread — sponsored a new series with Peary's Gildersleeve as the central, slightly softened and slightly befuddled focus of a lively new family.
Premiering on August 31, 1941, The Great Gildersleeve moved the title character from the McGees' Wistful Vista to Summerfield, where Gildersleeve now oversaw his late brother-in-law's estate and took on the rearing of his orphaned niece and nephew, Marjorie (originally played by Lurene Tuttle and followed by Louise Erickson and Mary Lee Robb) and Leroy Forester (Walter Tetley). The household also included a cook named Birdie. Curiously, while Gildersleeve had occasionally spoken of his (never-present) wife in some Fibber episodes, in his own series the character was a confirmed bachelor.
In a striking forerunner to such later television hits as Bachelor Father and Family Affair, both of which are centered on well-to-do uncles taking in their deceased siblings' children, Gildersleeve was a bachelor raising two children while, at first, administering a girdle manufacturing company (If you want a better corset, of course, it's a Gildersleeve) and then for the bulk of the show's run, serving as Summerfield's water commissioner, between time with the ladies and nights with the boys. The Great Gildersleeve may have been the first broadcast show to be centered on a single parent balancing child-rearing, work, and a social life, done with taste and genuine wit, often at the expense of Gildersleeve's now slightly understated pomposity.
Many of the original episodes were co-written by John Whedon, father of Tom Whedon (who wrote The Golden Girls), and grandfather of Deadwood scripter Zack Whedon and Joss Whedon (creator of Buffy the Vampire Slayer, Firefly and Dr. Horrible's Sing-Along Blog).
The key to the show was Peary, whose booming voice and facility with moans, groans, laughs, shudders and inflection was as close to body language and facial suggestion as a voice could get. Peary was so effective, and Gildersleeve became so familiar a character, that he was referenced and satirized periodically in other comedies and in a few cartoons.