DOCSLIB.ORG

Video Vortex Xi 23-25 Feburary 2017 Kochi Video Vortex Xi VVXI Organising Team

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Video Vortex Xi 23-25 Feburary 2017 Kochi Video Vortex Xi VVXI Organising Team video vortex xi 23-25 Feburary 2017 Kochi video vortex xi VVXI Organising Team conTENTS 1 Video Vortex: a Brief History Geert Lovink 2 Video Vortex XI Rashmi Sawhney 5 VideoTheory Andreas Treske Programme Director: Rashmi Sawhney 12 Video Installations Programming Committee: Andreas Treske 20 Video Screening Programmes Ahmet Gurata Rashmi Sawhney 36 Workshops Exhibition Curatorial Team: Aishwarya Viswanathan 42 Invited Video Curations Keerthi K. Shastri Neha Kasana Shruti Rao 52 Artists’ Talks Soubhagya Pai Syeda Zainab Akbar 60 Conference Papers Catalogue Design: Neha Kasana 74 Participants’ Bios Aishwarya Viswanathan Syeda Zainab Akbar Keerthi K. Shastri Production Head: Meena Vari Production Team: Lubna Hamza Sreenadh K. Jyothinadh Nimisha Singhal Video Vortex: a Brief History Volcanic Residues: Video Vortex XI by Geert Lovink by Rashmi Sawhney Welcome to VideoVortex, a network on the VideoVortex is critical research, it’s exper- The conference is seen as a meeting point, exist across different spaces – unlikely spac- politics and aesthetics of online video. It is imental visual art, screenings and installa- the coming together of people with a shared es, sometimes – while attempting to enable the oldest and most successful living net- tions;, it is websites, channels, social media purpose. The vortex is the high point of the conversations across silos, that exist on their work of artists, designers, activists and geeks, rumors and snaps. Join the movement! conference, a culmination of sorts. VV XI has own, yet are acutely aware of the presence of founded by the Institute of Network Cultures been a journey with many culminations, others; similar sometimes, often different. in Amsterdam (NL) late 2006 when YouTube Geert Lovink many beginnings, but no ends, and the vor- had just started. The story of online video founder of the Institute of Network Cultures tex that assembled in Kochi this February, Fragments, Inserts, Displacements: had been a long one in the making with first was more like a volcanic mountain with the i. The insertion into the VV network and an experiments going back many years earli- Website: lava spilling out in all directions -- trickling announcement that the next vortex was like- er. The world was waiting patiently for the http://networkcultures.org/videovortex/ down, hardening, taking shape, then set- ly to be held in India made for an untimely technology, and bandwidth, to develop, and Two VideoVortex readers, free to download: tling into another solid formation – than a event. The previous edition of VV was meant then, with the invention of the embedded Mailinglist: dormant one, whose peaks lie in waiting to to have been held in London, but could not video, it unfolded quickly. http://listcultures.org/mailman/listinfo/vide- be scaled. be materialized due to a lack of funds. Since ovortex_listcultures.org ------------------------- its inception, VV has been mostly confined to Online video is not merely the remediation On the 13th of March 2016, I reached Anka- Europe, barring on the one occasion when of the old content of film, television and vid- VideoVortex #1: ra where I was going to live for two months, it was held in Yogyakarta, Indonesia. Geert eo onto a next platform. Our question from Brussels, Belgium, October 2007 on a teaching fellowship at the University Lovink, the founder of the Institute of Net- the start was what happens to the status of VideoVortex #2: of Bilkent. The Chair of the Dept. of Com- work Cultures, has worked closely with Sarai, the moving image when we start looking at Amsterdam, The Netherlands, January 2008 munications, Ahmet Gurata picked me up having edited several of the Sarai Readers, yet a database, the question Lev Manovich first VideoVortex #3: from the airport, took me to my lodging at India had not been a vortex so far. Locating raised in this 2001 text The Language of New Ankara, Turkey, October 2008 G-07/219 on the Bilkent campus, made me VV XI in Kochi/South Asia, opened up a whole Media. What is database cinema? What does VideoVortex #4: trudge up and down the hilly campus -- a range of questions about region in the con- it mean that we can comment and quote Split, Croatia, October 2009 task my impoverished lungs dealt with with text of ubiquitous digital technologies. Does videos on our smart phones? What are the VideoVortex #5: great difficulty -- before we headed out to the internet of things erase region or does it cultural implications of a visual culture that Brussels, Belgium, November 2009 Kizilay to get dinner. While we were tend- get inscribed more strongly? Can one think of records video anywhere, all the time? If film VideoVortex #6: ing to a bottle of wine at the Sakal bar, a region outside of the notion of representa- was defined by montage, and television by Amsterdam, The Netherlands, March 2011 loud sound – the measure of an obnoxious tion and in terms of infrastructures and the live broadcasting, then what defines our VideoVortex #7: Diwali cracker – resounded. I jokingly said, “I forms? How does one think about vernacular age? Video cannot be reduced to the stat- Yogyakarta, Indonesia, July 2011 hope that’s not a bomb,” and seconds later aesthetics and can one imagine a different ic screen plus DVD experience. These days, VideoVortex #8: Ahmet’s phone was flooded with videos aesthetic of art and politics, whose roots ex- we swipe through the time line, ignore the Zagreb, Croatia, May 2012 and messages about the bomb blast near a tend across geographies, but stop spreading image and only listen to the sound track, VideoVortex #9: public park in Kizilay we had walked through out at some point, through and under the we witness our dearest friends and fami- Lüneburg, Germany, February 2013 merely ten minutes ago. The dramatic shock soil? Could we map region differently if we ly, live, through Skype or Facebook Live. A VideoVortex #10: of being in Erdogan’s Turkey manifested it- dug up the earth and laid bare the cables decade into the medium, we have not start- Istanbul, Turkey, September 2014 self in visceral ways that marked the rest of that carry our data, their beginnings and their ed to scratch the surface of what’s possible VideoVortex #11: my stay there. VV XI was in many ways, trig- ends? Or are we bound to continue to wear when we carry a 4K in our pocket. How are Kochi, India, February 2017 gered by that bomb blast. There were four the mask of identity – circumscribed by im- we going to curate and archive this massive more blasts reported in the two-month span agined notions of belonging? Because we’ve explosion of creativity? What’s the role of that I was there, and possibly others that spread ourselves thin, we belong a little bit ‘platform capitalism’ in all this, with only a went unreported. here, a little bit there, and mostly nowhere, handful of monopoly players dominating the unless we let the roots dig deeper than they global market? How do we make the most of How does one think of a vortex when our can spread. It depends, I suppose, on what mass interactivity? How can we increase vid- worlds as we know them are being shat- kind of tree we want to be. eo literacy? How do we develop a common tered, and scattered as shreds? What does a vocabulary, developed by young critics and vortex mean in a political climate that is divi- ii. From Spinoza to Hardt and Negri, the ‘in- theorists, of our everyday video life? What’s sive; that snubs out the possibilities of collec- sert’ has been a potent idea. VV XI inserted it- the latest in the development of the ‘web tives, of collaboration, of communities, of to- self into the space of the Kochi-Muzeris bien- 1 documentary’ genre? In short: what’s video getherness? How does one break down the nial, amidst much uncertainity. As a collateral 2 aesthetics today? walls of convention and allow elements to event, it occupied the space of a child that was born to a surrogate mother; tied by the -chives’. The work of carefully going through what constitutes an event itself, we decided campus of Srishti, the individual home/work umbilical chord, but not necessarily borne each artist’s videos (many sent us more than that the vortex needed to not be contained spaces of various people who were a regular out of love. Out of no deliberation, but due to one piece of work, some sent us about 20!) either spatially or durationally. In order to part of my skype night life for several weeks. pure necessity, we were told the main venue involved hundreds of hours of viewing time, mobilise this spread, the VV XI website vide- What we have put together in this publication for the conference, the Cabral yard, would be and coordination with my co-organisers, An- ovortex11.net was set up to provide a plat- is a catalogue of the different ideas, videos, unavailable merely a week before Vortex XI dreas Treske and Ahmet Gurata in Turkey. form for extended discussions, video talks performances, workshops, provocations, and was scheduled. This was due to the fact that While skype and other modes of online com- and interviews with artists who were not conversations that formed VV XI. It is not the the President of India, Mr Pranab Mukherjee, munication worked in the initial stages of the able to physically join us in Kochi, as well conventional conference or exhibition cata- was to speak at a conference being held at selection process, it was impossible to col- as to establish a repository that coexisted logue that accompanies (and indeed precedes) the Cabral yard on the 2nd of March, and laborate on the setting up of the exhibition, along with the Video Vortex blog estab- the ‘event’ in some ways, but is part of the ‘af- there were chances that the venue would given the geographical distance.
Load more

Recommended publications
  • Cinematic Urban Geographies Thursday 3 - Friday 4 October 2013 at CRASSH · Alison Richard Building · 7 West Road · Cambridge
    Centre for Research in the Arts, Social Sciences and Humanities Cinematic Urban Geographies Thursday 3 - Friday 4 October 2013 at CRASSH · Alison Richard Building · 7 West Road · Cambridge Invited speakers CHARLOTTE BRUNSDON (Film Studies, University of Warwick) TERESA CASTRO (Universite Sorbonne Nouvelle - Paris 3) RICHARD COYNE (Architectural Computing, Edinburgh College of Art), ROLAND-FRANÇOIS LACK and (French Studies, UCL) STEVE PILE (Human Geography, The Open University) ANDREW PRESCOTT (Digital Humanities, King’s College London) MARK SHIEL (Film Studies, King’s College London) PETER VON BAGH (Film Historian and Director, Helsinki) Conveners FRANÇOIS PENZ (University of Cambridge) RICHARD KOECK (University of Liverpool) ANDREW SAINT (English Heritage) CHRIS SPEED (Edinburgh College of Art) www.crassh.cam.ac.uk/events/2473 Battersea Power Station and Nine Elms, 1966, Aerofilms Collection, English Heritatge 1966, Aerofilms and Nine Station Elms, Power Battersea Centre for Research in the Arts, Social Sciences and Humanities (CRASSH) Acknowledgements Supported by the Centre for Research in the Arts, Humanities and Social Sciences (CRASSH), the Architecture Department, both at the University of Cambridge and the Arts and Humanities Research Council (AHRC). Centre for Research in the Arts, Social Sciences and Humanities (CRASSH) | Alison Richard Building | 7 West Road Cambridge CB3 9DT | UK | www.crassh.cam.ac.uk Cinematic Urban Geographies Cinematic Urban Geographies 3 & 4 October 2013 at CRASSH (SG1&2) Conveners François Penz (Architecture Department, University of Cambridge) Co-Conveners Richard Koeck (School of Architecture, University of Liverpool) Chris Speed (Edinburgh College of Art) Andrew Saint (English Heritage) Summary The Cinematic Urban Geographies conference aims to explore the di!erent facets by which cinema and the moving image contribute to our understanding of cities and their topographies.
    [Show full text]
  • CARLA GANNIS [email protected] :: :: Twitter: @Carlagannis CV
    CARLA GANNIS [email protected] :: www.carlagannis.com :: twitter: @carlagannis CV SOLO & TWO PERSON EXHIBITIONS 2017 Carla Gannis, DAM Gallery, Berlin, Germany The Selfie Drawings : An Augmented Reality Artist Book and Installation, Pratt Institute Libraries, Brooklyn, NY Augmented Gardens and Other Emoji Delights, New Media Artspace, Baruch College, New York, NY, curated by Katherine Behar 2016 A Subject Self-Defined, Cyberfest 10, NY Media Center, Brooklyn, NY La Emoji Lujuria, Sedition Art, Online Exhibition A Subject Self-Defined, Transfer Gallery, Brooklyn, NY 2015 The Garden of Emoji Delights, Real Art Ways, Hartford, CT The Garden of Emoji Delights, EBK Gallery, Hartford, CT Robbi Carni, Digital Sweat Gallery, curated by Christian Petersen, Online Exhibition The Garden of Emoji Delights, Hudson River Museum, Yonkers, NY 2014 The Garden of Emoji Delights Kasia Kay Gallery, Chicago, Il The Garden of Emoji Delights, Transfer Gallery, Brooklyn, NY The Non-Facial Recognition Project, Center for the Digital Arts, Peekskill, New York 2013 <legend> </legend> | Carla Gannis & Justin Petropoulos (two-person collaboration), Transfer Gallery, Brooklyn, New York in conjunction with book publication by Jaded Ibis Press of Gannis/ Petropoulos collaboration 2012 The Multiversal Hippozoonomadon & Prismenagerie, Pablo’s Birthday, New York, NY The Non Facial Recognition, Edelman Gallery, New York, NY Pop Noir: Carla Gannis & Sandra Bermudez (two-person), The George Gallery, Laguna Beach, CA 2010 What is not on my mind, Pablo’s Birthday, New
    [Show full text]
  • Turbo Film As Artistic Apparatus and As Manifesto for the Uncertain Future of Moving Images
    University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2018 Turbo Film As Artistic Apparatus And As Manifesto For The Uncertain Future Of Moving Images Barbieri Marchi, Paololuca http://hdl.handle.net/10026.1/11958 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. Turbo Film As Artistic Apparatus And As Manifesto For The Uncertain Future Of Moving Images by Paololuca Barbieri Marchi A thesis submitted to the University of Plymouth in partial fulfilment for the degree of: DOCTOR OF PHILOSOPHY School of Art, Design and Architecture June 2016 2 Copyright statement: This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognize that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author’s prior consent. 3 Acknowledgements My supervisors’ unfaltering supports, as well as the constant dialogue and interdisciplinary exchange with fellow researchers, has been invaluable to the development of my research. My deep thanks go first to Antonio Caronia, my direct supervisor for most of the research. Semiotician, film theorist, mathematician, and radical indefatigable political activist, who passed away last year, leaving behind both a great void and the exceptional memories from his inspiring lectures and research contributions.
    [Show full text]
  • SCMS 2019 Conference Program
    CELEBRATING SIXTY YEARS SCMS 1959-2019 SCMSCONFERENCE 2019PROGRAM Sheraton Grand Seattle MARCH 13–17 Letter from the President Dear 2019 Conference Attendees, This year marks the 60th anniversary of the Society for Cinema and Media Studies. Formed in 1959, the first national meeting of what was then called the Society of Cinematologists was held at the New York University Faculty Club in April 1960. The two-day national meeting consisted of a business meeting where they discussed their hope to have a journal; a panel on sources, with a discussion of “off-beat films” and the problem of renters returning mutilated copies of Battleship Potemkin; and a luncheon, including Erwin Panofsky, Parker Tyler, Dwight MacDonald and Siegfried Kracauer among the 29 people present. What a start! The Society has grown tremendously since that first meeting. We changed our name to the Society for Cinema Studies in 1969, and then added Media to become SCMS in 2002. From 29 people at the first meeting, we now have approximately 3000 members in 38 nations. The conference has 423 panels, roundtables and workshops and 23 seminars across five-days. In 1960, total expenses for the society were listed as $71.32. Now, they are over $800,000 annually. And our journal, first established in 1961, then renamed Cinema Journal in 1966, was renamed again in October 2018 to become JCMS: The Journal of Cinema and Media Studies. This conference shows the range and breadth of what is now considered “cinematology,” with panels and awards on diverse topics that encompass game studies, podcasts, animation, reality TV, sports media, contemporary film, and early cinema; and approaches that include affect studies, eco-criticism, archival research, critical race studies, and queer theory, among others.
    [Show full text]
  • RISD Graduate Studies Term
    Experimental Publishing Studio NewHive version of this syllabus here ​ Dept: RISD Graduate Studies Term: Spring 2015 Course number: GRAD-206G-01 Classroom: AUD 522 Days / time: Wednesday 1:10PM — 6:10PM Instructor: Paul Soulellis [email protected] Office hours: By appointment Course Description Publishing has never been a fixed notion. “What is publishing today?” remains a relevant inquiry, but with an expanding field of response, as platforms, channels and modes of production mutate and multiply. Let’s begin with “the post,” exposing its origins as a physical note publicly nailed to a piece of wood. Its descendents persist today, plainly visible on the wall, in the feed and in the stream as traces of a deeper history of documents — the scriptural economy. Is posting (always) publishing? We’ll examine substrate, blankness and the possibility of saying nothing as a post-media publishing strategy. And as certain legacies recede (privacy, authorship, copyright), how is publishing still “making public?” Let’s unpack (and entangle) these and other ways to explore the public circulation of work in a post-digital space. We’ll draw trajectories to and from the emergence of the networked artist in the 20th century, into the last twenty years, and particularly around the last two, as self-publishing becomes more and more inseparable from the artist’s ambient practice (and work) itself. The semester will be devoted to the creation of our own “performing publishing” studio, disseminating work as a highly diffused, ongoing performance, rather than discrete events. The development of publishing manifestos and projects, working in public, research-based exploration, non-traditional tools and platforms, experimentation and collaboration will be encouraged.
    [Show full text]
  • 1 Modular Narratives in Contemporary Cinema
    Notes 1 Modular Narratives in Contemporary Cinema 1. Evan Smith also notes the success during the late 1990s of films featuring complex narrative structures, in terms of ‘impressive reviews, Oscar wins, and dollar-for-dollar returns’ (1999, 94). 2. Lev Manovich argues that narrative and database are two distinct and com- peting cultural forms: ‘the database represents the world as a list of items, and it refuses to order this list. In contrast, a narrative creates a cause-and-effect trajectory of seemingly unordered items (events)’ (2001b, 225). As I discuss in Chapter 2, Manovich’s argument must be qualified by an understanding of narrative’s ability to make use of the database for its own ends. 3. Manuel Castells, for example, argues that the dominant temporality of today’s ‘network society’, produced through technologization, globalization and instantaneous communication, is ‘timeless time’ (2000, 494): ‘Time is erased in the new communication system when past, present, and future can be programmed to interact with each other in the same message’ (406). 4. Ricoeur’s analysis centres upon Mann’s The Magic Mountain (1924), Woolf’s Mrs. Dalloway (1925) and Proust’s In Search of Lost Time (1913–27). 5. Syuzhet patterning, argues Bordwell, is medium-independent; the same pat- tern could be reproduced, for example, across literature, theatre and cinema (1985, 49). 6. In his treatment of order, duration and frequency, Bordwell is drawing upon the work of narratologist Gérard Genette. Like Bordwell, Genette distin- guishes between the narrative content (‘story’) and the way this content is organized and expressed (‘discourse’) (1980, 27).
    [Show full text]
  • Film and Visual Culture
    FILM AND VISUAL CULTURE Introduction: The Crisis in Film Studies The impact of digital technologies and the rise of New Media Studies has had a significant impact on Film Studies which, according to some commentators, is currently experiencing a crisis of legitimation in which its historical, theoretical, methodological and ontological foundations have been called into question. The material basis of that film shared with photography – the effect of light striking and altering a strip of chemically treated paper which creates a physical, indexical connection to the world (the trace of the particular instant in time that has been captured) – has now been severed through digital transpositions into algorithmic numbers. The disappearance of the supposedly specific qualities of film as a medium, the realism of the image and the mechanical reproduction of the camera, has led to widespread pronouncements about the „death of cinema‟ (see Geuens 2002, Tryon 2007: 73-6); if film was the dominant cultural form of the twentieth century, the twenty-first will belong to „new media‟.1 As a consequence, it is often argued, by both academics and practitioners, that we are living now in an era of „post-cinema‟, or what Richard Grusin has more helpfully identified as a „cinema of interactions‟, in which film has become a distributed form, circulating in various guises across a range of different media, and where the distinctive social and cultural ritual of watching a theatrically projected film is in the process of being replaced by a diffused continuum in which the viewer or user interacts with a digital artifact in various locations in a multiplicity of ways.
    [Show full text]
  • Starteam 17.0
    StarTeam 17.0 Server Administration Help Micro Focus The Lawn 22-30 Old Bath Road Newbury, Berkshire RG14 1QN UK http://www.microfocus.com © Copyright 2019 Micro Focus or one of its affiliates. MICRO FOCUS, the Micro Focus logo and StarTeam are trademarks or registered trademarks of Micro Focus or one of its affiliates. All other marks are the property of their respective owners. 2019-02-03 ii Contents StarTeam Server Administration .......................................................................5 Welcome to StarTeam .........................................................................................................5 Introduction ......................................................................................................................... 5 Installation and Licensing for StarTeam ....................................................................5 Products Included with StarTeam Enterprise Licenses ............................................ 6 Products Included with StarTeam Enterprise Advantage Licenses .......................... 8 Contacting Support .................................................................................................. 9 Standard StarTeam Architecture Overview .............................................................. 9 MPX Components .................................................................................................. 11 About Source Control ............................................................................................. 13 Atomic Check-ins ..................................................................................................
    [Show full text]
  • Making (With) the Korsakow System 159 Given to Supporting Software It Deems to Be Outmoded
    - --- --------------- -- -------------~--- Makin g (with) the Korsakow System 155 2. The push, among certain 'traditional' media producers, to explore alternative platforms and audiences, for example, the National Film 10 Board of Canada's (NFB) highly successful interactive film unit and Making (with) the Korsakow the production of online content by ARTE(the European television network). System 3. New sources of funding and exhibition (IDFA DocLab; Tribeca Film lnstitute's New Media Fund). Database Documentaries as Articulation 4. The establishment of faster computer networks for distributing and and Assemblage delivering higher quality video content, at least in regions and coun­ tries with relatively advanced economies and IT infrastructures. Matt Soar 5. The wide availability of more powerful, easy-to-use computers for creating and viewing work, and more reliable handling of complex media content. 6. The emergence and rapid expansion of an online 'read-write' culture Introduction (Lessig 2008). 7. The rising costs of 'traditional ' or 'cinematic ' (Burdick et al. 2012) 3W Doc, Djehouti, Klynt, Korsakow, Storyplanet, Zeega. These are just documentary filmmaking versus the relatively low cost of documen­ some of the tools, many of them free and open source, currently avail­ tary projects conceived for the web.3 At least one filmmaker has told able for creating non-linear and /or interactive narratives for and/or on me that she began making web docs not because of the attractiveness the web. Each has been used to create web-based documentaries. All of the medium but because she couldn 't find the funding to pursue claim to be easy to use, with drag-and-drop interfaces, and no program­ her 'regular' cinematic practice.
    [Show full text]
  • 'I Watch It for Historic Reasons.' Representation and Reception of The
    ‘I watch it for historic reasons.’ Representation and reception of the Middle Ages in A Song of Ice and Fire’ and ‘Game of Thrones’ Riccardo Facchini Práticas da História, n.º 4 (2017): 43-73 www.praticasdahistoria.pt Práticas da História, n.º 5 (2017): 43-73 Riccardo Facchini ‘I watch it for historic reasons.’ Representation and reception of the Middle Ages in A Song of Ice and Fire’ and ‘Game of Thrones’ This article aims to analyse several ideas of the Middle Ages that inspired HBO’s TV show Game of Thrones (HBO 2011-), based on George R. R. Martin’s ongoing series of novels A Song of Ice and Fire (1996-). The phenomenon will be read through the concept of “medievalism”, i.e. «the representation, the recep- tion and the post-medieval use of the Middle Ages» (di Carpeg- na Falconieri 2011). After a short introduction concerning the Middle Ages and cinema, I will analyse the new way in which Martin represents and perceives medieval times. This different approach places in the medieval era the disillusionment and the alleged absence of values typical of postmodern times, often hidden behind the notion of historical “realism”. The result is a rejection of the neo-medieval romantic idealization of the Midd- le Ages that characterized most twentieth-century productions. Keywords: Medievalism, Middle Ages, Game of Thrones, A Song of Ice and Fire, Fantasy. “I watch it for historic reasons”: Representação e receção da Idade Média em As Crónicas de Gelo e Fogo e Guerra dos Tronos Este artigo analisa as diversas perceções da Idade Média que inspiraram a série televisiva da HBO Guerra dos Tronos (HBO 2011-), baseada na série de livros de George R.
    [Show full text]
  • Stewardship: the Joy of Giving
    Stewardship: The Joy of Giving Stewardship: The Joy of Giving “Living is giving. We live life best as we give our strengths, gifts, and competencies . We are called to serve, not survive. Our giving makes a difference in our families, our congregation, our community, and our faith.” —adapted from Kennon L. Callahan Fia B. Scheyer Ruth Lewellen-Dix Pat Hoertdoerfer, Developmental Editor Unitarian Universalist Association Boston Copyright © 2000 by the Unitarian Universalist Association, 25 Beacon Street, Boston, Massachusetts 02108. All rights reserved. 2 Contents Acknowledgments Introduction Unit One: Stewardship for Primary Children Session 1 What Is Stewardship? Session 2 Who Are Our Stewards? What Is Our Legacy? Session 3 How Can We Be of Service? Session 4 Doing an Act of Stewardship Session 5 A Celebration of Commitment Unit Two: Stewardship for Intermediate Children Session 1 What Is Stewardship? Session 2 Who Are Our Stewards? What Is Our Legacy? Session 3 How Can We Be of Service? Session 4 Doing an Act of Stewardship Session 5 A Celebration of Commitment Unit Three: Stewardship for Youth Session 1 Three T’s of Stewardship Session 2 Our Stewardship Legacy Session 3 Values in Giving Session 4 How We Give Session 5 A Celebration of Commitment Unit Four: Stewardship for Adults Session 1 Stewardship: Definition and Mission Session 2 Our Stewards and Our Legacy Session 3 Time, Talent, and Treasure Session 4 Stewardship, Skills, and Action Session 5 A Celebration of Commitment 3 Contents All Units: Session Five Celebrations of Commitment Intergenerational Worship Service Children’s Chapel Service Leader Resources and Handouts Leader Resource 1: Overview Leader Resource 2: Stories of UU Stewards: John Haynes Holmes Leader Resource 3: Stories of UU Stewards: Gwendolyn Willis Leader Resource 4: Stories of UU Stewards: Whitney Young Leader Resource 5: UU Timeline Leader Resource 6: Mary Livermore Leader Resource 7: John H.
    [Show full text]
  • Making a New World David and the Revolution
    Making a New World David and the Revolution 'Never was any such event so inevitable yet so completely unforeseen', was how the great historian Alexis de Tocqueville characterized the coming of the French Revolution. From a distance of more than two hundred years, we can see that the Revolution was the result of a series of social, economic and political pressures which, though manageable in themselves, had the cumulative effect of toppling the monarchy and chang- ing the course of French and European history. By the mid-1780s the whole framework of the ancien regime seemed close to breakdown. As a legacy of its expensive involvement in the American War of Independence (1778-83), 70 Let's Hope that France was facing bankruptcy and the government was forced this Game Ends Soon, to borrow more and more money to cover its deficits. The 1789 . Coloured public was also aware of how the lavish and extravagant engraving ; 36-5 - 24cm, expenditure of the court added to the nation's debts, and they 141e" 9 1 zin were outraged at the waste. Tensions also existed between the aristocracy and the emerging middle classes, with the latter group trying hard to gain social acceptance and a rise in their influence and status . Of course these issues of politics and class were of little importance to the poor, the vast majority of whom lived in degradation and misery trying to scratch a living from the land. They laid the blame for their misfortunes squarely at the feet of the Church and the aristocracy which claimed crip- pling tithes and feudal dues (70).
    [Show full text]