Note to the Secretary-General Tonight You and Mrs. Annan Have
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Federal Communications Commission DA 10-1348
Federal Communications Commission DA 10-1348 Availability of Additional Share of Retail Monthly Monthly Charge in Broadband Service Broadband Service Installation Charges Broadband Bundled Length of Broadband Service Competition Fixed Type of Broadband Speed Foreign Charge (in USD, PPP Modem Rental Promot-ional Country Offerings Name / Offerings (Connection) including Line part of Double Play/ Service Usage limit Broadband Provider's URL Provider Status Broadband Technology (download/ upload) Currency Foreign (Purchasing Power Charge Price Description (Community or Charge Rental/ Triple Play ? Contract Access Market* Currency) Parity) National Level) Leasing Charge Bigpond Cable Standard Double play/ full service Australia Telstra Bigpond Incumbent 48% Cable 8Mbps/128kbps Aus Dollar $29.95 $20.40 Self installation $15.75 12 months No 200 MB 200 MB phone http://www.bigpond.com/home Bigpond Cable Standard Double play/ full service Telstra Bigpond Incumbent Cable 8Mbps/128kbps Aus Dollar $39.95 $27.21 Self installation $15.75 12 months No 400 MB 400 MB phone Double play/ full service Telstra Bigpond Incumbent Bigpond Liberty 12 GB Cable 8Mbps/128kbps Aus Dollar $59.95 $40.84 Self installation $15.75 12 months No 12 GB phone Double play/ full service Telstra Bigpond Incumbent Bigpond Liberty 25 GB Cable 8Mbps/128kbps Aus Dollar $79.95 $54.46 Self installation $15.75 12 months No 25 GB phone Up to 30 Mbps in Bigpond Cable Extreme Sydney and Melbourne Double play/ full service Telstra Bigpond Incumbent Cable Aus Dollar $39.95 $27.21 Self installation -
Documenta 8 (Küssende Fernseher) Von Ralph Hammerthaler
documenta 8 (Küssende Fernseher) von Ralph Hammerthaler Ende Oktober 1981 war das proT erstmals in einer großen Ausstellung zu sehen. Für ein Theater mag das ungewöhnlich erscheinen, nicht so aber für das proT, denn Sagerer fühlte sich bildenden Künstlern oft enger verbunden als Theatermachern. Schon sein früher Komplize von Hündeberg war Maler. Nikolai Nothof und Karl Aichinger, beide als Schauspieler im Ensemble, fingen in den 1970er Jahren an zu malen und stellten ihre Bilder im Kellertheater aus. Bei Aktionsabenden des proT lösten sich die Grenzen der Genres ohnehin auf. Dafür, dass sich die Kontakte zur Kunstszene vertieften, sorgte nun Brigitte Niklas. In der Künstlerwerkstatt Lothringer Straße 13 zeigten zwölf Münchner Künstler Videoinstallationen, darunter auch Barbara Hamann und Wolfgang Flatz. Die Installation des proT erwies sich als aufwändig, denn sie konnten nicht anders, als mit dem ganzen Theater anzurücken. Ihr Kunst-Video hing an der Produktion Münchner Volkstheater oder umgekehrt: Das Theater hing am Kunst-Video, umso mehr, als es davon seine Einsätze bezog. Wie oben erwähnt, führte bei diesem Stück das Video Regie. Im Gespräch mit dem Magazin Videokontakt antwortete Sagerer auf die Frage nach der Grenze zwischen den Genres: „Alles, was ich mache, fällt unter den Begriff ‚Theater‘. Das Theater ist die einzige unbegrenzte Kunst, vom Material her eigentlich überhaupt nicht definierbar. Alles, was unter dem Namen ‚Theater‘ passiert, wird Theater. Wenn man Film im Theater einsetzt, ist es kein Film mehr, sondern Theater. Wenn man Theater filmt, wird es immer ein Film. Die Erfahrung ‚Theater‘ kann der Film nicht vermitteln, während Film, Fernsehen und Musik Bestandteile der Erfahrung ‚Theater‘ sein können.“ Und befragt nach seinen Plänen mit Video im Theater, sagte er: „Wir wollen in Zukunft mehr Monitore einsetzen, die von jedem Punkt des Raums aus sichtbar sind. -
TV Channel Distribution in Europe: Table of Contents
TV Channel Distribution in Europe: Table of Contents This report covers 238 international channels/networks across 152 major operators in 34 EMEA countries. From the total, 67 channels (28%) transmit in high definition (HD). The report shows the reader which international channels are carried by which operator – and which tier or package the channel appears on. The report allows for easy comparison between operators, revealing the gaps and showing the different tiers on different operators that a channel appears on. Published in September 2012, this 168-page electronically-delivered report comes in two parts: A 128-page PDF giving an executive summary, comparison tables and country-by-country detail. A 40-page excel workbook allowing you to manipulate the data between countries and by channel. Countries and operators covered: Country Operator Albania Digitalb DTT; Digitalb Satellite; Tring TV DTT; Tring TV Satellite Austria A1/Telekom Austria; Austriasat; Liwest; Salzburg; UPC; Sky Belgium Belgacom; Numericable; Telenet; VOO; Telesat; TV Vlaanderen Bulgaria Blizoo; Bulsatcom; Satellite BG; Vivacom Croatia Bnet Cable; Bnet Satellite Total TV; Digi TV; Max TV/T-HT Czech Rep CS Link; Digi TV; freeSAT (formerly UPC Direct); O2; Skylink; UPC Cable Denmark Boxer; Canal Digital; Stofa; TDC; Viasat; You See Estonia Elion nutitv; Starman; ZUUMtv; Viasat Finland Canal Digital; DNA Welho; Elisa; Plus TV; Sonera; Viasat Satellite France Bouygues Telecom; CanalSat; Numericable; Orange DSL & fiber; SFR; TNT Sat Germany Deutsche Telekom; HD+; Kabel -
Kiki Smith : Natural Etchings [Text Byjudith B
Kiki Smith : natural etchings [text byJudith B. Hecker] Author Smith, Kiki, 1954- Date 2003 Publisher The Museum of Modern Art, Department of Prints and Illustrated Books Exhibition URL www.moma.org/calendar/exhibitions/133 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art Kiki Smith Natura I Etchings In the second half of the 1990s the focus of Kiki Smith's Smith's first etchings of animals were based on printmaking shifted from the human body to the bodies museum specimens and are characterized by simple of birds and animals, and to exploring humanity's rela linearity and powerful morbidity, as in the multipart tionship with other earthly creatures. She often sketched etchings Destruction of Birds (1997, dated 1998) and directly from dead and stuffed specimens (some deli White Mammals (1998), where the bodies seem to berately sought out in natural history museums, some dangle in the space of each sheet. She then moved on encountered in ordinary life), depicting them isolated on to more richly described representations. To achieve blank backgrounds that directed attention to their form the detail and realism of Fawn (2001), Smith built up and symbolic resonance rather than to their environ the image slowly on the metal etching plate, gradually ment. Her regard for the life of animals was matched developing the varying textures of the animal's fur, the by an appreciation of the aesthetic qualities of their tufts on its chest, and the position of its limbs. -
Press Release Kiki Smith. Hearing You with My Eyes 9.10.2020 – 10.1.2021
Page 1 of 16 Press release Lausanne, 8 October 2020 Kiki Smith. Hearing You with My Eyes (9.10.2020 – 10.1.2021) Kiki Smith. Hearing You with My Eyes 9.10.2020 – 10.1.2021 Contents 1. Press release 2. Media photographs 3. Artist’s biography 4. Excerpts from the catalogue 5. Public engagement– Public outreach services 6. Museum services: Book and Giftshop, Le Nabi Café-restaurant 7. MCBA Partners and sponsors Contact: Aline Guberan Communication and marketing manager 079 179 91 03 [email protected] Florence Dizdari Press coordinator 079 232 40 06 [email protected] Page 2 of 16 Press release Lausanne, 8 October 2020 Kiki Smith. Hearing You with My Eyes (9.10.2020 – 10.1.2021) 1. Press release Exploring the body and the senses: a major Swiss show on the work of Kiki Smith The work of the American artist Kiki Smith is the featured subject of a major temporary show this fall at the MCBA Musée cantonal des Beaux- Arts of Lausanne. Boasting a selection of nearly one hundred works, some of which are on display for the very first time in Europe, this survey covers almost four decades of artmaking, focusing on a theme that is central to her output yet has been little explored until now, i.e., sensory perception. Devoted to the work of Kiki Smith (born 1954), the show Hearing You with My Eyes is a rare opportunity for the general public to get to know the major themes that run through the American artist’s output, themes that spring from her observation of the human body. -
Material Worlds
09.03.2011 i i MATERiAL WORLDS Material Worlds ii Plaster, scrim, wire netting, ink & oil on paper, mounted timber, cement, paint, polyester on board, gloss paint, MDF, resin, enamel paint, crushed white collage, emulsion paint, melted marble, carbonized crushed olive gramophone records, tissue paper, stone, silicone, polycarbonate, PVA, water, perspex cover, ink aluminium, acrylic on textile, toys, marker, acrylic paint, hybrid pen, wire, ink, acrylic, fabric, collage foil on paper, ceramic, brass tray, on canvas over panel, silkscreen knives, struck copper, watercolour on canvas, ceramic, industrial on plaster, metal, test tubes, archaeology, embroidery on photo, string, mirrored cast, acrylic porcelain with glaze enamel, pewter sheet, cement fondu reinforced spire, C-print, ink, oil, canvas, with metal and fibreglass, blown porcelain found objects, ceramic glass, oil and spraypaint on canvas, with decals, pen on paper, sugar 10,000 Volts passed through found paper, eyeshadow, thread, ink on board, recycled paper, 120 grade paper, 18 carat gold leaf, soy based sandpaper, 40 gsm pergamijn ink, pigment print, rag paper, transparent paper, cast-coated cardboard, tape, filler, varnish, paper, book cloth, wood veneer, plexiglas tube, poster paper, colour woven polypropylene fabric, stickers, Wii board, resin, vinyl, untreated pulp board, gloss grey cellulose, gouache, watercolour, pigment foil, grease proof paper, coloured pencil on paper, relief lithographic ink, cold-binding glue Material Worlds Auction Catalogue Wednesday 9 March 2011 -
In Between Tel Aviv Museum of Art the Andy Prize for Contemporary Crafts
Attai Chen: In Between Tel Aviv Museum of Art The Andy Prize for Contemporary Crafts Attai Chen: In Between Jeweler, recipient of the 2014 Andy Prize The Agnes and Beny Steinmetz Wing for Architecture and Design, galleries 1, 2 Herta and Paul Amir Building May 22 — October 25, 2014 Judges: Nirit Nelson, Ido Bruno, Rivka Saker, Meira Yagid-Haimovici Andy Prize Steering Committee: Janet Aviad, Rivka Saker Exhibition Curator: Meira Yagid-Haimovici Associate curator: Maya Vinitsky Assistant curator: Sharon Gil Design and production: Ben Hyndman Graphic design: Michal Sahar Catalogue Editor: Meira Yagid-Haimovici Art direction, design and production: Michal Sahar Text editing and English-Hebrew translation: Daphna Raz Hebrew-English translation and and English editing: Talya Halkin German-Hebrew translation (Künzli): Gaby Wallenstein German-English translation: Ursula Wokoeck Photos: Roni Cnaani; additional photos: Attai Chen (pp. 21, 40, 92, 101, 105); portrait photo: Carina Chitsaz-Shoshtary Models: Matan Glazovsky, Katia Tolkovsky Plates, printing and binding: A.R. Printing Ltd., Tel Aviv © Tel Aviv Museum of Art, cat. 9/2014 ISBN 978-965-539-090-2 Foreword 124 In Between: A Conversation with Attai Chen Meira Yagid-Haimovici 122 Between Species: Representations of Hybridity in Myth and Religion Amir Or 110 On the Outskirts Susan Cohn 104 “I am Living Between Two Worlds”: Thoughts on the Work of the Jewelry Artist Attai Chen Rüdiger Joppien 100 The Bird that Wanted to be a Cloud Otto Künzli 96 Biographical Notes 90 125 מקטרת ו–AT23, סיכה, 2013 עץ, צבע, כסף, קרן, פלסטיק, ברזל, פליז, נחושת, פלדת אלחלד ואלומיניום, 30×80×120 מ“מ Pipe and AT23, brooch, 2013 Wood, paint, silver, horn, plastic, iron, brass, copper, stainless steel, and aluminum, 120×80×30 mm 124 We are proud to award the 2014 Andy Prize for Contemporary Crafts. -
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Ono Shareholders Reach an Agreement for Sale to Vodafone
Investor release Ono shareholders reach an agreement for sale to Vodafone Madrid – March 17, 2014 The shareholders of Grupo Corporativo Ono S.A. (“Ono”) agreed today to sell all of the shares in Ono to Vodafone. Ono has become the leading high-speed internet provider in Spain; and, thanks to its differentiated product offering and complementary mobile strategy, has a high penetrations of both bundled and convergent subscribers. Ono has also invested €7 billion in building one of the most modern cable and fiber networks in Europe. Deutsche Bank acted as lead financial advisor to the shareholders of Ono. BoA Merrill Lynch, JPMorgan and UBS were co-advisors. Weil, Gotshal & Manges acted as legal advisors and Ernst & Young provided accounting and financial advice. Final completion of the transaction is subject to the approval of the relevant competition authorities. About Ono Ono is the largest alternative provider of fixed telecommunication services and a fast growing provider of mobile telecommunication services in Spain (based on CNMC data as of September 30, 2013). Through its proprietary state-of-the-art network, Ono offers its services to 7.2 million homes across Spain, including the nine largest cities, at the highest speeds in Spain (up to 200 Mbps for individuals and up to 500 Mbps for businesses). Ono is currently the only operator with a fiber network covering most of Spain. As of December 31, 2013, Ono provided over 5.2 million retail services to 1.9 million retail customers in Spain. Ono believes continued growth is due to its new commercial strategy based on super high-speed data delivery, convergent telecommunications products and advanced TV services, particularly TiVo, with 323 thousand subscribers at the end of 2013. -
Feminist Perspectives on Curating
Feminist perspectives on curating Book or Report Section Published Version Richter, D. (2016) Feminist perspectives on curating. In: Richter, D., Krasny, E. and Perry, L. (eds.) Curating in Feminist Thought. On-Curating, Zurich, pp. 64-76. ISBN 9781532873386 Available at http://centaur.reading.ac.uk/74722/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Published version at: http://www.on-curating.org/issue-29.html#.Wm8P9a5l-Uk Publisher: On-Curating All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online ONN CURATING.org Issue 29 / May 2016 Notes on Curating, freely distributed, non-commercial Curating in Feminist Thought WWithith CContributionsontributions bbyy NNanneanne BBuurmanuurman LLauraaura CastagniniCastagnini SSusanneusanne ClausenClausen LLinaina DzuverovicDzuverovic VVictoriaictoria HorneHorne AAmeliamelia JJonesones EElkelke KKrasnyrasny KKirstenirsten LLloydloyd MMichaelaichaela MMeliánelián GGabrielleabrielle MMoseroser HHeikeeike MMunderunder LLaraara PPerryerry HHelenaelena RReckitteckitt MMauraaura RReillyeilly IIrenerene RevellRevell JJennyenny RichardsRichards DDorotheeorothee RichterRichter HHilaryilary RRobinsonobinson SStellatella RRolligollig JJulianeuliane SaupeSaupe SSigridigrid SSchadechade CCatherineatherine SSpencerpencer Szuper Gallery, I will survive, film still, single-channel video, 7:55 min. Contents 02 82 Editorial It’s Time for Action! Elke Krasny, Lara Perry, Dorothee Richter Heike Munder 05 91 Feminist Subjects versus Feminist Effects: Public Service Announcement: The Curating of Feminist Art On the Viewer’s Rolein Curatorial Production (or is it the Feminist Curating of Art?) Lara Perry Amelia Jones 96 22 Curatorial Materialism. -
Documenta VIII
Findbuch documenta 8 Signatur des Bestandes: documenta archiv, AA, d08 Urheber des Findbuchs ist das documenta archiv. documenta archiv, AA, d08 Mappe 1 Presseausschnitte 1982 – 29.07.1986 Mappe 2 Presseausschnitte 22.08.1986 – 31.12.1986 Mappe 3 Presseausschnitte 01.01.1987 – 05.06.1987 Mappe 4 Presseausschnitte 06.06.1987 – 12.06.1987 Mappe 5 Presseausschnitte 13.06.1987 Mappe 6 Presseausschnitte 14.06.1987 – 30.06.1987 Mappe 7 Presseausschnitte 01.07.1987 – 14.07.1987 Mappe 8 Presseausschnitte 15.07.1987 – 31.07.1987 Mappe 9 Presseausschnitte 01.08.1987 – 31.08.1987 Mappe 10 Presseausschnitte 01.09.1987 – 30.09.1987 Mappe 11 Presseausschnitte ab 01.10.1987 Mappe 12 Presseausschnitte Ausland (alphabetisch geordnet nach Ländern) A – N Mappe 13 Presseausschnitte Ausland (alphabetisch geordnet nach Ländern) O – Z Mappe 14a Presseausschnitte zu Rahmenveranstaltungen 1986-1988 (thematisch geordnet) - Am Rande - Ecce Homo - etcetera Mappe 14b Presseausschnitte zu Rahmenveranstaltungen 1986-1988 (thematisch geordnet) - Gruppenkunstwerke - Kulturfabrik Salzmann - Kasseler Musiktage - Peter Rühmkorf „documenta-Schreiber“ - Theater Mappe 15 a Presseausschnitte Theater, Performance, Audiothek Mappe 15 b Liste Rundfunk und Fernsehbeiträge documenta archiv, AA, d08 Mappe 16 - Pressespiegel I + II (1986 – 05. 1987) - documenta-Pressestimmen “Ein Halbzeit-Service” Mappe 17 a verschiedene Pressespiegel Mappe 17 b verschiedene Pressespiegel Mappe 17 c verschiedene Pressespiegel Mappe 17 d Pressespiegel Ausland Mappe 18 a „Documenta press“ Information zur Documenta 8 Ausgaben: 0 (1986), 1, 2, 3, 4, 5 (1987) Mappe 18 b Zeitungen und Zeitschriften zur documenta 8 - PflasterStrand Nr. 264, 13.6.-26.6.1987 - Wolkenkratzer, Art Journal 4/87 (Juni/Juli/August) - Arte Nr. -
BARBARA LONDON Biography
The Museum off Modern Art BARBARA LONDON Barbara London, Associate Curator, Department of Film and Video, The Museum of Modern Art, who organized the exhibition VIDEO SPACES: EIGHT INSTALLATIONS, has been with the Museum since 1971. She has organized the exhibitions BILL VIOLA: THREE INSTALLATIONS (1987), MUSIC VIDEO: THE INDUSTRY AND ITS FRINGES (1985), B00KW0RKS (1977), and VIDEO FROM TOKYO TO FUKUI AND KYOTO (1979), as well as one-person shows of such artists as Laurie Anderson, Dan Graham, Jana Sterbak, and Nam June Paik. In 1975, the Museum, under Ms. London's supervision, established the Video Study Center. Since that time it has acquired over 800 independently produced videotapes and has assembled an archive of related historical and theoretical publications. Since 1987, Ms. London has been a Member of the Board of Trustees for the Merce Cunningham Dance Foundation and has been a panel member for the New York State Council on the Arts (1984-87) and the National Endowment for the Arts (1984-87), as well as having served on numerous international film and video festival juries. She has been a Commissioner for the Biennial Moving Image Exhibition, Centro de Arte Reina Sofia, Madrid (1990), the Tokyo Television Video Festival (1989), and Documenta 8 (1987), among others. Ms. London has been published extensively and is a frequent lecturer on video and multimedia. A native of New York, Ms. London received a B.A. degree from Hiram College, Ohio (1968) and a M.F.A. from New York University, Institute of Fine Arts (1972). On two separate sabbaticals (1988-89 and 1992-93), she studied art and technology in Japan.