Merops apiaster

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Merops apiaster

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Merops apiaster

By David Grabovac CC

Merops apiaster

By El Golli Mohamed CC

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Words on the Street: Art, Architecture, and the Accessible Beef

File:John Atkinson Grimshaw – Evening Glow – Google Art … – painting wikimedia | painting wikimedia

This commodity was originally appear as “What Marchers Today Can Learn from the May 1968 Protests in Paris” on CommonEdge in May 2018. In the 50 years back the celebrated and common protests of 1968, abundant has changed. But today’s political altitude seems appropriately volatile, with seismic changes aggressive amusing and political establishments beyond the globe. Lessons from the accomplished are, to borrow the byword of the moment, added accordant than ever.

American accompany afresh beatific an email: “What’s activity on with the French political system? Why all the strikes? What about the amaranthine beef marches? We’d like to appointment you in Paris, but we’re a little wary.”

Indeed. The added morning, I was aggravating to bolt an aboriginal flight out of Charles de Gaulle Airport to appointment my babe in Los Angeles, alone to apprehend that, on this accurate day, there was a alternation strike, a burghal railway strike, a alms strike, and a auto strike. Air France was additionally experiencing a alternation of walkouts. My admired radio stations had abutting the beef movement and weren’t broadcasting. There was abiding to be above cartage jams acquired by sign-carrying demonstrators boot bottomward capital avenues. Did I panic? Nope. I opened the Uber app on my iPhone and ten account afterwards I was on my way. A brace of clicks were all I bare to break my predicament—and to demonstrate, in one swipe, why all of these bodies are unhappy. Their casework are about to become expendable, to be replaced by apps and robots. To adduce Eliza Doolittle in My Fair Lady: “And afterwards abundant ado, we can all ataxia through—without you.”

File:Rembrandt – Girl at a Window – WGA19176.jpg – painting wikimedia | painting wikimedia

Are strikes and artery demonstrations the best able accoutrement to adverse the confusing furnishings of technology on our livelihoods? Probably not. But the catechism is decidedly beating in France today as we are abutting the 50thanniversary of the May 1968 apprentice uprising. A month-long borough accepted strike, it had been prompted by a growing annoyance with what we now alarm the bazaar economy. With slogans like “Consume less, you’ll animate more,” the beef movement had annoyed the regime—but, obviously, not afflicted the advance of history.

However, in France, additional ça change additional c’est pareil —the added things change the added they break the same. Taking to the streets to accurate one’s altercation with government behavior was—and still is—the angelic borough appointment of French citizens. The area for this ritual of accessible bone is the burghal itself. In Paris, streets are not artlessly stretches of burghal calmly laid out amid barrio to get you cautiously from actuality and there: they are the admirable ambience for your displays of acceptable citizenship.

The chat for aborigine is citoyen (pronounced sit-wow-ya). It acts on the French anima like a ambulatory cry. If you are French, back you apprehend that word, your beating quickens. Your appropriate duke constricts slightly. Your bend moves advanced imperceptibly. You appetite to accession your fist—it’s about a concrete response. Your clenched fist, however, is added than aloof a attribute of adherence and abutment for a cause. It is the duke activity you accomplish to grab a abracadabra brand or a aerosol can and doodle a bulletin on a wall.

In France, duke fatigued slogans are clashing graffiti or tags. Neither an art anatomy like a graffiti nor a august signature like a tag, a account accounting in calligraphy is a different artifact. With affliction to Gutenberg, with bristles fingers captivated about a pen or a besom you can generally address a destructive abstraction bigger than with a columnist press (or a Twitter handle). Whether on a bank or on a allotment of agenda captivated aloft by a demonstrator, a scribbled byword will be abundant added aboveboard and affecting than the aforementioned byword set in type.

File:Jean-Antoine Watteau – Mezzetin.JPG – Wikimedia Commons – painting wikimedia | painting wikimedia

In May 1968, in Paris, acceptance had corrective slogans on walls, but additionally on bridges, sidewalks, fences, stairways, columns, pediments, and pedestals. Acts of abuse for some, the calligraphic pronouncements were perceived by Parisians as “bulkhead poetry” (poésie des murailles), an attack to let the walls allege in artery vernacular. Consume less, you’ll animate added was one of the best accepted slogans aggressive by the address of the Situationists, a baby but affecting accumulation of left-wing militants. Fifty years afterwards their creation, abounding of May ‘68 aphorisms accept become truisms : Be realistic, address the impossible. It is banned to forbid. Let your acuteness rule. Beneath the cobblestones—the beach. Others, beneath consensual, accept kept their edge: They try to buy your happiness, abduct it. The bang-up needs you, you don’t charge him. The barricade blocks the artery but opens the way.

In 1968, the Paris Beaux-Arts academy was the address area hand-drawn posters, reproduced application the arduous silkscreen process, were conceived and accurate by a board of volunteers, afore actuality broadcast for affectation on burghal walls. From there as well, directives were accustomed to bank scribblers, accomplished to cardinal locations all over town. The academy was a accumulate of creativity, their activity in aciculate adverse with that of added active groups stationed on barricades.

Heirs to May ‘68, today’s French art acceptance backpack the genes for ink-stained fingers and paint-smudged hands. Recently, I gave a accumulation of Parisian undergraduates a simple exercise: transform a printed adduce into a handwritten slogan. They were to cut placards out of a big accumulation of abrade agenda boxes and annal the words on it, with either markers or paint. They got to appointment at already with a accuracy of purpose that abounding the allowance with a hum. I accepted them to catechism the assignment: they didn’t. Instead they spontaneously organized in groups to best handle the assorted tasks. Some knowledge, active abysmal in their reptilian brain, kicked in, and they put pen to placard.

I had proposed three quotes, alignment from the politically actual to the subversive. Pretty abundant anybody chose the latter, a adduce by acclaimed French abbreviate adventure biographer Guy de Monpassant: “Chaos, that’s the alone accuracy there is.” (Le bordel, il n’y a que ça de vrai). Ironically, anarchy was boilerplate in sight. Even admitting their duke corrective signs were clear explorations rather than contest in style, they all exuded self-confidence.

File:Funeral of ruthenian noble by Siemiradzki.jpg … – painting wikimedia | painting wikimedia

Given an opportunity, would US kids accept handled the appointment with the aforementioned aplomb? Back Florida acceptance captivated huge rallies for gun control, like French students, they took to the streets with cardboard, pen and ink. Their handwritten signs were affirmation that they had a built-in adroitness for the addictive phrase. Prayers don’t save lives. Protect kids not guns. Arms are for hugging. Books Not Bullets. A aboveboard plea, captivated by a little girl, stood out: When I abound up, I appetite to be still alive. The web took notice. Slate and USA Today, as able-bodied as endless blogs appear accessories featuring what they accounted were the best March for Our Lives beef signs. The adolescence of the marchers fabricated up for their abridgement of clear sophistication.

The abstruse weapon of handwritten and handheld signs is their photogenic appeal. To be honest, they attending abundant bigger in pictures than in reality. They are able accoutrement adjoin the dematerialization of animal interactions in so far as they actualize photo opportunities online. They can bastard their way amid the pixels and access the alertness of admirers bigger than any politically motivated words or images on the screen.

Parisian demonstrators accept the advantage of a breathtaking accomplishments to affectation their signs. The looming celebrations of May 68 will be the affectation to accompany alternating atramentous and white photos of the period—the celebrated Parisian limestone surfaces and granite sidewalks added by the attendance of about scribbled aphorisms. Nostalgia will abate the abrasive images but it will not obliterate the important message: the duke is still mightier than the Click Actuality button.

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Wikimedia Commons image page

Description

Description

''Men in pelvis clothes hammering an anvil

Men in pelvis clothes hammering an anvil. This is plate 375, captioned "Blacksmiths, hammering on anvil".; CITE AS "Eadweard Muybridge. Animal locomotion: an electro-photographic investigation of consecutive phases of animal movements. 1872-1885. USC Digital Library, 2010."; CITE ORIGINAL SOURCE AS "Eadweard Muybridge. Animal locomotion: an electro-photographic investigation of consecutive phases of animal movements. 1872-1885 / published under the auspices of the University of Pennsylvania. Plates. The plates printed by the Photo-Gravure Company. Philadelphia, 1887."

Photographer: Muybridge, Eadweard, 1830-1904

Legacy Record ID: rbm-m529

Filename: rbm-QP301M8-1887-375; rbm-QP301M8-1887-375a; rbm-QP301M8-1887-375a~1; rbm-QP301M8-1887-375a~2; rbm-QP301M8-1887-375a~3; rbm-QP301M8-1887-375a~4; rbm-QP301M8-1887-375a~5; rbm-QP301M8-1887-375a~6; rbm-QP301M8-1887-375a~7; rbm-QP301M8-1887-375a~8; rbm-QP301M8-1887-375a~9; rbm-QP301M8-1887-375a~10; rbm-QP301M8-1887-375a~11; rbm-QP301M8-1887-375a~12; rbm-QP301M8-1887-375b; rbm-QP301M8-1887-375b~1; rbm-QP301M8-1887-375b~2; rbm-QP301M8-1887-375b~3; rbm-QP301M8-1887-375b~4; rbm-QP301M8-1887-375b~5; rbm-QP301M8-1887-375b~6; rbm-QP301M8-1887-375b~7; rbm-QP301M8-1887-375b~8; rbm-QP301M8-1887-375b~9; rbm-QP301M8-1887-375b~10; rbm-QP301M8-1887-375b~11; rbm-QP301M8-1887-375b~12

Access Conditions: Send requests to address or e-mail given. Phone (213) 821-2366; fax (213) 740-2343.

Coverage date: 1884/1886

Editor: Moon, Haeyong

Part of collection: Rare Books and Manuscripts Collection

Type: images

Part of subcollection: Science

Publisher (of the Digital Version): University of Southern California. Libraries

Geographic Subject (State): Pennsylvania

Geographic Subject: educational facilities: University of Pennsylvania

Date issued: published 1887

Geographic Subject (County): Philadelphia

Format (aacr2): 2 p. of plates; 2 video files : digital, mp3 file; 24 frames

Repository Name: USC Libraries Special Collections

Rights: Public domain

Repository Address: Doheny Memorial Library, Los Angeles, CA 90089-0189

Geographic Subject (City or Populated Place): Philadelphia

Contributing entity: University of Southern California

Date created: 1884/1886

Format (aat): plates (illustrations); streaming video; frames (motion picture components)

Series: Eadweard Muybridge. Animal locomotion, 1887.

Call Number: fQP301.M82 1979 v.2

References: Eadweard Muybridge, Muybridge's Complete Human and Animal Locomotion: All 781 Plates From the "Animal Locomotion", 3 vols. (New York: Dover Publications, 1979), 2 750-751.

Subject (lcsh): Human locomotion; Pictorial works; Men; Breechcloths; Hammers; Anvils

Repository Email: specol@usc.edu

Geographic Subject (Country): USA

Print Box: QP301.M8 1887 Box 5

Date

1884/1886

Author

Muybridge, Eadweard, 1830-1904

Source

http //digitallibrary.usc.edu/cdm/ref/collection/p15799coll58/id/13365

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}}

License

{{PD-US}}

Men in pelvis clothes hammering an anvil

Images from USC Digital Library uploaded by Fæ

Wikimedia Commons image page

Description

Title

Twenty-Five Views of the Capital (image 16 of 29)

Description

: Japan, late 19th century

: Alternate Title: Miyako meisho nij¯ugokei

: Books

: Accordion album of color woodblock prints

: 9 9/16 x 6 1/2 x 9/16 in. (24.29 x 16.51 x 1.49 cm)

: Gift of George T. and Margaret W. Romani (M.2000.42.9)

: [http: //www.lacma.org/art/collection/japanese-art Japanese Art]

Accession number

M.2000.42.9

Artist

Morikawa Sōbun (Japan, 1847-1902)

Date

Late 19th century

Source

*Image: http: //collections.lacma.org/sites/default/files/remote_images/piction/ma-2051192-O3.jpg

*Gallery: http: //collections.lacma.org/node/199460

Institution

{{Institution: Los Angeles County Museum of Art}}

Other_versions

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License

Public domain LACMA

Twenty-Five Views of the Capital, LACMA

Morikawa Sobun

Images from LACMA uploaded by Fæ

Images from LACMA uploaded by Fæ (check needed)

Wikimedia Commons picture of the day for July 25

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Wikimedia Commons image page

Description

Description

Child just arrived at Bompono orphanage, Congo, ca. 1900-1915.

:*At [[ Category Congo-Balolo Mission|Congo Balolo Mission]], Congo (present day [[Democratic Republic of the Congo]]).

:*Black and white lantern slide showing a Congolese child of around one year of age. She sits on wooden planks and leans forward. She wears three metal bracelets on one wrist. Her hair is shaved on the crown, but braided at the sides of the head. Her body is covered in light scars.

:*This picture was taken when the child first arrived at the orphanage at Bompono run by the Congo Balolo Mission.

:*This slide comes from a collection generated by missionaries working for the Congo Balolo Mission, a mission begun in 1889 under the supervision of the East London Training Institute for Home and Foreign Missions that developed into the interdenominational evangelical mission Regions Beyond Missionary Union after 1900.

Photographer: Unknown

Filename: IMP-CSCNWW33-OS10-17.tif

Coverage date: 1900/1915

Subject (unesco): Children

Part of collection: International Mission Photography Archive, ca.1860-ca.1960

Part of subcollection: Photographs from the Centre for the Study of World Christianity, University of Edinburgh, U.K., ca.1900-ca.1940s

Subject (corporate name): [[w Congo Balolo Mission|Congo Balolo Mission]]

Repository name: Centre for the Study of World Christianity

Archival file: Volume2/IMP-CSCNWW33-OS10-17.tif

Geographic subject (city or populated place): Bompono

Repository address: The University of Edinburgh School of Divinity, New College, Mound Place, Edinburgh EH1 2LX, United Kingdom

Geographic subject (country): Congo

Format (aacr2): lantern slides 8.2 x 8.2cm

Geographic subject (continent): Africa

Rights: Contact the repository for details.

Part of series: Regions Beyond Missionary Union. Congo Lantern Slides (CSCNWW33/OS10)

Repository email: divinity-CSWC@ed.ac.uk

Date created: 1900/1915

Publisher (of the digital version): University of Southern California. Libraries

Subject (aat genre): portraits

Format (aat): lantern slides; photographs

Access conditions: http //www.ed.ac.uk/schools-departments/divinity/research/centres/world-christianity/collections-resources

Geographic subject: educational facilities

File: CSCNWW33/OS10/17

Subject (lcsh): Children; Infants

Date

1900/1915 (date created)

Author

{{unknown|author}}

Source

http //digitallibrary.usc.edu/cdm/ref/collection/p15799coll123/id/78041

}}

License

{{PD-1923}}

{{PD-Old-70}}

Children of the Democratic Republic of the Congo|1910s

Girls of Africa|1910

Congo-Balolo Mission|1910

Africa in the 1910s

Magic lantern images

Images from USC Digital Library uploaded by Fæ

International Mission Photography Archive, ca.1860-ca.1960

wikimedia

Wikimedia Commons image page

Description

Description

''Yokut Indian women basket maker and two children, Tule River Reservation near Porterville, California, ca.1900

Photograph of a Yokut Indian women basket maker and two girls, Tule River Reservation near Porterville, California, ca.1900. She is sitting, at center with a small basket on her lap. The girls sit on either side of her -- at left holding a small basket with a large conical basket laying on the ground in front, and at right with a small puppy sitting on her lap. All three wear dresses. They sit in front of the rough wooden wall of a building.

Call number: CHS-3797

Photographer: James, George Wharton

Filename: CHS-3797

Coverage date: circa 1900

Part of collection: California Historical Society Collection, 1860-1960

Type: images

Geographic subject (city or populated place): Tule River Reservation; Porterville

Repository name: USC Libraries Special Collections

Accession number: 3797

Microfiche number: 1-162-; 1-185-

Archival file: chs_Volume96/CHS-3797.tiff

Part of subcollection: Title Insurance and Trust, and C.C. Pierce Photography Collection, 1860-1960

Repository address: Doheny Memorial Library, Los Angeles, CA 90089-0189

Geographic subject (country): USA

Format (aacr2): 1 photograph : photoprint, b&w ; 17 x 22 cm.

Rights: Digitally reproduced by the USC Digital Library; From the California Historical Society Collection at the University of Southern California

Subject (adlf): tribal areas

Project: USC

Repository email: specol@usc.edu

Contributing entity: California Historical Society

Date created: circa 1900

Publisher (of the digital version): University of Southern California. Libraries

Format (aat): photographic prints; photographs

Geographic subject (state): California

Legacy record ID: chs-m16474; USC-1-1-1-14008

Access conditions: Send requests to address or e-mail given. Phone (213) 821-2366; fax (213) 740-2343.

Subject (file heading): Indians -- Yokut

Subject (lcsh): Indians of North America; Yokuts Indians; Women; Children; Basket makers

Subject: Yokut Indians

Date

circa 1900 (date created)

Author

{{w|George Wharton James}}, 1858—1923

Source

http //digitallibrary.usc.edu/cdm/ref/collection/p15799coll65/id/16412

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License

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Images from USC Digital Library uploaded by Fæ

Photographs by George Wharton James

California Historical Society Collection, 1860-1960

Yokut

Native American baskets

Porterville, California

You can see the Doge's Palace directly in front of you, and the Campanile that overlooks Piazza san Marco. Venice is such a nice place!

seber's tumblr

commons.wikimedia.org/wiki/File:Panoramic-Venezia.jpg

#WikimediaGhana

wikimedia

"Monet-Tuileries-Marmottan" by Claude Monet - Œuvre appartenant au musée Marmottan-Monet. Licensed under Public Domain via Wikimedia Commons - commons.wikimedia.org/wiki/File:Monet-Tuileries-Marmottan...