58-14-2792D1.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

58-14-2792D1.Pdf OPERATOR'S MANUAL MANUEL de L'UTILISATEUR MANUAL del OPERADOR Cat. No. No de Cat. 2792-20 M18™ Radio/Charger Radio/Chargeur M18™ Radio/Cargador M18™ TO REDUCE THE RISK OF INJURY, USER MUST READ AND UNDERSTAND OPERATOR'S MANUAL. AFIN DE RÉDUIRE LE RISQUE DE BLESSURES, L'UTILISATEUR DOIT LIRE ET BIEN COMPRENDRE LE MANUEL DE L'UTILISATEUR. PARA REDUCIR EL RIESGO DE LESIONES, EL USUARIO DEBE LEER Y ENTENDER EL MANUAL DEL OPERADOR. 32) CHARGE IN A WELL VENTILATED AREA. • Connect the equipment into an outlet on a circuit Do not block charger vents. Keep them clear to different from that to which the receiver is con- IMPORTANT SAFETY INSTRUCTIONS allow proper ventilation. Do not allow smoking nected. RADIO SAFETY 19) Use battery operated radio only with specifi - cally designated battery packs. Use of any or open fl ames near a charging battery pack. • Consult the dealer or an experienced radio/TV other batteries may create a risk of fi re. Vented gases may explode. technician for help. WARNING 33) MAINTAIN CHARGER CORD. When unplug- 1) Read these instructions. 20) When battery pack is not in use, keep it away from other metal objects like: paper clips, ging charger, pull plug rather than cord to SPECIFICATIONS 2) Keep these instructions. reduce the risk of damage to the electrical plug 3) Heed all warnings. coins, keys, nails, screws, or other small AC Input DC Output * metal objects that can make a connection and cord. Never carry charger by its cord. Keep 4) Follow all instructions. cord from heat, oil and sharp edges. Make Cat. No. Volts Amps Volts Amps 5) Do not use this apparatus near water. from one terminal to another. Shorting the 2792-20 120 2.1 18 3.5 battery terminals together may cause sparks, sure cord will not be stepped on, tripped over 6) Clean only with dry cloth. or subjected to damage or stress. Do not use * Charges MILWAUKEE M18™ Li-Ion battery 7) Do not block any ventilation openings. In- burns, or a fi re. 21) Avoid body contact with grounded surfaces charger with damaged cord or plug. Have a packs 48-11-1815, 48-11-1820, 48-11-1828 stall in accordance with the manufacturer’s damaged charger replaced immediately. and 48-11-1840. instructions. such as pipes, radiators, ranges and refrig- erators. There is an increased risk of electric 34) DO NOT USE AN EXTENSION CORD UN- 8) Do not install near any heat sources such LESS IT IS ABSOLUTELY NECESSARY. as radiators, heat registers, stoves, or other shock if your body is grounded. SYMBOLOGY 22) Do not use any adaptor plugs. Using the wrong, damaged or improperly wired apparatus (including amplifi ers that produce extension cord could result in the risk of fi re and heat.) 23) When operating a radio outside, use an Volts outdoor extension cord marked “W-A” or electrical shock. If an extension cord must be 9) Do not defeat the safety purpose of the polar- used, plug the charger into a properly wired 16 ized or grounding-type plug. A polarized plug “W”. These cords are rated for outdoor use and reduce the risk of electric shock. gauge or larger extension cord with pins that Direct Current has two blades with one wider than the other. are the same number, size and shape as the A grounding type plug has two blades and a 24) Never disassemble the radio or try to do any rewiring on the radio's electrical system. pins on the charger. Make sure that the exten- third grounding prong. The wide blade or the sion cord is in good electrical condition. third prong are provided for your safety. If the 25) Do not expose this apparatus to dripping Alternating Current and splashing, or place objects fi lled with 35) USE ONLY RECOMMENDED ATTACH- provided plug does not fi t into your outlet, MENTS. Use of an attachment not recom- consult an electrician for replacement of the liquids on this unit. 26) Maintain labels and nameplates. These carry mended or sold by the battery charger or Amps obsolete outlet. battery pack manufacturer may result in a risk 10) Protect the power cord from being walked on important information. If unreadable or missing, A contact a MILWAUKEE service facility for a free of fi re, electric shock or personal injury. or pinched particularly at plugs,convenience 36) UNPLUG CHARGER when not in use. Remove receptacles,and the point where they exit replacement. Hertz 27) This radio charger is designed to be pow- battery packs from unplugged chargers. from the apparatus. 37) TO REDUCE THE RISK OF ELECTRIC 11) Only use attachments/accessories specifi ed ered by a standard 120 volt AC line or AC generator. The radio can also be powered SHOCK, always unplug charger before clean- Double Insulated by the manufacturer. ing or maintenance. Use a Ground Fault Circuit 12) Use only with the cart, stand, tripod, bracket, using a MILWAUKEE M18™ Li-Ion battery pack. Radio charger must be plugged into an Interrupter (GFCI) to reduce shock hazards. or table specifi ed by the manufacturer, or 38) STORE YOUR BATTERY PACK AND CHAR- Presence of important operating sold with the apparatus. When a cart is appropriate receptacle. Do not attempt to use instructions. with any other voltage or power supply. GER in a cool, dry place. Do not store battery used, use caution when moving the cart/ pack where temperatures may exceed 120°F apparatus combination to avoid injury from CHARGER SAFETY (50°C) such as in direct sunlight, a vehicle or Caution. Risk of electric shock. tip-over. metal building during the summer. 13) Unplug this apparatus during lightning 28) SAVE THESE INSTRUCTIONS - THIS OPER- ATOR’S MANUAL CONTAINS IMPORTANT storms or when unused for long periods of Federal Communications Commission Federal Communications time. SAFETY AND OPERATING INSTRUCTIONS Commission FOR MILWAUKEE LI-ION M18™ RADIO WARNING: Changes or modifications 14) Refer all servicing to qualifi ed service per- to this unit not expressly approved by the party sonnel. Servicing is required when the ap- CHARGER. Underwriters Laboratories, Inc. 29) BEFORE USING, READ THIS OPERATOR’S responsible for compliance could void the user’s paratus has been damaged in any way,such authority to operate the equipment. United States and Canada as power-supply cord or plug is damaged, MANUAL, YOUR BATTERY PACK OPERA- TOR’S MANUAL, AND ALL LABELS ON THE This equipment has been tested and found to com- liquid has been spilled or objects have fallen ply with the limits for a Class B digital device, pursu- into the apparatus, the apparatus has been BATTERY PACK AND RADIO CHARGER. 30) CAUTION - TO REDUCE THE RISK OF ant to Part 15 of the FCC Rules. These limits are exposed to rain or moisture, does not oper- designed to provide reasonable protection against GROUNDING ate normally, or has been dropped. INJURY, CHARGE MILWAUKEE LITHIUM- ION PACKS ONLY IN THEIR MILWAUKEE harmful interference in a residential installation. This Double Insulated Radios: 15) WARNING To reduce the risk of fi re or elec- equipment generates, uses and can radiate radio Radios with Two Prong Plugs tric shock, do not expose this apparatus to LITHIUM-ION CHARGER. Other types of char- gers may cause personal injury or damage. frequency energy and, if not installed and used Radios marked “Double Insulated” do not require rain or moisture. in accordance with the instructions, may cause grounding. They have a special double insula- 16) Only plug power supply into readily ac- Battery pack and charger are not compatible with V™-technology or NiCd systems. Do not harmful interference to radio communications. tion system which satisfi es OSHA requirements cessible outlet to allow the appliance to be However, there is no guarantee that interference will and complies with the applicable standards of unplugged quickly. wire a battery pack to a power supply plug or car cigarette lighter. Battery packs will be not occur in a particular installation. If this equip- Underwriters Laboratories, 17) Only operate this apparatus in a well- ment does cause harmful interference to radio or Inc., the Canadian Stan- ventilated area. permanently disabled or damaged. 31) AVOID DANGEROUS ENVIRONMENTS. Do television reception, which can be determined by dard Association and the 18) A battery operated radio with integral bat- turning the equipment off and on, the user is en- National Electrical Code. teries or a separate battery pack must be not charge battery pack in rain, snow, damp or wet locations. Do not use battery pack or charger couraged to try to correct the interference by one Double Insulated radios recharged only with the specifi ed charger or more of the following measures: may be used in either of for the battery. A charger that may be suitable in the presence of explosive atmospheres (gas- eous fumes, dust or fl ammable materials) be- • Reorient or relocate the receiving antenna. the 120 volt outlets shown for one type of battery may create a risk of fi re • Increase the separation between the equipment in Figures A and B. when used with another battery. cause sparks may be generated when inserting Fig. A Fig. B or removing battery pack, possibly causing fi re. and receiver. 2 3 FUNCTIONAL DESCRIPTION EXTENSION CORDS Inserting/Removing Battery Pack 1. Open the battery bay cover. Double insulated tools can use either a two or 2. To insert the battery pack, slide it into the 1. Auxiliary compartment latch 3 2 1 three wire extension cord. As the distance from the battery bay. supply outlet increases, you must use a heavier 3.
Recommended publications
  • A Retrospective of Sculpture by CLOSE PROXIMITY: Neil Goodman
    PRESENTS CLOSE PROXIMITY: A Retrospective of Sculpture by Neil Goodman Contents Introduction ............................. 10 Foreword ..................................19 Artist’s Statement ..................... 33 PRESENTS Interview ................................. 38 Neil Goodman Biography .......... 48 CLOSE PROXIMITY: Artwork Plates ......................... 50 A Retrospective of Sculpture by Founded in 1981 with the mission of “making art a part of everyday life”, the Museum of Outdoor Arts (MOA) is a forerunner in the placement of site-specific sculpture in Colorado. Our art collection is located at public locations throughout the Denver metro area. From commercial office parks to botanic gardens, city parks and traditional sculpture gardens; art is placed to interpret space as Neil Goodman “a museum without walls.” MOA also curates indoor galleries and hosts world-class art exhibitions and educational programs. Please visit our website to learn more about MOA. MOAonline.org MOA INDOOR GALLERY Follow Us @OutdoorArts 1000 Englewood Parkway, Second Floor, Englewood, CO 80110 Exhibiting September 15 – November 17, 2018 OUTDOOR INSTALLATION AT WESTLANDS PARK All photography by 5701 South Quebec Street, Greenwood Village, CO 80111 Heather Longway Exhibiting September 2018 – August 2019 2 CLOSE PROXIMITY: A Retrospective of Sculpture by Neil Goodman MOA, September 15 - November 17, 2018 3 4 CLOSE PROXIMITY: A Retrospective of Sculpture by Neil Goodman MOA, September 15 - November 17, 2018 5 6 CLOSE PROXIMITY: A Retrospective of Sculpture by Neil Goodman MOA, September 15 - November 17, 2018 7 8 CLOSE PROXIMITY: A Retrospective of Sculpture by Neil Goodman MOA, September 15 - November 17, 2018 9 INTRODUCTION retrospective exhibition. We all became fast the massive sculptures frame the landscape. friends and enthusiastic collaborators.
    [Show full text]
  • Revised for Release Feb. 19, 2016 Media Contact: Laura Carpenter
    625 C Street, Anchorage AK 99501 Revised for release Feb. 19, 2016 Media Contact: Laura Carpenter, (907) 929-9227, [email protected] SCHEDULE OF PROGRAMS AND EXHIBITIONS MARCH/APRIL 2016 *EDITORS PLEASE NOTE: This release replaces previous schedules. Download related media images at www.anchoragemuseum.org/media. Information provided below is subject to change. To confirm details and dates, call the Marketing and Public Relations Department at (907) 929-9227. News page 1 March Events page 2 April Events page 5 Planetarium page 6 Classes and Workshops page 8 Upcoming Exhibitions page 9 Current Exhibitions page 10 Partner Programs page 11 Visitor Information page 12 NEWS Artists invited to apply for exhibitions at the Anchorage Museum The Anchorage Museum is accepting submissions until March 10 for project proposals for solo and group exhibitions. The Anchorage Museum’s Patricia B. Wolf Solo Exhibition Series supports the work and development of Alaska artists, highlighting new bodies of work by individual artists. Alaska artists are invited to submit applications to a selection committee comprised of museum staff and art professionals. These solo art exhibitions will be scheduled starting in 2017. The Anchorage Museum is currently accepting proposals from Alaska residents and all tribally enrolled Alaska Natives. Works in all media will be considered. The Anchorage Museum is also accepting curatorial and group proposals featuring more than one artist. These proposals will not be part of the Patricia B. Wolf exhibition series but will be brought before the museum’s Exhibition Review Committee for consideration. Applicants for group and curatorial proposals do not need to be from Alaska, but successful proposals will support the museum’s mission to connect people, expand perspectives and encourage global dialogue about the North and its distinct environment.
    [Show full text]
  • Frank O'hara's Oranges : Poetry, Painters and Painting
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 8-2001 Frank O'Hara's oranges : poetry, painters and painting. Karen Ware 1973- University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Ware, Karen 1973-, "Frank O'Hara's oranges : poetry, painters and painting." (2001). Electronic Theses and Dissertations. Paper 1531. https://doi.org/10.18297/etd/1531 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. FRANK O'HARA'S ORANGES: Poetry, Painters and Painting By Karen Ware B.A., Spalding University, 1994 A Thesis Submitted to the Faculty of the Graduate School of the University of Louisville In Partial Fulfillment of the Requirements For the Degree of Master of Arts Department of English University of Louisville Louisville, Kentucky August 2001 FRANK O'HARA'S ORANGES: Poetry, Painters and Painting By Karen Ware B.A., Spalding University, 1994 A Thesis Approved on by the following Reading Committee: Thesis MrectO'r 11 DEDICATION This thesis is dedicated to Clare Pearce, because I promised, and to Kyle, through all things. III ACKNOWLEDGMENTS Many amazing individuals have taken a seat in the roller coaster construction of this long-awaited project.
    [Show full text]
  • Crisis Intervention Services
    CRISIS INTERVENTION SERVICES Milwaukee County Department of Health & Human Services MILWAUKEE COUNTY BEHAVIORAL HEALTH DIVISION Empowering safe, healthy and meaningful lives by ensuring that everyone gets connected to great behavioral health care. The Milwaukee County Behavioral Health Division (BHD) is the community’s connection point to vital, high-quality behavioral health care. We provide care and treatment to adults, adolescents, and children with mental illness, substance abuse disorders and co-occurring illnesses. It’s in our DNA to constantly and courageously push for better in our community because everyone in Milwaukee County deserves access to behavioral health services that can help them and change their lives. Because every single person deserves access to compassionate, quality care, no matter their ability to pay. milwaukee.gov/bhd Crisis Intervention Services connects residents who are experiencing a mental health or substance use crisis with meaningful services that can help them and change their lives. Milwaukee County Department of Health & Human Services The Crisis Line Is Available 24/7 414-257-7222 | Hearing-Impaired: 9-711 CRISIS INTERVENTION SERVICES PSYCHIATRIC CRISIS SERVICES (PCS)/OBSERVATION UNIT CRISIS RESOURCE CENTERS Crisis Line 414-257-7222 | Hearing-Impaired: 9-711 414-257-7260 | 9499 Watertown Plank Road 414-643-8778 | 2057 S. 14th St. 24 hours a day, 7 days a week 24 hours a day, 7 days a week 414-539-4024 | 5409 W. Villard St. 24 hours a day, 7 days a week OTHER IMPORTANT NUMBERS Individuals and family members who are facing a Personal crisis can happen at any time and without Through our partnership with the Milwaukee Center mental health or co-occurring crisis can speak with warning.
    [Show full text]
  • 113897 LASC Adventure Planner.Indd
    Louisiana Art & Science Museum 2019- 2020 Educational Programs for Pre-Kindergarten–Grade 12 An Educator’s Guide to School Group Programming ❑ V Join us and discover how art & science shape Page 2 each other, our Planning Your Visit lives, and the world. Pages 3 - 4 Planetarium Shows Pages 5 - 7 Journey through the cosmos in the Irene W. Classes Pennington Planetarium, explore a mummy’s tomb, Page 8 Interactive and encounter a 65-million-year-old Triceratops skull. Educational Theater Our school group experiences can be transformative for your students because programs Page 9 build on one another, bridge disciplines, and create connections between objects, ideas, and Guided Tours & experiences. Participate in hands-on classes, immerse yourselves in extraordinary stories under Guided Explorations the planetarium dome, and discover the world through interpretation of art and museum objects in our galleries. Page 10 Exhibitions & Galleries Layered experiences open new worlds at the Louisiana Art & Science Museum. Our programs spark big ideas and give meaning to what your students learn. We have designed them to meet Page 11 your educational expectations, address Hands-On Galleries curriculum requirements, and foster a Page 12 lifelong love of learning. Please consider our Discovery Dome Special Fall Offer sample itineraries of layered programming on page 13 of this Adventure Planner. Page 13 Free 30-minute Guided Tour! Museum Store & We offer a wide range of educational Schedule any class, planetarium show, or Sample Itineraries interactive educational theater for the Fall programs for students in Pre-Kindergarten 2019 semester, and your group will receive through grade 12, including: Page 14 School Reservation one free 30-minute Guided Tour or Hands- • Hands-On Classes (1.5 hours) Request Form On Gallery experience of your choice.
    [Show full text]
  • Operator's Manual M18 Porc M18™ Packout™ Radio +
    OPERATOR'S MANUAL Cat. No. M18 PORC M18™ PACKOUT™ RADIO + CHARGER WARNING To reduce the risk of injury, user must read and understand operator's manual. IMPORTANT SAFETYre sulINSTt in the risk oRUf fire andC eleTIctricalONS shock. Make CHARGER SAFETY sure that the extension cord is in good electrical 1) This appliance is not intended for use by condition. persons (including children) with reduced physical, sensory or mental capabilities, or 13) USE ONLY RECOMMENDED ATTACHMENTS. lack of experience and knowledge, unless Use of an attachment not recommended or sold they have been given supervision or by the battery charger or battery pack manufac- turer may result in a risk of fire, electric shock or instruction concerning use of the appliance personal injury. by a person responsible for their safety. 14) UNPLUG CHARGER when not in use. Remove 2) Children should be supervised to ensure that battery packs from unplugged chargers. they do not play with the appliance. 15) TO REDUCE THE RISK OF ELECTRIC SHOCK, 3) Do not recharge 'primary batteries' always unplug charger before cleaning or main- (non-rechargeable batteries) tenance. Use a Residual Current Device (RCD) 4) SAVE THESE INSTRUCTIONS - THIS OP- to reduce shock hazards. ERATOR’S MANUAL CONTAINS IMPORTANT 16) STORE YOUR BATTERY PACK AND CHARGER SAFETY AND OPERATING INSTRUCTIONS in a cool, dry place. Do not store battery pack FOR MILWAUKEE® LI-ION M18™ RADIO where temperatures may exceed 50°C (120°F) + CHARGER. such as in direct sunlight, a vehicle or metal build- 5) BEFORE USING, READ THIS OPERATOR’S ing during the summer.
    [Show full text]
  • Kindred and a Canticle for Leibowitz As Palimpsestic Novels Sue Vander Hook Minnesota State University - Mankato
    Minnesota State University, Mankato Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato Theses, Dissertations, and Other Capstone Projects 2011 Kindred and A Canticle for Leibowitz as Palimpsestic Novels Sue Vander Hook Minnesota State University - Mankato Follow this and additional works at: http://cornerstone.lib.mnsu.edu/etds Part of the History Commons, and the Modern Literature Commons Recommended Citation Vander Hook, Sue, "Kindred and A Canticle for Leibowitz as Palimpsestic Novels" (2011). Theses, Dissertations, and Other Capstone Projects. Paper 111. This Thesis is brought to you for free and open access by Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in Theses, Dissertations, and Other Capstone Projects by an authorized administrator of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. Kindred and A Canticle for Leibowitz as Palimpsestic Novels By Sue Vander Hook A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts In English Studies Minnesota State University, Mankato Mankato, Minnesota May 2011 Kindred and A Canticle for Leibowitz as Palimpsestic Novels Sue Vander Hook This thesis has been examined and approved by the following members of the thesis committee. John Banschbach, PhD, Chairperson and Advisor Anne O’Meara, PhD, Committee Member © Copyright by Sue Vander Hook April 8, 2011 All Rights Reserved An Abstract of the Thesis of Sue Vander Hook for the degree of Master of Arts in English Studies Presented April 8, 2011 Title: Kindred and A Canticle for Leibowitz as Palimpsestic Novels ________________________________________________________________________ This thesis is an investigation of a possible new categorization under the speculative fiction umbrella—a genre called palimpsestic novels.
    [Show full text]
  • Kindred Spirits: Stories of Sister Relationships
    KINDRED SPIRITS: STORIES OF SISTER RELATIONSHIPS MELANIE L. MAUTHNER INSTITUTE OF EDUCATION UNIVERSITY OF LONDON A DISSERTATION SUBM11 1ED TO LONDON UNIVERSITY FOR THE DEGREE OF DOCTOR IN PHILOSOPHY APRIL 1998 1 Abstract This sociological study explores the construction of feminine subjectivities within biological sister relationships - a neglected, socially invisible tie. The qualitative research design, data collection and analysis are embedded in feminist standpoint theory and feminist post-structuralism. Sociological work in auto/biography is applied as a method for collecting and analysing sister life histories. Four methods were used to collect data from 37 women from varied class and ethnic backgrounds across six decades aged between 6 and 50 in the UK: a questionnaire; an Ecomap; a Flowchart; and a semi-structured depth interview. Five elements of the bond were documented: contact patterns, types of tie, factors affecting these ties, comparisons with female friendship, and changes over time. The data from 29 interviews were analysed through case studies, the auto/biographical method and grounded theory. A typology of four strands was developed to analyse the women's narratives: best friendship, close and distant companionship, the positioned and shifting positions discourses. Contact patterns between sisters were associated with forms of female friendship: some ties recalled the intensity of best friendship; others, the positive and negative aspects of distance and separateness of close and distant companionship. Sister ties evolve over time, moving from best friendship during girlhood to companionship in womanhood, or vice-versa. Change stems from circumstances external to the tie, and from internal shifts. These external changes - oscillating patterns of dependence and independence - are linked to turning-points and life events: changing school, acquiring and losing girlfriends and boyfriends, leaving home, starting work, divorce, bereavement, and mothering.
    [Show full text]
  • Download Free
    ON YOUR MARKS A Nomadic Season of Events ON YOUR MARKS A Nomadic Season of Events Written by Marsha Bradfield Edited by Lucy Tomlins and Marsha Bradfield hink sculpture is the stuff you trip over while angling for a better simply called Art. We at PSC are unapologetic for our belief in sculpture as view of the paintings?1 Wrong. If the six events featured in this 1 This is a variation on multidimensional technique.5 For us this goes beyond both craft skills (i.e. 5 For a good discussion publication are any indication, it’s sculpture that’s tripping – the quote attributed to carving, casting, constructing) and life skills (including everyday activities on ‘technique’ as an American painter Ad alternative to ‘skill’ tripping out of its three-dimensional form as it wrestles with Reinhart, ‘Sculpture is like articulating ideas and networking). It also includes the values, principles in art education the conditions of its own possibility. What are the realities something you bump and commitments of sculpture as a specific sensibility preoccupied with see Dave Beech, Tof sculptural practice today? What does it take to not only survive but into when you back up the phenomenological experience of materiality and space. Gaining a better ‘Teaching the to look at a painting’. Unteachable,’ Art also thrive as sculptors? What are sculptural resources and what do we sense of sculptural technique within the broader context of contemporary Monthly 377 (June mean when we speak about ‘material,’ ‘skill,’ ‘ambition,’ ‘space to work’ and art and design is one of PSC’s main concerns as it aims to meet the needs 2014): 8-10.
    [Show full text]
  • Pangea United 22.03–9.06.2019
    Pangea United 22.03–9.06.2019 Muzeum Sztuki w Łodzi Więckowskiego 36 msl.org.pl It is more than likely […] that we are no longer the citizens of any one particular state. Deep down, we carry within us the countries that we were born in: this means their chaotic diversity, rivers and mountain ranges, forests and savannahs, the changing seasons, birdsong, insects, air, sweat and humidity, grime and city noises, laughter, disorder, and confusion. Achille Mbembe, Politiques de l’inimitié, 2016 [forthcoming in English, 2019, as Necropolitics] The history of Pangaea, or ‘Pangaia’, is the tale of a mega-continent that existed about 200-250 million years ago, combining all the currently separated continental blocks. The fragmented pieces of what was once Pangaea still bear the traces of that oneness. By making use of this geological metaphor, the Pangea United exhibition invites viewers to imagine our earthly community as one household, one home. Artists taking part in the exhibition ask a number of questions in order to spark our ecological imagination. How can prototypes created within the art world teach us responsibility for the often-unnoticed suffering inflicted on other bodies? Can the logic of industrial live- -stock production lead to a similarly objectifying production of human life? What is the environmental potential of humble actions, such as scrubbing floors with recycled fabric, seeding cress in public spaces, or organizing meetings where women can collectively discover the burdensome legacy of patriarchy? What can we learn from people who live in communities under threat of extinction, many of whom belong to so-called indigenous and folk cultures? What would be the value of goods, money and labour in a future devoid of all prospect of economic growth? Why will the borders, zones, and territories that divide the Earth forever remain fictitious and porous? The artworks presented in this exhibition form a kind of essay, a meditation on the matter of human attentiveness and the interdependence of life in all its forms.
    [Show full text]
  • Pop Departures and City Dwellers: Contemporary Art from India on a Guided Or Self–Guided Visit
    EDUCATOR RESOURCE GUIDE These materials are a resource for educators visiting the exhibition Pop Departures and City Dwellers: Contemporary Art from India on a guided or self–guided visit. Educators are encouraged to develop open–ended discussions that ask for a wide range of opinions and expressions from students. The projects in this guide connect to core curriculum subject areas and can be adapted for a variety of grade levels to meet Washington State, Common Core Standards of Learning, National Core Arts Standards as well as 21st Century Learning Skills. Lessons incorporate a range of subject areas like science, math, art, social studies, and geography. Related images for each project are included at the end of this guide. For assistance modifying these projects to fit your classroom, please email SAM’s Ann P. Wyckoff Teacher Resource Center (TRC) at [email protected]. Additional exhibition information can be found at seattleartmuseum.org/exhibitions/pop and seattleartmuseum.org/exhibitions/citydwellers. For more information about bringing a group to SAM please visit seattleartmuseum.org/educators or email [email protected]. “Pop Art looks out into the world. It doesn't look like a painting of something, it looks like the thing itself.” Roy Lichtenstein1 Looking to the everyday object as viable subject matter for art, Pop art reflects on Western concepts associated with consumer culture that challenge passive consumption and push for active questioning; product as subject matter. Linking identity and status to objects are not a new concept and can be found across cultures and time periods. Pop art brings to light how objects, media and celebrity shape individuals and cultures.
    [Show full text]
  • Jantar Mantar
    Jantar Mantar Architecture, Astronomy, and Solar Kingship in Princely india Bonnie G. MacDougall The gigantic masonry astronomical instru- world. Although there are reports or remains of ments built by the Maharaja Jai Singh of Jaipur earlier massive instruments in the Near East or (1688-1743) are among the most startling and Central Asia, most notably at Samarkand, Jai visually compelling monuments in the entire Singh's designs are for the most part without Indian architectural record. As staples on the known formal precedent in India or elsewhere. "must see" list of historians, practitioners, and The better known and largest of Jai Singh's students of architecture who pass through India observatories are easily accessible to the trav- these Jantar Mantars, as the observatories are eler (fig. 4). The most widely visited complex. known colloquially, are perhaps second only to now meticulously maintained by the Govern- the Taj Mahal as perennial attractions. The ment of India, lies in the heart of New Delhi, the Swiss architect Le Corbusier mounted a sculp- national capital, surrounded by palms in a small tural element drawn from one of the massive park near the Imperial Hotel. A second and even instruments atop a hyperbolic cone of his assem- larger complex is located within the palace bly building at Chandigarh (fig. 3), and it seems precincts (once those of Jai Singh himself) at safe to say that these spare and bold geometric Jaipur, the capital of the modern Indian state of forms, variously described as ultramodern, sur- Rajasthan in northwest India, which lies a few real and mysterious, have stirred interest in the hours by rail from New Delhi.
    [Show full text]