Exhibition Title In Quotes

We are not sheep or cows. God didn’t create fences for us or boundaries to contain our nationalities. Man did. God didn’t draw up religious barriers to separate us from each other. Man did. And on top of that, no father would like to see his children fighting or killing each other. The Creator favors the man who spreads loves over the man who spreads hate. A religious title does not make anyone more superior over another. If a kind man stands by his conscience and exhibits truth in his words and actions, he will stand by God regardless of his faith. If mankind wants to evolve, we must learn from our past mistakes. If not, our technology will evolve without us.

In Mexico City they somehow wandered into an exhibition of paintings by the beautiful Spanish exile Remedios Varo: in the central painting of a triptych, titled “Bordando el Manto Terrestre,” were a number of frail girls with heart-shaped faces, huge eyes, spun-gold hair, prisoners in the top room of a circular tower, embroidering a kind of tapestry which spilled out the slit windows and into a void, seeking hopelessly to fill the void: for all the other buildings and creatures, all the waves, ships and forests of the earth were contained in the tapestry, and the tapestry was the world. Oedipa, perverse, had stood in front of the painting and cried. No one had noticed; she wore dark green bubble shades. For a moment she’d wondered if the seal around her sockets were tight enough to allow the tears simply to go on and fill up the entire lens space and never dry. She could carry the sadness of the moment with her that way forever, see the world refracted through those tears, those specific tears, as if indices as yet unfound varied in important ways from cry to cry. She had looked down at her feet and known, then, because of a painting, that what she stood on had only been woven together a couple thousand miles away in her own tower, was only by accident known as Mexico, and so Pierce had take her away from nothing, there’d been no escape. What did she so desire escape from? Such a captive maiden, having plenty of time to think, soon realizes that her tower, its height and architecture, are like her ego only incidental: that what really keeps her where she is is magic, anonymous and malignant, visited on her from outside and for no reason at all. Having no apparatus except gut fear and female cunning to examine this formless magic, to understand how it works, how to measure its field strength, count its lines of force, she may fall back on superstition, or take up a useful hobby like embroidery, or go mad, or marry a disk jockey. If the tower is everywhere and the knight of deliverance no proof against its magic, what else?

This was in [Orwell's] 1946 'Politics and the English Language,' an essay that despite its date (and its title's basic redundancy) remains the definitive SNOOT statement on Academese. Orwell's famous AE translation of the gorgeous 'I saw under the sun that the race is not to the swift' in Ecclesiastes as 'Objective consideration of contemporary phenomena compels the conclusion that success or failure in competitive activities exhibits no tendency to be commensurate with innate capacity, but that a considerable element of the unpredictable must invariably be taken into account' should be tattooed on the left wrist of every grad student in the anglophone world.

In the seven years I worked at the Tate Gallery in London about six and a half were spent discussing possible exhibition titles. “I Kid You Not,” “No Word of a Lie,” “It’s a Material World,” were all discussed at some time or another as potential names for a show. A typical “titles meeting” would involve about fifteen people, thirteen of whom remained mute, other than to say “no” or “absolutely not,” while a couple of optimistic individuals made suggestions. It was ridiculous, of course, but it does highlight a central tension in the art world: public engagement versus scholarship.

Athena never personally experienced suffering. She just got rich from it. She wrote an award-winning short story based on what she saw at that exhibit, titled “Whispers along the Yalu.” And she wasn’t even Korean.

…and know, my fellow colleagues, friends, associates, subordinates, assistants, admirers, articulate adversaries and all those others so assembled here in this gloriously, yet in no way garishly decorated reception hall at this hallowed, historic and honorable happening, that we seek not only to enable and enervate this experimental endeavor that seeks to engender an edifying and equitably egalitarian enterprise to extend the existence of law into the ersatz empire of evil; an expedition that emboldens so many earnest, and certainly not erstwhile exhibitions of emotions of trust and facilitation and goodwill between our organizations…” continued this most recent chancellor or councilor, or something with a title.

To be sure, there are hunter-gatherer societies that don’t exhibit the elaborately organized violence denoted by the term “war.” But often what turns out to be lacking is the organization, not the violence. The warless !Kung San were billed in the title of one book as The Harmless People, yet during the 1950s and 1960s, their homicide rate was between 20 and 80 times as high as that found in industrialized nations.114 Eskimos, to judge by popular accounts, are all cuddliness and generosity. Yet early this century, after westerners first made contact with a fifteen-family Eskimo village, they found that every adult male had been involved in a homicide. One reason the !Kung and most Eskimo haven’t waged war is their habitat.115 With population sparse, friction is low. But when densely settled along fertile ground, hunter-gatherers have warred lavishly. The Ainu of Japan built hilltop fortresses and, when raiding a neighboring

Equally false is the conception of the Russian regime as a regime of "State capitalism." This theory serves to conceal the inability of the theory's supporters to study a new phenomenon without having recourse to well-known formulas, and usually rests upon deplorable confusions (as with Georges Munis, who identifies any form of exploitation with capitalism). In fact, adherents to this theory are obliged to acknowledge that, aside from the traits common to every exploitative society, Russian society exhibits none of capitalism's characteristics (complete elimination of crises, lack of any objective determination of the rate of surplus value, lack of any law of wages, absence of any law of value, distribution of profit to the bureaucrats in accordance with their positions and not according to property titles). The quarrel would revert accordingly to a mere dispute over terminology if the falsity and the superficial character of the theory of "State capitalism" were not established by highly significant facts. Some of these facts are (a) the instauration and stabilization of this regime (which normally ought to have been the product of an overdevelopment of capitalism) not in the advanced countries (the United States, Germany, England) but in a backward country; (b) the absence of almost any connection between today's bureaucrats and former capitalists; (c) the way in which the bureaucracy came to power; and (d) the Russian policy in the glacis, a policy of assimilation that in its first phase totally dispossessed the capitalists (which would be absurd if the regime to be set up were State capitalism). Moreover, the "logic" of their ideas pushes the adherents of this theory toward theoretically and politically stupid conclusions, like their correlation [assimilation] of Stalinist parties with the fascist parties.

Art reflects the current composition of a human soul. Perhaps when the artist finally arrives at the point of making art, an artist perceives all earlier drafts as remnants of their former loathsome self. Perhaps when the songwriter stops writing songs, the singer ceases singing, the musician no longer strums his or her instrument, and the poet no longer strings lyrical verses together they have entered a kingdom of one, a realm of aesthetical and ethical certitude. Perhaps when the writer who creates a piece of literature worthy of bestowing the exalted title of art, he or she must exhibit the same gracious manners by following suit by speaking no more.

In a section titled “Performance Factors,” Clint had been asked to indicate areas in which I’d exhibited significant strengths, as well as any areas needing development. There were only two areas in which he felt I needed development—organization (probably because he’d ridden in my car) and working more closely with third parties—but he had indicated six major strengths. The first three were creativity, achievement of objectives, and quality of work. No surprises there. The next three strengths—adaptability, communication, and autonomy—seemed a bit ironic. I scrolled down and saw my overall score: Very Good. By definition, this score meant that I had “exceeded objectives in several areas and required only occasional supervision.” I didn’t appreciate the real irony of Clint’s assessment until I looked at my stakeholder map and considered how I might have scored had Kristen conducted a similar evaluation at home. What score would I have received for adaptability? The review form defined this as “being open to change with new circumstances.” Going with the flow. We had just begun to work on my openness to change at home, and I was still learning how to adjust to this new mind-set. Meanwhile, at work, I presented myself as nothing if not adaptable. “Sure, I’ll take a new position on the marketing team.” “Of course I can stay until midnight tonight. Whatever it takes.” “Certainly, Clint, I’ll travel to customers every week. Anything else?” At home, Kristen asked me to help fold laundry and my head almost exploded. I guessed that I would receive Needs Development for that one. How about autonomy and initiative? Clint seemed to think that I was bursting with it, but Kristen would have offered a different opinion. “Initiative? Please. How is me having to remind you to turn off the television and play with the kids initiative? I’ll put you down for a Needs Development,” I imagined her saying. Achievement of objectives would have gotten me a high mark with Kristen, until I scrolled down farther and read the definition, which included the phrase “gets things done efficiently and in a timely manner.” I thought of the Christmas decorations drooping from our eaves. I thought of the countless times Kristen and I had been late for an engagement and she’d found me standing in my boxers in front of the mirror making faces.

In most cases, very long lines of text are avoided, especially at a low level. Area titles of chapter headings are usually mounted above the heads of visitors so that they can be seen from a distance.

The attitude that homosexual activity is not "genuine" sexual, courtship, or pair-bonding behavior is also sometimes made explicit in the descriptions and terminology used by researchers... This attitude is also encoded directly in the words used for homosexual behaviors: rarely do animals of the same sex ever simply "copulate" or "court" or "mate" with one another (as do animals of the opposite sex). Instead, male walruses indulge in "mock courtship" with each other, male African elephants and gorillas have "sham matings", while female sage grouse and male hanuman langurs and common chimpanzees engage in "pseudo-matings". Musk-oxen participate in "mock copulations", mallard ducks of the same sex form "pseudo-pairs" with each other, and blue-bellied rollers have "fake" sexual activity. Male lions engage in "feigned coitus" with one another, male orang-utans and savanna baboons take part in "pseudo-sexual" mountings and other behaviors, while mule deer and hammerheads exhibit "false mounting"... Even the use of the term 'homosexual' is controversial. Although the majority of scientific sources on same-sex activity classify the behavior explicitly as "homosexual" - and a handful even use the more loaded terms 'gay' or 'lesbian' - many scientists are nevertheless loath to apply this term to any animal behavior. In fact, a whole "avoidance" vocabulary of alternate, and putatively more "neutral", words have come into use... The use of "alternate" words such as 'unisexual' is sometimes advocated precisely because of the homophobia derived by the term 'homosexual': one scientist reports that an article on animal behavior containing 'homosexual' in its title was widely received with a "lurid snicker" by biologists, many of whom never got beyond the "sensationalistic wording" of the title to actually read its contents.

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There have also been a number of movie cycles, of which the most populous featured Alien imitators, cyborgs or post-holocaust road warriors. Such trends are to be expected in a global cinema dominated by the particular production, distribution and exhibition practices of the New Hollywood, with its drive to produce event movies to be resold in various forms in multiple markets. Pre-sold titles, exploitable contents and images, and hybrid narratives with an ability to appeal to multiple audience segments have become the goal.

Our eternal existence depends not on how much we have, or the network and power structure we have attained, and definitely not on our title or accomplishments at work. It depends on how much courage we exhibit in difficult times, the number of people we bring a smile to, and our sincerity at work, home and in society.

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General Sherman praised the shows as "wonderfully realistic and historically reminiscent." Reviews and the show's own publicity always stressed its "realism." There is no doubt it was more realistic, visually and in essence, than any of the competing Wild Wests. There were four other Wild West shows that year: Adam Forepaugh had one, Dr. A. W. Carver another; there was a third called Fargo's Wild West and one known as Hennessey's Wild West. Cody criticized all their claims and their use of the words "Wild West." He had copyrighted the term according to an act of Congress on December 22, 1883, and registered a typescript at the Library of Congress on June 1, 1885. The copyright title read: The Wild West or Life among the Red Man and the Road Agents of the Plains and Prairies-An Equine Dramatic Exposition on Grass or Under Canvas, of the Adventures of Frontiersmen and Cowboys. Additional copy was headed BUFFALO BILL'S "WILD WEST" PRAIRIE EXHIBITION AND ROCKY MOUNTAIN SHOW, A DRAMATIC-EQUESTRIAN EXPOSITION OF LIFE ON THE PLAINS, WITH ACCOMPANYING MONOLOGUE AND INCIDENTAL MUSIC THE WHOLE INVENTED AND ARRANGED BY W.F. CODY W.F. CODY AND N. SALSBURY, PROPRIETORS AND MANAGERS WHO HEREBY CLAIM AS THEIR SPECIAL PROPERTY THE VARIOUS EFFECTS INTRODUCED IN THE PUBLIC PERFORMANCES OF BUFFALO BILL'S "WILD WEST" Although the show's first year under enlarged and reorganized management had not been a financial success, at least one good thing had come from it. Also showing in New Orleans that winter had been the Sells Brothers Circus. One of its performers who had wandered over to visit the Wild West lot was Annie Oakley. The story of Annie Oakley's life was so much in the American grain that it might have come from the pen of Horatio Alger Jr., the minister turned best-selling author, who chronicled the fictional lives of poor boys who made good. Ragged Dick: or, Street Life in New York, Ragged Tom, and Luck Moses then married Dan Brumbaugh, who died in an accident shortly afterward, leaving another daughter. When she was seven, Annie frequently fed the family with quail she had caught in homemade traps, much as young Will Cody had trapped small game. In an interview she once said: "I was eight years old when I made my first shot, and I still consider it one of the best shots I ever

From Town Plan to Cutlery (Från stadsplan till matbestick) was the evocative title of a Swedish exhibition held in Zürich in 1949. It can be viewed as a symbol of the 1950’s dream of being able to design everything in society and in everyday life – down to the smallest detail.

A vat tada aš supratau, kad kuo daugiau nesuprantamumo, tuo daugiau kūrinyje yra meno. Nesuprantamumas kiekvienam žiūrovui kelia pagarbią baimę, nes nė vienas nenori išsiduoti, kad nieko nesupranta.

I managed a single glance over my shoulder, and what did my gaze fall upon but my encyclopaedia, pages stacked tidily beneath my paperweight, little bookmarks sticking out the sides indicating sections requiring revision. That pinnacle of faerie scholarship, which I had only weeks ago likened to a museum exhibit of the Folk, neatly pinned down and labelled by the foremost expert on the subject---that is, me---brimming with meticulously documented accounts of foolish mortals who bumbled into faerie plots and games.

I’ve been reading the psychologist Paul Piff, who quotes Jesus in a paper titled “Higher Social Class Predicts Increased Unethical Behavior.” Piff and his team of researchers found that the rich are more likely than the poor to cut off other vehicles when driving through intersections. And they’re less likely to stop for pedestrians. They’re more likely to cheat in a game, and more likely to think of greed as good. But money is not to blame for this, Piff suggests. What’s to blame is the comfort that a higher class status affords—the independence, the insularity, the security, the illusion of not needing other people. “While having money doesn’t necessarily make anybody anything,” Piff told New York magazine, “the rich are way more likely to prioritize their own self-interests above the interests of other people. It makes them more likely to exhibit characteristics that we would stereotypically associate with, say, assholes.