Installation Art Quotes

the queen appeared as innocent as one of those mountains which smoke a little, and then one day end up causing a whole civilization to become an art installation

Everything, everything, everything can be installation art

Art is original. Marcel Duchamp was an artist when he pioneered Dadaism and installed a urinal in a museum. The second person to install a urinal wasn't an artist, he was a plumber.

The site of his thinking and writing was a small office wedged in one corner of his shaggy house, on whose door he’d installed a lock to keep his sons out. They gathered wistfully outside it, his boys, with their chipped, heartbreaking faces. They were not permitted to so much as knock upon the door to the room in which he thought and wrote about art, but Ted hadn’t found a way to keep them from prowling outside it, ghostly feral creatures drinking from a pond in moonlight, their bare feet digging at the carpet, their fingers sweating on the walls, leaving spoors of grease that Ted would point out each week to Elsa, the cleaning woman. He would sit in his office, listening to the movements of his boys, imagining that he felt their hot, curious breath. I will not let them in, he would tell himself. I will sit and think about art. But he found, to his despair, that often he couldn’t think about art. He thought about nothing at all.

Let us return, then, as we do in times of grief, for the sake of pleasure but mostly for the need for relief, to art. Or whatever. To music, to poetry, to paintings and installations, to TV and the movies. But mostly TV and the movies.

Friday’s “Working Lunch” is at The Avenue on St James's Street. It’s a bit like eating in an art installation, a White-Out affair that tries for a So-Serious NYC feel, but is occupied by Daddy’s Girls wearing pashmina’s and too many Pin Stripes worn by too many people called Hugo.

Our bodies are installation art that we curate publicly. Our bodies are the first message those around us receive. Our bodies are our physical bookmarks that hold space for us in the world. Our bodies are magnificent houses for everything else that we are. Our bodies are a part of us, just as our kindness, talents, and passion are a part of us. Yes, we are so much more than our outer shells, but our outer shells are an integral part of our being, too.

If a fleet of jet-black CHOPPERS ain't cresting over a back-lit hill by the end of Act II, you've got to start asking yourself whether this is a movie or a fucking art installation.

Deconstruction seeks neither to reframe art with some perfect, apt and truthful new frame, nor simply to maintain the illusion of some pure and simple absence of a frame. Rather it shows that the frame is, in a sense, also inside the painting. For the frame is what "produces" the object of art, is what sets it off as an object of art—an aesthetic object. Thus the frame is essential to the work of art; in the work of art. Paint a $5,000 abstract painting on a railroad boxcar and nobody will pay a cent for it. Take a torch, remove the panel of the boxcar, install it in a gallery, and it will be worth $5,000. It will be art because it is now framed by the gallery. But at the same moment that the frame encloses the work in its own protected enclosure, making it a work of art, it becomes merely ornamental—external to the work of art. Thus is the frame central or marginal? Is the frame inside the work of art, essential to it, or outside the work of art, extrinsic to it?

Our whole culture is based on the appetite for buying, on the idea of a mutually favorable exchange. Modern man's happiness consists in the thrill of looking at the shop windows, and in buying all that he can afford to buy, either for cash or on installments. He (or she) looks at people in a similar way. For the man an attractive girl—and for the woman an attractive man—are the prizes they are after. 'Attractive' usually means a nice package of qualities which are popular and sought after on the personality market. What specifically makes a person attractive depends on the fashion of the time, physically as well as mentally. During the twenties, a drinking and smoking girl, tough and sexy, was attractive; today the fashion demands more domesticity and coyness. At the end of the nineteenth and the beginning of this century, a man had to be aggressive and ambitious—today he has to be social and tolerant—in order to be an attractive 'package'. At any rate, the sense of falling in love develops usually only with regard to such human commodities as are within reach of one's own possibilities for exchange. I am out for a bargain; the object should be desirable from the standpoint of its social value, and at the same time should want me, considering my overt and hidden assets and potentialities. Two persons thus fall in love when they feel they have found the best object available on the market, considering the limitations of their own exchange values. Often, as in buying real estate, the hidden potentialities which can be developed play a considerable role in this bargain. In a culture in which the marketing orientation prevails, and in which material success is the outstanding value, there is little reason to be surprised that human love relations follow the same pattern of exchange which governs the commodity and the labor market.

Accordingly, he had the two leaders beheaded, and straightway installed the pair next in order as leaders in their place. When this had been done, the drum was sounded for the drill once more; and the girls went through all the evolutions, turning to the right or to the left, marching ahead or wheeling back, kneeling or standing, with perfect accuracy and precision, not venturing to utter a sound. Then Sun Tzu sent a messenger to the King saying: “Your soldiers, Sire, are now properly drilled and disciplined, and ready for your majesty's inspection. They can be put to any use that their sovereign may desire; bid them go through fire and water, and they will not disobey.

At first she did nothing, waiting for her husband to wake, which he did not, because that wasn’t a thing he ever did. She waited longer than she usually did, waited and waited, the boy wailing while she lay as still as a corpse, patiently waiting for the day when her corpse self would miraculously be reanimated and taken into the Kingdom of the Chosen, where it would create an astonishing art installation composed of many aesthetically interesting beds. The corpse would have unlimited child-care and be able to hang out and go to show openings and drink corpse wine with the other corpses whenever it wanted, because that was heaven. That was it. She lay there as long as she could without making a sound, a movement. Her child’s screams fanned a flame of rage that flickered in her chest. That single, white-hot light at the center of the darkness of herself—that was the point of origin from which she birthed something new, from which all women do. You light a fire early in your girlhood. You stoke it and tend it. You protect it at all costs. You don’t let it rage into a mountain of light, because that’s not becoming of a girl. You keep it secret. You let it burn. You look into the eyes of other girls and see their fires flickering there, offer conspiratorial nods, never speak aloud of a near-unbearable heat, a growing conflagration. You tend the flame because if you don’t you’re stuck, in the cold, on your own, doomed to seasonal layers, doomed to practicality, doomed to this is just the way things are, doomed to settling and understanding and reasoning and agreeing and seeing it another way and seeing it his way and seeing it from all the other ways but your own. And upon hearing the boy’s scream, the particular pitch and slice, she saw the flame behind her closed eyes. For a moment, it quivered on unseen air, then, at once, lengthened and thinned, paused, and dropped with a whump into her chest, then deeper into her belly, setting her aflame

Several years ago, researchers at the University of Minnesota identified 568 men and women over the age of seventy who were living independently but were at high risk of becoming disabled because of chronic health problems, recent illness, or cognitive changes. With their permission, the researchers randomly assigned half of them to see a team of geriatric nurses and doctors—a team dedicated to the art and science of managing old age. The others were asked to see their usual physician, who was notified of their high-risk status. Within eighteen months, 10 percent of the patients in both groups had died. But the patients who had seen a geriatrics team were a quarter less likely to become disabled and half as likely to develop depression. They were 40 percent less likely to require home health services. These were stunning results. If scientists came up with a device—call it an automatic defrailer—that wouldn’t extend your life but would slash the likelihood you’d end up in a nursing home or miserable with depression, we’d be clamoring for it. We wouldn’t care if doctors had to open up your chest and plug the thing into your heart. We’d have pink-ribbon campaigns to get one for every person over seventy-five. Congress would be holding hearings demanding to know why forty-year-olds couldn’t get them installed. Medical students would be jockeying to become defrailulation specialists, and Wall Street would be bidding up company stock prices. Instead, it was just geriatrics. The geriatric teams weren’t doing lung biopsies or back surgery or insertion of automatic defrailers. What they did was to simplify medications. They saw that arthritis was controlled. They made sure toenails were trimmed and meals were square. They looked for worrisome signs of isolation and had a social worker check that the patient’s home was safe. How do we reward this kind of work? Chad Boult, the geriatrician who was the lead investigator of the University of Minnesota study, can tell you. A few months after he published the results, demonstrating how much better people’s lives were with specialized geriatric care, the university closed the division of geriatrics.

I got into Jillian's Mercedes and drove back across the bridge to wait for my art installation. Which never showed up. Hey, art installation? Suck my dick.

He was liked in the way outdoor art installations are liked: for his quirks and his reliable permanence.

Being unemployed, Kurt set in motion a routine that he would follow for the rest of his life. He would rise at around noon and eat a brunch of sorts. Kraft Macaroni and Cheese was his favorite food. After eating, he would spend the rest of the day doing one of three things: watching television, which he did unceasingly; practicing his guitar, which he did for hours a day, usually while watching TV; or creating some kind of art project, be it a painting, collage, or three-dimensional installation. This last activity was never formal— he rarely identified himself as an artist—yet he spent hours in this manner.

There was a wonderful old man [...] who had a piece of property [...] he would rent out for twenty dollards a year or so to any young person he thought might have a future in the arts. [...] He declared he wouldn't install running water because he didn't like the class of people it attracted.

This philistinism of interpretation is more rife in literature than in any other art. For decades now, literary critics have understood it to be their task to translate the elements of the poem or play or novel or story into something else. Sometimes a writer will be so uneasy before the naked power of his art that he will install within the work itself - albeit with a little shyness, a touch of the good taste of irony - the clear and explicit interpretation of it. Thomas Mann is an example of such an overcooperative author. In the case of more stubborn authors, the critic is only too happy to perform the job.

The coach's job is to help the client get out of the habit of putting out fires and instead to invest time and energy into installing automatic sprinkler systems and removing fuel and sources of ignition” (Bloom, Castagna, Warren, and Moir, 2005, p. 106). To coach for system change, we must start by cataloguing the fires.

...in all the Kalahari Desert, only six true hunters remained. The renegades agreed to let Louis hang around, an offer he took to the extreme; once installed, Louis acted like an unemployed in-law, basically squatting with the Bushmen for the next four years...He learned to keep his campfire burning and tent zipped even on the most sweltering nights, since packs of hyenas were known to drag people from open shelters and tear out their throats. He leaned that if you stumble upon an angry lioness and her cubs, you stand tall and make her back down, but in the same situation with a rhino, you run like hell. (p. 234) Know why people run marathons? he said... Because running is rooted in our collective imagination, and our imagination is rooted in running. Language, art, science; space shuttles... intravascular surgery, they all had their roots in our ability to run. Running was the superpower that made us human- which means it's a superpower all humans possess. (p. 239)

Sure, I’d cured a bunch of people of cancer, but I was freaky. They treated us like we’d done some kind of huge crime. After a pause, he said: I mean, I had kind of done a huge crime. I’d turned several hundred animals inside out and made them into a big art installation and I hadn’t complied with the cops, but extenuating circumstances, okay? There were extenuating circumstances. It wasn’t my fault that turning several hundred animals inside out makes you look like the bad guy. They were beef cattle and mutton; my way was a hell of a lot quicker than the abattoir. But it’s hard to be all, Let’s listen to magical inside-out animal shield man. He obviously has some good ideas.

There, art was something that was just an accessory to a lifestyle. You painted or sculpted or made crappy installation pieces because it justified a wardrobe of washed-soft T-shirts and dirty jeans and a diet of ironic cheap American beers and ironic expensive hand-rolled American cigarettes. Here, however, you made art because it was the only thing you'd ever be good at, the only thing, really, you thought about between shorter bursts of thinking about the things everyone thought about: sex and food and sleep and friends and money and fame. But somewhere inside you, whether you were making out with someone in a bar or having dinner with your friends, was always your canvas, its shapes and possibilities floating embryonically behind your pupils.

had them installed. My hand closes around the silver hilt of the letter opener. I approach the painting, my eyes narrowed. Like the fake painting of my mother that came, the one that was replaced, this could have been smuggled in. An art dealer. An antiques store. There are a hundred ways someone with excessive money and power could attempt to gain entry into this house. I pull my arm back and stab directly into a red tree, then slash diagonally across, revealing nothing

Depuis les réformes de la fin du XVIème siècle menées par Hideyoshi, on n'entre plus dans le groupe des samouraïs autrement que par la naissance. Le statut de guerrier se mue, et pour près de deux siècles et demi, s'apparente à l'une des formes de la noblesse, la noblesse militaire. Celle-ci était déjà fonctionnarisée : elle fut contrainte par les grands seigneurs (daimyos) à s'installer dans les villes au pied des chateaux où elle exercea des tâches d'encadrement et d'administration moyennant une compensation financière, un fief-rente.

I am no sort of art expert. I have only been to the Whitney once before, on a previous business visit that coincided with the Biennial. I enjoyed great swaths of that, although I was tempted to leave a note for several of the artists that said, "Great Start!" I would write it in crayon and add a smiley face so as not to seem rude. And I just do not have the patience for video installations, having yet to encounter one that conveys the absurdity of the human situation more effectively than a night spent channel surfing in a Motel 6 on the outskirts of Rapid City. But I like to look at everything.

New artists have been obtained. These do not object to, and indeed argue enthusiastically for, the rationalization process. Production is up. Quality-control devices have been installed at those points where the interests of artists and audiences intersect. Shipping and distribution have been improved out of all recognition. (It is in this area, they say in Paraguay, that traditional practices were most blameworthy.) The rationalized art is dispatched from central art dumps to regional art dumps, and from there into the lifestreams of cities. Each citizen is given as much art as his system can tolerate.

but because to work in Ezra’s was to be constantly surrounded and interrupted by dilettantes. There, art was something that was just an accessory to a lifestyle. You painted or sculpted or made crappy installation pieces because it justified a wardrobe of washed-soft T-shirts and dirty jeans and a diet of ironic cheap American beers and ironic expensive hand-rolled American cigarettes. Here, however, you made art because it was the only thing you’d ever been good at, the only thing, really, you thought about between shorter bursts of thinking about the things everyone thought about: sex and food and sleep and friends and money and fame. But somewhere inside you, whether you were making out with someone in a bar or having dinner with your friends, was always your canvas, its shapes and possibilities floating embryonically behind your pupils. There was a period—or at least you hoped there was—with every painting or project when the life of that painting became more real to you than your everyday life, when you sat wherever you were and thought only of returning to the studio, when you were barely conscious that you had tapped out a hill of salt onto the dinner table and in it were drawing your plots and patterns and plans, the white grains moving under your fingertip like silt.

Because of the city's fragmentary, far-flung floor plan, accessible almost exclusively by car, there is no collective sense of community, no overarching sense of "we." ... It's a city of transplants ... Everyone moves to LA with plans not to stay. But then we stay. Because somewhere along the way, this Garden of Forking Freeways burrows itself inside our hardened, from-elsewhere hearts, and slowly, we begin to love the place we claimed to hate. Los Angeles is such a misunderstood city... It's a place that's impossible not to ridicule until you...fully appreciate all its endearing inconsistencies. It is ugly, and it is also beautiful. It is fast; it is slow. It is sexy, and it is also smart.

Construction work was the city’s new brutalist art form, erecting its installations wherever you looked. Tall buildings fell and construction sites rose. Pipes and cables rose from and descended into the hidden depths. Telephone landlines ceased to work and water and power and gas services were randomly suspended. Construction work was the art of making the city become aware of itself as a fragile organism at the mercy of forces against which there was no appeal. Construction work was the mighty metropolis being taught the lessons of vulnerability and helplessness. Construction workers were the grand conceptual artists of our time and their installations, their savage holes in the ground, inspired not only hatred—because most people disliked modern art—but also awe.

By first light, immigrants haul crates of melons and buckets of ice over the narrow cobblestone streets. Old men sell salted capers and branches of wild oregano while the young ones build their fish stands, one silvery torqued body at a time, like an edible art installation. It's a startling scene: gruff young palermitani, foul-mouthed and wreathed in cigarette smoke, lovingly laying out each fish at just the right angle, burrowing its belly into the ice as if to mimic its swimming position in the ocean. Sicilian sun and soil and ingenuity have long produced some of Italy's most prized raw ingredients, and the colors of the market serve as a map of the island's agricultural prowess: the forest green pistachios of Bronte; the Crayola-bright lemons and oranges of Paternò; the famous pomodorini of Pachino, fiery orbs of magical tomato intensity.

This is Thackeray’s first full-length novel, which appeared in serialised instalments in Fraser’s Magazine between May 1839 and February 1840. Thackeray’s original intention was to criticise the Newgate school of crime fiction, exemplified by Bulwer-Lytton and Harrison Ainsworth, whose works Thackeray felt glorified criminals. Thackeray even accused Dickens of this in his portrayal of the good-hearted prostitute Nancy and the charming pickpocket, the Artful Dodger, in Oliver Twist.  The appearance of the first instalments of Ainsworth’s novel Jack Sheppard at the beginning of 1839 seems to have been what spurred Thackeray into action. Ainsworth’s novel portrayed a real life prison breaker and thief from the eighteenth century in flattering terms. In contrast, Thackeray sought out a real life criminal whom he could portray in as unflattering terms as possible.

Chapter 20 we will explore in far greater depth how to avoid brainwashing and how to distinguish reality from fiction. Here I would like to offer two simple rules of thumb. First, if you want reliable information, pay good money for it. If you get your news for free, you might well be the product. Suppose a shady billionaire offered you the following deal: “I will pay you $30 a month, and in exchange you will allow me to brainwash you for an hour every day, installing in your mind whichever political and commercial biases I want.” Would you take the deal? Few sane people would. So the shady billionaire offers a slightly different deal: “You will allow me to brainwash you for one hour every day, and in exchange, I will not charge you anything for this service.” Now the deal suddenly sounds tempting to hundreds of millions of people. Don’t follow their example. The second rule of thumb is that if some issue seems exceptionally important to you, make the effort to read the relevant scientific literature. And by scientific literature I mean peer-reviewed articles, books published by well-known academic publishers, and the writings of professors from reputable institutions. Science obviously has its limitations, and it has gotten many things wrong in the past. Nevertheless, the scientific community has been our most reliable source of knowledge for centuries. If you think the scientific community is wrong about something, that’s certainly possible, but at least know the scientific theories you are rejecting, and provide some empirical evidence to support your claim. Scientists, for their part, need to be far more engaged with current public debates. Scientists should not be afraid of making their voices heard when the debate wanders into their field of expertise, be it medicine or history. Of course, it is extremely important to go on doing academic research and to publish the results in scientific journals that only a few experts read. But it is equally important to communicate the latest scientific theories to the general public through popular science books, and even through the skillful use of art and fiction. Does that mean scientists should start writing science fiction? That is actually not such a bad idea. Art plays a key role in shaping people’s views of the world, and in the twenty-first century science fiction is arguably the most important genre of all, for it shapes how most people understand things such as AI, bioengineering, and climate change. We certainly need good science, but from a political perspective, a good science-fiction movie is worth far more than an article in Science or Nature.

Even as our world is being daily transformed by breathtaking innovations in science and technology, many people continue to imagine that math and science are mostly a matter of memorizing formulas to get “the right answer.” Even engineering, which is in fact the process of creating something from scratch or putting things together in novel and non-self-evident ways, is perplexingly viewed as a mechanical or rote subject. This viewpoint, frankly, could only be held by people who never truly learned math or science, who are stubbornly installed on one side of the so-called Two Culture divide. The truth is that anything significant that happens in math, science, or engineering is the result of heightened intuition and creativity. This is art by another name, and it’s something that tests are not very good at identifying or measuring. The skills and knowledge that tests can measure are merely warm-up exercises.

everything for miles in all directions. The Space Needle. The aquarium and the science center. Amazon.com’s headquarters. Safeco Field. And every Starbucks in between. All of it was gone in the snap of a finger. None of the city’s twenty-one state-of-the-art air raid sirens went off. They had originally been installed in the early 1950s during the Cold War. They’d been cosmetically upgraded in 2006 at a cost of $91,000. But they’d been useless. No one in the mayor’s office or the police department or the fire department knew the missile was coming. No one knew the threat that was inbound. Thus no one had activated the sirens. But even if someone had, would anyone in Seattle have known what to do or where to go? Would there have been any time to seek shelter? No one was left to ask the questions, for now the air raid sirens and the city they were designed to protect were gone entirely. Untold thousands lay dead and dying. More would join them soon. Indeed, the death toll in Seattle alone would soar into the hundreds of thousands within hours. An enormous mushroom cloud, crackling with toxic radioactive dust, now formed over the city. Those not blinded by the initial

This is why, where art is concerned, the most interesting thing would be to infiltrate the spongiform encephalon of the modern spectator, For this is where the mystery lies today: in the brain of the receiver, at the nerve centre of this servility before 'works of art'. What is the secret of it? In the complicity between the mortification 'creative artists' inflict on objects and themselves, and the mortification consumers inflict on themselves and their mental faculties. Tolerance for the worst of things has clearly increased considerably as a function of this general state of complicity. Interface and performance - these are the two current leitmotifs. In performance, all the forms of expression merge - the plastic arts, photography, video, installation, the interactive screen. This vertical and horizontal, aesthetic and commercial diversification is henceforth part of the work, the original core of which cannot be located. A (non-) event like The Matrix illustrates this perfectly: this is the very archetype of the global installation, of the total global fact: not just the film, which is, in a way, the alibi, but the spin-offs, the simultaneous projection at all points of the globe and the millions of spectators themselves who are inextricably part of it. We are all, from a global, interactive point of view, the actors in this total global fact.

In 1853, Haussmann began the incredible transformation of Paris, reconfiguring the city into 20 manageable arrondissements, all linked with grand, gas-lit boulevards and new arteries of running water to feed large public parks and beautiful gardens influenced greatly by London’s Kew Gardens. In every quarter, the indefatigable prefect, in concert with engineer Jean-Charles Alphand, refurbished neglected estates such as Parc Monceau and the Jardin du Luxembourg, and transformed royal hunting enclaves into new parks such as enormous Bois de Boulogne and Bois de Vincennes. They added romantic Parc des Buttes Chaumont and Parc Montsouris in areas that were formerly inhospitable quarries, as well as dozens of smaller neighborhood gardens that Alphand described as "green and flowering salons." Thanks to hothouses that sprang up in Paris, inspired by England’s prefabricated cast iron and glass factory buildings and huge exhibition halls such as the Crystal Palace, exotic blooms became readily available for small Parisian gardens. For example, nineteenth-century metal and glass conservatories added by Charles Rohault de Fleury to the Jardin des Plantes, Louis XIII’s 1626 royal botanical garden for medicinal plants, provided ideal conditions for orchids, tulips, and other plant species from around the globe. Other steel structures, such as Victor Baltard’s 12 metal and glass market stalls at Les Halles in the 1850s, also heralded the coming of Paris’s most enduring symbol, Gustave Eiffel’s 1889 Universal Exposition tower, and the installation of steel viaducts for trains to all parts of France. Word of this new Paris brought about emulative City Beautiful movements in most European capitals, and in the United States, Bois de Boulogne and Parc des Buttes Chaumont became models for Frederick Law Olmsted’s Central Park in New York. Meanwhile, for Parisians fascinated by the lakes, cascades, grottoes, lawns, flowerbeds, and trees that transformed their city from just another ancient capital into a lyrical, magical garden city, the new Paris became a textbook for cross-pollinating garden ideas at any scale. Royal gardens and exotic public pleasure grounds of the Second Empire became springboards for gardens such as Bernard Tschumi’s vast, conceptual Parc de La Villette, with its modern follies, and “wild” jardins en mouvement at the Fondation Cartier and the Musée du Quai Branly. In turn, allées of trees in some classic formal gardens were allowed to grow freely or were interleaved with wildflower meadows and wild grasses for their unsung beauty. Private gardens hidden behind hôtel particulier walls, gardens in spacious suburbs, city courtyards, and minuscule rooftop terraces, became expressions of old and very new gardens that synthesized nature, art, and outdoors living.

Managerial abilities, bureaucratic skills, technical expertise, and political talent are all necessary, but they can be applied only to goals that have already been defined by military policies, broad and narrow. And those policies can be only as good as strategy, operational art of war, tactical thought, and plain military craft that have gone into their making. At present, the defects of structure submerge or distort strategy and operational art, they out rightly suppress tactical ingenuity, and they displace the traditional insights and rules of military craft in favor of bureaucratic preferences, administrative convenience, and abstract notions of efficiency derived from the world of business management. First there is the defective structure for making of military decisions under the futile supervision of the civilian Defense Department; then come the deeply flawed defense policies and military choices, replete with unnecessary costs and hidden risks; finally there come the undoubted managerial abilities, bureaucratic skills, technical expertise, and political talents, all applied to achieve those flawed policies and to implement those flawed choices. By this same sequence was the fatally incomplete Maginot Line built, as were all the Maginot Lines of history, each made no better by good government, technical talent, careful accounting, or sheer hard work. Hence the futility of all the managerial innovations tried in the Pentagon over the years. In the purchasing of weapons, for example, “total package” procurement, cost plus incentive contracting, “firm fixed price” purchasing have all been introduced with much fanfare, only to be abandoned, retried, and repudiated once again. And each time a new Secretary of Defense arrives, with him come the latest batch of managerial innovations, many of them aimed at reducing fraud, waste, and mismanagement-the classic trio endlessly denounced in Congress, even though they account for mere percentage points in the total budget, and have no relevance at all to the failures of combat. The persistence of the Administrator’s Delusion has long kept the Pentagon on a treadmill of futile procedural “reforms” that have no impact at all on the military substance of our defense. It is through strategy, operational art, tactical ingenuity, and military craft that the large savings can be made, and the nation’s military strength greatly increased, but achieving long-overdue structural innovations, from the central headquarters to the combat forces, from the overhead of bases and installations to the current purchase of new weapons. Then, and only then, will it be useful to pursue fraud, waste, and mismanagement, if only to save a few dollars more after the billions have already been saved. At present, by contrast, the Defense Department administers ineffectively, while the public, Congress, and the media apply their energies to such petty matters as overpriced spare parts for a given device in a given weapon of a given ship, overlooking at the same time the multibillion dollar question of money spent for the Navy as a whole instead of the Army – whose weakness diminishes our diplomatic weight in peacetime, and which could one day cause us to resort to nuclear weapons in the face of imminent debacle. If we had a central military authority and a Defense Department capable of strategy, we should cheerfully tolerate much fraud, waste, and mismanagement; but so long as there are competing military bureaucracies organically incapable of strategic combat, neither safety nor economy will be ensured, even if we could totally eliminate every last cent of fraud, waste, and mismanagement.

So, you want to improve your home like you have some knowledge and respect for the endeavor, yes? Very well. First, you need to know the basics associated with it to showcase what type of knowledge you actually have about it. If that is not enough, try reviewing the article listed below to assist you. Home improvement is often a daunting task. This is because of the time and the amounts of money required. However, it doesn't have to be so bad. If you have several projects in your house, divide them up into several smaller DIY projects. For example you may want to redo the entire living room. Start simple, by just replacing the carpet, and before you know it, your living room will be like new. One great way to make the inside of your home sparkle is to put new molding in. New molding helps create a fresh sense in your living space. You can purchase special molding with beautiful carvings on them to add a unique touch of elegance and style to your home. When it comes to home improvement, consider replacing your windows and doors. This not only has a chance of greatly improving the value of the home, but may also severely decrease the amount of money required to keep your house warm and dry. You can also add extra security with new doors and windows. Change your shower curtain once a month. Showering produces excessive humidity in a bathroom that in turn causes shower curtains to develop mold and mildew. To keep your space fresh and healthy, replace your curtains. Don't buy expensive plastic curtains with hard to find designs, and you won't feel bad about replacing it. Sprucing up your walls with art is a great improvement idea, but it doesn't have to be a painting. You can use practically anything for artwork. For instance, a three-dimensional tile works great if you contrast the colors. You can even buy some canvas and a frame and paint colored squares. Anything colorful can work as art. If you are renovating your kitchen but need to spend less money, consider using laminate flooring and countertops. These synthetic options are generally much less expensive than wood, tile, or stone. They are also easier to care for. Many of these products are designed to closely mimic the natural products, so that the difference is only visible on close inspection. New wallpaper can transform a room. Before you add wallpaper, you need to find out what type of wall is under the existing wallpaper. Usually walls are either drywall or plaster smoothed over lath. You can figure out what kind of wall you are dealing with by feeling the wall, plaster is harder, smoother, and colder than drywall. You can also try tapping the wall, drywall sounds hollow while plaster does not. Ah, you have read the aforementioned article, or you wouldn't be down here reading through the conclusion. Well done! That article should have provided you with a proper foundation of what it takes to properly and safely improve your home. If any questions still remain, try reviewing the article again.

A car crash could be considered art, and I’d like to install one in a museum. Helmets would be sold at the admission booth.

How about first ensuring that people within in a twenty-mile radius like the food before worrying about scaling the restaurant? That is, see if the business will work at all. For example, a company that I advise called Tutor Universe provides tutoring service via smartphones. Think of it as Uber for tutoring. The long-term plan was that students could ask questions about any topic and receive help in under fifteen minutes. However, in the beginning, a critical mass of tutors for every subject didn’t yet exist. Many startups face just such a chicken-or-egg challenge: If you had enough tutors, you’d attract enough students. If you had enough students, you’d attract enough tutors. What do you do when you’re faced with this kind of challenge? The answer is simple: you cheat! You use your own employees to answer questions, and hire tutors in the Philippines (highly educated, English speaking, and cheap) until you can reach a critical mass of a marketplace. Skeptics and inexperienced entrepreneurs might object, “You can’t scale if you have to use employees or hire tutors, because they are too expensive.” This might be true, but it doesn’t matter. What’s important is that you establish three key points: you can get the word out, students are willing to install an app, and they will pay for help. Your priority, in short, is proving that people will use your product at all. If they won’t, then it won’t matter if you can’t scale. If they will, then you will figure out a way to scale. I’ve never seen a startup die because it couldn’t scale fast enough. I’ve seen hundreds of startups die because people simply refused to embrace their product.

British artist Alex Chinneck creates large-scale installation art inspired by architecture

An IT College Graduate To advance the goals and objectives of the IT department by utilizing strong programming skills and to improve organizational efficiencies and productivity through the use of state-of-the-art technologies Perl, MySQL, Linux, Apache, Mason, XML, XSL, HTML, JavaScript, Java, MS C11, ASP, 8086 Assembly, Fortran, COBOL, network firewall and hack-proof server installation and configuration, and automatic mass Web site building Internet-based public relations for online applications Network administration Wireless applications Speech recognition Excellent customer service skills Complex, technical troubleshooting and problem solving abilities Projects on time and within budget

I adamantly said no locks, no specifc hours: our little library will be open 24 hours a day, 365 days a year, and I'm going to install a motion-sensor solar light so when someone has late-night book munchies, they'll open the door and voila, the light will pop on. New books are added everyday or two, and a couple taken away. Sometimes the shelves are messy, sometimes people leave notes. I find the whole package as beautiful as art.

Platinum Flooring Company’s certified and skilled installers are trained to install hardwood products for any give art form, which would not only make your new floor look great, but last long for years to come. The Platinum Flooring Company’s specialist would not only help you select the perfect laminate flooring for your home that would suit your home décor as well as budget, but would also install your new laminate flooring for a fast, worry-free installation experience. Platinum Flooring Company is a full service, Hayward based flooring and installation firm specializing in classic design with a global influence. Whether designing residential or commercial spaces, Platinum Flooring has built a reputation on achieving highly individual results for a discerning clientele across the state of California and Beyond. At Platinum Floor Company, we have a separate team of stair installers headed by a stair specialist, having intense knowledge of different wood species, latest technology tools and in-depth knowledge of angular complexities. “Wooden floor, especially hardwood is good as it can take a lot of abuse and has a greater life expectancy compared to laminate or engineered floors.”, says Alex Vongsouthi – Founder, Platinum Flooring Company. But there are several reasons which can make your wood floor crack or separate between boards, cup, crown, etc. some being high traffic on the floor, spillages, sunlight and high percentage of moisture content in the room. With this it can be difficult to know whether floors need to be replaced or can be fixed. Platinum Flooring is renowned for its high standards and uncompromising service quality, with the expertise of a high-end retailer in Hardwood, Engineered wood and Laminate flooring.

Of course we must do it! It is a matter of spirit! And that’s not to say it could have been done earlier, the infrastructure had to be installed, that’s always messy, but now we are ready for the art of architecture, the spirit of it.” He

Leading MSO in India Fastway group is pioneer in digital entertainment services and dominant market leader in this space. Fastway has an internet arm Netplus Broadband which is 100% subsidiary of Fastway group and fastest growing ISP in the region providing Next-Gen Services. Netplus Services Includes: Service reach in 300+ cities over 10000 KM of underground & 16000 KM last mile FTTH network. Service reach by 14K+ channel partners. Netplus services are available in Punjab, Himachal Pradesh, Haryana, Chandigarh, Rajasthan, Uttar Pradesh, Uttarakhand and Jammu & Kashmir. High-speed broadband services. Fastest growing broadband service provider with 3 lac customers and 300+ towns launched. 1st service provider to launch 1000 Gig plan and smart telephony services in the region. State of art NOC with peering and cashing with all major content providers. Leading 2000+ Enterprise customers. We are recognized organization directly involved in providing Wi-Fi solution under govt. Smart city projects. Netplus Core Strengths: Next-Gen Services including Broadband , IPTV | OTT & Voice. Truly unlimited plans. Affordable & economical pricing. Service reach – 14K+ channel partners. Technology: Fiber to the home – (FTTH) FTTH is the installation and use of optical fiber from a central point directly to individual residences, apartment buildings to provide unprecedented high-speed Internet access. FTTH increases the connection speeds available to computer users. FTTH promises speeds up to 1000 Mbps and can deliver a multitude of digital information -- video, data, more efficiently. Fixed Line Services – Smart Telephony Netplus Next Gen “Smart Telephony Services” works over broadband Network and will offer Unlimited local & STD Calling. This service offers customers HD quality voice calls along with faster call set up time and host of new features.USP of this service is that calls can be received both from Fixed line and Mobile.Including Freedom of Movement within WIFY. IPTV & OTT Services The Only organization giving Quad Play experience to users across North India. IPTV stage gives quick access to many channels, combined with alternatives and imaginative administrations, for example, Video-on-Demand and Catch Up TV for watchers who need to watch a program post-communicate. One of the areas where Netplus is going to emphasize on with its new offerings is the use of Smart Home Solutions. Using the FTTH services, users will be able to take hold of their Surveillance Cameras, smart connected Speakers, IP TV, Smart Plugs, Alarms , Video Doorbells and more. 5th floor OPP GURDEV HOSPITAL THE GRAND MALL H BLOCK Ludhiana 141012 Telephone: +91-70875-70875

Sargent painted a series of three portraits of the author Robert Louis Stevenson and the second, Portrait of Robert Louis Stevenson and his Wife (1885), is now one of the artist’s best known portraits. Completed less than a year before the publication of the hugely popular The Strange Case of Dr Jekyll and Mr Hyde, Sargent depicts Stevenson pacing before us, while his wife Fanny is seated in background to the right of the door. Reviews were mixed about the painting, with some critics feeling that the arrangement of the composition was odd and the depiction of the novelist was unflattering. However, Stevenson thought Sargent had correctly captured his odd manner of fidgeting about the room while he was trying to write. When Sargent painted the canvas, he wrote to Henry James and said that Stevenson “seemed to me the most intense creature I had ever met.” Sargent was twenty-nine years old at the time and Stevenson was thirty-four and at the height of his most productive period. He had just published Treasure Island in book form in 1883, his first full-length novel, and his popularity only grew in the public’s eye with The Black Arrow (1883), A Child’s Garden of Verses (1885) and Kidnapped (1886). Interestingly, Portrait of Robert Louis Stevenson and his Wife sold in 2004 for $8.8 million to the Las Vegas casino mogul Steve Wynn to be installed at his newest casino, Wynn Las Vegas.

Ten shockingly arty events What arty types like to call a ‘creative tension’ exists in art and music, about working right at the limits of public taste. Plus, there’s money to be made there. Here’s ten examples reflecting both motivations. Painting: Manet’s Breakfast on the Lawn, featuring a group of sophisticated French aristocrats picnicking outside, shocked the art world back in 1862 because one of the young lady guests is stark naked! Painting: Balthus’s Guitar Lesson (1934), depicting a teacher fondling the private parts of a nude pupil, caused predictable uproar. The artist claimed this was part of his strategy to ‘make people more aware’. Music: Jump to 1969 when Jimi Hendrix performed his own interpretation of the American National Anthem at the hippy festival Woodstock, shocking the mainstream US. Film: In 1974 censors deemed Night Porter, a film about a love affair between an ex-Nazi SS commander and his beautiful young prisoner (featuring flashbacks to concentration camp romps and lots of sexy scenes in bed with Nazi apparel), out of bounds. Installation: In December 1993 the 50-metre-high obelisk in the Place Concorde in the centre of Paris was covered in a giant fluorescent red condom by a group called ActUp. Publishing: In 1989 Salman Rushdie’s novel Satanic Verses outraged Islamic authorities for its irreverent treatment of Islam. In 2005 cartoons making political points about Islam featuring the prophet Mohammed likewise resulted in riots in many Muslim cities around the world, with several people killed. Installation: In 1992 the soon-to-be extremely rich English artist Damien Hirst exhibited a 7-metre-long shark in a giant box of formaldehyde in a London art gallery – the first of a series of dead things in preservative. Sculpture: In 1999 Sotheby’s in London sold a urinoir or toilet-bowl-thing by Marcel Duchamp as art for more than a million pounds ($1,762,000) to a Greek collector. He must have lost his marbles! Painting: Also in 1999 The Holy Virgin Mary, a painting by Chris Ofili representing the Christian icon as a rather crude figure constructed out of elephant dung, caused a storm. Curiously, it was banned in Australia because (like Damien Hirst’s shark) the artist was being funded by people (the Saatchis) who stood to benefit financially from controversy. Sculpture: In 2008 Gunther von Hagens, also known as Dr Death, exhibited in several European cities a collection of skinned corpses mounted in grotesque postures that he insists should count as art.

The transformation of Hollywood into a foreign-first business has also made sequels, spinoffs, and cinematic universes the smartest bet in the movie business. Newly minted middle-class customers in developing nations like China love prestige Western brands like Apple, Louis Vuitton, and Gucci. The same logic applies in cinemas. American cineastes may reach for the Advil when offered the choice between the latest superhero, dinosaur, or talking robot spinoff, but to many foreign moviegoers, that response is somewhere between condescending and confounding—the equivalent of complaining that there aren’t enough modern art installations at Disneyland. One more trend fundamentally changed the movie business this decade: the golden age of television. As TV has gotten better, the pressure on major movie studios is not to keep up with Breaking Bad, Orange Is the New Black, and Fargo (a property that was perfect for the movie business of the 1990s and for the TV business of today), but rather to stand out by offering something different. Most people, particularly middle-aged adults, simply don’t go to the movies for sophisticated character dramas anymore. Why would they, when there are so many on their DVR and Netflix and Amazon queues at home?

This is called the Three Muses,” Barbara said, pride evident in her voice. “One of my favorites, it was installed in 1913. The goddesses represent History, Science, and Art. The sculpture was created by Julia Bracken Wendt,

It can be daunting to capture in one location, at one time, all the things that don’t belong where they are. It may even seem a little counterintuitive, because for the most part, most of that stuff was not, and is not, “that important”; that’s why it’s still lying around. It wasn’t an urgent thing when it first showed up, and probably nothing’s blown up yet because it hasn’t been dealt with. It’s the business card you put in your wallet of somebody you thought you might want to contact sometime. It’s the little piece of techno-gear in the bottom desk drawer that you’re missing a part for, or haven’t had the time to install properly. It’s the printer that you keep telling yourself you’re going to move to a better location in your office. These are the kinds of things that nag at you but that you haven’t decided either to deal with or to drop entirely from your list of open loops. But because you think there still could be something important in there, that stuff is controlling you and taking up more of your energy than it deserves.

And then I. Felt. Like. The. Biggest. Jerk. I mean, I’m an artist working way too hard at a deeply uninteresting job to pay way too much in rent so I can stay in this place—so that I can remain immersed in one of the most creative and influential cultures on earth. Here in the middle of the sidewalk is a piece of art that was a massive undertaking, an installation that the artist worked on, possibly for years, to make people stop and look and consider. And here I am, hardened by big-city life and mentally drained by hours of pixel pushing, not even giving something so magnificent a second glance.

Habits The word “habit” comes from the Old French abit, habit, from Latin habitus “condition, appearance,” from habere “have, consist of.” The term originally meant “dress, attire,” and the noun “habit” meant a monk’s outfit. The habit was an external sign of a monk’s internal constitution, which defined their whole life. Later the meaning of this word drifted to denote physical or mental constitution. Constitution, consisting of, consistency. Habits just scream consistency.[iv] Habits get things done because your mind does not have to focus as much on semiautomatic routines and can therefore conserve energy. It also will spend less time debating with itself about whether to do something. When routines turn into habits, they become the “status quo,” and the rightness of them isn’t debated any more. On the other hand, one-off activities easily generate excuses because it is easier not to do something new than it is to do it. Your mind will think of many reasons for inactivity: Listen to what it is saying . . . • It’s hard, don’t tire yourself. • It’s new, you don’t know the effect or result, so better not risk something bad. • You’ll make a jerk out of yourself, better stay low and enjoy what you’ve got so far. • It’s a lot of fuss, why don’t drink a glass of whisky/play the computer/eat pizza instead? • You have no chance to achieve anything meaningful in a reasonable time (a few minutes); give up, stop wasting the energy. • What? Do you want to do it for years, with no guarantee of success? Are you out of your mind? That’s a lot of energy to commit! • Hey, I love the couch and the TV and there will be less time for that if you commit to this new venture. I protest! You do not consciously think about habits. They are just a part of your constitution. And your mind cannot abandon them once they are a part of you. Any time you install a new activity into your life in the form of a habit, your mind not only accepts it but becomes its guard. Whenever the time or circumstances indicate that the habit should be done, your mind reminds you about it, gently or otherwise.

In late 2014, Minecraft creator Markus “Notch” Persson sold his company to Microsoft for $2.5 billion. Notch published a depressive justification for his desire to recede from public life thanks to the impossibility of satisfying the onslaught of demands from his customers and fans—another thing that can turn on you, it turns out. Then he bought a $70 million Beverly Hills mansion, along with all the furnishings, accessories, art, even the cases of champagne and tequila, even the ultraluxury vehicles the real estate speculator who built the place had installed within its sprawling garage for staging. Notch, the man who made a blank canvas world in which you could make anything, used the spoils to buy a prepackaged, off-the-shelf billionaire’s life. As for his fans, undeterred, they dutifully reconstructed a version of the $70 million mansion in Minecraft.16 It’s an addict’s logic: only one more hand, only one more hit, then I’ll be satisfied. Then I can stop. But, of course, that’s not how addiction works. With every repetition, the effect of a compulsion reduces, requiring even more stimulation to produce formerly intoxicating results. Such

"Find out more" interactives "Find out more" interactives appeal to visitors of all levels of interest—from those who just want to grasp the big picture to those who wish to dig deeper. Gaming interactives Gaming interactives appeal to those who learn by doing rather than being shown or told (sometimes referred to ask kinaesthetic learners). These do not need to be digital—many of the best game-based interactives are mechanical and kinetic. They are often a great way of helping visitors to see how dry content can be applied to more exciting scenarios. Environmental interactives Environmental interactives are immersive interactive experiences, often on a large scale, intended to connect with users in an emotional and awe-inspiring way by carrying a powerful, overarching message. Often, these pieces feel closer to art installations than interactives The main outcome of the interactive is often a sensory impression, rather than an intense learning experience.

Instead of canals, a magical four-story central courtyard faces the interior walls. A greenhouse of sorts. The roof is glass and the floor is a sensuous garden filled with freestanding columns, whimsical twelfth-century lion stylobates, and all manner of statuary. A Roman mosaic sits at the center, surrounded by an ever-changing installation of flowers and shrubs. A pair of towering palm trees reach up to the sunlight, climbing beyond the third floor.

2. Rylanne rated the tale 4 stars and commented that, “I really enjoyed John O’Connor’s Blooming. It was a fun read with stunning, colorful illustrations that I loved looking at.” “The beautiful colors and art style are perfect for capturing the attention of young children, and I think they will love the story of this princess and her new friend. I would love to see the two go on more adventures together, and I hope their story continues in future installments.

As Mark Lombardi would discover to his eternal disillusionment, Pope Paul VI not only worked the Nazi ratlines while managing the Vatican’s intelligence operations but directly assisted in installing highly placed Mafiosi in key political positions to extend US influence in Italy. He paved the way for Sindona to enter the Vatican Bank. Beatified in 2014 because of an alleged miracle attributed to his intercession, Montini was a highly compromised figure in more ways than one.

With over 40 years experience providing professional air conditioning and refrigeration services, we allow our clients to have full control over the temperature in their premises all year round. We supply businesses with top quality installation services. With our state of the art facilities and experienced team, all of the services we provide are cost effective in order to create a long-lasting business relationship with our clients. To find out how we can help, call us today.

Let us return, then, as we do in times of grief, for the sake of pleasure but mostly for the need for relief, to art. Or whatever. To music, to poetry, to paintings and installations, to TV and the movies. But mostly TV and the movies.

Revamp Flooring is a one-stop-shop for all your flooring needs. Ranging from flooring installations to redesigning, kitchen backsplash work, all the way to outdoor tiles, we have a wide variety of products and services to offer. Being in the flooring industry for more than two decades, we have honed our expertise and skills to continue providing excellent service to our new and loyal clients. We cater to homeowners and business owners all around Pearland and the surrounding areas, ensuring that we can administer and execute our state of the art processes and methods for flooring installation and bathroom design. Our biggest priority is our clients, and we never fail in delivering customer satisfaction. Contact us now or visit our showroom!

With the backing of Soviet first secretary Leonid Brezhnev, Erich Honecker now took on the mantle of leadership, ruling with his small clique, including the minister of state security, Erich Mielke. Ulbricht retained the official title of head of state, but this new leadership was now closely aligned with Moscow. The ailing and somewhat bitter Ulbricht would suffer a stroke and pass away in August 1973. The Wall was his legacy, and by 1976 construction of a fourth-generation Wall began. “Grenzmauer 75” would be state-of-the-art in design and construction, a world away from the prefab first version of 1961. The new iteration was speedily installed, comprising L-shaped reinforced concrete sections

Every surface of the circular stone wall was festooned with ornate mirrors of different sizes that glinted in the late afternoon sunshine. It felt like a quirky art installation, but each portrait contained the reflection of a moving person - a prisoner.

coronaviruses and trade wars; terrorist actions and new installments of Fast & Furious.

Kai pridergi prie kaimyno durų ant kilimėlio ir paskambini - instaliacija. Kai paskambini ir tik sulaukęs šeimininko pradedi šikti - performansas.

Art playing on its own disappearance and the disappearance of its object was still an art of great works. But art playing at re-cycling itself indefinitely by helping itself to reality? Most contemporary art is engaged in just this: appropriating banality, the throwaway, mediocrity as value and as ideology. In these innumerable installations and performances, what is going on is merely a compromise with the state of things - and simultaneously with all the past forms of the history of art. An admission of unoriginality, banality and worthlessness, elevated into a perverse aesthetic value, if not indeed a perverse aesthetic pleasure. Admittedly, it is claimed that all this mediocrity is sublimated in the transition to the level of art, which is distanced and ironic. But it is just as worthless and insignificant at that level as before. Transition to the aesthetic level rescues nothing. In fact the opposite is true: it is mediocrity raised to the second power. It claims to be worthless: 'I'm worthless, I'm worthless!' and it really is worthless!

It feels sacrilegious to have his hands upon me, a travesty. I want to cut them off at the wrist, could hang them from the ceiling, an art installation to go among the classic brothel art, dismembered body parts casting shadows on the pastel nudes and yonic oils.

But not necessarily! Look, when construction is over, it would be very possible to grade the ground right back to its original configuration, and then cast loose rock over the surface in a way that would imitate the aboriginal plain. Dust storms would deposit the required fines soon enough, and then if people walked on pathways, and vehicles ran on roads or tracks, soon it would have the look of the original ground, occupied here and there by colorful mosaic buildings, and glass domes stuffed with greenery, and yellow brick roads or whatnot. Of course we must do it! It is a matter of spirit! And that’s not to say it could have been done earlier, the infrastructure had to be installed, that’s always messy, but now we are ready for the art of architecture, the spirit of it.

We walked around in the afternoons visiting art installations and camps that offered all kinds of entertainments. The pop-up city was a psychedelic carnival.

You don’t have to do anything epic in order to have a purpose. You don’t even have to know what your purpose is, and it can change from month to month or year to year. Purposes can be quiet and unassuming and help anchor you into something a little bit less soul-sucking than whether you look cool enough in your new trendy pants, and they can have a ripple effect just based on how you live your life. Instead of worrying about a bigger purpose, just ask yourself, “What do I stand for, today?”You don’t have to be an extrovert or a fighter to let what you stand for quietly infuse the way you walk through the world. Sure, you can organize marches, create subversive art installations, or be an ambassador to a big charity. But you can also express what you stand for in the way you craft gifts for friends once a year, or make people laugh, or in the flowers you plant. It can be small. It can seem innocuous, but it’s not.

Perhaps we live in a wilder place than we give ourselves credit for. Scots tend to be hardy perennials. It's as if we've evolved to withstand the challenging nature of our own country. And what's more, we've worked out how to shape it into a force for good. Out of necessity our homes feature clever ways to keep the outside out and the inside warm. Scotland's oldest towerhouses were built with slits for windows not just as a defensive measure, but to protect residents from the elements. Out of problems came solutions, even beauty. Our foreparents thought to install open fires to heat their homes then toiled to make them easy on the eye. Intricately carved wooden fireplaces and elaborate hearths that referenced Scottish folklore followed.

I'm certain that our friends from around the world find it hilarious that as soon as the sun makes an appearance we rush to sit out on our patios and balconies clutching hot drinks, "Isn't it lovely?" we tell each other, our voices barely audible through the chatter of our teeth. Even in summer the Scottish weather can be so changeable that we have learned to adapt our gardens, putting up seagrass walls to shield lawns and installing barbeques in sunken courtyards in an attempt to prevent being driven inside by the wind.

Declan had been told a long time ago that he had to know what he wanted, or he'd never get it. Not by his father, because his father would never have delivered such pragmatic advice in such a pragmatic way. No, even if Niall Lynch believed in the sentiment, he would have wrapped it up in a long story filled with metaphor and magic and nonsense riddles. Only years after the storytelling would Declan be sitting somewhere and realize that all along Niall had been trying to teach him to balance his checkbook, or whatever the tale had really been about. Niall could never just say the thing. No, this piece of advice--You have to know what you want, or you'll never get it--was given to Declan by a senator from Nevada he'd met during a DC field trip back in eighth grade. The other children had been bored by the pale stone restraint of the city and the sameness of the law and government offices they toured. Declan, however, had been fascinated. He'd asked the senator what advice he had for those looking to get into politics. "Come from money," the senator had said first, and then when all the eighth graders and their teachers had stared without laughing, he added, "You have to know what you want, or you'll never get it. Make goals." Declan made goals. The goal was DC. The goal was politics. The goal was structure, and more structure, and yet more structure. He took AP classes on political science and policy. When he traveled with his father to black markets, he wrote papers. When he took calls from gangsters and shady antique auction houses, he arranged drop-offs near DC and wrangled meetings with HR people. Aglionby Academy made calls and pulled strings; he got names, numbers, internships. All was going according to plan. His father's will conveniently left him a townhouse adjacent to DC. Declan pressed on. He kept his brothers alive; he graduated; he moved to DC. He made the goal, he went towards the goal. When he took his first lunch meeting with his new boss, he found himself filled with the same anticipation he'd had as an eighth grader. This was the place, he thought, where things happened. Just across the road was the Mexican embassy. Behind him was the IMF. GW Law School was a block away. The White House, the USPS, the Red Cross, all within a stone's throw. This was before he understood there was no making it for him. He came from money, yeah, but the wrong kind of money. Niall Lynch's clout was not relevant in this daylight world; he only had status in the night. And one could not rise above that while remaining invisible to protect one's dangerous brother. On that first day of work, Declan walked into the Renwick Gallery and stood inside an installation that had taken over the second floor around the grand staircase. Tens of thousands of black threads had been installed at points all along the ceiling, tangling around the Villareal LED sculpture that normally lit the room, snarling the railing over the stairs, blocking out the light from the tall arches that bordered the walls, turning the walkways into dark, confusing rabbit tunnels. Museumgoers had to pick their way through with caution lest they be snared and bring the entire world down with them. He had, bizarrely, felt tears burning the corners of his eyes. Before that, he hadn't understood that his goals and what he wanted might not be the same thing. This was where he'd found art.

The apse of Rome’s Basilica of Santa Pudenziana contains the oldest surviving example of a golden, gemmed cross in mosaic. This church, known up to the sixth century as the Titulus Pudentis, was reconstructed at the end of the fourth century. Its apse mosaic—the earliest extant in any Roman church—was installed during the papacy of Innocent I (402–417).

Ultimately, the eastern parts of the empire were unable to withstand Persian invasions and the rapid Arab expansion that followed the death of Mohammed in 632. Because the Arab conquest of Jerusalem in 637–38 endangered the recently rescued and restored relic of the True Cross, Heraclius once again instigated its rescue and safe removal, this time to Constantinople.46 The relic was most likely installed in the basilica of Hagia Sophia, which shared with the Holy Sepulcher some comparison to the ancient temple of Solomon.47 As mentioned earlier in this chapter, the main source for this location is the account of a bishop from Gaul, Arculf, who happened to visit Constantinople around the year 680, on his way home from Jerusalem, where he had seen a monumental silver cross mounted on the rock of Golgotha.48 In his diary, Arculf records attending a liturgy in the Great Church (Hagia Sophia) and seeing a large and beautiful cabinet (armorium) containing the cross fragments.

knitted web in the Common is based on various pacifist yarn-bombings around the U.S. and the U.K., while the ice children in Nashville have their seeds in the surprise overnight installations of statues, such as the nude Donald Trump statues created by INDECLINE to protest his policies, and the haunting depictions of caged children that were planted by the Refugee and Immigrant Center for Education and Legal Services (RAICES) to draw attention to migrant family separations at the U.S.-Mexico border. In particular, the nonviolent protests of the Serbian Otpor! movement, Syrian anti-Assad protestors, and other groups, especially as described so vividly in Blueprint for Revolution, by Srdja Popović, sparked the ideas for the cement block and crowbar in Austin, the ping-pong balls in Memphis, and Margaret’s bottle caps, as well as influencing the overall spirit of all the art protests. The struggles of prodemocracy Hong Kongers, particularly against the recent China-imposed “national security” legislation, were always on

Books devoted to France and its various regions became increasingly popular toward the later part of the July Monarchy. This growing preoccupation with France itself—perhaps best exemplified in the novels of George Sand—was a complex phenomenon, related at once to romantic nationalism, to improving communications within France, and to the retreat, after the 1830 revolution, of the legitimist nobility to their country estates, which contributed to making the countryside fashionable. Though by no means a new genre—they had been widely published since the middle of the eighteenth century—the travelogues had a wider audience than ever before during the July Monarchy because, like novels, they often appeared initially as installments in newspapers, to be published only later in book form. Thus, they were read by a broad segment of the public. Indeed, from upper to lower middle class, the French during the July Monarchy were a nation of enthusiastic armchair travelers.

Universities began learning the art of turning the insights of their researchers into large chunks of money by hiring more lawyers and making new kinds of deals, becoming experts in protecting intellectual property, installing startup incubators, and building research parks. Seen from this angle, it looks like universities and scientists aren't fighting against the profit motive; they've been infected by it.

Regardless of the medium, performance artists explicitly explore and enact their holistic autonomies and interiorities (gendered, spiritual, emotional, and political), not simply their bodily corporeality. If this process takes place within a recorded electronic or digital environment, it is the medium that is virtual, unreal or disembodied, not the human performer within it. In the performance arts, whether in a theater, on a street corner, or on a computer monitor, the medium is not the message (and never has been); the performer is. [. . .] The dislocation and fragmentation of the body in digital performance is an aesthetic praxis which deconstructive critics have hungrily grasped and mythologized, holding up the virtual body as the central icon (immaterial, disembodied), whereas in actuality, it operates as an index, as another trace and representation of the always already physical body.

Narcissus Garden was an environmental piece consisting of fifteen hundred plastic mirror balls covering a section of green lawn. The chairman himself had helped me install the reflective spheres, so it was hardly a ‘guerrilla’ operation. I stood among the mirror balls in a formal gold kimono with silver obi and handed out copies of the statement Sir Herbert Read had provided for my exhibition two years earlier. As a comment on commercialism in the art world, I was selling the mirror balls for 1,200 lira (about $2) each, an audience-participation performance that shocked the authorities. They made me stop, telling me it was inappropriate to sell my artworks as if they were ‘hot dogs or ice cream cones’. But the installation remained.

In my experience as a cameraman, it was quite exceptional to have to light up a surface and volumes that were so immense as those in the Berlin library. I was both very impressed and also worried when the decision was made to shoot in that location. My general philosophy is never to argue with the director. I have only done so very rarely. I can't remember ever refusing to shoot any given scene - as certain of my colleagues had. Whatever difficulties were involved, I told myself: "Actually, I'm here to try to effectuate the thought of the director. So let's try to acquiesce to his vision." And Wim wanted this fabulous decor. But with respect to technical matters, it required a lot of equipment. And it was my good fortune to be working for a company that could finance my own needs, which were enormous. Since there was a lot of current needed, a lot of lights, a lot of gaffers to do the installations. Since everything had to be hidden. And in fact, you don't see a single light, despite the fact that there were scores of them set up at the location. And it was difficult because we filmed in the daytime - but since it was winter, at three or four o'clock in the afternoon, it looks light night - we had to take whatever measures we could to prolong the day, even if we continued filming in the same direction as at the start. It was then decided - and this is one of the nice things about working with Wim - that as long as the daylight lasted, we would film in one direction, and when night came, we would change direction, and return a week later (since we could only film there one day a week: on Sunday). So there were in fact immense difficulties. And in the end, I found that these were beneficial constraints, because something good always comes from having constraints. The same is true of painting. Painters who have no constraints don't produce anything extraordinary. I think that in all the arts, these constraints are present. And there are plenty of them in the art of cinema. So I acquiesced to these difficult conditions for shooting, and in the end I was rather happy with the situation.

How Long Will It Take? You can’t blame people for wanting instant results. Time is money, and quickness, especially quick OODA loops, is good. But when it comes to adopting maneuver conflict / Boyd’s principles to your business, there is a lot to be learned and a lot to be done. Consider that: •   According to its principle creator, Taiichi Ohno, it took 28 years (1945-1973) to create and install the Toyota Production System, which is maneuver conflict applied to manufacturing. •   It takes roughly 15 years of experience—and recognition as a leader in one’s technical field—to qualify as a susha (development manager) for a new Toyota vehicle.150 •   Studies of people regarded as the top experts in a number of fields suggest that they practice about four hours a day, virtually every day, for 10 years before they achieve a recognized level of mastery.151 •   It takes a minimum of 8 years beyond a bachelor’s degree to train a surgeon (4 years medical school and 4 or more years of residency.) •   It takes four to six years on the average beyond a bachelor’s degree to complete a Ph.D. •   It takes three years or so to earn a black belt (first degree) in the martial arts and four to six years beyond that to earn third degree, assuming you are in good physical condition to begin with. •   It takes a bare minimum of five years military service to qualify for the Special Forces “Green Beret” (minimum rank of corporal / captain with airborne qualification, then a 1-2 year highly rigorous and selective training program.) •   It takes three years to achieve proficiency as a first level leader in an infantry unit—a squad leader.152 It is no less difficult to learn to fashion an elite, highly competitive company. Yet for some reason, otherwise intelligent people sometimes feel they should be able to attend a three-day seminar and return home experts in maneuver conflict as applied to business. An intensive orientation session may get you started, but successful leaders study their art for years—Patton, Rommel, and Grant were all known for the intensity with which they studied military history and current campaigns. Then-LTC David Hackworth had commanded 10 other units before taking over the 4th Battalion, 39th Infantry in Vietnam in 1969, as he described in Steel My Soldiers’ Hearts. You may also recall the scene in We Were Soldiers where LTC Hal Moore unloaded armfuls of strategy and history books as he was moving into his quarters at Ft. Benning. At that point, he had been in the Army 20 years and had commanded at every level from platoon to battalion.

Organizations that create a climate such as that described in this chapter will naturally experience an acceleration of their OODA loops. So the question becomes how to install it. Boyd suggested, in his briefing “Organic Design for Command and Control,” that it will grow naturally if the senior management sets the proper conditions. He defines the two essential elements necessary for running any human organization along maneuver conflict—rapid OODA loop—lines as: •   Leadership—implies the art of inspiring people to enthusiastically take action towards uncommon goals. It must interact with the system to shape the character or nature of that system in order to realize what is to be done. •   Appreciation—refers to the recognition of worth or value, clear perception, understanding, comprehension, discernment, etc. It must not interact nor interfere with the system, but must discern (not shape) the character / nature of what is being done or about to be done.

What was my reaction when I was suddenly assigned a good-looking and understanding ‘big brother’? During my early days at the boarding school, did I open up immediately to my ‘big brother’ Nikee or to other ‘big brothers’ in my House? I was like a fish swimming happily in water. I took to my ‘big brother’ Nikee like I had discovered gold in a hidden treasure trove. All the ‘big brothers’ had undergone special educational training before being assigned to a ‘little brother’. They were trained in the art of listening to the needs of their charges. Even for the BBs that were not E.R.O.S. members, the boarding school had training programs for ‘regular’ students who wanted to mentor the juniors following in their footsteps. All BBs and BSs (in our sister schools) had been through a one-year mentorship training program before becoming BBs and BSs. Therefore, whenever I had a problem and I needed advice, I was able to go to any BB of my choosing and confide to him. Most boys tended to disclose their quandaries to their allocated BBs because they seemed to understand us best. The answer to your last question, was I unreserved by nature or was it a learned trait? The answer is both. As much as I am a happy-go-lucky person, I also learned many methods and techniques to come out of my shell. Daltonbury Hall, Bahriji and E.R.O.S. turned me, in part, into the person I am today. This valuable training helped me pursue my dreams through the art of positive human relations. This is one of the main objectives of the Enlightened Royal Oracle Society: to be responsible citizens of the world. Dr. Arius, I’m ready for your next installment of queries. Keep them coming. With love and affection, Young.

Take a moment and surf over to Panopticlick.com. This is a site built by the Electronic Frontier Foundation that will determine just how common or unique your browser configuration is compared to others, based on what’s running on your PC or mobile device’s operating system and the plug-ins you may have installed.

We are myelin beings. The broadband is myelin, and the installers are the green squidlike oligodendrocytes, sensing the signals we send and insulating the corresponding circuits.

The house had probably cost a couple of million quid, with its two stories plus loft conversion, red brick, and detailing on the porch roof that hinted at Arts and Crafts without actually making it over the finishing line. It was at least mercifully free of pebble-dash and fake half-timbering. They’d retained the original sash windows but installed the venetian blinds that have replaced net curtains as the genteel response to sharing your neighborhood with other human beings.

After arriving at Burning Man, Musk, a regular at the event, and his family went through their standard routines. They set up camp and prepped their art car for a drive. This year, they had cut the roof off a small car, elevated the steering wheel, shifted it to the right so that it was placed near the middle of the vehicle, and replaced the seats with a couch. Musk took a lot of pleasure in driving the funky creation.“ Elon likes to see the rawness of people there,” said Bill Lee, his longtime friend. “It’s his version of camping. He wants to go and drive the art cars and see installations and the great light shows. He dances a lot.” Musk put on a display of strength and determination at the event as well. There was a wooden pole perhaps thirty feet high with a dancing platform at the top. Dozens of people tried and failed to climb it, and then Musk gave it a go. “His technique was very awkward, and he should not have succeeded,” said Lyndon. “But he hugged it and just inched up and inched up until he reached the top.

Our bodies are installation art that we curate publicly. Our bodies are the first message those around us receive. Our bodies are our physical bookmarks that hold space for us in the world. Our bodies are magnificent houses for everything else that we are. Our bodies are a part of us, just as our kindness, talents, and passion are a part of us.

But maybe the girl from Puberty, and all naked young women in all paintings, are actually sitting there hating. Hating the painter, hating their boring gloomy life, hating the king and the president and the bishop and the prime minister and the authors and society and their own place in it. Maybe it’s not a shadow climbing the wall behind her, but smoke from the spontaneously ignited occult fire of hatred. I’m struck by the naive notion of taking the girl home, painting clothes on her, black clothes maybe, painting her into a new framework, as the Canadian writer Aritha van Herk does to Anna Karenina in Places Far from Ellesmere. In this book, van Herk wants to save Anna from being another woman character in literary history who’s crushed by a train, and she plucks Anna from Tolstoy’s novel and gives her a new frame, a new text. She demonstrates how literature and art can tamper with their own past, create new bonds. As far as I know, no one has tried this witchcraft on Munch and his Puberty (she doesn’t even have a name), but now I want to paint or rewrite the girl in the painting, save her, save us. Because it’s definitely just as much about me, about saving myself from the position of a contemporary subject passively accepting the narratives offered it by past art, past stories about gender, expression, hierarchy. I want to save myself from nodding in acknowledgement to Munch, to 1890, from the outside, with insight, and accepting that Puberty is the mirror art has installed for me.