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This book is a visual journey taking the reader beyond their own mundane reality, leading them to a place of peace and calm within their mind.
In Loving Life Poems of Inspiration and Enlightenment, Poet Robin Hosking reminds us that we are born to love, and we are never without love as love is a part of us all. Robin believes that if we love, we live; if we stop loving or turn away from the love offered to us, we die. Love Never Dies We Knew without knowing, seen without seeing, touched without touching, and Loved without loving We are one will always be, never without the other through all eternity. Light of Love Love is something you do not choose, As love is already a part of you Love shows up when you least expect it to, When all you see is doom and gloom…
Here on this journey that we call life, we are all vessels. Shells, if you will, covered with skin, but the true us underneath is the spirit, the will, the energy, so to speak, that helps us to move. Without this, we would be motionless. Because of this energy, spirit, will—whatever you want to call it—the fact is that we are connected to everyone and everything. We are not as alone as we think. We just have to look from a different view to see that we belong to everything. We are all connected. With the loss of one comes the loss of many. Yes, we are just links in the chain. When one kills for the joy or the pleasure, they are weakening their link to this great endeavor. When we die, our bodies are still, but the spirit, the will, the energy, whatever you call it, still goes on. It touches everything and everyone, whether or not we know it.
Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as "social practice." Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawe? Althamer and Paul Chan. Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism.
Lomako tells a story from the nineties in the Congo, then Zaire, as the Mobutu regime slipped into chaos. It starts with the looting of Kinshasa and Mike’s adventures helping official America, ie the CIA, get out of Dodge. Like Heart of Darkness the story then goes up stream and into the deepest forest. Mike had visited the Bonobo Chimpanzees and the American research site before. He finds the academics gone but the local community still there and carrying on as best they could. Through a good relationship with the community leader, Mike takes on a series of tasks which ultimately lead to finding a poacher incursion and live trade in Bonobo. At one point in the various forest tracks Mike is camping alone and gets a bought of malaria, delirium and all. Despite the danger and difficulties described there is no Conradian darkness. The forest and rivers are beautiful it’s the people that bring the problems.
An archaeological exploration of the mysterious world of cave art through the ages Deep underground, some of humanity’s earliest artistic endeavors have lain untouched for millennia. The dark interiors of caves, wherever they may be found, seem to have had a powerful draw for ancient peoples, who littered the cave floors with objects they had made. Later, they adorned cave walls with sacred symbols and secret knowledge, from the very first abstract symbols and handprints to complex and vivid arrangements of animals and people. Often undisturbed for many tens of thousands of years, these were among the first visual symbols that humans shared with each other, though they were made so long ago that we have entirely forgotten their meaning. However, as archaeologist Bruno David reveals, caves decorated more recently may help us to unlock their secrets. David tells the story of this mysterious world of decorated caves, from the oldest known painting tools to the magnificent murals of the European Ice Age. Showcasing the most astounding discoveries made in more than 150 years of archaeological exploration, Cave Art explores the creative achievements of our remotest ancestors and what they tell us about the human past.
The debate over whether class size matters for teaching and learning is one of the most enduring, and aggressive, in education research. Teachers often insist that small classes benefit their work. But many experts argue that evidence from research shows class size has little impact on pupil outcomes, so does not matter, and this dominant view has informed policymaking internationally. Here, the lead researchers on the world’s biggest study into class size effects present a counter-argument. Through detailed analysis of the complex relations involved in the classroom they reveal the mechanisms that support teachers’ experience, and conclude that class size matters very much indeed. Drawing on 20 years of systematic classroom observations, surveys of practitioners, detailed case studies and extensive reviews of research, Peter Blatchford and Anthony Russell contend that common ways of researching the impact of class size are limited and sometimes misguided. While class size may have no direct effect on pupil outcomes, it has, they say, significant force through interconnections with classroom processes. In describing these connections, the book opens up the everyday world of the classroom and shows that the influence of class size is everywhere. It impacts on teaching, grouping practices and classroom management, the quality of peer relations, tasks given to pupils, and on the time teachers have for marking, assessments and understanding the strengths and challenges for individual pupils. From their analysis, the authors develop a new social pedagogical model of how class size influences work, and identify policy conclusions and implications for teachers and schools.
All life is precious, no matter what the reasoning; it should never be easy to harm another life. There is a difference between wishing harm on someone and causing harm to them. In life we are all uniquely valuable and to be robbed of that uniqueness is unacceptable. We all live in this world and we need to be more amicable to our fellow man. This world is not an easy place; the hardest thing for us to do is live here. Love must start somewhere and that is with us. Robin wants to express thoughts of love to inspire others. This is the mission of Robin Hosking’s poetry. If we love, we live. If we stop loving or turn away from the love offered to us, we die. Mother Earth I love you and provide for you with all that I have I nourish you with the food from my ground I hydrate you with my water From all of my lovely plants and trees, you are able to breathe I love it when you come out to visit with me and admire my many scenes When you swim in my lakes and streams, I really enjoy your company, But you are mistreating me….
Crossing the street is big business, and this adventure will prepare you for anything! There will be tractors and submarines, astronauts and camels. Look left and right, high and low. Can you find every critter and creature, truck and bug before you cross the road? It’s going to be a busy day, but before you know it, it’ll be time to play! When Crossing the Street is inspired by the real-life childhood memories of author Kat Karamitros. A fun-filled read for little ones and grown-ups alike, this journey will keep you on your toes, providing endless possibilities for imaginative minds to keep creating.
