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eBay Inc.’s organizational culture is a business response to the dynamics of the online retail market and the e-commerce industry environment. The company utilizes its corporate culture as a strategic tool to promote effectiveness in the global trading/marketplace platform, auction and classifieds website operations, and related services. Effectiveness contributes to competitive advantages that are essential to addressing the forces identified in the Porter’s Five Forces Analysis of eBay Inc. A firm’s organizational culture or corporate culture defines the values, customs and traditions that guide employees’ decisions and shape their mindsets and behaviors. In this case of eBay’s corporate culture, results orientation is emphasized as a crucial aspect of human resource development and management. The company also pushes for holism in how workers fulfill their jobs and affect others through the Internet and other media. Thus, eBay’s corporate social responsibility (CSR) strategy is culturally supported. For example, cultural attributes influence employees to consider all aspects of the organization, including subsidiaries like StubHub and Kijiji, and all aspects of the business environment, including consumers and sellers/vendors. The company’s organizational culture is a pillar for long-term success in the rapidly changing e-commerce landscape.
eBay’s corporate culture guides managers in developing strategies that enhance human resources and address challenges in e-commerce. For example, the company’s cultural values encourage results-based effectiveness in the online marketplace platform business. Cultural features help fulfill eBay Inc.’s corporate mission and vision statements. For instance, the corporate culture ensures that the company’s multinational presence attracts merchants and buyers. This condition addresses competition against Amazon, Etsy, Walmart Marketplace, Alibaba, Rakuten, and other players in the industry. Through corresponding behavioral characteristics of employees, the company strategically uses its organizational culture for profitable business performance.
eBay’s Organizational Culture Type and Characteristics
eBay Inc. has corporate culture of results-oriented excellence. This culture is designed to promote business effectiveness through human resource development. Excellence and results orientation are core cultural factors that the e-commerce company views necessary for ensuring competitiveness in the online environment for retail, auctions, classified listings, and ticket exchange transactions. The attributes of eBay’s organizational culture enhance the resilience of the international trading/marketplace platform business, and develop workers’ ability to support strategic management. The following characteristics represent eBay’s corporate culture:
- Results orientation
- Inclusion and diversity
Excellence. Excellence is a core cultural characteristic of eBay. The company believes in the importance of extraordinary human resources in strategically growing an extraordinary e-commerce business. In this way, the organizational culture contributes to the business strengths shown in the SWOT analysis of eBay Inc. For example, excellence in employee performance leads to effective services that attract consumers and merchants to the company’s online retail/auction platform and classifieds websites. In implementing this attribute of the corporate culture, human resource management programs motivate workers to achieve and maintain excellence in supporting the company’s marketplace/trading platform and related operations.
Results Orientation. Aside from excellence, eBay also applies results orientation in its organizational culture. This cultural trait encourages workers to focus on the target results of the online marketplace, classifieds and ticket exchange business, and make decisions to achieve those results. For example, with a holistic approach, eBay Inc. motivates employees to maximize their results by considering each other and customers, aiming for positive tangible impact on individuals all over the world. The company uses its corporate culture to strategically manage the effects of competitors, such as Newegg, Bonanza, Ruby Lane, eBid, and eCrater, and to address challenges linked to the online nature of the business.
Inclusion and Diversity. eBay’s organizational culture promotes a diverse workforce and an inclusive workplace. This cultural characteristic leads to diversity in workers’ training and skills suited to the challenges in online retail, classifieds, and ticket exchange operations. Also, inclusion promotes high employee morale. The company encourages employee behaviors that contribute to a wealth of ideas. For example, inclusion and diversity enables creativity in addressing the industry trends outlined in the PESTEL/PESTLE analysis of eBay Inc. Thus, the company’s organizational culture facilitates management decisions and strategies for improving resilience in global e-commerce business.
eBay’s Corporate Culture: Advantages & Disadvantages, Recommendations
Advantages. An advantage of eBay’s corporate culture is the emphasis on results-oriented excellence, which motivates employees to exceed strategic expectations. This cultural trait helps satisfy goals for growing the multinational e-commerce business. Such excellence supports eBay’s generic competitive strategy and intensive growth strategies. Another advantage of the company’s organizational culture is that it promotes diversity and inclusion that boost performance. For example, managers use these cultural factors to improve workers’ morale and the company’s innovation. Innovation improves the competitiveness of the company’s online trading and classified listings websites and relates services.
Disadvantages. A disadvantage or weakness of eBay Inc.’s organizational culture is the lack of emphasis on continuous learning. Continuous learning is a cultural characteristic that improves innovation at the employee and organizational levels. Another disadvantage of the company’s corporate culture is the limited cultural emphasis on speed and efficiency. These factors are needed to ensure the strategic responsiveness of the business to problems experienced in the international markets for online retail/auction trading, classified listings, and ticket exchange.
Recommendations. Recommendations with regard to eBay’s corporate culture are based on the aforementioned disadvantages. The company’s management must address these cultural disadvantages or weaknesses to ensure the continued success of its e-commerce operations. For example, increasing efficiency can attract more merchants to the marketplace website. Given its current organizational culture, it is recommended that eBay Inc.:
- Add cultural emphasis on continuous learning to support continuous business improvement and to keep the company abreast of the latest technologies.
- Add cultural emphasis on speed and efficiency, which are essential to e-commerce competitiveness.
- eBay Inc. – Diversity and Inclusion.
- eBay Inc. – eBay Appoints Damien Hooper-Campbell to Serve as Chief Diversity Officer.
- Guiso, L., Sapienza, P., & Zingales, L. (2015). The value of corporate culture. Journal of Financial Economics, 117(1), 60-76.
- Hartnell, C. A., Kinicki, A. J., Lambert, L. S., Fugate, M., & Doyle Corner, P. (2016). Do similarities or differences between CEO leadership and organizational culture have a more positive effect on firm performance? A test of competing predictions. Journal of Applied Psychology, 101(6), 846.
- Hashemi, M. S. (2016). The effect of infrastructure, corporate culture, organizational structure and information technology on Competitive Intelligence in Organizations. Human Resource Management, 3(3), 43-50.
- Huhtala, M., Tolvanen, A., Mauno, S., & Feldt, T. (2015). The associations between ethical organizational culture, burnout, and engagement: A multilevel study. Journal of Business and Psychology, 30(2), 399-414.
- U.S. Department of Commerce – International Trade Administration – Retail Services Spotlight – The Retail Services Industry in the United States.
- Wenig, D. (2016). One Year In, Building eBay for the Future.


Aquarium Led Intelligent High Power Saltwater Light WIFI Adjustable Color Lamp. It has 4 funcitongs of simulating natural light(sunrise, noon, sunset, moonlight). It is very suitable for sea fish and coral growth. The touch screen operation is simple and clear.
Real-time udnerstanding of light brightness, lamp body -temperature through the display and mobile APP. With 6 dimming system, both manual control and smart automatic control are available. Intelligent temperature control heat dissipation system. Bracket can adjustable, easy to install.Leds color:3 white, 8 dark blue, 4 sky blue, 2 purple, 1Green, 1 red. High Quality LED, High brightness. Intelligent temperature control silent fan. Constant current source power supply, stable performance. Metal spiral hose, angle can be adjusted in multiple directions. Leds color:4 white, 6 dark blue, 4 sky blue, 1 purple, 1 red.
Size(cm):11.4x11x3.9. Aluminum alloy shell dissipates heat quickly. Leds color:4 blue, 1 white, 1 purple. We will then inform you of the next steps. We will do our best provide best products and high quality service for you.Our goal is let our customer get happy and satisfied. Our fast growing range of online products will help cater for your every need. This may include air tools, electric tools and many more.. We aim to provide fast, reliable and efficient service and ensure the best possible products are supplied. Our ambitions are to grow and develop the company by satisfying customers' needs. We will reply you within 12 hours.
Feature: It has 4 functions of simulating natural light(sunrise, noon, sunset, moonlight). Real-time understanding of light brightness, lamp body -temperature through the display and mobile APP. Bracket can adjustable, easy to install Reted Power:79W Input voltage(V):100-240V LED quantity:19pcs Leds color:3 white, 8 dark blue, 4 sky blue, 2 purple, 1Green, 1 red Size(cm):16x12x3.46 Suitable:45-60cm saltwater tank Package included: 1 x LED light 1 x Instruction manual. The item "Aquarium Led Intelligent High Power Saltwater Light WIFI Adjustable Color Lamp" is in sale since Wednesday, July 31, 2019. This item is in the category "Pet Supplies\Fish & Aquariums\Lighting & Bulbs".
The seller is "aquariumlight" and is located in China. This item can be shipped to North, South, or Latin America, all countries in Europe, all countries in continental Asia, Australia.


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FARMSTEAD SHEEP'S MILK CHEESE from Buffalo Creek Creamery. Handmade in small batches, this cheese comes from wonderfully rich milk produced by local farm's Purebred Icelandic sheep. VALLEY NATURAL FOODS carries in their specialty cheese area.
Summer grilling season is upon us, and I'm all about easy appetizers. With Sargento Tastings eight new varieties of specialty cheeses, you can make your next get-together a little less stressful by putting together a no-fuss cheese tray.

domain: food


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Friday, August 6, 2010
Ricotta-stuffed Portobello Mushroom
Chris and I have been working completely opposite schedules lately, so I eat a lot of meals by myself. The other night I was not looking forward to a lonely supper by myself, so I stayed at my office until about 7:30 editing a document. I wasn't looking forward to going home to an empty apartment, but I was looking even less forward (we'll just pretend that's an expression) to an empty apartment that was still a complete disaster after a busy weekend. The only thing I knew I had for supper was a bunch of asparagus. I went to the grocery store to kill time and circled the produce section like four times. I randomly grabbed some roma tomatoes and a couple of portobello mushroom caps, which I'd never bought before.
When I got home, I discovered that Chris--wonderful, darling Chris--had scoured the apartment. Heaven! I got to make dinner in a spotless kitchen without having to do any cleaning. I threw together some flavours that seemed logical and stuck them in the mushroom cap. I topped it with some impromptu tomato sauce and served it with a side of asparagus. It was AWESOME. I will definitely make this again. Here's what to do:
1 tbsp butter
1 tsp olive oil
1 asparagus spear, sliced in thin rounds like a green onion
1 small shallot, diced
1 garlic clove, minced
pinch dried basil
pinch dried oregano
1/2 cup ricotta
1/4 cup parmigiano reggiano
1/4-1/2 cup bread crumbs
Freshly ground black pepper
1 roma tomato, diced
splash of white wine
4 basil leaves chiffonaded
1. Scrape the gills out of the mushroom cap.
2. Heat butter and oil in a small skillet over medium heat. Add shallot, garlic, and asparagus and cook until softened. Remove from heat and allow to cool for a few minutes. Leave oil in pan.
3. Combine cooked veggies with cheese, bread crumbs, and herbs. Pile on top of mushroom cap and coat with a sprinkling of parm.
4. Bake on a foil-lined, oiled baking sheet at 375F for about 20 minutes or until the cheese browns.
5. While mushroom is cooking, bring tomato and wine to a boil in the skillet used to cook the veggies. Reduce heat and simmer until most of the liquid is evaporated.
6. When mushroom is done, stir the basil into the tomatoes and top the mushroom with the tomato sauce.
7. Serve with a side of asparagus.
Pairs nicely with a glass of the wine you splashed in the tomatoes.


Thursday, November 17, 2016 – 7:30PM
“It was an evening designed to entertain… with a wide-ranging, anything-goes sense of fun. Wonderfully imaginative… smile-inducing… impressive.” – Stephen Brookes, The Washington Post (Washington, DC)
- Original, organic show… “Celtic with a Twist”
- Celtic classic tunes brought to life through flute and fiddle
Celtic with a Twist combines the tunes you love with flute & fiddle playing like you’ve never heard (or seen) before! Shawn and Maria will take your breath away as they transform the flute & fiddle into a Celtic orchestra right before your eyes. You just have to see it to believe it! Come hear your favorites as though for the very first time; come experience Celtic with a Twist.


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Moroccan Lamb Stew Recipe The Mediterranean Dish. A comforting lamb stew, spiced Moroccan-style and cooked to tender perfection with potatoes, carrots and chickpeas. Recipe comes with braising and slow-cooker instructions. See the recipe on TheMediterra
In Parchment paper, saves having to clean the oven. Serve a crowd with this easy roast leg of lamb rubbed with garlic, lemon juice and oregano then roasted until golden brown on the outside and pink on the inside.


The news about how Toronto Blue Jays Cassandra Brunshaw passed away is trending on the Internet. Let’s find out here.
Cassandra Brunshaw was an individual who served as the Assistant Manager of Box Office & Ticket Support at the Toronto Blue Jays, a professional sports team.
She had a background in sports business management and had also interned with Maple Leaf Sports & Entertainment.
Cassandra was dedicated to pursuing a career in the sports industry and had a passion for her work.
Have a look at: Naira Marley Fight With Mohbad: Did He Kill Mohbad? Controversy Explained
Cassandra Brunshaw Passed Away: How Did She Die?
Toronto Blue Jays Cassandra Brunshaw passed away unexpectedly on September 15, 2023.
Cassandra Brunshaw, a dedicated Toronto Blue Jays family member, is remembered with heavy hearts and profound sadness as news of her unexpected passing reached us.
At just 34 years old, Cassandra was Assistant Manager of Box Office & Ticket Support within the organization, significantly contributing to the team’s success.
Cassandra’s journey in the sports industry was marked by determination and a relentless pursuit of her dreams.
Her professional journey indicated her unyielding commitment to a career she was deeply passionate about.
Brunshaw served as Assistant Manager at Toronto Blue Jays before she passed away. (Image Source: Facebook)
Beyond her professional accomplishments, Cassandra was known for her dedication and her unwavering belief in the power of perseverance.
Never stop pursuing your dreams!” This quote reflects her relentless spirit and her commitment to achieving greatness.
Cassandra’s sudden departure has left a void in the hearts of her family, friends, and colleagues.
The Toronto Blue Jays organization extended their condolences, acknowledging her as a cherished family member.
A moment of silence was observed in her honor before a game, underlining the significance of her role within the team.
As we remember Cassandra, we reflect on her inspirational journey, dedication to her craft, and impact during her time with the Toronto Blue Jays.
Our thoughts go out to her family, friends, and colleagues during this difficult time.
Cassandra’s legacy as a passionate and determined sports professional will continue to inspire those privileged to know her.
Toronto Blue Jays Member Cassandra Brunshaw Death Cause: What Happened To Her?
As of now, the exact cause of Cassandra’s death remains undisclosed to the public.
The untimely passing of Cassandra, a vibrant and dedicated Toronto Blue Jays family member, has left many in shock and grief.
At just 34 years old, she departed far too soon, prompting an outpouring of condolences and questions about her death’s circumstances.
The undisclosed cause of Cassandra’s death at 34 has left many in shock and sorrow. (Image Source: Facebook)
This lack of information has led to an air of uncertainty and a deep longing for answers among those who knew her and those who admired her work with the Toronto Blue Jays.
Cassandra’s age and the sudden nature of her passing have only intensified the sadness her family, friends, colleagues, and fans felt.
Many have expressed their disbelief, saying she was “too young to be gone.”
The hope is that, in due course, more details about the circumstances of her passing will be shared, providing some solace to those who mourn her loss.
As the community mourns the loss of Brunshaw, we remember her professional achievements, spirit, and dedication.
Her unwavering commitment to her dreams and inspirational outlook on life resonate with those who knew her.
While we await further information about the cause of her death, we extend our heartfelt condolences to Cassandra’s family, friends, and colleagues.
Have a look at: Cody Nelson Obituary And Death Cause: How Did Bradford Contractors Employee Die?


If full-scale mapping and identification was not done why did the Department of Petroleum approve the PNG LNG?
Could Kepsey Puiye and Fabian Pok please explain?
Lemach Lavari | The National aka The Loggers Times | 1 June 2018
There is no provision in the Oil and Gas Act to penalise companies which fail to carry out full landowner identification before the development of resources, according to Department of Petroleum assistant secretary Kepsey Puiye.
He said yesterday that Section 47 of the Oil and Gas Act directed project developers to undertake full-scale social mapping and landowner identification.
Puiye said that was not done for the PNG LNG project.
He said he had advised Petroleum Minister Dr Fabian Pok to amend the Act right away.
“Our gas potential is very huge and we cannot continue to do business under the existing arrangement,” Puiye said.
“We want to improve on the way we conduct business and to get the maximum benefit so that we can develop and modernise our country.”
Pok said his department was in the process of setting up a petroleum authority.
“The bill is now going to come before the National Executive Council,” he said.
“We are working to ensure that the act and the bill for an authority complement each other.”


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Reviewer: James Van Maanen
Rating (out of 5): **
Simon Rumley's Red White & Blue is a half-step up from this writer/director's earlier The Living and the Dead, a slight tale about a very odd dysfunctional family which the filmmaker buried under a bundle of repetitive visual tics and back-and-forth time trips. Rumley and his well-cast lead actor offer some interesting situations and characterization before the film's raison d'etre – a raft of unpleasant tortures/murders – begins. From what I can gather, Rumley's themes encompass everything from America's sex/drug/rock-and-roll mentality to its current mid-east wars, general state of health (pretty sick) and employment opportunities.
Once again, Rumley's stylistic habits (choppy editing among them) succeed only in making the film less realistic, while, in certain places, unnecessary visual effects seem to be compensating for low-level acting in some of the lesser roles. Whatever the film may be trying to say (from the importance of losing one's parent to the contracting of AIDS) finally gets lost in its inexcusable finale of ultra-violence. It's one thing to have a major character or two who are unhinged, but when nearly everyone in your film goes off the deep end, it can be difficult to keep your audience from giggling or rolling eyes.
But Rumley is fortunate to have Noah Taylor (an Australian actor who could easily corner the market on whacko roles) as his lead. Taylor (Shine; Almost Famous) is always good, though here he's saddled with a major hurdle, which he bounces over handily: Scrawny as a dry leaf, he nonetheless manages to be scary as hell. Amanda Fuller, as the young girl who connects all the movie's dots, is less successful, though it's probably not her fault. Rumley saddles her character with a hunk of exposition (explaining her nympho behavior) that would choke a horse: this is not the best way to treat your lead actress. Exposition regarding her past history that is probably unnecessary to begin with; if used at all, it should be handled with subtlety. Marc Senter, an appealing-looking actor who seems a bit above his abilities here, tackles the third lead.
Those dots I mentioned -- death, AIDS, sexual compulsions, Iraq vets and on and on -- are both what give the film its interest and make it, finally, unworkable. Like a multi-car smash-up, it's all too much. When the movie at last goes over the top with its big-time slasher finale, you realize with a sigh and a shrug that this, and only this, is what Rumley was interested in all along.
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domain: entertainment


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Swallow Jeweled Box – Gizmo Series
4.5″ x 4.5″ x 2″
$190.00 + shipping
To soar in the sky would be bliss. This swallow embodies elegance and is surrounded by glass turquoise jewels. For the freedom seeker or nature lover. Under the swallow is mother of pearl and tiny glass balls roll around as the lid is moved. Velvet lined.

domain: artistic


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Birding in Costa Rica’s Top Three Destinations Day By day Itinerary
Are you ready to visit the main three birding destinations in Costa Rica? One of our representatives will be waiting at the airport for you with a name sign and your welcome package in hand. Then hop into the transfer van, and your birding trip to Costa Rica will begin. You will arrive at Poas Volcano Lodge, a stunning boutique hotel nestled on rolling pastures, with breathtaking views of Poas Volcano and the northern Caribbean Plains.
Take your private transfer off to La Paz Waterfall Gardens. Spot butterflies, birds and hummingbirds while being surrounding by the stunning waterfalls. Your private transfer with then takes you to stay at Arenal Observatory Lodge. This lodge was originally built in 1987 as a research station for scientists of the Smithsonian Institute. It is located in a breathtaking area you are sure to love your stay here.
Today experience the real Caño Negro Wildlife Refugio Tour. On this tour, you’ll see more wildlife in a single day then in several weeks of hiking. You can expect to see 40 species of birds, caiman, sloths, bats, turtles, lizards, monkeys and more!
Take your Taxi-Boat-Taxi from Arenal to Monteverde and later in the day experience the Night Hike at the Wildlife Refuge Monteverde. This tour is an excellent opportunity to see the vast biological diversity in Monteverde up close. After your tour, stay at Trapp Family Lodge. You will have an unforgettable vacation in these luscious green mountains. Surrounded by a paradise of flora and fauna. Enjoy Monteverde’s incomparable beauty while being the closest hotel to the famous Monteverde Cloud Forest Reserve.
Avoid the crowds as you explore the boundless forests at the Santa Elena Reserve. Discover the natural wonders that the cloud forest has to offer, including a huge variety of Flora and Fauna, and also the elusive Quetzal. This is one of the most beautiful birds in the Americas.
Today take a Shuttle from Monteverde to Manuel Antonio and Stay at Hotel San Bada. All in all, an excellent luxury hotel with the perfect location for your stay in Manuel Antonio Costa Rica!
Now take your tour in the pristine rainforest of Naranjito. During a 4 hour walk through gravel roads, cattle farms and rainforest this tour offers the perfect opportunity to spot many species of birds. Here you will have the possibility to admire birds like the Black-Mandible Toucan, White-Throated Shrike-Tanager, and Short-Tailed Hawk. Tanagers, hummingbirds, birds of prey, seedeaters, thrushes, doves, trogons and much more.
On the eighth day the Damas Island Mangrove’s Tour will amaze you. Treat yourself to this tour by boating the estuary with a guide in the mangrove canals. This is one of Costa Rica’s richest and most vital mangrove forests.
On the Manuel Antonio National Park Tour look for three types of monkeys, two types of sloths, birds, and insects! You are sure to see and feel the rainforest around you in this gorgeous area. Now it’s time to take your private transfer also stay at the Hotel Bougainvillea. In Hotel Bougainvillea they offer you the chance to enjoy our country from the first minute of your vacation.
It is, lastly, time to head home with your private transfer. Also, remember Costa Rica is just a flight away from your next vacation.

domain: geography


Ideas and Styles in the Western Musical Tradition
Ideas and Styles in the Western Musical Tradition, Third Edition, explores the conceptual frameworks that have shaped musical development from antiquity to the present. In a lively narrative that prompts readers to think both critically and creatively, Douglass Seaton uses historical documents from thinkers, artists, and musicians to add rich detail to the compelling story of Western music. This brief and accessible narrative of music history features numerous works of art, literature, and music that immerse the reader in the historical and intellectual contexts of musical styles.
In addition, the thoroughly updated and revised third edition:
* Includes the most current historiography
* Clarifies the interconnections and divisions between musical periods, moving away from "periodization" terms
* Offers an updated and comprehensive timeline
* Expands the final chapter with additional recent works and more reflection on postmodernism
* Features a unique anthology-free design that allows instructors the flexibility to choose their own musical examples (a correlation guide to the major score anthologies is included in the Companion Website)
The third edition is also enhanced by a new Companion Website (www.oup.com/us/seaton) with study aids, teaching tips, chapter synopses, review and quiz materials, and listening recommendations. Also included are questions for study and reflection, guidance for research and writing in music history, and hints for pronouncing church Latin, as well as a correlation guide to the major score anthologies.
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Music in Classical Antiquity
The Early Christian Period
The Establishment of a Catholic Tradition
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Yesterday, news went round that the Nigerian Government has joined the list of countries banning the Boeing 737 Max 8 jets.
According to the reports, Nigeria’s Minister of State for Aviation, Mr Hadi Sirika, made the Government’s decision known in Abuja, yesterday, at the end of the Federal Executive Council (FEC) meeting.
The Minister said the Government’s decision was as a result of the recent crashing of Ethiopian Airlines flight 302, which killed all 157 people on board, Sunday.
Need to clarify the somewhat “confusing” ban reports
The report, as attributed to the Minister, was a little confusing. This is because the same Minister had earlier, on Tuesday, implied in a tweet that there was no need to ban the jets. In his words, “we do not have any Boeing 737 Max on Nigeria’s register to worry about.”
As we continue to mourn the ET crash in Addis, and pray for the victims, we wish to reassure Nigerians that we do not have any Boeing 737 Max on Nigeria’s register to worry about. Civil Aviation Authority has issued the needed advisory, please.🤲🏽🤲🏽🤲🏽🇳🇬🇳🇬🇳🇬
— Hadi Sirika (@hadisirika) March 12, 2019
So, what exactly is the nature of the ban?
From the foregoing, it can be seen that Nigeria did not ban Boeing 737 Max 8 per se, at least not in the same way other countries around the world have banned the jets.
Instead, the Nigerian Government’s position is that no airlines are allowed to fly within the country’s airspace with the controversial Boeing 737 Max 8 jets.
“We have issued directives that no operators with 737 (8) or (9) should operate into or out of our airports.”- Sirika
Meanwhile, the NCAA earlier told Nigerians to stay calm
Earlier on Tuesday, the Nigerian Civil Aviation Authority (NCAA) issued a statement aimed at reassuring Nigerian airline travellers about their safety.
Some part of the statement also clarified that the Boeing 737 Max 8 planes do not currently operate in the country.
“The Nigerian Civil Aviation Authority (NCAA) has assured the flying public of their safety, stating that there is no cause for alarm. Presently, the accident aircraft type, Boeing 737 – Max 8 is not in operation in the Country.
However, the Authority, in line with its Safety Oversight mandate enshrined in the Civil Aviation Act 2006, is consciously monitoring the development (s) with a view to take the necessary steps that will enhance the safety of all aircraft in operation within the Nigerian airspace.”
On Air Peace’ impending partnership with Boeing
Nairametrics understands that Air Peace do not currently have the Boeing 737 Max 8 jets in its fleet. However, the company does have a standing partnership with the American jet manufacturer, which would eventually see it take delivery of some Boeing 737 Max jets.
In reaction to stakeholders’ safety concerns following Sunday’s crash in Ethiopia, Air Peace has stated that it has no intention to cancel the order the it made earlier last year.
COVID-19 Update in Nigeria
On the 30th of September 2020, 201 new confirmed cases and 1 death was recorded in Nigeria
The spread of novel Corona Virus Disease (COVID-19) in Nigeria continues to record increases as the latest statistics provided by the Nigeria Centre for Disease Control reveal Nigeria now has 58,848 confirmed cases.
On the 30th of September 2020, 201 new confirmed cases and 1 death was recorded in Nigeria, having carried out a total daily test of 2,549 samples across the country.
To date, 58,848 cases have been confirmed, 50,358 cases have been discharged and 1,112 deaths have been recorded in 36 states and the Federal Capital Territory. A total of 509,555 tests have been carried out as of September 30th, 2020 compared to 507,006 tests a day earlier.
COVID-19 Case Updates- 30th September 2020,
- Total Number of Cases – 58,848
- Total Number Discharged – 50,358
- Total Deaths – 1,112
- Total Tests Carried out – 509,555
According to the NCDC, the 201 new cases were reported from 13 states- Lagos (77), Rivers (37), Plateau (25), FCT (13), Kaduna (12), Ogun (12), Adamawa (8), Taraba (7), Imo (4), Kwara (2), Osun (2), Abia (1), Oyo (1).
Meanwhile, the latest numbers bring Lagos state total confirmed cases to 19,461, followed by Abuja (5,709), Plateau (3,450), Oyo (3,261), Edo (2,626), Rivers (2,432), Kaduna (2,419), Ogun (1,850), Delta (1,802), Kano (1,737), Ondo (1,631), Enugu (1,289), Ebonyi (1,040), Kwara (1,036), Abia (895), Gombe (883). Katsina (861), Osun (839), Borno (745), and Bauchi (699).
Imo State has recorded 572 cases, Benue (481), Nasarawa (450), Bayelsa (399), Jigawa (325), Ekiti (321), Akwa Ibom (288), Niger (259), Adamawa (248), Anambra (237), Sokoto (162), Taraba (102), Kebbi (93), Cross River (87), Zamfara (78), Yobe (76), while Kogi state has recorded 5 cases only.
Lock Down and Curfew
In a move to combat the spread of the pandemic disease, President Muhammadu Buhari directed the cessation of all movements in Lagos and the FCT for an initial period of 14 days, which took effect from 11 pm on Monday, 30th March 2020.
The movement restriction, which was extended by another two-weeks period, has been partially put on hold with some businesses commencing operations from May 4. On April 27th, 2020, Nigeria’s President, Muhammadu Buhari declared an overnight curfew from 8 pm to 6 am across the country, as part of new measures to contain the spread of the COVID-19. This comes along with the phased and gradual easing of lockdown measures in FCT, Lagos, and Ogun States, which took effect from Saturday, 2nd May 2020, at 9 am.
On Monday, 29th June 2020 the federal government extended the second phase of the eased lockdown by 4 weeks and approved interstate movement outside curfew hours with effect from July 1, 2020. Also, on Monday 27th July 2020, the federal government extended the second phase of eased lockdown by an additional one week.
On Thursday, 6th August 2020 the federal government through the secretary to the Government of the Federation (SGF) and Chairman of the Presidential Task Force (PTF) on COVID-19 announced the extension of the second phase of eased lockdown by another four (4) weeks.
Lagos cancels parade, opts for a low-key celebration of Independence Day
Due to the threat of the novel coronavirus, the Lagos state government has said it would observe a low-key celebration.
Lagos State government has opted for a low-key celebration of the 60th independence anniversary of the nation. This decision is due to the ravaging effects of the COVID-19 pandemic, which is still with us.
This statement was made by the Government of Lagos State today, via its official Twitter account.
The Lagos State Government has opted for a low key celebration of the 60th Independence Anniversary due to the ravaging effects of the COVID-19 pandemic, which is still with us.@jidesanwoolu @drobafemihamzat @gbenga_omo @gboyegaakosile @Mr_JAGss #LASG #ForAGreaterLagos pic.twitter.com/xDzMGWig7w
— The Lagos State Govt (@followlasg) September 30, 2020
Governor Babajide Sanwo-Olu has directed that the planned Independence Day Parade at the Agege Stadium by 9 a.m and other activities that involve the gathering of more than 50 people should be canceled.
He congratulates Lagosians on this auspicious occasion and strongly advises that they should celebrate quietly at home and pray for the country. He asked that they should also observe the COVID-19 protocols, including wearing of face masks to protect themselves and their loved ones.
The Governor urges Lagosians not to let down their guards on COVID-19 so as not to reverse the gains that the state has made in fighting the disease.
The governor congratulates Lagosians on the auspicious occasion and strongly advises that they should celebrate quietly at home and pray for the country. They should also observe the COVID-19 protocols, including wearing of face masks to protect themselves and their loved ones.
Lagos takes major step towards delivery of Fourth Mainland Bridge
The Governor revealed that the proposed bridge has been well integrated into the overall Lagos Master Plan.
The Lagos State Government has taken a major step towards the realization of the Fourth Mainland Bridge by the hosting of the first stakeholders meeting on Environmental and Social Impact Assessment for the construction and launch of the Bridge’s logo.
Speaking at the meeting, the Lagos State Governor Babajide Olusola Sanwo-Olu, who was represented by his Deputy, Dr Kadri Obafemi Hamzat, described the event as a significant one in the joint effort to change the narrative of the socio-economic development of the State, through the provision of critical infrastructure for sustainable prosperity.
The Governor revealed that the proposed Fourth Mainland Bridge has been well integrated into the overall Lagos Master Plan in relation to transportation infrastructure, adding that the project allows for the first time, direct access from the large suburb of Ikorodu to the Island and the Lekki Free Trade Zone area.
Sanwo-Olu disclosed that the state government reactivated the construction of the bridge in October 2019 with the development of a 6 step process that will lead to the selection of a suitable concessionaire in line with global best practices. He noted that the present administration has left no stone unturned in ensuring that the strategic project becomes a reality.
The Governor emphasized that the stakeholder-engagement and consultation on Environmental and Social Impact Assessment was a precursor to the third step, which will involve issuing a Request for Proposal to the six consortia for the presentation of their respective financial proposals and methodologies for carrying out the project.
According to him, “The stakeholders’ meeting was organised to open the project to further inputs, comments, ideas and observations for incorporation into the ongoing social and environmental impact assessment. We hope the meeting would boost the acceptability and implementation ratings of the 4th Mainland Bridge in line with global best practices”.
In her welcome address, the Special Adviser to the Governor on Works and Infrastructure, Engr. Aramide Adeyoye stated that the meeting was another bold step by the present administration towards ensuring the buy-in of Lagosians into the government project and another fulfilment of the promise of Mr Governor to adopt inclusiveness as a tool for governance.
While giving assurances of his unalloyed support towards the project, the Minister for Works and Housing and former Governor of the State, Mr Babatunde Raji Fashola, represented by Dr Adetunji Adeoye, commended Lagos for the construction of the Fourth Mainland Bridge, adding that the construction will create a lot of activities and job opportunities for residents.
The Minister of State for the Environment, represented by Mrs Oluwatoyin Agbenla, described the Fourth Mainland Bridge as an endearing project to the citizens, which will be executed with the highest levels of environmental sustainability.
Nairametrics, last month, reported that the Lagos State Government has shortlisted 6 companies for the design, development, construction, operation, and maintenance of the Fourth Mainland Bridge. This followed the government’s issuance of a Request for Qualification (RFQ) in February this year. The 6 companies were said to have completed the technical and financial capacity requirements.
Lagos State said it will announce the selection of the next stage in due course, even as the RFQ will be given to the pre-qualified bidders.
The Fourth Mainland Bridge is a 37.4km freeway subdivided into three sections namely Island Section, Lagoon Section and Mainland Section. It will commence from Abraham Adesanya Roundabout in Lekki through Ajah and Langbasa areas, crossing the Ado Badore Road before arriving at the Lagoon shoreline.
The road crosses the Lagoon via a 4.5km Lagoon Bridge landing between Bayeku and Ijede villages, passing through Ikorodu-Epe expressway to further link Isawo Road and from there to Lagos/Ibadan Expressway.
A major step towards the realisation of the Fourth Mainland Bridge was, today, taken by the State Government with the first stakeholders meeting on Environmental and Social Impact Assessment for the construction and launch of the Bridge’s logo.@jidesanwoolu#ForAGreaterLagos pic.twitter.com/E4XPivJOxd
— The Lagos State Govt (@followlasg) September 29, 2020

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text:
In 1967 Oscar Masotta, the Argentine writer, intellectual and sometime creator of happenings and anti-happenings published two books titled El ‘Pop-Art’ and Happenings respectively.1 Although 1967 marked their first appearance in print, the essays collected in El ‘Pop-Art’ started life as lectures Masotta gave at the Instituto Torcuato Di Tella in Buenos Aires during 1965 before he visited the United States between January and April 1966, and again at the beginning of 1967.2 Through these trips Masotta came into ‘direct contact with works by the North American “Pop” artists’, and attended several US happenings.3 Despite this, the arguments in El ‘Pop-Art’ remained relatively unchanged from the 1965 lectures. Masotta’s experiences in New York, he felt, bore out his initial understandings of pop, which prior to his travels he had assimilated through reproductions in magazines and the International Prizes organised by the Instituto Torcuato Di Tella from the early 1960s, and which from 1963 were exhibited in the Di Tella’s new premises at the Centro de Visual Artes on the calle Florida under the directorship of the critic and curator Jorge Romero Brest, until its closure in 1969.4
By contrast, the book Happenings was a multi-authored volume containing texts by the critic Alicia Paez and the sociologist Eliseo Verón, commentaries from artists including Roberto Jacoby and Eduardo Costa, and an extended prologue by Masotta, which attempted to account for the proliferation of the term ‘happening’ in the Argentine avant-garde.5 Like El ‘Pop-Art’, Happenings also developed from a series of lectures and performances at the Di Tella in 1966. The lectures, entitled Acerca de: Happenings (About: Happenings), gave an overview of the theoretical debates, while Sobre Happenings (On Happenings) saw a group of Argentine artists re-perform works by US practitioners including Claes Oldenburg and Carolee Schneemann.6 El ‘Pop-Art’ and Happenings navigate the complex terrain of Argentine engagements with, and developments of, pop art and happenings, a shifting ground that Masotta tried to control by separating them into two distinct volumes. Nevertheless, the books treat a shared number of themes, practitioners and works from the Argentine avant-garde, indicating the extent to which pop and performance commingled in Argentina during this period.7
The tendency among Argentine artists to blur the boundaries between Masotta’s categories is exemplified by the work of Marta Minujín, a figure who receives sustained attention in both books. In the early 1960s Minujín moved rapidly from producing expressionist canvases and assemblages of cardboard boxes and old mattresses, to sculptures made from material covered in bands of fluorescent, psychedelic stripes. At the same time, she started to design vibrant environmental installations and happenings. Masotta illustrated El ‘Pop-Art’ with images from the two works that particularly contributed to Minujín’s identification with a pop sensibility, in both the Argentine and international media. The first of these was a collaborative installation and environment at the CAV, entitled La Menesunda (Mayhem), in 1965. The second was El batacazo (The Long Shot), an interactive installation that Minujín created the same year for the Di Tella’s National Prize, and then transferred to New York where it was shown briefly at the Bianchini Gallery in 1966.8
La Menesunda, which Minujín worked on collaboratively with the artist Rubén Santantonín, immersed audiences in a labyrinthine arrangement of ‘situations’, including a tableau featuring a couple sharing a bed, a beauty parlour where assistants applied make-up to visitors, and a mirror room full of fans and glitter.9 La Menesunda became something of a cause célèbre, with people queuing along the calle Florida on which the Di Tella was situated to get inside. Art historian Andrea Giunta has observed how the Argentine media’s frenzied response to La Menesunda transformed Minujín ‘into a fetish, a celebrated personality, the perfect synthesis for constructing the image of the artist who could establish and legitimize Argentine art throughout the world’ (fig.1).10 The effect of La Menesunda certainly informed a 1966 feature on Minujín by Jacqueline Barnitz for the New York-based publicationArts Magazine. The essay was illustrated with photographs from El batacazo, with its frieze of florescent tubing, playground slide and soft, figurative sculptures of rugby players and space men, and trumpeted Minujín to Anglophone readers as ‘A Latin Answer to Pop’.11 Yet while Minujín herself has identified with the pop label, its wholesale application to her practice risks reducing the artist’s achievements to mirror-play, whereby artists of the Global South are only able to ‘answer’ propositions set by the North.12 Artists such as Minujín, and others including Costa, Jacoby, Santantonín, Edgardo Giménez, Dalila Puzzovio, Carlos Squirru and Susana Salgado, analysed the premises of North American pop and happenings while developing their own innovative synthesis of popular culture and performance, with an intensity and rigour that goes well beyond the binary of call and response.13
Moreover, Minujín’s investigations into pop art were combined with her parallel explorations of transnational developments in performance art, spanning happenings and Fluxus activities as well as nouveau réalisme in France.14 In El ‘Pop-Art’ Masotta did not explicitly identify Minujín as a pop artist, but rather included her work in a section entitled ‘The Argentine Image-Makers’.15 Masotta begins this chapter by reflecting that the plurality of pop propositions by practitioners in Argentina more than matched the work he had seen in North America.16 He recounts his interactions with the output of Squirru, Santantonín, and Juan Stoppani, before concluding with an extended analysis of Minujín’s performance work. Rather than pointing to the object-based nature of Minujín’s practice, Masotta focused on its transient qualities: ‘for Marta Minujín everything changes, everything becomes, everything is transformed’.17 Masotta argued that, despite Minujín’s focus on process, ultimately ‘nothing changes for her, and the development of society cannot be modified substantially’.18
This essay focuses primarily on Minujín as the Argentine artist who most overtly performed her pop identity in this period, while drawing correlations between her work and that of other so-called ‘Argentine Image-Makers’ (beyond those included in El ‘Pop-Art’).19 It seeks to show how, in Minujín’s case, pop was an artistic affiliation that could be deployed when it needed to be, and at other times destabilised through performance. In contrast to Masotta, it argues that the protean nature of Minujín’s practice ensured its longevity beyond the efflorescence of pop art in Argentina. Equally, Minujín’s ambivalent approach to a competing range of artistic methods and terminologies during the 1960s puts pressure on the seamless international continuity often conjured by the designation ‘pop’.
This dialogic mode of address inflected the wider response to pop and happenings within Argentina. In 1966, for example, the Buenos Aires-based magazine Primera Plana, which frequently included commentaries on cultural and artistic events, ran an article entitled ‘Sociología del Pop’ (Sociology of Pop) as part of a special issue devoted to the phenomenon. In it, sociologists interviewed Argentine artists associated with pop, and attempted to itemise the defining characteristics of their work.20 Equally, through Acerca de: Happenings and Sobre Happenings, Masotta and his collaborators, including Costa and Jacoby, did not want to produce a ‘complete history’ of US performance, but instead to dissect selected performances in a quasi-scientific fashion.21 Although it is something of a truism that Buenos Aires has long been a centre for psychoanalysis, the examination to which pop and happenings were subjected in Argentina was not primarily psychoanalytic.22 It was, however, strongly informed by the structural anthropology of Claude Lévi-Strauss, writings on semiotics by Ferdinand de Saussure and Roland Barthes, and the media theory of Marshall McLuhan.23 After establishing the multidisciplinary nature of Minujín’s practice in the first two sections, the final part of this essay focuses in particular on this analytical dynamic. Far from being passively received by Argentine artists and critics, pop art and happenings were interrogated on a number of levels, a critique that became a vital, reflexive element of many works.
Cardboard pop and new realisms
Minujín’s pop credentials might initially seem impeccable. The artist herself has described how, at the end of her second extended period in Paris between 1962 and 1964, she decided to go to the Venice Biennale ‘just to see what was going on … it was very Pop influenced, [Robert] Rauschenberg got the prize’.24 On her way back from Venice Minujín travelled via Milan where she ‘saw my first mini-skirt … light blue with pink flowers, I bought it, and changed my whole way of looking at art. I went Pop’.25 In this account the miniskirt wields a cultural significance equal to that of a Rauschenberg Combine. The identity of a pop artist, for Minujín, was a role that could be performed by donning the right costume, or rather brought into being through performance. Minujín determinedly employed the visual signifiers of commodity fashion to establish her artistic identity on the international stage: ‘I went to Buenos Aires … and won the Di Tella prize [in 1964] and then I went to New York and became a Pop artist’.26 The performative element of Minujín’s damascene conversion to pop, bolstered by her identification with works like La Menesunda and El batacazo, needs attending to carefully. It serves as a useful narrative that glosses over the challenges that Minujín faced as a woman artist from Latin America, but also because it suppresses the importance of the work that Minujín had conducted up to that point in Buenos Aires and Paris.27
Although Minujín began her career as a painter, in the late 1950s and early 1960s she started to incorporate non-traditional media into her canvases, including sections of cardboard to which she first applied industrial paint, and then manipulated into architectural constructions called Cajas (Boxes). The Cajas consisted of interlocking cubes, sometimes combined with sections of mattress material (fig.2). Minujín’s work thus initially corresponded with the mixed-media approach of other artists in Argentina such as Kenneth Kemble, associated with informalismo, and who used found objects including broken glass and sections of metal in their work. They also overlapped with the neo-figurative productions of artists like Luis Felipe Noé, one of the other artists Masotta identified as an ‘Argentine Image-Maker’, and the Cosas (Things) made from assorted materials by Santanonín that Masotta described in ‘The Argentine Image-Makers’. These three-dimensional constructions often involved wrapping and thereby partially concealing objects to form ambiguously abstracted sculptures (fig.3).28 Minujín’s experiments with cardboard and mattresses resonated with this wider context, fostering her early success and rapid assimilation into avant-garde circles.29
Minujín had therefore already started to use discarded cardboard containers before her first visit to Paris in 1961.30 Once in Paris, Minujín continued to produce cardboard structures, much to the annoyance of her landlord. Minujín remembers: ‘cardboard boxes here, cardboard boxes there, everywhere. The bathtub would get blocked up. They hated me from the first day, and more so when I threw the cardboard boxes out of the window’.31 Minujín embraced the excessive, junk connotations of the material, exploiting the cardboard’s associations with waste and obsolescence not just in the final creations, but also during her working process, which assumed qualities akin to a dirty protest. Minujín’s work was displayed during this first trip as part of the exhibition 30 Argentines de la nouvelle génération (30 Argentines of the New Generation) at the Galerie Creuze-Messine between February and March 1962. A review of this exhibition, in which Minujín showed an assemblage balanced on a tripod christened La chien mort (The Dead Dog), tentatively pronounced the artist ‘difficult to classify’.32 Minujín’s creation of cardboard reliefs and use of industrial paints (including car paint), it concluded, were ultimately expressive of a discernible degree of ‘violence’.33 While Minujín’s approach reverberated with the work of other Argentine artists living in Paris at the time, as well as the use of junk objects by the French nouveau réalistes, even in this context her assemblages confounded easy identification.34
On her return to Buenos Aires in 1962 Minujín showed work in two exhibitions at the Lirolay Gallery organised by Raphael Squirru, who was the founder of the Museo de Arte Moderno in Buenos Aires.35 The second of these was a solo display during November, in which Minujín presented several Cajas. A photograph of Minujín leaning inside one of her cardboard boxes indicates a significant departure from her previous working processes. Whereas Minujín’s initial use of cardboard involved obscuring the material with paint, here collaged sections of slogans and advertisements remain clearly visible (fig.4). The section of cardboard above Minujín’s head, which frames her body like a miniature shop front, is emblazoned with an advertisement for the cleaning product Sunil in French, available in ‘paquets economiques’ (low-priced packages) that promise to ‘embellit le blanc!’ (enhance whites!). In his 1957 book Mythologies, Roland Barthes devotes a chapter to the semiology of ‘Soap Powders and Detergents’, noting that they ‘have been … the object of such massive advertising that they now belong to a region of French daily life which the various types of psycho-analysis would do well to pay some attention to’.36 The arrangement of text across the cardboard construction plays on the overlap between economic and physical consumption. Combined with the slogans offering cheap detergent, the words ‘chocolats’ and ‘caramels’ can be glimpsed on another folded section of card. In his accompanying catalogue essay, Squirru anticipated the potential resistance of some audience members: ‘someone will ask: are these works for sale?’37 By pre-empting this question, Squirru underlined the inferred conflation between the artworks themselves and the various modes of commodity consumption alluded to by their collaged elements.
Minujín’s use of found advertising and packaging has parallels with the affichiste posters created by French artists like Jacques Villeglé, Raymond Hains and François Dufrene during the 1950s and 1960s.38 The formal and linguistic vocabularies of the boxes might therefore be read as a record of Minujín’s travels and artistic encounters.39 Like a souvenir stamp, the word ‘Paris’ appears among the layers of text on the left-hand flap of cardboard in the Lirolay photograph. Yet the stakes of the Cajas are higher than this, in that they also reference the transnational circulation of commodities. While Minujín may have bought these ‘commercial signs’ back with her from France, it is equally as likely that she found packaging for imported French products in Buenos Aires.40 Her engagement with consumption resonates with Argentina’s gradual emergence from the legacy of Perónist socialism during the late 1950s, and the rapid economic growth experienced by the country as it re-entered global trade and underwent a consumer boom.41 Writing with specific reference to the Brazilian context of the 1960s, art historian Sônia Salztein has described the need to foreground ‘the relevance of a local contribution in the understanding of Pop as an international phenomenon, where local and global are strangely hybridized without being ostracized from the game of mutual tensions that nourishes them’.42 The photograph of Minujín’s Caja encapsulates this geographic heterogeneity, while the work’s cultural politics remain decidedly ambivalent, offering neither straightforward celebration nor outright condemnation of commodity culture and global economic markets.
What the photograph of Minujín inside her Caja does make clear is the artist’s fascination with the wear and degradation of urban street life. The understanding of the commodity form here – as something continually in the process of being consumed, digested, and broken down – is very far from the sleek surfaces of Andy Warhol’s Brillo Boxes from 1964, which Masotta would reference in El ‘Pop-Art’.43 While the tired sections of the Caja in the photograph replicate the life-cycle of commodities, Minujín could equally be seen to intervene in these processes with an act of salvage. The layering of advertisements on movable, collapsible sections of cardboard, which enacts a physical deconstruction of consumer culture, moreover infers a participatory quality that heralds Minujín’s growing interest in environmental situations and performances. Minujín’s early work complicates her association with pop art, while simultaneously demonstrating the need for expanded understandings of pop during the late 1950s and early 1960s.44 This is particularly evident in Minujín’s subsequent move into happenings.
Manifestations and events
During her second visit to Paris between 1962 and 1964, Minujín continued to explore the processes that had resulted in the Cajas and La chien mort, producing strange composite structures such as La poupée (The Doll) dated to 1963.45 This was a figure constructed from sewn and stuffed sections, which Minujín hung from the ceiling with metal springs: its grotesquely humanoid form might almost be read as a hyperbolic pastiche of nouveau réaliste junk assemblage (fig.5). More significantly, it was during this visit in June 1963 that Minujín organised her first happening, entitled La destrucción (The Destruction) 1963. In the same month Minujín appeared in the Programme des manifestations organised by Jean-Jacques Lebel at the Galerie Raymond Cordier on the Rue Guénégaud.46 The other artists involved were Jacques Gabriel, Daniel Pommereulle, Robert Filliou and Emmett Williams, whose work encompassed happening and Fluxus activities in Europe and the US.47
The performances occurred on three separate evenings during a display of Lebel’s paintings, collages and objects, which the exhibition poster advertised as ‘some supplementary reflections on death and its presence in the activity of the avant-garde’.48 Minujín appeared alongside Pommereulle in Le coq (The Cock) 1963. The artist recalls that the action entailed being ‘pecked’ by Pommereulle in the guise of a rooster. A performance photograph shows Minujín swaddled in material and lying submissively on the floor against a backdrop of Lebel’s writhing collages and designs, her body partially bisected and blocked from view by the silhouette of what looks suggestively like a be-suited male viewer or voyeur (fig.6).49 Another image from the series reveals the roles reversed: now Minujín surveys Pommereulle from her perch atop a small ladder, while the topless male artist prostrates himself abjectly at her feet, gazing upwards at her apparently unobtainable body. These images convey a performance concerned with dynamics of dominance and vulnerability, played out in terms of gender identity and erotic desire.
Cultural historian John King has argued that the ‘rational structures’ of the happenings designed by Argentine artists like Minujín and Jacoby were the antithesis of Lebel’s ‘irrational, instinctual and orgiastic’ performances.50 Yet Minujín’s involvement with the Programme des manifestations demonstrates that she was at least familiar with what art historian Alyce Mahon has described as Lebel’s ‘radical, counter-cultural understanding of desire’.51 This is underlined by Minujín’s collaboration between 1963 and 1964 with the French artist Mark Brusse on a three-dimensional structure entitled Chambre d’amour (Room of Love), which merged sensuous soft forms with brutal, sadomasochistic spikes and chains.52 It is, however, significant that unlike many women artists who appeared in performances by Lebel during this period, Minujín remained clothed in Le coq, while the violence she stage-managed in her own performances provided a significant counterpoint to the machismo and sexism of many early happenings.53
This was particularly apparent in the happening that Minujín had herself executed at the beginning of that month. La destrucción occurred at the finale of an exhibition Minujín held of her work, together with that of the Portuguese artist Lourdes Castro and the Venezuelan Alejandro Otero, in her studio on the Rue Delambre. At the exhibition’s close Minujín rounded up her sculptures of cardboard and mattress, transported them to an empty lot on the Impasse Ronsin near what was once Constantin Brancusi’s atelier, and proceeded to instruct a group of artists she had gathered there to adapt each work according to their own style. Minujín then directed the artist Paul Gette to attack the works with a hatchet, before they were set alight (fig.7). Reflecting on his experience assisting with the preparation of Minujín’s assemblages for this ‘assault’, the critic José Pierre compared what he identified as Minujín’s ‘perspective of annihilation’ with the appearance of ‘pop art’ in New York.54 Stressing the connection between pop and nouveau réalisme, Pierre noted the number of ‘common points’ shared by both, particularly their basis in materials from the ‘everyday universe’ and manufactured objects at various stages of consumption: ‘new, used or already arrived at the state of debris, of waste’.55 While art historical accounts have tended retrospectively to separate pop art from happenings and even, to a certain extent, nouveau réalisme, in the early 1960s these distinctions had by no means concretised.56 Even when situating Minujín in relation to pop art, contemporary critics observed the plural nature of her practice. In her 1966 article on Minujín for Arts Magazine, Jacqueline Barnitz noted:
It is no accident that the Latin Americans refer to their new realism as the ‘art of things’ (like the French art des objects) rather than Pop art. While popular images are used, their implication is very different. Pop art speaks of ‘things’, the things that surround us, whereas the ‘art of things’ paradoxically speaks of people. It employs objects in order to create an image of man.57
Barnitz’s reference to the French context, and her invocation of humanism in relationship to Minujín’s work, corresponds with an essay published by the French nouveau réaliste critic Pierre Restany in Domus the year before, entitled ‘Buenos Ayres et le nouvel humanisme’ (Buenos Aires and the New Humanism). Restany penned the essay after his first visit to Buenos Aires in 1964, when he was invited to judge that year’s National and International Prize at the Di Tella, alongside American critic Clement Greenberg and Romero Brest.58 Restany positioned Argentine art within a network of activity that included ‘the folklore of the Nouveaux Réalistes in Paris, the neo-Dadaists and the Pop artists of New York’.59 For Restany, artists in Buenos Aires, like those in Paris and New York, had rejected abstract painting in favour of the ‘modern nature, industrial and commercial, of a sociological urban folklore’.60 Restany proposed that, differences aside, these artists were fundamentally linked by their concern with city life, and with sifting its waste to create work. Like Barnitz, Restany feted Minujín as the ‘symbol of a rising generation’ not simply in Argentina, but within this wider constellation.61 Yet his attribution of a universal humanism to Minujín’s work – and that of the Argentine avant-garde more generally – is debatable, and arguably more revealing of Restany’s desire to establish solidarity between European and Latin American artists in the face of American art’s ascendency after the Second World War.
The Uruguayan artist and writer Luis Camnitzer has revealed that, during the 1960s, he believed ‘attempts to produce vernacular Pop Art in Argentina, Brazil and Columbia’ resulted in ‘only facile and folklorized versions of the formal solutions developed in New York’.62 Yet at the same time, Camnitzer infers a suggestive degree of room for manoeuvre in his statement that ‘the international power of the US managed to distribute the formal tricks of the aesthetic but not the essence, which remained local’.63 Minujín’s direct participation in, and contribution to transnational routes of exchange blurs clear distinctions between the local and the global, indicating a shared interest in urban beachcombing that spans cities such as New York, Buenos Aires and Paris, but which, as Camnitzer has suggested, assumed distinct properties and qualities at each different geopolitical urban site. Equally, pop art’s collapse of high and low culture, its engagement with technologies of mass reproduction, and exploration rather than outright dismissal of the copy, engendered a fundamental assault on traditional artistic hierarchies and their reductive conceptualisation of influence.64 Despite Minujín’s affiliations with pop and nouveau réalisme, her actions in La destrucción anticipated those of Masotta and his collaborators in Sobre happenings of 1966. Her role in the performance was akin to a collector of different artistic models, which she then proceeded to destroy, just as Masotta and Costa would feel that the examples of the US happenings already seemed ‘exhausted’ as they re-performed works by Schneemann and Oldenburg.65 Performance provided a means of questioning and analysing competing approaches and definitions.
La destrucción marked a definitive movement for Minujín away from static reliefs and sculptural work to action and events.66 After her return to Argentina in 1964 Minujín’s first happening in Buenos Aires towards the end of 1965 debuted live on television, as part of the programme La campana del cristal (The Glass Bell). Minujín began the performance, which the artist also refers to as Cabalgata (Procession), by layering paint onto a canvas that had been installed in the studio.67 Minujín arranged for horses to enter the performance space with tins of paint attached to them that dripped all over the floor; she then released a flood of balloons, which a group of muscle men she had hired to be part of the show proceeded to burst. The result, predictably, and presumably intentionally, was mayhem, with the show’s compere desperately attempting to halt proceedings and get Minujín off air. Although deliberately confusing, the basic trajectory of Cabalgata – its ‘procession’ or progression – is clear enough, with the figure of the artist placed traditionally in front of an upright easel gradually engulfed and replaced by a fracas of animals, people and balloons. Minujín’s use of a television show, meanwhile, not simply as a venue for an event but a medium in its own right, parallels the American performance artist Allan Kaprow’s intuition of the expanded field that pop could occupy, which included what he referred to as the ‘gold mine’ of television advertisements, while complicating and even collapsing the geographic borderlines of artistic production.68
Popular performance and mass communication
The fusion of pop and happenings in Argentina became acutely apparent during 1966. This was the year that Susana Salgado won the Di Tella’s National Prize for a sculptural relief of acrylic sunflowers. The British critic Lawrence Alloway, who together with the German writer Otto Hahn and Romero Brest made up the jury, later claimed that Argentina ‘was the only Latin American country that could have Pop art’.69 Alloway here invoked Argentine achievements to claim a level of internationalism (albeit a distinctly qualified one) for pop that overlooks specific characteristics and risks homogenisation. Salgado’s highly stylised sunflowers, with their smooth acrylic surfaces (fig.8), are the antithesis of Minujín’s rough and ready sculptures combining old cardboard boxes and sections of mattress. Minujín and Salgado’s work also differs greatly from that of Dalila Puzzovio, who was also nominated for the 1966 prize, which had closer connections with fashion design. Similarly, the artist Edgardo Giménez, another Argentine artist associated with pop art, was distinguished by his involvement with advertising and architecture.70
The award of the National Prize to Salgado’s sunflowers moreover obscured the extent to which pop in Argentina was filtered through performance.71 Romero Brest could not ‘find a way to consider Pop art works in isolation. They constitute one of the poles of the current art scene at the other end of which we have Happenings’.72 In 1965, for example, Giménez was partly responsible for a series of events entitled Microsucesos (Micro Events). These were short, frenetically paced performances that followed on one from the other in the style of a ‘fashion show’.73 Working with Puzzovio and Carlos Squirru, Giménez also developed one of the most iconic works made at the intersection of pop and media art in Argentina during the 1960s. In 1966 the three artists displayed a huge poster on an advertising hoarding at the crossroads of Calle Florida and Viamonte in Buenos Aires (fig.9). It was adorned with their smiling faces and the words ‘¿Por qué son tan geniales?’ (Why are they such geniuses?). What is particularly interesting about this work is the answer to the question apparently provided by Minujín, as reported in Primera Plana. The magazine described:
an aggressive manifestation presided over by Minujín, who on the same day of the poster’s inauguration threw mattresses and furniture from the windows of the Guernica gallery, and populated Calle Florida with motorcyclists … strongmen in skimpy briefs, and a rock group.74
If this intriguing event did indeed occur, then there was a distinctly competitive edge to Minujín’s response, whereby the artist deployed her own signature motifs (strongmen and motorcycles featured in her 1965 Uruguayan happening Suceso plástico [Plastic Event]). It created what was presumably a rather distracting foil to the sleek advertising-inspired bravura of Puzzovio, Giménez and Squirru’s poster.
Minujín was conspicuous by her absence from a key marker of Argentine pop in 1966. The August cover of Primera Plana’s special issue devoted to pop featured a colourful photograph of smiling Argentine artists lined up in a row, including Puzzovio and Giménez.75 Minujín’s absence partly reflects the fact that by 1966 she was spending increasing amounts of time outside Argentina in New York and other US cities. Yet it also underlines that she had largely stopped making objects, instead employing mass media technologies as tools to create performances. Indeed, the special issue quoted Minujín, maintaining in ‘a firm voice’, that ‘what I do … is the most anti-Pop that one can do, I always make anti-pop; I speak with people in a direct dialogue’.76 Minujín’s antagonistic relationship with pop overlapped with the turn towards communications media by many Argentine artists in their work as the 1960s progressed.77
An interest in communication and its facilitation – as well as potential obfuscation – through messages and codes, had in fact been a defining characteristic of Argentine approaches to pop art. In El ‘Pop-Art’ Masotta drew upon the structural anthropologist Claude Lévi-Strauss’s understanding of myth, together with writings on semiotics, to analyse the images produced by pop artists. Masotta describes how Lévi-Strauss’s mythology and structural linguistics are united in their concern with the variability of meaning, and its concretisation in symbolic archetypes.78 He then proceeds to analyse works by Warhol and Roy Lichtenstein accordingly, proposing that: ‘“pop art” is a movement that intends to “reduce” the structure of the image to the status of a semiological sign, and does this in order to problematize the relationship between the image and the physical object to which all images refer.’79 As Barthes stated in Mythologies, the semiologist treats writing and pictures in the same way: ‘what he retains from them is the fact that they are both signs, that they both reach the threshold of myth endowed with the same signifying function, that they constitute, one just as much as the other, a language object’.80 For Masotta, pop images are codes that function linguistically as well as pictorially, witnessing a fusion of the signifier and the signified in a sign that can be received and understood, but which also acknowledges the possibility of pluralistic meaning, undercutting the apparent surety of the stable referent.81
A similar approach can be detected in many works by Argentine artists associated with pop, such as those that Giménez and Puzzovio contributed to the 1967 Experiencias Visuales (Visual Experiences) exhibition, which replaced the Di Tella’s National and International Prizes. Puzzovio’s work consisted of identical high-heeled shoes placed in a Perspex display case. The shoes were presented as reified signs of commodity desire, as much as practical items of clothing to be worn. They were more communication than substance, as inferred by their imprisonment in gleaming plastic shelving. Giménez showed a sculptural installation that consisted of stars cut out of wood and painted black, lined up in a row against a wall, presented directly to the viewer devoid of contextualisation (fig.10). In 8 estrellas negras (8 Black Stars) the link between signifier and signified is obscure. It is difficult to determine the fixed ‘sign’ that these stars might be said to constitute. Their possible meaning encompasses nationalist symbols, military badges, and celebratory awards. While their stylised, identical shapes resonate with contemporary fashion and design, their ambiguity and hermeticism results in a confrontation with the viewer.
This embrace of semiotic instability infiltrated Minujín’s performances, notably Leyendo las noticias en el Río de la Plata (Reading the News in the Río de la Plata) 1965, which took place in the same year as the much more well-known La Menesunda. In Leyendo las noticias Minujín swathed herself in sections of newspaper and lay on the ground by the Rió de la Plata near Buenos Aires, reading sections of newsprint before gradually entering the water, where she let the newspaper – and its messages – gradually disintegrate around her (fig.11). On the one hand, Leyendo las noticias indicates the impact of McLuhan’s thinking on Minujín, particularly his assertion that the media, ‘being extensions of ourselves, also depend upon us for their interplay and their evolution’.82 Yet the work also manifests an interest in the tension between physical experience and the transmission of information that is entirely Minujín’s own. During the first part of the happening Minujín’s body is contained, constricted even, her head covered by a newspaper hood that is both ridiculous and sinister in its effect. Minujín’s performance acknowledges the limiting and constraining effects of the mass media, but also celebrates its transience and ephemerality, enabling movement and change rather than the ossification of meaning.
Leyendo las noticias sees an artist who was a favourite subject of the media veiling her body, actively confounding spectacle. Despite the presence of a photographer, there is a private, ritualistic quality to the happening. This simultaneous engagement with, and resistance to, mass media and its desire to transform the artist into a commodity is especially significant given the conflicted status of women artists within established discourses on pop. Despite the valuable work that has been done to uncover the contribution made by women artists to pop, art historian Hal Foster has argued that while ‘there were female artists involved in Pop (for example, Pauline Boty, Vija Celmins, Niki de Saint Phalle, Rosalyn Drexler, Lee Lozano)’, they ‘could not act as its principle subjects in large part because they were conscripted as its primary objects, even its primary fetishes’.83 In Leyendo las noticias Minujín was able not simply to reflect on such forms of reification and fetishisation in her work, but also to evade them and create blocks and barriers against gendered responses.84
Despite her interest in mass media communications, Minujín did not collaborate closely with the artists whose conceptual work would become closely identified with a second, more overtly politicised phase of the Argentine avant-garde during the late 1960s, as the grip of the military government which had come to power in a 1966 coup tightened.85 Equally, Minujín’s work maintained a decidedly ambiguous position regarding attempts to consolidate either an identifiably Argentine pop art, or an ‘internationalised’ pop art encompassing North America and Latin America. It is important in this respect to note the capacious quality that infuses Minujín’s definition of pop. For Minujín, pop art encompasses a wide range of potential activity including ‘popular art, art that all the world can understand, happy art, fun art, comic art’.86 This expanded conceptualisation of pop enabled Minujín to explore and analyse a range of positions, and to align her work predominantly with pop and the creation of images for transmission rather than object production. As Minujín has stressed: ‘I made things for television … There are things at the popular level, not at the aesthetic level of museums and galleries; this bores me. What I did was always at the popular level. Because Happenings were very popular here [in Argentina].’87 It is this understanding of the popular that has enabled her practice to shift and mutate beyond potentially restrictive terms and definitions. Among the artists Masotta identified as ‘Argentine Image-Makers’, the multiplicity of Minujín’s practice has enabled it to endure and continue to resonate beyond the 1960s, albeit in a manner that Masotta did not perhaps quite anticipate.88


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Bridges to nowhere in Puget Sound | History Files
Driving to Bainbridge and Vashon? Dream on
Last updated 12/1/2021 at 12:27pm
A number of years ago there was much complaining about a bridge to nowhere in Alaska.
My story today is a bit different. It is about roads that would have gone somewhere useful in Washington, but were never built.
On the website of the Washington...
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domain: history


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Roses Cove is a small, tranquil beach cove in Noosa Heads.
If you’re looking for a quiet spot to get away from the city for a while and recharge by the sea, this is the perfect place.
Roses Cove, Swimming, Tide Times, Lookout, Weather, Noosa Heads Qld
Roses Cove is undoubtedly one of the most beautiful beaches in Noosa Heads. It becomes easy to explore the other attractions, but the Noosa National Park should not be missed. It’s home to breathtaking coastal scenery in the Noosa Headland, as well as other sights in Lake Weyba, Coolum, and Peregian. The park is an important wildlife sanctuary. It protects some trees and plants vital to the local ecosystem, such as eucalyptus forests, melaleuca wetland, woodland, wallum, and vine-filled rainforests.
The Noosa National Park is equipped with BBQs, picnic tables, toilets, a lookout, wheelchair access, and walking trails. An information centre is also available; it’s highly recommended, especially for first-time visitors to the park. The park’s most popular area is right on Noosa Headland, which is conveniently just 30 minutes away from Hastings Street.
The best way to discover the park is to go on the Coastal Walk. It’s easy, as long as you keep the ocean on your left side. The Coastal Walk is the most efficient way to see some of the most spectacular beaches of this area.
Roses Cove should be on the top of your list when visiting Noosa. Be sure to check out the range of accommodation choices within the area, including a wide range of resorts, hotels, holiday houses, motels, and apartments.

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Fund for Trees
Trees have been a defining and celebrated feature of The New York Botanical Garden's landscape since an act of the State Legislature of New York established the institution in 1891. Founding director Nathaniel Lord Britton chose the Garden's current site because the then rural landscape featured an old-growth hemlock hardwood forest surrounded by pastures and orchards shaded by ancient native trees. Over more than a century, curators have added diverse collections of the world's trees to serve the Garden's far-reaching education and research programs and to provide pleasure and inspiration to visitors from New York and beyond.
Caring for the 30,000 magnificent trees in the Garden's collection—many of which are more than one hundred years old—is a tremendous responsibility and a task that is vital to this institution's historic mission to study, exhibit, and protect the plant kingdom. Each unique tree collection—from the towering trees lining Tulip Tree Allée to the pines, spruces, and firs of the Arthur and Janet Ross Conifer Arboretum, and the glorious cherry and magnolia trees that delight visitors throughout the spring—has specific and varied needs. A significant portion of the time and resources of the Garden's horticulture staff is devoted to the care of the trees, as well as to the meticulous mapping and cataloging of these invaluable specimens.
The Fund for Trees has been established expressly to safeguard NYBG's tree collections and improve the stewardship of these national treasures. Your contribution to this fund will help to ensure the health, beauty, and relevance of the Garden's trees for generations to come.
For more information, please contact Krista Stella at firstname.lastname@example.org


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A 29-year-old man has been convicted of murdering Junior Fuller at his home in Sneinton.
Dwayne Johnson was unanimously found guilty of murder by a jury, following a trial at Leicester Crown Court.
Johnson, 29, of Lammas Gardens, The Meadows, will be sentenced at the same court tomorrow (Tuesday, July 25).
Mr Fuller was found with stab wounds at his home in Mill View Close on December 11 last year.
His death was the second in just 48 hours in Sneinton. Mr Fuller died less than a mile away from the previous incident.
In that incident, a 27-year-old man, later identified as Martin Maughan, was found with stab wounds just after 6am. He died later, from his injuries.


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It's important we have measures that provide more full-time, decent-paying jobs that can ensure work pays. A lack of success in the jobs market saps confidence, demotivates and leaves a scar across a generation of young people, while part-time, low-pay work traps people in poverty.
On the day the latest unemployment statistics are released, this report makes for grim reading for young people. The intense competition shows the main problem is more fundamental - a major shortage of jobs.
More top news
MPs have reacted to the news.
It comes after House Republican leaders postponed voting on a compromise immigration measure.
Which? said Amazon and eBay had removed the alarms that failed to sound in test conditions.

domain: sociology


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A pyramid (from Greek: πυραμίς pyramis) is a structure whose outer surfaces are triangular and converge to a single point at the top, making the shape roughly a Egyptian pyramids - Great Pyramid of Giza - Pyramid (geometry) - Red Pyramid. The Egyptian pyramids are ancient pyramid-shaped masonry structures located in Egypt. As of November , sources cite either or as the number of Historical development - Pyramid symbolism - Number and location of - Saqqara. 5 Nov - 7 min - Uploaded by Veritasium Key aspects of pyramid construction from quarry to completion. Check out Audible: orientcruisetravel.com
Built during a time when Egypt was one of the richest and most powerful civilizations in the world, the pyramids—especially the Great Pyramids of Giza— are. All three of Giza's famed pyramids and their elaborate burial complexes were built during a frenetic period of construction, from roughly to B.C. The . The ancient Egyptians built pyramids as tombs for the pharaohs and their queens . The pharaohs were buried in pyramids of many different shapes and sizes.
THE GREAT Pyramid of Giza is the last remaining Wonder of the World, with the other six lost over time. A new discovery has revealed. Pyramid is a lightweight Python web framework aimed at taking small web apps into big web apps. This site provides an easy entry point into Pyramid. Kids learn about Ancient Egyptian Pyramids. The great structures of this world civilization.


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Talk providing an overview of nutrition and lifestyle strategies to support imbalance of female hormones and the conditions associated with that, such as pre-menstrual syndrome, polycystic ovary syndrome, menopause and endometriosis.View event
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Do you suffer with PMS or menopausal symptoms? Perhaps you have PCOS or endometriosis? Maybe you have been struggling to conceive. Or maybe you have a history of oestrogen dominated cancer in your family? This talk will provide you with an overview of what...View event
I suffered from anorexia for a very long time. It started from when I was 3 through to 10....
In my teen years I suffered from Anorexia and was put into a treatment programme. With the...
The help and advice from my Nutritionist, with my aim of losing weight through the 5:2 system,...

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We currently have vacancies for 2 PhD students with fully-funded scholarships. The projects will span biomaterials and stem cell biology and will fit into one of the project themes below. Highly-motivated and competitive candidates with a background in cell biology, tissue-engineering or biomaterials should make enquiries to Dr Jess Frith including a CV and cover letter.
- microRNA regulation of mechanotransduction in mesenchymal stem cells
- Hydrogels for mesenchymal stem cell delivery and fate
- 3D bioprinting of stem cell contructs
- Engineering extracellular vesicle production
We are always actively seeking talented researchers to join the group. If you are interested in working at the interface of biology and materials engineering then consider joining us for Honours, Masters, PhD or postdoctoral positions.
To enquire, please send an email, with attached CV, to email@example.com.


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Chris Sununu, the Republican Governor of New Hampshire, went back and forth against Chuck Todd with NBC News about just what voters should be worried about throughout this election cycle.
While speaking on the Sunday edition of NBC’s “Meet the Press,” Sununu was prompted to explain his strong support of U.S. Senate candidate Don Bolduc, who is a Republican that is currently running to try and kick Todd out in order to represent New Hampshire who labeled Bolduc an “election denialist.”
Sununu shot back, going after Todd for his extremely out-of-touch for claiming that voters should put much more emphasis on the 2020 elections results and on what he calls “threats to democracy” instead of worrying about heating their homes this winter or bringing in food for their families.
“Why are you supporting an election denialist, and do you think the inflation issue is enough to sort of rationalize support for somebody who thinks [that way]?” questioned Todd.
“I love you, Chuck, but you are in a bubble if you think anybody is talking about what happened in 2020 or talking about Mar-a-Lago and all that,” answered Sununu. “I know the press loves to talk about it, but people are talking about what is happening in their pocketbooks every single day, when they have to buy groceries, or fill up gas.”
“Look I get that Governor,” exclaimed Tod to interrupt. “Should they be?”
“Should they be?” fired back Sununu, seemingly highly taken aback. “Of course! Oh my gosh, Chuck, this is hitting people, they’re having trouble paying their mortgage, they’re having trouble making car payments because of bad policies out of Washington. Should they be?”
“The beauty of the American system is that every voter has the right, and almost the responsibility, to be selfish with their vote, to vote for what is best for themselves and their family,” he went on. “That’s exactly what’s going to happen in a week…because frankly, folks that think the average voter is worried about 2020, it’s a serious issue, of course, but it’s not what people are going to be voting on in the next week.”
When pressed once again on the original question, Sununu stated that “threats to democracy” are very serious issues that must be addressed, but the nation’s voters should be heavily concerned with much more pressing local issues and the economy.
“It’s 35 degrees out [in New England],” stated Sununu. “Folks are filling up their 270-gallon [home heating oil] tanks, and it’s costing them ($1200-$1300). Kerosene is limited because there’s no incentive to create more natural gas or more fuel for this country, and that should be our priority: keeping people warm this winter.”


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Figure of a Buddhist MonkTang
16 1/2 in. x 8 1/2 in. (41.91 cm x 21.59 cm)
Bryn Mawr College
Accession Number: 56.697
Geography: Asia, China
Classification: Fine and Visual Arts; Sculptures
Collection: Helen B. Chapin '15 Collection
Findspot: T'ang Longmen
Keywords Click a term to view the records with the same keywordThis object has the following keywords:
Asian*, Buddhism*, carvings*, Chinese*, inscriptions*, monks*, religion and mythology, stone*, Tang*
- Asian - Refers to the cultures of the continent of Asia, which is in the eastern hemisphere, and is bounded by the Pacific Ocean, the Indian Ocean, the Arctic Ocean, and is generally considered to be delimited on the west by the Ural Mountains. It also refers to the numerous islands off the coast of Asia.
- Buddhism - Refers to the philosophy and religion based on the enlightenment and teachings of the Buddha Gautama in the early sixth century BCE in the northeastern region of modern India. Playing dominant roles in the art and culture of Southeast Asia and East Asia, this religion is based on the transcendence of human suffering and pain through the acceptance of the limitations of individuality, the surrender of worldly desires and cravings that cause disappointment and sorrow, and the deliverance from the impermanence of living and individual ego based on wealth, social position, or family through the process of enlightenment (nirvana). The religion also centers around 'anatman', or no-self, the idea that the self is in a state of action or a series of changing manifestations rather than in a state of fixed, metaphysical substance. The structure of the religion is based on the Triratna ("Three Jewels" of Buddha), a tripartite schematic for living based on three elements: Buddha (the teacher), dharma (the teaching), and sangha (community).
- carvings - Refers to works executed by cutting a figure or design out of a solid material such as stone or wood. It typically refers to works that are relatively small in size, are part of a larger work, or are not considered art. For large and medium-sized three-dimensional works of art, use the broader term "sculpture" or another appropriate term.
- Chinese - The cultures, styles, and periods characteristic of China. To specifically refer to the cultures of ancient Chine, use "Ancient Chinese."
- inscriptions - Words, texts, lettering, or symbols marked on a work, including texts, legends, documentation notes, or commemoration. For standardized symbols or notations on objects that convey official information, use "marks (symbols)."
- monks - Members of a religious brotherhood who are devoted to a discipline prescribed by their order. Monks take vows of poverty, chastity, and obedience. Performance of religious duties and contemplation are traditional priorities. Monks typically live apart from society in communal monasteries, but some live alone (hermits or anchorites). Monks are distinguished from "friars" in that for the monk retirement and solitude are undisturbed by public ministry, except in exceptional circumstances. Some of the more prominent orders of Christian monks include the Benedictines, Cluniacs, Cistercians, Trappists, Carthusians, the Premonstratensians, and Camaldolese.
- religion and mythology
- stone - General term for rock that has been cut, shaped, crushed, or otherwise formed for use in construction or other purposes. Includes the specific archaeological and anthropological sense of individual stones which may be decorated or ornamented and which may be used in ritual contexts. These are usually not carved or dressed, and so differ from sculptures made from stone.
- Tang - Refers to the culture, style, and period of a Chinese dynasty of the period 618 to 907 CE, a time considered one of the most brilliant in Chinese history. China flourished as a stable, consolidated empire and the resulting prosperity and patronage created a Golden Age of Chinese painting, metalwork, ceramics, music, and poetry. Chang'an, with its masterful urban planning, remained the main Tang capital and a world center. Taizong (reigned 626-649) and Xuanzong (reigned 712-756) were important Tang rulers and patrons. Buddhism remained influential although it suffered periods of persecution during the Tang dynasty. Paintings from the caves at Dunhuang and stone pagodas such as the Great Wild Goose Pagoda (ca. 652) and the Small Wild Goose Pagoda (ca. 707) in Chang'an have survived. Monumental stone sculpture of the northern provinces displays the new tendency toward fuller, more sensual figures. This tendency also found in secular Tang sculpture, both stone and ceramic. The merging of Indian and Chinese sculpture styles is seen at the cave at Mt. Tianlong, created under the patronage of Empress Wu Zetian (reigned 690-705). Painting, which flourished during the Tang, was dominated by the secular landscape tradition. Li Sixum and Li Zhaodao, father and son, and Wang Wei are three painters' names known to us; probable copies of their work exist. Wang Wei's work, influential for later artists, was intimate and melancholy while the work of Li Sixum and Li Zhaodao features the bright greens and blues of many Tang landscapes. Chinese portrait painting, begun in the Han dynasty, was refined in the Tang by such artists as Wu Daozi. Tang ceramics include sancai earthenware figurines and vessels, typically used as tomb objects, white porcellanous wares such as the well-known Xing ware of Henan province, and the jadelike Yue celadons of Zhejiang province. The use of metal oxides in underglaze decoration was developed in Hunan and Sichuanh provinces and porcelain, although not fully exploited until later, has its origins in the Tang period. Tang decorative arts were influenced by Middle Eastern and other foreign trends during the Tang dynasty, leading to new styles in ceramics and metalwork. For instance, colorful glazed earthenware objects such as ewers and rhytons were made to resemble Persian silverwork and Persian weft patterning were introduced to Chinese textiles. China, in turn, exported its pottery, silk, and printing and paper technology. The Tang dynasty was succeeded by the Later Liang dynasty.
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