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Healthy Eating for Seniors Handbook
Healthy Eating for Seniors Acknowledgements CThehapter Healthy Eating for Seniors1 handbook was originally developed by the British Columbia Ministry of Health in Eat2008. Well, Many seniors Ageand dietitians Well were involved in helping to determine the content for the handbook – providing Therecipes, news isstories good. and Canadian ideas and generallyseniors contributingage 65 to andmaking over are Healthy living Eating longer for thanSeniors ever a useful before. resource. The WellMinistry after they of Health retire, would they like are to continuing acknowledge to and thank all participatethe individuals in their involved communities in the original and development to enjoy of this satisfying,resource. energetic, well-rounded lives with friends and family. For the 2017 update of the handbook, we would like However,to thank recent the public surveys health investigating dietitians from thethe regional eatinghealth and authorities exercise for habits providing of Canadians feedback on – the age nutrition 65 tocontent 84 – revealof the handbook. that seniors The couldupdate bewas doing a collaborative evenproject better. between the BC Centre for Disease Control and the Ministry of Health and made possible through funding from the BC Centre for Disease Control (an agency of the Provincial Health Services Authority). Healthy Eating for Seniors Handbook Update PROJECT TEAM • Annette Anderwald, registered dietitian (RD) • Cynthia Buckett, MBA, RD; provincial manager, Healthy Eating Resource Coordination, BC Centre for Disease Control -
Dick Higgins Papers, 1960-1994 (Bulk 1972-1993)
http://oac.cdlib.org/findaid/ark:/13030/tf1d5n981n No online items Finding aid for the Dick Higgins papers, 1960-1994 (bulk 1972-1993) Finding aid prepared by Lynda Bunting. Finding aid for the Dick Higgins 870613 1 papers, 1960-1994 (bulk 1972-1993) ... Descriptive Summary Title: Dick Higgins papers Date (inclusive): 1960-1994 (bulk 1972-1993) Number: 870613 Creator/Collector: Higgins, Dick, 1938-1998 Physical Description: 108.0 linear feet(81 boxes) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: American artist, poet, writer, publisher, composer, and educator. The archive contains papers collected or generated by Higgins, documenting his involvement with Fluxus and happenings, pattern and concrete poetry, new music, and small press publishing from 1972 to 1994, with some letters dated as early as 1960. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical/Historical Note Dick Higgins is known for his extensive literary, artistic and theoretical activities. Along with his writings in poetry, theory and scholarship, Higgins published the well-known Something Else Press and was a cooperative member of Unpublished/Printed Editions; co-founded Fluxus and Happenings; wrote performance and graphic notations for theatre, music, and non-plays; and produced and created paintings, sculpture, films and the large graphics series 7.7.73. Higgins received numerous grants and prizes in support of his many endeavors. Born Richard Carter Higgins in Cambridge, England, March 15, 1938, Higgins studied at Columbia University, New York (where he received a bachelors degree in English, 1960), the Manhattan School of Printing, New York, and the New School of Social Research, 1958-59, with John Cage and Henry Cowell. -
NO RAMBLING ON: the LISTLESS COWBOYS of HORSE Jon Davies
WARHOL pages_BFI 25/06/2013 10:57 Page 108 If Andy Warhol’s queer cinema of the 1960s allowed for a flourishing of newly articulated sexual and gender possibilities, it also fostered a performative dichotomy: those who command the voice and those who do not. Many of his sound films stage a dynamic of stoicism and loquaciousness that produces a complex and compelling web of power and desire. The artist has summed the binary up succinctly: ‘Talk ers are doing something. Beaut ies are being something’ 1 and, as Viva explained about this tendency in reference to Warhol’s 1968 Lonesome Cowboys : ‘Men seem to have trouble doing these nonscript things. It’s a natural 5_ 10 2 for women and fags – they ramble on. But straight men can’t.’ The brilliant writer and progenitor of the Theatre of the Ridiculous Ronald Tavel’s first two films as scenarist for Warhol are paradigmatic in this regard: Screen Test #1 and Screen Test #2 (both 1965). In Screen Test #1 , the performer, Warhol’s then lover Philip Fagan, is completely closed off to Tavel’s attempts at spurring him to act out and to reveal himself. 3 According to Tavel, he was so up-tight. He just crawled into himself, and the more I asked him, the more up-tight he became and less was recorded on film, and, so, I got more personal about touchy things, which became the principle for me for the next six months. 4 When Tavel turned his self-described ‘sadism’ on a true cinematic superstar, however, in Screen Test #2 , the results were extraordinary. -
Major Exhibition Poses Tough Questions and Reasserts Fluxus Attitude
Contact: Alyson Cluck 212/998-6782 or [email protected] Major Exhibition Poses Tough Questions And Reasserts Fluxus Attitude Fluxus and the Essential Questions of Life and Fluxus at NYU: Before and Beyond open at NYU’s Grey Art Gallery on September 9, 2011 New York City (July 21, 2011)—On view from September 9 through December 3, 2011, at New York University’s Grey Art Gallery, Fluxus and the Essential Questions of Life features over 100 works dating primarily from the 1960s and ’70s by artists such as George Brecht, Robert Filliou, Ken Friedman, George Maciunas, Yoko Ono, Nam June Paik, Mieko Shiomi, Ben Vautier, and La Monte Young. Curated by art historian Jacquelynn Baas and organized by Dartmouth College’s Hood Museum of Art, the exhibition draws heavily on the Hood’s George Maciunas Memorial Collection, and includes art objects, documents, videos, event scores, and Fluxkits. Fluxus and the Essential Questions of Life is accompanied by a second installation, Fluxus at NYU: Before and Beyond, in the Grey’s Lower Level Gallery. Fluxus—which began in the 1960s as an international network of artists, composers, and designers―resists categorization as an art movement, collective, or group. It also defies traditional geographical, chronological, and medium-based approaches. Instead, Fluxus participants employ a “do-it-yourself” attitude, relating their activities to everyday life and to viewers’ experiences, often blurring the boundaries between art and life. Offering a fresh look at Fluxus, the show and its installation are George Maciunas, Burglary Fluxkit, 1971. Hood designed to spark multiple interpretations, exploring Museum of Art, Dartmouth College, George Maciunas Memorial Collection: Gift of the Friedman Family; the works’ relationships to key themes of human GM.986.80.164. -
Ken Friedman: 92 Events 02.06.20 – 16.08.20 the Distance from the Sentence to Your Eyes Is My Sculpture
Ken Friedman: 92 Events 02.06.20 – 16.08.20 The distance from the sentence to your eyes is my sculpture. Ken Friedman 92 Events presents works spanning six decades by American-born Swedish Fluxus artist Ken Friedman. Friedman produces conceptual, action-oriented, language-based works that attach themselves to daily life and challenge the idea of an artwork as a unique object. This exhibition was conceived by the artist and Copenhagen- based art historian Peter van der Meijden. Adam Art Gallery is the first venue for this project. The exhibition will tour globally over the coming years. Ken Friedman joined Fluxus in 1966 as the youngest member, invited by George Maciunas, co-founder of the international group. In the ten years before joining Fluxus, Friedman did not call these works ‘art’. It was with the encouragement of Maciunas that Friedman began to notate his works as scores. The earliest scores in this series are dated with the year he conceived the idea. Friedman conceived the first work in 1956, when he was six. It encourages readers to ‘Go to a public monument on the first day of spring’ to clean it thoroughly without any public announcement. Friedman’s playful and idiosyncratic approach has remained remarkably consistent. The most recent work in the series, written in 2019, presciently posits the idea of an exhibition which is closed and locked for the duration of its presentation, with a sign announcing: ‘There is a wonderful exhibition inside. You are not allowed to see it’. For Friedman, the conditions of the exhibition are as important as what we might think of as the work itself. -
Fluxus: the Is Gnificant Role of Female Artists Megan Butcher
Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College Summer 7-2018 Fluxus: The iS gnificant Role of Female Artists Megan Butcher Follow this and additional works at: https://digitalcommons.pace.edu/honorscollege_theses Part of the Contemporary Art Commons, and the Other History Commons Recommended Citation Butcher, Megan, "Fluxus: The iS gnificant Role of Female Artists" (2018). Honors College Theses. 178. https://digitalcommons.pace.edu/honorscollege_theses/178 This Thesis is brought to you for free and open access by the Pforzheimer Honors College at DigitalCommons@Pace. It has been accepted for inclusion in Honors College Theses by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. Abstract The Fluxus movement of the 1960s and early 1970s laid the groundwork for future female artists and performance art as a medium. However, throughout my research, I have found that while there is evidence that female artists played an important role in this art movement, they were often not written about or credited for their contributions. Literature on the subject is also quite limited. Many books and journals only mention the more prominent female artists of Fluxus, leaving the lesser-known female artists difficult to research. The lack of scholarly discussion has led to the inaccurate documentation of the development of Fluxus art and how it influenced later movements. Additionally, the absence of research suggests that female artists’ work was less important and, consequently, keeps their efforts and achievements unknown. It can be demonstrated that works of art created by little-known female artists later influenced more prominent artists, but the original works have gone unacknowledged. -
The Complete Gastric Band Guide ©
The Sydney Institute for Obesity Surgery 1 The Complete Gastric Band Guide © Success or Failure: Weight loss surgery relies on the right patient, the right surgeon with the correct state of the art surgical technique and patient follow up. This applies to all weight loss surgery. However you are also an important link in the chain. If your operation is technically correct, you are the reason for your success or failure. Ultimately, it depends upon you. The Definition of Success: We all tend to think about success in “weight loss” in terms of the amount of weight lost. Certainly your carers tend to be focussed on weight. This is partly because weight is an easily measurable and reproducible entity. But weight can be a poor indicator of your progress overall. It is far better to think about weight loss in terms of how your size changes, how your shape changes, your well being and quality of life and biochemical markers derived from blood tests. Weight is just one part of all these indicators and they may all be independent of weight. The best weight loss goals therefore are about quality of life, biochemical milestones (i.e. the resolution of fatty liver, remission of diabetes) and simply moving from a larger clothing size to a smaller one. To focus on weight alone neglects all the other important improvements in your being. If your weight does not drop appreciably but your clothes are looser and you are more mobile, something good has happened to your body and should not be discounted given a minimal weight loss. -
PDF (Fluxus Reader 3A Chapter 6 Saper)
EDITED BY KEN E D M A N #.». ACADEMY EDIT I THE FLUXUS READER Edited by KEN FRIEDMAN AI ACADEMY EDITIONS First published in Great Britain in 1998 by ACADEMY EDITIONS a division of John Wiley & Sons, Baffins Lane, Chichester, West Sussex P019 1UD Copyright © 1998 Ken Friedman. All Rights Reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except under the terms of the Copyright. Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London, UK, W1P 9HE, without the permission in writing of the publisher and the copyright holders. Other Wiley Editorial Offices New York • Weinheim • Brisbane • Singapore • Toronto ISBN 0-471-97858-2 Typeset by BookEns Ltd, Royston, Herts. Printed and bound in the UK by Bookcraft (Bath) Ltd, Midsomer Norton Cover design by Hybert Design CONTENTS Acknowledgemen ts iv Ken Friedman, Introduction: A Transformative Vision of Fluxus viii Part I THREE HISTORIES O)ven Smith, Developing a Fluxable Forum: Early Performance and Publishing 3 Simon Anderson, Pluxus, Fluxion, Flushoe: The 1970s 22 Hannah Higgins, Fluxus Fortuna 31 Part II THEORIES OF FLUXUS Ina Blom. Boredom and Oblivion 63 David T Doris, Zen Vaudeville: A Medi(t)ation in the Margins of Pluxus 91 Craig Saper, Fluxus as a Laboratory 136 Part III CRITICAL AND HISTORICAL PERSPECTIVES Estera Milman, Fluxus History and Trans-History: Competing -
Diabetes Complications
Trusted Health Information from the National Institutes of Health ® MedlineNIHFall 2012 Plusthe magazine Preventing & Managing Diabetes Complications Movie and TV Star Anthony Anderson Educating About the Dangers of Diabetes Anthony Anderson and Tempestt Bledsoe star in the new NBC situation comedy, Guys with Kids. Plus! Time to Get Your Steady Advances in Turning the Tide Annual Flu Shot Cystic Fibrosis Research Against AIDS Protect yourself and others NFL star Boomer Esiason and son Elton John and NIH work to end during this flu season16 Gunnar fight CF together4 the AIDS pandemic 2 A publication of the NATIONAL INSTITUTES OF HEALTH and the FRIENDS of the NATIONAL LIBRARY OF MEDICINE FRIENDS OF THE NATIONAL LIBRARY OF MEDICINE qOutgoing FNLM Chairman and Presi- dent Donald West King, MD, received a standing ovation for his many services to FNLM and the Library over the years. 2012 In mid-September, the FriendsAwards held its annual Awards GalaGala to celebrate advances Event! in public health, medicine, and health communications, as well as the individuals and organizations dedicated to these causes. The 2012 Gala brought together representatives from the public, professional, and business sectors in health care to show their support for the Library. Sincerely, Glen P. Campbell, Chairman Friends of the National Library of Medicine uGlen Campbell, FNLM Chairman, receives the Distinguished Health Communications Award for Karen Hunter, Senior Vice President Global Academic & Customer Relations, Elsevier, who was unable to attend. Hunter’s award recognized her for leadership in electronic delivery of information to libraries. Photos: Michael Spencer, NIH Michael Spencer, Photos: pAlfred Sommer (left), MD, MHS, Professor, Johns Hopkins Bloomberg pThe Honorable John Edward Porter (right), former School of Public Health, receives the pAnna Ercoli Schnitzer (center), MLIS, Disabilities Distinguished Medical Science Award Librarian, Taubman Health Sciences Library, University of U.S. -
Red Fox Press and Post-Fluxus Artistic Practices Research Thesis
A Post-Fluxus Island: Red Fox Press and Post-Fluxus Artistic Practices Research Thesis Presented in partial fulfillment of the requirements for graduation with research distinction in Comparative Studies in the undergraduate colleges of The Ohio State University by Elliott Jenkins The Ohio State University April 2016 Project Advisor: Philip Armstrong, Department of Comparative Studies Second Advisor: Kris Paulsen, Department of History of Art 2 Abstract The Fluxus paradigm, which took shape in the 1960s, is a movement that was founded on an experimental artistic lifestyle. Artists sought to synthesize art and life and emphasized intermedia artistic practices that subverted the mainstream art world through creating art that was simple, playful, and sometimes created by chance. Fluxus has become an extremely enigmatic artistic movement over time and has caused some scholars to concretize it and drain its life force. Other artists and scholars believe that Fluxus is still fully alive today - just iterated in a different form. This is the crux of Fluxus thought: is it ever changing and constantly adapting to contemporary culture. While I do not contend that this key characteristic is false, I assert that the key aspects of Fluxus ideologies in the twenty-first century can also open up new avenues of interpretation. I also wish to introduce the idea that Fluxus has inspired a relatively new artistic practice - a “post-Fluxus” practice. Francis Van Maele, Antic-Ham, and their Red Fox Press are the epitome of this “post- Fluxus” mode of artistic practice. For Franticham, Fluxus is a touchstone for many of their publications. But they also go beyond that paradigm with their use of contemporary technology, the way in which they craft their global artistic community, and the way they view their place in the complex history of art. -
The Fluxus Performance Workbook, Opus 25 15 Published in 1990
the FluxusP erformanceW orkbook edited by Ken Friedman, Owen Smith and Lauren Sawchyn a P erformance Research e-publication 2002 the FluxusP erformanceWorkbook introduction to the fortieth anniversary edition The first examples of what were to become Fluxus event scores date back to John Cage's famous class at The New School, where artists such as George Brecht, Al Hansen, Allan Kaprow, and Alison Knowles began to create art works and performances in musical form. One of these forms was the event. Events tend to be scored in brief verbal notations. These notes are known as event scores. In a general sense, they are proposals, propositions, and instructions. Thus, they are sometimes known as proposal pieces, propositions, or instructions. Publications, 2002 - The first collections of Fluxus event scores were the working sheets for Fluxconcerts. They were generally used only by the artist-performers who were presenting the work. With the birth of Fluxus publishing, however, collections of event scores soon came to take three forms. The first form was the boxed collection. These were individual scores written or printed on cards. The , Performance Research e classic example of this boxed collection is George Brecht's Water Yam. A second format was the book or Sawchyn pamphlet collection of scores, often representing work by a single artist. Yoko Ono's Grapefruit is probably the best known of these collections. Now forgotten, but even more influential during the 1960s, were the small collections that Dick Higgins published in the Something Else Press pamphlet series under the Great Bear imprint. These small chapbooks contained work by Bengt af Klintberg, Alison Knowles, Nam June Paik, and many other artists working in the then-young Fluxus and intermedia traditions. -
Fluxus Reader By: Ken Friedman Edited by Ken Friedman ISBN: 0471978582 See Detail of This Book on Amazon.Com
The Fluxus Reader By: Ken Friedman Edited by Ken Friedman ISBN: 0471978582 See detail of this book on Amazon.com Book served by AMAZON NOIR (www.amazon-noir.com) project by: PAOLO CIRIO paolocirio.net UBERMORGEN.COM ubermorgen.com ALESSANDRO LUDOVICO neural.it Page 1 PART I THREE HISTORIESPART I THREE HISTORIESPART I THREE HISTORIES Page 2 Page 3 Ben Patterson, Terry Reilly and Emmett Williams, of whose productions we will see this evening, pursue purposes already completely separate from Cage, though they have, however, a respectful affection.' After this introduction the concert itself began with a performance of Ben Patterson's Paper Piece. Two performers entered the stage from the wings carrying a large 3'x15' sheet of paper, which they then held over the heads of the front of the audience. At the same time, sounds of crumpling and tearing paper could be heard from behind the on-stage paper screen, in which a number of small holes began to appear. The piece of paper held over the audience's heads was then dropped as shreds and balls of paper were thrown over the screen and out into the audience. As the small holes grew larger, performers could be seen behind the screen. The initial two performers carried another large sheet out over the audience and from this a number of printed sheets of letter-sized paper were dumped onto the audience. On one side of these sheets was a kind of manifesto: "PURGE the world of bourgeois sickness, `intellectual', professional & commercialised culture, PURGE the world of dead art, imitation, artificial art, abstract art, illusionistic Page 4 [...] FUSE the cadres of cultural, social & political revolutionaries into united front & action."2 The performance of Paper Piece ended as the paper screen was gradually torn to shreds, leaving a paper-strewn stage.