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The New York Times calls my work "disturbing." They, of course, don't elaborate on what that means. It's just another label they love to throw around. Americans love labels. They couldn't function without them. As consumers, the labels must somehow affirm their existence. The moral police seem ubiquitous in the US. In Europe, no one finds my work "disturbing." Quite the opposite. Another cultural disconnect. Motoko Rich at the New York Times can't even find me (how revolutionary is it to Google someone) and has me listed as having disappeared. I had to laugh at reading that one. This week, Rich has a piece heavy on the anecdotal discovery that American young people prefer the Internet to reading books. Will new discoveries never cease. I was shocked speechless. If Rich had bothered to look, she would have found me teaching art in Paris. At the moment, I'm with my students at Connemara, the Carl Sandburg farm where we've been filming: UNTIL THEY ARRIVE HOME AGAIN. No one in America will see it. I will see to that. This is the first time many of my students -- all of whom are "at risk" adolescent boys -- have been to the US. Usually, you'd find us in our Paris loft making everything from poetry to video. What my students are "at risk" for is HIV. Most of them are European. We have two American students. They can't find art programs they can access in the States so they come to me. I have hardly vanished like the New York Times insists. How convenient for the New York Times to dismiss artists it wants to go away. The reality is that the New York Times doesn't care. From what I can read. About much of anything. And the American press loves to beat me up on what is and what is not "truth." They act so outraged. Reality is another story entirely. It was an interesting summer for us. Not for what we found, but for what we didn't find. Which was mainly art. Which was one of the reasons I wanted them to see the States. If I talk about how America is in no way a real culture, it's one thing. Another teacher talking. But if I show them what I'm talking about, it will stay with them forever. America doesn't need to Public Relationize its image for their consumption. They have minds. They think for themselves. Here at Connemara, there are Edward Steichan photographs littered all around the place. My students could not only immediately identify them, but could identity who printed them: Edward Steichan, himself. This stands in somewhat dramatic contrast to the Americans tourists who troop through here. Who have no notion, really, of who Edward Steichan was. Let alone the value of the photographs. But then what do I know. I am the Invisible Man. I don't exist. New York was interesting. We didn't find much there. While we have a hundred pieces, ourselves, in the art base at the New Museum, we found the New Museum itself almost incomprehensible. The curators there have formed such a tight little club, it's amazing anything gets in the door. Unless you can rock and roll with their bizarre Religion of Art Theory, about as dense as most brick walls, your work will never be seen there. The reach of American academia is a long one. There was nothing going on there of the slightest interest.Talk about brick walls. We're still wondering if the Poetry Foundation is interested in poetry or the comfortable status of the status quo. It's not that we don't get brick walls. And we certainly fathom how they produce a mediocrity that pleses le crowd. What we don't get is art in America. The Getty is a stuffy bore. Ditto the Met. We simply walked out of the Met. It's not the Lourve. Not even close. It's pompous. When I announced to my little group that the Museum of Modern Art is incorporated as a non-profit institution under both federal and state statute, I thought they would roll on the MOMA floor laughing. MOMA as a non-profit is beyond the patently absurd. Profit is why there is a MOMA. Motoko Rich didn't go anywhere too far outside the US in the piece on the disconnect between books and the Internet. The guys I work with are into both. Because they have to be. I demand it. We're studying Nabokov at the moment. I would bet the Eiffel Tower that there isn't a single American high school reading LOLITA. Not one. That disturbing book. Sandburg has a dog-eared copy. I'll bet he read it twice. We are putting our own somewhat twisted versions of the novel to video. Not too many Americans will get it. Most of them will be offended or find our work to be "disturbing." We don't always (we can but it's a little dull) make art that Americans would find pleasing. Or safe. Maybe Batman. Most of the art we saw in the States is so safe it is one Big Yawn. I'm glad Americans like it. But I'm more glad to be leaving. My students speak multiple languages which is the context they put the disconnect in where American adolescents prefer the interactivity of the Web versus literature. Americans just assume everyone else speaks their language. What a quaint notion. But then my two American students only speak English so I don't how how the disconnect can surprise anyone let alone the New York Times. How disturbing. From what I can tell, outside of the NEA's silly photography that populates their website with images of school children, there's not a whole lot of art education going on in public schools. Everyone seems a little paranoid about the testing in No Child Left Behind. I would argue that American children got left behind a long time ago. China has more art going on than America. Cina is a communist country. How disturbing. Eventually, Americans will pay but then they always do. Another one of your legacies to the world. Imagine: an entire generation of children and no one has ever taken an art class. Let alone read Nabokov, that disturbing bad man. A lot of our art is focused on the issue of children who do sex work -- personally, I call it slavery -- and there seemed to be a tiny bit of it going on in America from what I could tell of the kids haunting the urban streets. Monkey see. Monkey do. Or just blind the monkey. What you can't see can't give you HIV. There are no art programs in America for adolescents at risk for HIV. Not one. Perhaps they're too busy on the Internet to have sex or do drugs. My guys saw Batman. Now they do get America. Batman is getting pretty dark. But then so is the country it was made in. We're packing. They miss Paris. I do, too. Here's a little video that features the Palais de Tokyo. I don't recommend it for Americans. It would be incomrehensible. We'll be in London soon. There's a show at the Tate produced by Tank TV; we are a part of Tank TV -- THE YOUNG AND THE EVIL -- originally produced in the US in 1932. It's a particular "take" in creativity in Greenwich Village at that time. But it was banned in the United States. Imagine that. Time for Tim Barrus to go invisible again. I rather like being left alone by the New York Times. It imbues me with not a little bit of street cred. Tim Barrus

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Thank you for supporting the lives of young men at Montgomery Bell Acacemy!

Thank you for supporting the lives of the young men at Montgomery Bell Academy!

La Vera Ricchezza quella che si ottiene con una mentalit Creativa e non Competitiva. Acquisire una mentalit Creativa significa ottenere e meritare tutto quello che si desidera dalla vita.

Author: pporta Added: Wed, 04 Jun 2008 00:25:34 -0800 Duration: 125E' una delle protagoniste di "Mogli a pezzi", la versione italiana di "Desperate Housewives". Emanuela Arcuri racconta il suo personaggio, divertente, smaliziato e romano. E' stata una gioia esprimersi nel dialetto della capitale, dopo la prova in napoletano offerto nella precedente fiction. Ora single, ma sull'uomo giusto per lei ha le idee chiare...

Salerno Second Life festeggia il ritorno della Salernitana in Serie B Lunedì 28 Aprile 2008! I festeggiamenti a Piazza Flavio Gioia (La rotnda). Author: maxio75 Keywords: Salernitana Serie Promozione Salerno Second Life La rotonda Piazza flavio Gioia Metaverso Pescara Di Napoli Added: April 29, 2008

Breve video di anteprima girato a Salerno Second Life, durante l'evento della campagna elettorale del dott. Gerardo Soglia. Author: maxio75 Keywords: Salerno Second Life SL Metaverso Rotonda La Piazzetta SA Piazzia Flavio Gioia Politica Soglia Gerardo Added: April 9, 2008

Director of the National Endowment for the Arts and Longfellow scholar Dana Gioia revisits the work of Henry Wadsworth Longfellow with a group of poets, writers, political leaders and educators. What does Longfellow's work say to the 21st century reader? Is there a place in our technological age for public poetry? Visit us at www.wgbh.org/forum to explore our entire collection lectures.

Le immagini dell'arrivo del Papa Benedetto XVI a Loreto, i giovani lo salutano.

John Lester, Linden Lab Throughout the Beyond Broadcast conference there have been fleeting glimpses of a replica of the Beyond Broadcast conference: a virtual Ames Courtroom filled with virtual people. This replica conference is taking place in Second Life; a world where every character is controlled by a real person. All objects, buildings, trees, cars and light poles are also created by users. John Lester, working for the creators of Second Life, Linden Lab, explained the founding principle behind Second Life. John says, 'We [at Linden] don't want to make content, we want to give people tools to make their dreams and shape their world.' Every resident (Linden's term for user,) has a powerful 3d modeling kit and scripting language, which enables them to build their fantasy. Lester further describes Second Life as a, 'Waking dream environment not completely surreal or mundane, but smack dab in the middle.' He illustrates this point with a slide of a concert taking place inside Second Life. The musicians are streaming their live (real world) music into a virtual club; the band member's avatars play their instruments to a virtual crowd. John points out that there is something cohesive about a bunch of people hanging out in a club listening to music, but, he says, you realize something is up when a member of the crowd seamlessly hovers into the air. Second Life is set apart from most online games and simulations in that residents retain intellectual property rights to all their virtual creations. Some residents release their creations as open source, while others retain their rights and make money off their work. Residents earn L$ (Linden dollars), which can be converted to $US on Second Life's currency exchange. The exchange works just like a real market, where residents post offers to buy and sell money. Residents can even resell their Second Life creations back into the real world. http://www.forum-network.org/wgbh/forum.php?lecture_id=3139 The WGBH Forum Network is presented by WGBH in association with the Lowell Institute and the Corporation for Public Broadcasting.

Ford's Director of Sustainable Mobility Technologies and Hybrid Vehicle Programs sits down with EV World's Bill Moore to talk about the joint program with Southern California Edison to test a fleet of 20 Ford Escape Plug-in Hybrids.

Pontifical Faculty of the Immaculate Conception, Dominican House of Studies, Washington, D.C. Commencement Address, May 11, 2007. Dana Gioia, poet and Chairman of the National Endowment for the Arts, on Truth and Beauty. (25 min)

La festa dell'Uomo Vivo che si tiene nella citt di Scicli durante la Domenica di Pasqua. Il simulacro del Cristo Risorto viene portato in processione al grido di Gioia. Il cantautore emiliano, Vinicio Capossela, ispirato da questa incredibile festa, ha inciso una canzone dal titolo omonimo ( Uomo Vivo) nel suo ultimo album, Ovunque Proteggi.

I primi salti di Ignazio la Gioia di KITELIVE Molfetta