Everyday Objects – Karolingische Klosterstadt http://karolingischeklosterstadt.com/ Mon, 20 Jun 2022 19:09:36 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 http://karolingischeklosterstadt.com/wp-content/uploads/2021/05/karolingische-klosterstadt-icon-150x150.png Everyday Objects – Karolingische Klosterstadt http://karolingischeklosterstadt.com/ 32 32 Brian Jungen’s bronze sculpture ‘Couch Monster’ installed outside AGO in Toronto http://karolingischeklosterstadt.com/brian-jungens-bronze-sculpture-couch-monster-installed-outside-ago-in-toronto/ Mon, 20 Jun 2022 19:09:36 +0000 http://karolingischeklosterstadt.com/brian-jungens-bronze-sculpture-couch-monster-installed-outside-ago-in-toronto/

Dubbed “Couch Monster,” the sculpture is the first large-scale work in bronze by contemporary British Columbia artist Brian Jungen.The Canadian Press

Toronto’s newest piece of public art is a massive bronze sculpture of a circus elephant, fashioned from used leather furniture.

The Art Gallery of Ontario has unveiled its first-ever public art commission, dubbed “Couch Monster” and described as “a poetic tribute to the plight of creatures in captivity.”

It is the first large-scale work in bronze by contemporary British Columbia artist Brian Jungen, known for turning everyday objects into works of art, such as plastic chairs he assembled into a skeleton of whale.

The new sculpture is five and a half meters long and four meters high and is located near the entrance to the museum, at the former location of Henry Moore’s Large Two Forms (1966-1969).

The AGO indicates that it will be accompanied by a descriptive panel written in Anishinaabemowin and English.

Jungen, of European and Danish descent, says he was inspired by the story of Jumbo, a captive circus elephant killed in 1885 by a train in St. Thomas, Ontario.

The work bears a Dane-zaa subtitle, “Sadz yaaghhch’ill”, which translates to “my heart is tearing”.

“As with leather sofas, the more people engage in the work, the more the patina of the bronze will change over time,” Jungen said in a statement Monday.

“I want people to really bask, explore and embrace this Couch Monster – it’s yours and I’m so excited to see it living here for years to come.”

Gallery CEO Stephan Jost said Jungen’s sculpture “will continue to shape this environment for years to come”.

“Monumental public art has made Dundas and McCaul a Canadian landmark, and Brian Jungen’s ambitious new work reaffirms that intersection in the global art world,” Jost said in a statement Monday.

Funding came from private donors and government partners, including the federal government, the Federal Economic Development Agency for Southern Ontario (FedDev Ontario) and the Canada Council for the Arts.

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National Art School honors artist Colin Lanceley, peer of Arthur Boyd and Sidney Nolan http://karolingischeklosterstadt.com/national-art-school-honors-artist-colin-lanceley-peer-of-arthur-boyd-and-sidney-nolan/ Sun, 19 Jun 2022 06:09:09 +0000 http://karolingischeklosterstadt.com/national-art-school-honors-artist-colin-lanceley-peer-of-arthur-boyd-and-sidney-nolan/

“Incredible things happened for him when we were overseas and his work was shown in Rome, Paris, New York and London,” Kay said.

“It was an extraordinary period of creativity and growth.”

Feeling ‘isolated and alone’ upon returning to Sydney in 1981, the Lanceleys bought a warehouse in Surry Hills, turned it into a studio and family home, and cocooned themselves in the items they had collected from the ‘foreign.

Carpets from Turkmenistan and Afghanistan, works by French artists Fernand Léger, Sonia Delaunay and Albert Gleizes, Maori ax heads and Indian stone reliefs, this is just a tiny part of their collection.

Kay was the mainstay of the family, returning home from her job in the ABC’s publicity department to find Wagner thriving out of Lanceley’s studio while the four children went wild elsewhere in the house.

When Lanceley died of illness in 2015, Kay auctioned nearly 400 objects and artworks to reduce his workforce.

“I sold half my life,” she says.

Today she lives in a smaller house, but many of the items she and Lanceley have collected have come with her. Photographs show the young couple in Europe, or in Sydney with Paul Keating, when the then Prime Minister awarded Lanceley an Australian Artist Creation Grant. Lanceley never had to teach again.

Precious snapshots are clustered on the walls. There’s Lanceley with Barry Humphries and James Fairfax. There’s Kay wearing a Biba dress in London. There’s the couple’s late son, Tristan, holding a sand boa in Spain.

Behind Kay’s couch hangs A Midsummer Night’s Dream, 1985, a powerful painting that was selected for the retrospective. It was acquired by writer Peter Carey when he won the Booker Prize, but Kay later bought it back.


Lanceley’s wooden paint table, still slathered in color, is now in the kitchen with a bowl of fruit on top. His workshop stool is there too.

“I actually kept furniture from the studio because I liked it, and it made me feel like it was there all the time,” Kay says.

Colin Lanceley: Earthly Delights will be “a timely reminder for those familiar with the artist’s genius and a comprehensive introduction for those who are not,” said NAS director Steven Alderton.

For Kay, the exhibition is a moment to celebrate a long life together. But it doesn’t sugarcoat the reality of the couple’s “unwritten contract” that the studio would always come first.

“I loved him so much. But there were times when I wanted to kill him, because he was incredibly difficult,” she laughs.

Kay Lanceley, at her home in Redfern, brought precious memories to the show.Credit:Kate Geraghty

Objects on display in the exhibition will include Lanceley’s collages, sculptures and assemblages, as well as the vibrant paintings to which he often fixed carved wooden objects.

“In the end, he took a lot of pleasure in tinkering. Not just sticking to things that have already been done. In fact, he shaped them and transformed them into other objects,” explains Kay.

Kay wants to emphasize Lanceley’s intellectual approach to his art, and how much he absorbed the work of artists such as Picasso and Braque during those formative years in Europe.


Her love of color will be evident in Earthly Delights.

“Colin was a colorist first and foremost,” Kay says.

“He said, ‘When I’m working and the colors start to jump off the canvas, that’s the best feeling I can have. “”

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“Can objects teach us about reality? » : Ruth Ozeki on her award-winning novel for women | Ruth Ozeki http://karolingischeklosterstadt.com/can-objects-teach-us-about-reality-ruth-ozeki-on-her-award-winning-novel-for-women-ruth-ozeki/ Fri, 17 Jun 2022 14:01:00 +0000 http://karolingischeklosterstadt.com/can-objects-teach-us-about-reality-ruth-ozeki-on-her-award-winning-novel-for-women-ruth-ozeki/

Jhe first thing Japanese-American author Ruth Ozeki did the morning after winning the Women’s Fiction Award was meditate. “A very short one,” she said when we met at her hotel later. She was so convinced she wasn’t going to win (Meg Mason and Elif Shafak were first) that she planned “a full program” for the day. “It’s not that I’m complaining,” she laughs. Coolly elegant in black, despite the heatwave, the 66-year-old writer has the kind of glow you don’t often see in interviews after the awards show.

Ozeki can certainly lay claim to being the first Zen Buddhist priest to win the Woman’s Prize, which she won for her fourth novel, The Book of Form and Void. It tells the story of 14-year-old Benny, who begins to hear the voices of everyday objects after the death of his father. His mother, Annabelle, has become an hoarder, and somehow inanimate things (her husband’s shirts, snow globes, a yellow teapot) speak to her too. Clinging to her job as an archivist, Annabelle has left her house overflowing with clippings: they are metaphorically drowning in grief, garbage and too much news.

Philosophically earnest and formally playful (the book itself speaks to us), this cacophonous novel sometimes feels as cluttered and whimsical as Annabelle’s eclectic collections. But, as with all of Ozeki’s novels, The Book of Form and Void doesn’t shy away from tackling all-too-real issues – global warming, consumerism, mental illness – or asking the big questions: is this real? Is there a limit to human desires for more? And yet, the president of the women’s award described her as “a complete joy” and critics were drawn to her “quiet, dry and methodical good humor”. And it’s true that this story of a mother and son finding their voice and a way out of the mess in their lives is both deeply touching and uplifting.

A passionate environmentalist and feminist, Ozeki grew up reading Rachel Carson and soaking up the “political consciousness” of the 1970s, she says. Her first two novels, My Year of Meats (1998) and All Over Creation (2003), which she describes as “a deep dive into potatoes”, were born out of her concerns about climate change and industrial agriculture. (his father’s family were farmers in Wisconsin). His latest novels, A Tale for the Time Being, shortlisted for the Man Booker Prize in 2013, and The Book of Form and Emptiness are explicitly influenced by Buddhism. The question “Do insentient beings speak Dharma?” from a Zen parable is at the heart of this latest novel. “Can objects teach us about reality? she helpfully adds. “And, of course, the answer is yes.”

The book took eight years to write – “every novel takes me longer – it’s not a good trend” – but its roots go back to the death of his own father in 1998. For a year after, Ozeki the would hear him speak. . “I was doing something around the house, folding laundry or whatever, and I would hear him clear his throat, and then he would say my name. I turned around and there was no one there. Every time that happened it was a bit of a shock, like a punch – he’s not there.

While clearing out her parents’ New Haven home in 2002 after her mother was diagnosed with Alzheimer’s disease, she found gifts given to her father by the First Nations communities he worked with as a linguistic anthropologist and Japanese artifacts belonging to his mother (also a linguistics professor, born in Japan), a collection of polished pebbles from his grandfather’s time in an internment camp in New Mexico, and an empty box, neatly labeled “empty box”. “I knew these things had stories, but I didn’t know what those stories were. And it was kind of heartbreaking.

“So start with the vocals, then,” the book begins. She wanted to explore “voice hearing on a spectrum,” she explains. As a writer, characters “appear” to him: “Hi! My name is Nao and I am a moment,” so Nao in A Tale for the Time Being “came to mind,” she says. Then there are those neurotic voices, “internal sarkicity, inner criticism, all that stuff,” that bothers us all, and more troubling, the voices that lead to Benny stabbing himself with a pair of scissors and being diagnosed as schizo- affective. disorder. “Why are some voices pathologized, some normal and some adored?” she asks. “What’s normal anyway?” Normal is a cultural construct, and we have made normal very narrow.

Like Benny, who suffered from severe depression and anxiety as a child, Ozeki spent several weeks in a psychiatric ward after suffering “what was then called a nervous breakdown” at boarding school. Following in the footsteps of Sylvia Plath, as one does “when one is a poetic and depressed young girl”, she then entered Smith College, one of the oldest women’s colleges in the United States, where she learned Japanese (traumatized by the war, her mother never taught her because she didn’t want her to be “identified as Japanese”) and won her first fiction awards. She returned to Smith to teach creative writing in 2015 and now, after many years on Cortes Island in British Columbia, lives full-time in Massachusetts with her husband, an environmental artist and teacher.

After graduating, she spent a few years in Japan studying classic Japanese literature, then returned to New York and fell into the film industry, becoming an art director for low-budget horror films with titles like as Mutant Hunt and Robot Apocalypse. This unlikely experience taught him how to tell a story. Eventually, she was making her own documentaries, and although her films were critically successful (she was nominated for the Grand Prize for Fury at Sundance), they were “financial disasters.” She gave herself a year to write a novel, which she hoped would sell for $30,000 to cover her debts: she never imagined that 25 years later she would receive £30,000 for the women’s prize. She printed the first draft of My Year of Meats on the eve of her 41st birthday, “so that I could say, honestly, that I had written my first novel at the age of 40.”

But after the publication of her second novel and the death of both her parents, she “was falling apart” again. So she turned to Buddhism. “Illness, old age and death – it wakes you up,” she says. “That’s what woke up the Buddha. You just realized that life is all about impermanence and I won’t be here forever. How can I deal with this? Because I really feel like the center of the world. She was ordained in 2015.

The first thing she teaches her students is how to meditate, and she uses meditation techniques in her own writings. “I close my eyes and kind of fall into a scene in my imagination and then just hang out there. You are aware of all visual, sound, olfactory, taste and tactile sensations. You can notice a little more what is going on with your characters.

Is it Zen that gives his work that joy that won over the judges? “I just have a weird sense of humor,” she says. “The flip side of anything sad is usually funny. There’s a reason Shakespeare always has clowns in his tragedies. It’s all funny, and it’s all really sad, too. It’s both.” Just like The Book of Form and Void.

Create a digital identity for http://karolingischeklosterstadt.com/create-a-digital-identity-for/ Wed, 15 Jun 2022 22:38:54 +0000 http://karolingischeklosterstadt.com/create-a-digital-identity-for/

The company is well positioned to meet the growing demand for RFID and NFC solutions to verify and secure the IoT

FREMONT, Calif., May 16, 2022 /PRNewswire/ — Identiv, Inc. (NASDAQ: INVE), a global leader in digital security and identification in the Internet of Things (IoT), today announced its comprehensive Radio Frequency Identification (RFID) Showcase at Booth 417, May 17 – 19, 2022, at the world’s largest conference and exhibition dedicated to radio frequency identification and related technologies, RFID Journal LIVE! in Las Vegas, Nevada

Identiv positioned to meet the growing demand for RFID and NFC solutions to verify and secure the IoT

Identiv is a finalist for two RFID Journal Best New Product Award for his Capacitive fill level detection label and for his role in Spoken Rx CVS the solution. The company will receive the AIM RFID Consumer Case Study Award for “Making Digital Health More Accessible with Identiv” and present the case study at the AIM Breakfast, Thursday, May 19, 2022.

“The RFID Journal is an important industry event for our team. We look forward to demonstrating how we unlocked accelerated growth in important segments through a focused strategy that anticipated many of the RFID trends we are familiar with today,” said Amir Khoshniyati, Vice President and GM Transponders, Identiv . “With our partners featured in the exhibition, collectID, Proqure, PLM TrustLink and Tapwow, we are poised to meet specialist RFID demand with our unique capabilities.”

Main presentation events:

  • In affiliation with NFC Forum, Identiv presents “NFC: interesting trends and data” share the hottest Near Field Communication (NFC) trends and share the NFC Icon Wayfinding, within the Internet of Things Track
  • In affiliation with AIM, Identiv participates in the panel “Blockchain delivers secure supply chains and brand value through NFTs” discussing how IoT and RFID can improve traceability, as part of the Innovations Track
  • Finalists for two Best New Product Awards
  • Presentation of the AIM RFID Consumer Case Study Award
  • IEEE RFID Workshop on IoT Systems

Identiv’s innovative RFID team manages the research, design and manufacturing to embed tags and inlays into billions of everyday objects, including medical devices, books, toys, sportswear, perishable foods and pharmaceuticals. Its connected ecosystems verify identities and security in the IoT.

The event showcase showcases cold chain logistics, medical and pharmaceutical devices, ultra-high frequency (UHF) tracking and sensing, and authentication and smart packaging solutions for a large variety of industries and applications. UHF Tracking and Detection features dynamic, metal-friendly UHF solutions designed for long-range tracking and detection. Medical Devices & Pharmaceuticals showcases smart RFID medical devices, platforms and packaging to make digital health more accessible. NFC digitizes the physical elements of the supply chain and can detect fill level, humidity and temperature for cold chain logistics and sensing solutions. Authentication and smart packaging capabilities are also showcased to demonstrate how the IoT is transforming authentication, anti-counterfeiting, consumables and connected consumer experiences.

“By investing in highly integrated manufacturing, specialized R&D, additional sales capacity and creating new partnerships to pursue and develop new use cases offering specialized RFID, we are able to meet the growing demand for RFID and NFC solutions to verify and secure the IoT. We will continue to invest in increasing our capacity and bringing in new talent to create a digital identity for every physical object,” Khoshniyati added.

About Identiv
Identiv, Inc. is a global leader in digitally securing the physical world. Identiv’s platform encompasses RFID and NFC, cybersecurity and all physical, video and audio access security. Identiv is a publicly traded company and its common stock trades on the NASDAQ Stock Market LLC in the United States under the symbol “INVE”. For more information, visit identiv.com.

Media Contact:
[email protected]

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SOURCE Identity

The best demos to play during this week’s Steam Next Fest http://karolingischeklosterstadt.com/the-best-demos-to-play-during-this-weeks-steam-next-fest/ Mon, 13 Jun 2022 22:40:26 +0000 http://karolingischeklosterstadt.com/the-best-demos-to-play-during-this-weeks-steam-next-fest/

Steam Next Fest is back, once again packing a ridiculous amount of free game demos into a single week, which isn’t nearly long enough to play them all, or even most of them. Many demos are for games you may have seen during non-E3so you are no doubt eager to download and dive in.

But where to start ? To help you not to be completely buried, we have selected a few Next Fest Steam Demos to start. Don’t forget there are hundreds more – yes, hundreds – so don’t feel you have to stop at our recommendations. We’re just giving you a little push.

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