america ’ s storied leadership in promoting liberty and individual rights began long before we became a nation. it began when the first persecuted immigrants came here to find religious freedom. their belief in a natural, god - given right to practice religion freely grew out of centuries - old struggles of people to secure a right to life, liberty, and property under the rule of law, not the whim of rulers. how should americans think about human rights today? since the 13th century, people in england had fought for and won a number of agreements with their kings to secure certain liberties. in 1607, king james i granted the colony of jamestown a royal charter assuring its residents of “ all the liberties as if they had been abiding and born within this our realm of england or any other of our dominions. ” growing out of these historic liberties and the development of the rule of law is the founders ’ deeper recognition of the inherent natural rights as the foundation of human freedom. hence, the virginia bill of rights, crafted by founding fathers george mason and james madison and adopted in june 1776, began with these familiar words : that all men are by nature equally free and independent, and have certain inherent rights, of which, when they enter into a state of society, they cannot, by any compact, deprive or divest their posterity ; namely, the enjoyment of life and liberty, with the means of acquiring and possessing property, and pursuing and obtaining happiness and safety. that all power is vested in, and consequently derived from, the people ; that magistrates are their trustees and servants, and at all times amenable to them. this principle of “ inherent ” or inalienable rights outside of and despite government imbues our declaration of independence and invigorates our constitution. since our founding, these important documents provided the basis for our social order and american jurisprudence. they have guided our struggles to overcome slavery and discrimination by race, religion, sex, or birth. and they have guided our engagement abroad. yet this principle of inalienable natural rights — fundamental rights that government neither creates nor can take away — isn ’ t the same as the thoroughly modern idea of “ human rights. ” although both are universal, natural rights most emphatically do not come from government. government only secures these rights, that is, creates the political conditions that allow one to exercise them. human rights, as popularly understood, are bestowed by the state or governing body. the sacred rights of mankind... are written...


government only secures these rights, that is, creates the political conditions that allow one to exercise them. human rights, as popularly understood, are bestowed by the state or governing body. the sacred rights of mankind... are written... in the whole volume of human nature, by the hand of the divinity itself ; and can never be erased or obscured by mortal power. – alexander hamilton february 23, 1775 in addition, natural rights, being natural, do not change over time. all men, at all times, have had the same right to life, liberty, and the pursuit of happiness. human rights, on the other hand, constantly change. a whole cottage industry has sprung up to advance a bevy of new “ economic and social rights ” conceived of, defined by, and promoted by activists, governments, and international bureaucrats. many americans are unaware that these manufactured rights are not the same as the natural rights endowed by god or nature. what are often called “ human rights ” today are social constructs. they either sound like high - minded aspirations — equal rights for women and minorities — or like trivial and harmless concepts such as the “ right to leisure. ” these concepts are in fact neither high - minded nor harmless : they are fundamentally incompatible with the founders ’ understanding of natural rights. first, they are largely goals that government cannot guarantee. take the “ right to development. ” government can strive to level the playing field so everyone has an opportunity to improve their lives. but the power it would need to guarantee that no one is poor would be so great it could crush the natural rights and liberty of individuals. that is the sad lesson of communism in state - controlled societies, which limit individual freedom and civil liberties so as to provide a “ guaranteed ” level of income, or some other high - minded social goal, for everyone. whereas natural rights ( such as life, liberty, and property ) are rights that government protects from infringement by others, invented rights ( such as “ housing ” and “ leisure ” ) are things that government is obligated to provide. and it does so by redistribution of private wealth. second, they suffer from confusion over what a right really is or should be. governments that pretend to give and safeguard rights to certain groups inevitably endanger individual rights held by everyone. if your social value is defined by your sex, class, or race, then your intrinsic value as a person is lost. your natural right to freedom of speech or assembly is tangible and real. government can protect it without infringing


by everyone. if your social value is defined by your sex, class, or race, then your intrinsic value as a person is lost. your natural right to freedom of speech or assembly is tangible and real. government can protect it without infringing on someone else ’ s rights. but trying to guarantee a social group ’ s right to something inevitably puts them at odds with other groups, and both are reduced to petitioning political favors from government. a woman ’ s right to freedom of speech is no less important than a man ’ s, but that ’ s because she ’ s human, not because she ’ s a woman. the same confusion exists with “ economic rights. ” the u. n. and countries often define them as a guarantee to a certain wage or income. but governments don ’ t create wealth any more than they create natural rights. you indeed have a right to property, but it ’ s because of your natural right to keep what you gain through your efforts in the first place. when the u. n. or government mistakenly defines “ economic rights ” to things it cannot guarantee, it ends up creating conditions that deny people the very liberties and property rights it should protect. lofty sounding aspirations can be seductive. who would not want to eliminate poverty in the world? who would not want women, children, and minorities to live full and complete lives in a free society? no one of conscience would object to any of these as outcomes. but they are not what motivate the modern human rights proponents. to understand why not, you only have to consider the united nations. its institutions, like the human rights council, have become distractions from ( or worse, obstacles to ) advancing the kinds of liberalizing policies countries really need. why? because the u. n. is populated with nations that abuse the principles in its charter. socialist, communist, and authoritarian regimes consider basic civil, political, and economic freedoms as real threats to their hold on power. they claim to promote collective rights to advance the “ common good, ” but they exploit these rights politically to maintain control. the one - nation, one - vote rule at the u. n. and other international forums affords them a legitimacy they do not deserve and a venue for waging their ideological battle with true democracies. americans likewise should be wary of international human rights treaties. the goals of such treaties may be laudable. but all too often they fail to deliver on their promises : many nations sign them with no intention of changing their ways. saudi arabia


succeeding generations are committed to this creed. the best way to promote human rights as we understand them is not through international treaties and institutions. it is through a properly balanced political system that ensures equal justice and limits the state ’ s role to only what is necessary to secure our rights. it is by standing up for victims whose natural rights are violated around the world and assisting them when we can, and by pointing out other states ’ failings to live up to their treaty commitments. it is by remaining the beacon of liberty for people everywhere — that “ shining city on the hill ” that ronald reagan described as he confronted the evils of communist states. we should be proud of our record on rights. in our comparatively short history, we ’ ve brought more prosperity and equality to more people than any other nation in history. we back our words with our lives, our treasures, and our future. we have corrected the great flaw of our past — a bloody civil war ended slavery in america — and don ’ t need to go around the world apologizing for our nation ’ s history. we should never allow the u. n. or anyone to abuse the mantra of human rights to undermine our sovereign constitutional system which not only protects our god - given rights and the liberty to govern ourselves but also offers the best model for others to do the same. and so the question remains, as reagan once asked, “ if we are not to shoulder the burdens of leadership in the free world, who will? ” for all that it represents and continues to defend in the world, america remains liberty ’ s last best hope. kim r. holmes, ph. d., is vice president of foreign and defense policy studies and director, the kathryn and shelby cullom davis institute for international studies at the heritage foundation. isaiah berlin, two concepts of liberty the english philosopher isaiah berlin defined the concepts of negative and positive liberty. in this case, negative is good : as in the united states, it means freedom from government interference. positive liberty, by contrast, means government intervention to guarantee outcomes. berlin points out dictators have often used the excuse of positive liberty to deprive the people of their freedom. thomas west and william schambra, the progressive movement and the transformation of american politics the founding fathers believed that all men naturally possess inalienable rights. the progressives of the late nineteenth century did not believe that natural rights exist. instead, they believed that the government created and promoted freedoms. in berlin ’ s terms, they believed in positive liberty. as


all men naturally possess inalienable rights. the progressives of the late nineteenth century did not believe that natural rights exist. instead, they believed that the government created and promoted freedoms. in berlin ’ s terms, they believed in positive liberty. as west and schambra explain, the progressives therefore rejected the understanding of freedom on which america was founded. kim r. holmes, economic freedom as a human right economic freedom offers people around the world the best hope for achieving healthier, safer, wealthier, and more productive lives. but economic freedom is not just a good idea in practice. as holmes emphasizes, it is also a natural right, and indivisible from the broader idea of liberty. is freedom for everyone? in his inaugural margaret thatcher center for freedom lecture, sharansky, a soviet dissident who found freedom in israel, speaks eloquently to the legacy of ronald reagan and margaret thatcher, and proclaims his belief that “ freedom is a cause for everybody. ” jeane j. kirkpatrick, “ dictatorships and double standards, ” commentary, november 1979 this essay inspired ronald reagan, after he won the 1980 presidential election, to make kirkpatrick the u. s. ambassador to the united nations. it remains timely today because it exposes the folly of pretending that totalitarian insurgents, or the united nations, are on the right side of history and that american foreign policy must therefore seek to win their favor. united nations. brett schaefer and steven groves, “ the u. s. universal periodic review : flawed from the start, ”, ” august 26, 2010. when the obama administration joined the u. n. ’ s human rights council, it subjected the u. s. to the council ’ s system of regular reviews. schaefer and groves explain why the u. s. should not have joined the council, why the review process is flawed, and argue that it must be fundamentally reformed if it is play any meaningful role in the advance of liberty. the language of freedom. the heritage foundation, “ reclaiming the language of freedom at the united nations : a guide for u. s. policymakers, ” september 6, 2006. the american idea of freedom is more and more poorly understood, not just by foreign countries and diplomats, but by some americans as well. at the u. n., and everywhere else, the u. s. must reinvigorate the american tradition of freedom, which is universal and indivisible. war against


special education teachers play a vital role within the education system as a whole. they are responsible for motivating students with a variety of special needs. special education teachers facilitate an environment of acceptance among students with mild to severe cases of emotional, cognitive or physical challenges. teachers with special education backgrounds work to instill life skills and basic literacy ability within their students. furthermore, they apply remedial instruction for each individual child in preschool, elementary, middle school and secondary school settings. yet, some special education teachers also work with toddlers and infants. they pull together various educational techniques to facilitate social, behavioral and academic development for all of their students. special education teachers hold more than 470, 000 positions within the united states alone. special education teacher salary ranges are varied within their positions in public and private academic settings. there is also a large variation of salary ranges within individual and social assistance agencies, hospitals, residential facilities and homebound settings. * those that have a special education teacher salary often get paid more when working within the field of sports coaching or extracurricular activity settings. the special education teacher salary may be more in summer education or other seasonal job areas. according to the bureau of labor statistics, the recent median for special education teacher salary tops at around $ 50, 000 for those that work within preschool, kindergarten and elementary settings. furthermore, the middle 50 % of special education teachers earn around $ 40, 400 to more than $ 63, 000. * according to the bureau, special education teachers within the lower 10 % range earn salaries that are a little less than $ 33, 770. however, those that are within the upper 10 % range earn more than $ 78, 900. * * according to the bls, http : / / www. bls. gov / oco / according to collegegrad. com, the median range for a special education teacher salary is around $ 45, 699 in secondary education settings. however, the middle 50 % is said to earn nearly $ 36, 900 to $ 59, 300 per year. job description and outlook a plan for personal goal setting for each student is put together by the special education teacher in the form of an individualized education plan or iep. special education teachers are increasingly working within inclusive settings as they help create step - by - step goals to help students meet the demands of the next grade level. although the rewards of establishing meaningful relationships with students are great, the work load of special education teachers can be heavy. besides the emotional and physically parts of educating students with special needs


- step goals to help students meet the demands of the next grade level. although the rewards of establishing meaningful relationships with students are great, the work load of special education teachers can be heavy. besides the emotional and physically parts of educating students with special needs, they also must incorporate many hours to fill out documents, which gives details on each students progress. most special education teachers work on a 10 - month schedule. the need for this level of educators is projected to be on the rise. one reason for the projected rise is that parents are expected to demand more assistance in order to keep their children at the optimal level of education. specifically, the need for qualified special education teachers is expected to increase by 17 % between now and 2018, according to the bureau of labor statistics. another variant that creates job openings for special education teachers is caused by replacement need. some special education teachers switch to general education or they retire. another reason some special education teachers move away from the field includes starting entirely new career choices. even so, the geographic location and specialty within this field are variables that may decrease or increase the need for special education teachers. for instance, some of the more needy places for special education teachers include rural and inner city locations. yet, teachers with the ability to work with children with multiple or severe disabilities have a greater chance of finding jobs in special education. training and education requirements there is undergraduate, graduate, and doctor ’ s levels of education for the special education teacher. the training for special education teachers is a lot more extensive than regular teaching degree programs. although most undergraduate programs require four years of general and specialized course work, some programs have launched fifth - year or graduate level requirements. in general, the last year of undergraduate course work is spent getting classroom training and supervision from a teacher with special education certification. teachers with special education certification may work in a variety of fields. some fields include music therapy, art therapy, para - education, speech and language therapy, audiology, administration of special education and many more. teachers can obtain degrees with special certifications or specializations in general special education. however, special board certifications can be obtained for those teachers that desire to express a complete level of commitment to employers. a board certification in special education also demonstrates full dedication to peers, administrators and parents. obtaining board certification requires five interdisciplinary subjects : - special education eligibility - iep development principles - knowledge of special education assessment procedures - review of main principles in special education - knowledge of response to intervention ( rti ) there is great benefit for special education teachers that


inscription. adjacent to this park a group of women was imprisoned in 1917 for demanding the right to vote. the road to occoquan workhouse had started in 1848. by kevin white, september 6, 2007 | 1. women suffrage prisoners at occoquan workhouse marker | in july 1848 at the seneca falls convention in new york, officially opening the american women ’ s rights movement, a controversial resolution was adopted : “ resolved, which is the duty of women of this country to secure to themselves their sacred right to the elective franchise. ” elizabeth cady stanton was able to get the resolution passed only with the help of frederick douglas, the former slave and famous abolitionist orator. for many years progress was slow and as late as 1913 women had full suffrage only in nine states and the territory of alaska which had no presidential electors. marking a dramatic change in the polite crusade for votes for women, the national woman ’ s party, founded in 1916 by alice paul, adopted the strategy of holding the party in power responsible for the success or failure of woman suffrage. attempting to persuade president wilson and the democratic party to support actively the susan b. anthony amendment, first proposed in 1878, the national woman ’ s party began to picket the white house in 1917. beginning in june 1917 scores of women were arrested, found guilty of unlawful assemble, sentenced to pay a fine of $ 25, or serve a term in jail. preferring jail rather than paying what they considered to be unjust fines, the women were given sentences ranging from 30 to 60 days and in some instance 6 months. some went to d. c. jails the majority were sent to occoquan workhouse, now lorton reformatory, lorton, virginia. by kevin white, september 6, 2007 | 2. women suffrage prisoners at occoquan workhouse marker | | in the background is the occoquan workhouse beehive brick oven, which convicts used to make the bricks used in constructing historic durable buildings throughout northern virginia. | among those arrested were graduates of distinguished educational institutions, students, teachers, nurses, at least two physicians, a geologist, and a professor of history. the socially prominent included lucy ewing, niece of adlai stevenson, vice president under cleveland. the youngest arrested was 19 and the oldest to serve at occoquan was 73. she found scrubbing floors almost beyond her strength. the women had their mail withheld, were confronted with unwashed blankets, contaminated food, forced into prison dress and ordered to perform


19 and the oldest to serve at occoquan was 73. she found scrubbing floors almost beyond her strength. the women had their mail withheld, were confronted with unwashed blankets, contaminated food, forced into prison dress and ordered to perform prison work. protesting the poor treatment and general state of prison conditions, the women insisted they were political prisoners and should be treated accordingly. some refused to work, were put in solitary confinement and given bread and water. others, led by lucy burns of the executive committee of the national woman ’ s party, went on a hunger strike and were force - fed. as news of the extreme treatment given the suffrage prisoners began to emerge, public indignation and demands for an investigation of conditions finally forced their release late in 1917. upon appeal, the sentences of the women imprisoned at occoquan were reversed in 1918. by august 26, 1920, the susan b. anthony amendment was ratified, ending a struggle for basic political rights that had lasted for 72 years. the woman suffrage prisoners at occoquan had contributed significantly to that victory. sixty - five years after imprisonment, recognition was finally given these women. on march 6, 1982, under the leadership of joseph t. flakne and the auspices of the league of women voters of fairfax, a handsome marker commemorating them was unveiled on route 123, near youth center no. 2. the commonwealth of virginia ratified the amendment giving women the right to vote in february 1952. evelyn l. pugh professor of history george mason university sidebar under the right picture : alice paul designed the jail door pin as a symbol of appreciation for the women who had been imprisoned. erected by northern virgina regional park authority. location. 38° 40. 91 ′ n, 77° 15. 21 ′ w. marker is near occoquan, virginia, in fairfax county. marker is on occoquan regional park road near ox road ( virginia route 123 ), on the left when traveling east. click for map. marker is in this post office area : lorton va 22079, united states of america. other nearby markers. at least 8 other markers are within walking distance of this marker. the beehive brick kiln ( a few steps from this marker ) ; 1804 boundary stone ( approx. 0. 3 miles away ) ; 1804 occoquan town plat ( approx. 0. 3 miles away ) ; occoquan wharves ( approx. 0. 3 miles away ) ; town of occoquan


approx. 0. 3 miles away ) ; 1804 occoquan town plat ( approx. 0. 3 miles away ) ; occoquan wharves ( approx. 0. 3 miles away ) ; town of occoquan ( approx. 0. 3 miles away ) ; ebenezer baptist church ( approx. 0. 4 miles away ) ; ogle harris ’ store ( approx. 0. 4 miles away ) ; lest we forget ( approx. 0. 4 miles away ). click for a list of all markers in occoquan. more about this marker. the marker is placed near the occoquan workhouse beehive brick oven, which is what you see in the background of picture 2. related marker. click here for another marker that is related to this marker. it is the seneca falls convention marker. also see... 1. occoquan workhouse marker. this is the marker referred to in the text. ( submitted on september 7, 2007, by kevin w. of stafford, virginia. ) 2. brutal treatment of women suffragists at occoquan workhouse. ( submitted on september 7, 2007, by kevin w. of stafford, virginia. ) 3. film honors ' iron jawed ' women. ( submitted on september 7, 2007, by kevin w. of stafford, virginia. ) credits. this page originally submitted on september 7, 2007, by kevin w. of stafford, virginia. this page has been viewed 13, 155 times since then. photos : 1, 2. submitted on september 7, 2007, by kevin w. of stafford, virginia. • j. j. prats was the editor who published this page. | recommend or share this page. |


an excerpt from www. houseofnames. com archives copyright © 2000 - 2013 where did the scottish youel family come from? what is the scottish youel family crest and coat of arms? when did the youel family first arrive in the united states? where did the various branches of the family go? what is the youel family history? spelling variations of this family name include : yell, yul, yuel, yule, youll, yuile, yuill, yulle and others. first found in on the isle of yell, in the shetlands. this web page shows only a small excerpt of our youel research. another 305 words ( 22 lines of text ) covering the years 1374, 1391, 1503, 1676 and 1870 are included under the topic early youel history in all our pdf extended history products. more information is included under the topic early youel notables in all our pdf extended history products. some of the first settlers of this family name were : youel settlers in the united states in the 20th century the motto was originally a war cry or slogan. mottoes first began to be shown with arms in the 14th and 15th centuries, but were not in general use until the 17th century. thus the oldest coats of arms generally do not include a motto. mottoes seldom form part of the grant of arms : under most heraldic authorities, a motto is an optional component of the coat of arms, and can be added to or changed at will ; many families have chosen not to display a motto. motto : numine et virtute motto translation : by god ' s providence and by virtue. the youel family crest was acquired from the houseofnames. com archives. the youel family crest was drawn according to heraldic standards based on published blazons. we generally include the oldest published family crest once associated with each surname. this page was last modified on 20 august 2012 at 09 : 18. houseofnames. com is an internet property owned by swyrich corporation.


november 02, 2009 this article is excerpted from " cloud opportunities in hpc : market taxonomy, " published by intersect360 research. the full article was distributed to subscribers of the intersect360 market advisory service and can also be obtained by contacting email @ example. com. in life, the universe, and everything, the third book of douglas adams ' whimsical hitchhiker fantasy trilogy, cosmic wayfarer ford prefect describes how an object, even a large object, could effectively be rendered invisible to the general populace by surrounding it with an " sep field " that causes would - be observers to avoid recognizing somebody else ' s problem. " an sep, " ford helpfully explains, " is something we can ' t see, or don ' t see, or our brain doesn ' t let us see, because we think that it ' s somebody else ' s problem. " if we were to reinterpret sep to stand for " somebody else ' s processing, " we would be well on the way to a definition of cloud computing. the term " cloud " comes from the engineering practice of drawing a cloud in a schematic to represent an external resource that the engineer ' s design will interact with - - a part of the workflow that he or she will assume is working but that is not part of that specific design. for example, a processor designer might draw a cloud to represent a memory system, with arrows indicating the flow of data in and out of the memory cloud. cloud computing takes this concept to an organizational level ; entire sections of it workflows can now be virtualized into resources that are someone else ' s concern. cloud computing is therefore a new instantiation of distributed computing. it is built on grid computing concepts and technology and further enabled by internet technologies for access. cloud computing is the delivery of some part of an it workflow - - such as computational cycles, data storage, or application hosting - - using an internet - style interface. this definition includes web - immersed intranets as conduits for accessing private clouds. cloud computing is currently driven by business models that attempt to utilize or monetize unused resources. grid, virtualization, and now cloud technologies have attempted to find and tap idle resources, thus reducing costs or generating revenue. the most interesting difference between cloud computing and earlier forms of distributed computing is that in developing ultra - scale computing centers, organizations such as google and amazon incidentally built out significant caches of occasionally idle computing resources that could be made generally available through


revenue. the most interesting difference between cloud computing and earlier forms of distributed computing is that in developing ultra - scale computing centers, organizations such as google and amazon incidentally built out significant caches of occasionally idle computing resources that could be made generally available through the internet. furthermore these organizations found that they had developed significant skills in constructing and managing these resources, and economies of scale allowed them to purchase incremental equipment at relatively lower prices. the cloud was born as an effort to monetize those skills, economic advantages, and excess capacity. this is important because from a business model point of view the cloud resources came into existence at no cost, with minimal incremental support requirements. the majority of the costs are born by the core businesses, and therefore, at least initially, customers of the excess capacity do not need to foot the bill for capital expenditures. costs associated with staff training, facilities, and development are similarly already fully amortized and absorbed by the parent businesses. there is little more appealing than being able to sell something that you get for free. with such an appealing proposition in play, many other organizations are scrambling to see whether they have an infrastructure - - public or private - - that can be exploited for gain through cloud computing. however, when significant excess capacity does not exist, or if it cannot be leveraged in a timely or reliable fashion, it is not clear what sustainable business models exist for cloud computing. high - end, public cloud computing offerings represent a convergence of grid and internet technologies, potentially enabling workable new business models. smaller, private clouds are a technical evolution that expands the ease of use and deployment of grids in more organizations. as cloud computing technologies mature, intersect360 research sees several possible business models that could evolve. although we emphasize high performance computing in our analysis, cloud computing transcends hpc, and similar models will exist in non - hpc markets. utility computing models cloud computing provides a methodology for extending utility computing access models. utility computing is not new ; it has been touted for several years as a way for users to manage peaks in demand, extend capabilities, or reduce costs. traditionally, limitations in network bandwidth, security issues, software licensing models, and repeatability of results have acted as barriers to adoption, and all of these still need to be addressed with cloud. there are four major variations on the potential utility computing models with cloud : cycles on demand the cycles - on - demand model is the most basic approach to cloud computing. the cloud supplier provides hardware and basic software environments, and


to be addressed with cloud. there are four major variations on the potential utility computing models with cloud : cycles on demand the cycles - on - demand model is the most basic approach to cloud computing. the cloud supplier provides hardware and basic software environments, and the user provides application software, application data, and any additional middleware required. in this case users are simply buying access to computer processors, which they provision and manage as needed in order to run their applications, after which the resources are " returned " to the cloud provider. users are charged for the time the resources are in use, plus possibly some overhead costs. the demands are relatively low on the cloud provider, and relatively high on the user in terms of making sure there is effective utility generated by the rented resources. the storage cloud model complements the cycles - on - demand model both in terms of operational approach - - users buy disk space at a cloud providers facility - - and in terms of providing a more complete solution for cycles users - - a place to put programs and data between job runs. in the storage - on - demand approach the cloud is used : software as a service software as a service ( saas ) extends the basic cycles - on - demand model by providing application software within the cloud. this model addresses software licensing issues by bundling the software costs within the cloud processing costs. it also addresses software certification and results repeatability issues because the cloud provider controls both the hardware and software environment and can provide specific system images to users. saas also has the advantages for providers of allowing them to sell services along with the software, and to use the cloud as demonstration platform for direct sales of software products. in addition, the user is able to turn much of the system administration task over to the provider. the major drawback to this strategy is that users generally run of a series of software packages as part of their overall r & d workflow, in such case data would need to be moved into and out of the cloud for specific stages of the workflow, or the cloud provider must support an end - to - end process. environmental hosting is the use of a service to support virtually all computational tasks, with servers, storage, and software all being maintained by a third party. this concept can include constructs such as platform as a service ( paas ) and infrastructure as a service ( iaas ). arguably environmental hosting in the cloud is an oxymoron, however, it represents the upper end of the utility computing spectrum and a logical destination of cloud strategies. this approach


service ( paas ) and infrastructure as a service ( iaas ). arguably environmental hosting in the cloud is an oxymoron, however, it represents the upper end of the utility computing spectrum and a logical destination of cloud strategies. this approach addresses software, result repeatability, and most networking issues by simply providing dedicated resources all in one ( logical ) place. it addresses many of the technical security issues, but not a consumer organization ' s security problem of inserting a third party into the workflow process. in addition to the models for those who would consume resources through the cloud, there are applications that are made possible by the combination of internet communications and large computing resources. this is inclusive of the opportunities for organizations to become cloud computing service providers, either externally or internally. in addition, there is the potential for some secondary markets to be enabled by the adoption of cloud technologies. restructuring of internet - based service infrastructures one of the most interesting aspects of cloud computing is that internet companies with value - add and expertise in intellectual property or content ( as opposed to purchasing, managing, and running computer hardware systems ) could move their internal computing architecture to the cloud, while maintaining system management and operating control in - house. with this strategy an organization would move the bulk of its computing to the cloud keeping only what is necessary for communications and cloud management, in doing so they convert internal costs for systems, software, staff, space and power into usage fees in the cloud. cloud technology and service providers facilitate and accelerate the industry ' s evolution towards a network of interrelated specialty companies, as opposed to groups of organizations each performing the same set of infrastructure functions in house. the major issue potentially holding this model back would be cost ; i. e., the level of premium users would be willing to pay for a service versus a do - it - yourself solution. this strategy would replace personal computers with an advanced terminal that connected to a cloud utility that holds all of the user ' s data and software. the advantage for users is that they would be relieved of the burden of purchasing, maintaining, and upgrading their personal systems. they would also have professional support for such task as system back - up and system security and would also be able to access their computing environment form any web - connected device. this strategy may represent the evolutionary future of the internet, particularly as more devices become web - enabled and the relationship between the web and the personal computer is weakened by competing devices, such as smart phones. the main challenge to this model is overall bandwidth on the internet


may represent the evolutionary future of the internet, particularly as more devices become web - enabled and the relationship between the web and the personal computer is weakened by competing devices, such as smart phones. the main challenge to this model is overall bandwidth on the internet. side effects to such an evolution would replace the role of the operating system with a web browser and whatever backend environment the cloud supplier chose to provide, also creating a new product class for web terminals. intersect360 research analysis we see cloud computing as part of the logical progression in distributed computing. it is not completely revolutionary, nor is it a panacea that will provide any service that can be imagined. the business models must be considered in terms of cost and control, barriers and benefits. of all the cloud business models, intersect360 research believes that saas has the highest potential for success within hpc. it addresses several of the major dampening factors associated with cloud and provides additional revenue opportunities in the services arena. it also targets industrial users, who would be the most likely to pay a premium for the product, without attempting to develop competing solutions. furthermore companies can adopting saas models in cloud in a phased or tiered way, first proving the concept private clouds before giving themselves over to public or hybrid models. ( this same phenomenon persists with private and public grids today. ) organizations that have experience with the software and in house operations may look to saas options for peak load management and capacity extension. however, we believe the greater opportunity is for selling packaged cloud computing, software, and start - up services to companies testing hpc solutions. our research indicates that there are major start - up barriers to using hpc solutions among small and medium companies. these barriers include finding the expertise for the creation of the organization ' s first scalable digital models. the major barrier for saas adoption in hpc is the fragmentation of the applications software sector of the industry. the boutique nature of the opportunity may indicate there is not sufficient volume to merit the isv ' s investment to create and market cloud - enable versions of their applications. interestingly, in a recursive manner, small saas providers could theoretically tap into larger cycles - on - demand cloud providers to supply the computing resources. similarly, implementation of environment hosting within current cloud environments for hpc organizations would currently entail significant amounts of effort by the user organization to set up and manage storage and software environments. it would also be limited by software licensing issues for industrial users in particular. thus market opportunities for this option are


cloud environments for hpc organizations would currently entail significant amounts of effort by the user organization to set up and manage storage and software environments. it would also be limited by software licensing issues for industrial users in particular. thus market opportunities for this option are very limited at this time. that said, a small organization could conceivably do all its computing in the cloud, keeping all its data on cloud storage system, using only internally developed, open - source, or saas software, and trusting in small size as part of a herd to provide security. finally, we note that web - based software services are not new to the market ; they currently range from income tax preparation services to on - line gaming companies. saas fits into cloud markets based on the concept of work being sent to outside party and results returned, without the sender having knowledge of exactly how those results are generated. for some users, saas may inherently make sense. ultimately the best way to help users adopt hpc applications may be to make them somebody else ' s problem. may 16, 2013 | when it comes to cloud, long distances mean unacceptably high latencies. researchers from the university of bonn in germany examined those latency issues of doing cfd modeling in the cloud by utilizing a common cfd and its utilization in hpc instance types including both cpu and gpu cores of amazon ec2. may 10, 2013 | australian visual effects company, animal logic, is considering a move to the public cloud. may 10, 2013 | program provides cash awards up to $ 10, 000 for the best open - source end - user applications deployed on 100g network. may 08, 2013 | for engineers looking to leverage high - performance computing, the accessibility of a cloud - based approach is a powerful draw, but there are costs that may not be readily apparent. 05 / 10 / 2013 | cleversafe, cray, ddn, netapp, & panasas | from wall street to hollywood, drug discovery to homeland security, companies and organizations of all sizes and stripes are coming face to face with the challenges – and opportunities – afforded by big data. before anyone can utilize these extraordinary data repositories, however, they must first harness and manage their data stores, and do so utilizing technologies that underscore affordability, security, and scalability. 04 / 02 / 2012 | amd | developers today are just beginning to explore the potential of heterogeneous computing, but the potential for this new paradigm is huge. this


1. a toothed wheel or disk, which is designed to mesh with another by interlocking. 2. system of two or more gears meshed together so that the motion of one is passed to the others. 3. chain driven mechanism that transmits motion and power when it turns. the proportional relationship of two different sized gears that are in contact with each other. series of gears that can be meshed together in different combinations to change the mechanical advantage between the input and output shafts. the enclosure that surrounds the gear train. mechanism in a vehicle that selects the gears in the transmission. top coat of resin when forming a fiberglass shape. the resin is applied in a layering of fiberglass mat and resin in a mold. final finish, which is used on many plastic fixtures since it can be easily repaired when it is scratched. growing equity mortgage - a mortgage loan in which the payment is increased by a specific amount each year, with the additional payment amount applied to principal retirement. as a result of the added principal retirement, the maturity of the loan is significantly shorter than a comparable level - payment mortgage. contractor who assumes responsibility for completing a construction project, under contract to the owner, and hires, supervises and pays all subcontractors. a lien that includes all of the property owned by the debtor, rather than a specific property and may be obtained either through a judgment lien, where the court issues a judgment, a lien by creditors on an estate, or through federal and state tax liens. the managing partner of a limited partnership who is in charge of its operations and has unlimited liability. all partners in an ordinary partnership are general partners. a limited partnership must have one general partner. electric circuit supplying a number of outlets for lighting or appliances. a deed in which the grantor agrees to protect the grantee against any other claim to title of the property. the covenants assure good title, freedom from encumbrances and quiet enjoyment. set of rules considered standard and acceptable by certified public accountants. 1. machine for producing gas or steam. 2. machine whose conductor moves through a magnetic field and converts mechanical energy into electrical energy when the device is rotated. 3. a dynamo. the rehabilitation of low - income housing into higher income housing, which results in the displacement of lower - income residents and generally occurs when an older neighborhood is revitalized. round structure constructed of lightweight bars forming a grid of polygons. survey that takes into consideration the curve of the earth. a computer mapping program


results in the displacement of lower - income residents and generally occurs when an older neighborhood is revitalized. round structure constructed of lightweight bars forming a grid of polygons. survey that takes into consideration the curve of the earth. a computer mapping program where land characteristics and / or demographic information are color coded and often overlaid. the purpose is to determine locations of certain activity. science dealing with the surface of the earth, its division into continents and countries, along with the climate, animals, plants, inhabitants, resources and industries of the various places. the magnetic properties of the earth. branch of mathematics dealing with points, lines, surfaces and solids to examine their properties, measurements and mutual relations in space. popular 18th century style featuring a symmetrical fasade, a prominent front entrance and quoins ( decorative blocks of masonry or wood which are set in the corners of the house ). this classic style has two to three stories. plaster surface that has been prepared for painting by being coated with glue or another type of material. a spring from which columns of boiling water and steam gush into the air at intervals. a ground fault circuit interrupter is a safety device to protect against electrical shock by cutting off the flow of electricity when there is even a slight stray of current leakage. shadowy appearance, which shows as a defect on the surface of paint.


1989 : if there is an art form we can glean from the many photographs and videos of the tiananmen square demonstrations in 1989, it must be found in the multi - hued banners that converged on the square and surrounding streets made by the students from different universities around china. often their idiosyncratically - painted chinese characters contrasted stylistically, yet intricately, to compose, as seen from a distance, rich textures of abstract gestural markings to the millions who watched around the world without more than a guess as to translations. they are best seen the nearer in date we come to the government ' s crackdown, such as on may 13, when the students began a hunger strike in anticipation of the highly - publicized state visit of soviet leader mikhail gorbachev, which sent spontaneous crowds streaming in. or when the government declared martial law on may 20th. it seemed that each new official call for the demonstrators and students to leave the square brought still more demonstrators and students, all unfurling wind - strewn banners and flags from newly energized ranks. surviving posters from the demonstrations or those that soon after sought to commemorate the protestors killed in the june 4th massacre and in the weeks following are few, but this one of the massive goddess of democracy statue that students assembled from polystyrene and paper - mache and carried through the square has found it ' s way to the web. quoting the chinese political scientist and dissident, yan jiaqi, the poster reads, " the tide of democracy is powerful and mighty. followers shall prosper, opposers shall perish. yan jiaqi, 6 / 22 / 1989. " the hand - printed scroll made by nancy spero commemorating the lives lost in the crackdown on june 4 and thereafter seems unduly abstract to those of us who know her work. it is hard to make out just what is a human figure until we compare the scroll to photos of the crackdown ' s brutal efforts to end the insurrection. that ' s when we are hit with the horrifying reality in seeing that spero hasn ' t made abstract markings. she has printed the bodies of the demonstrators as they appear in the photographs after the tanks of the people ' s liberation army literally crushed the demonstrators into the pavement. the scroll has been a medium of choice for chinese painters for nearly two millennia, yet it is hard to imagine that any scroll before has signified human brutality and death so unflinchingly as spero ' s rendering. 1989 : despite the


the scroll has been a medium of choice for chinese painters for nearly two millennia, yet it is hard to imagine that any scroll before has signified human brutality and death so unflinchingly as spero ' s rendering. 1989 : despite the controversy that surrounded the globally - encompassing exhibition magiciens de la terre ( magicians of the earth ), it has weathered its shortcomings with an influence and legacy that secures its status as the first significant post - colonial global survey of art and aesthetics that sought, at least in terms of museum and exhibition practice, to reconcile the differences between indigenous productions and an encroaching homogenization of style and ideological relations to artistic production that we call modern and global. although modeling the curatorial approach on the illusory polarity of self and other - - with the self here standing in for the presiding western model of ethnology - - the curatorial team assembled under jean - hubert martin adhered to a selection process that eschewed all colonial museological models that had dominated the western exhibition and collection of the world ' s artistic productions as well as all classifications other than common formal, thematic, and contextual attributes, however slim. in fact magiciens de la terre was mounted in reaction to a prior museum survey, the 1984 primitivism show held at new york ' s museum of modern art in 1984. that show, organized by william rubin, the museum ' s director of painting and sculpture and kirk varnedoe of the institute of fine arts, new york university, not only upheld the myth of cultural universality, it exalted the progressionist valuation of art that implicitly defined modernism not just as one among many global standards of aesthetic taste, but as the culmination of all prior aesthetic systems - - in short, an unspoken but no less salient vindication of ethnocentric and colonialist " centers " presiding over indigenous but " outmoded " margins of production. the show would prove to be the pivotal point in the formation of a new globally - relevant criticism, and mcevilley would take the lead in reconfiguring this criticism with his artforum article, " doctor, lawyer, indian chief. " from mcevilley ' s point of view, " primitivism was a banner exhibition for all the central premises of modernist eurocentrism. it embodied the kantian doctrine of universal quality ; the hegelian view that history is a narrative of europeans leading the world toward spiritual realization ; and the cartographic


comic art, billboard and sign painting in pointed commentaries about congolese social and political life. ghanaian artist. paa joe is the foremost sculpted coffin maker of his generation. he is one of many ghanan artists making coffins in the form of objects and living things, though those that having the broadest appeal in the west tend to be of modern commodities - - cars, cell phones, cameras, computers. as novel as the concept is to non - ghanans, in ghana the custom is only the 20th century variation on a tradition stemming from the ghana people ' s belief that people who die should be remembered for their achievements in life, in terms of profession, status, and favorite objects. since her western debut in magiciens de la terre, ndebele artist esther mahlangu has become world renown for her ndebele painted and textile designs. whereas cheri samba and paa joe have made the biggest impact on the art world, mahlangu ' s extends far beyond, covering any and all sculptural, architectural and utilitarian forms that appeal to her and being sought after in all these markets. 1989 - 90 : " berlin wall : the date on which the wall fell is considered to have been november, 9 1989, but the wall was strategically made obsolete when after the border between hungary and austria was disabled the previous august, which led to an estimated 13, 000 east german tourists escaping the east to austria. meanwhile, a wave of refugees found a way out via czechoslovakia, then hungary to austria. as east germans flooded the west german embassy, protest demonstrations broke out throughout east germany in september 1989. by early november half a million people gathered at the alexanderplatz demonstration in east berlin. to ease tensions, general secretary egon krenz provided safe passage to refugees at crossing points between east germany and west germany, including west berlin, which became official and permanent. in the weeks that followed, people came to the wall with sledgehammers and chisels to chip off souvenirs. one section of the wall that remains, located near the berlin center on muhlenstraße in friedrichshain - kreuzberg, was secured by the kunstlerinitiative ( artists initiative ) as a sector of the wall to be preserved and transformed into an open - air gallery. what became known as the east side gallery, likely the longest gallery in the world, has a length of 1. 3km through berlin and consists of 105 paintings by 102 artists from around the


to be preserved and transformed into an open - air gallery. what became known as the east side gallery, likely the longest gallery in the world, has a length of 1. 3km through berlin and consists of 105 paintings by 102 artists from around the world. painted in 1990, much of the art is populist and untrained, and by artists with very few connections to the artworld, which makes it all the more popular among the political middle classes. although most of the art had to be restored in time for the 20th anniversary in 2009, the paintings are widely regarded as historically significant for expressing the euphoria and hope of a unified german people that saw itself ready to prove itself to be in league with the free world. 1989 : day without art began on december 1, 1989 as the national day of action and mourning in response to the aids crisis. to make the public aware that aids can touch everyone, and inspire positive action, some 800 u. s. art and aids groups participated in the first day without art, shutting down museums, sending staff to volunteer at aids services, or sponsoring special exhibitions of work about aids. since then, day without art has grown into a collaborative project in which an estimated 8, 000 national and international museums, galleries, art centers, aids service organizations, libraries, high schools and colleges take part. 1989 was a good year for group material. they completed a series of year - long presentations centered on the theme of democracy at the dia foundation for art in new york. in berlin, they presented aids & democracy at the neue gesellschaft fur bildende kunst. and they installed the project for which they remain most widely recognized, the aids timeline, at the university art museum, berkeley. by this time the collective had been comprised of many artists and art administrators, the most well known including tim rollins, julie ault, doug ashford and felix gonzalez - torres. among the many collectives issuing from new york, their installations stood out for not being known for their visual aura as much as for their textual density. this aspect of compiling images, objects, and readings as if all coalesced into one text was most successful when employed in their timelines installed in galleries. it also served the collective well in achieving their mission, which they ' ve stated to be the movement of " the idea of art from isolated models of refinement to a self - consciously political and cultural approach to communication. as the interface between subject matter and society, presentation space was adopted as a significant artistic medium, removing the


to be the movement of " the idea of art from isolated models of refinement to a self - consciously political and cultural approach to communication. as the interface between subject matter and society, presentation space was adopted as a significant artistic medium, removing the distinction between artists and curators. moreover, the status of presentation space itself as a standard of access to information was opened beyond the museum and gallery to engage the public through storefronts, talks, town meetings, newspaper ads, magazines, bus posters, etc. " from its introduction in the art world, nan goldin ' s art became something of a chronicler of the new york underground. she filled a void that opened in art photography with the death of diane arbus, except that arbus was something of a tourist in the world of the recalcitrant nonconformist, the self - stylized freak and the misfit. goldin lived the life she photographed. her " subjects, " which strike some audiences as eccentric, self - possessed, willfully retreating into the wounds of cultural injury, are to goldin beloved lovers and friends. in this respect goldin was made political at least at the outset only because the friends in her life unknowingly thrust the power of art into her hands, through her camera, into her brain, where the force of it all must have been anything but chosen. it was through her friends that goldin became a most unwilling chronicler of the early spread of aids. as goldin wrote in " 20 years : aids & photography " for the digital journalist, " aids changed everything in my life. there ' s life before aids, and after aids... we were in fire island that first time we ' d heard about aids, in july of 1981. i was with cookie mueller, cookie ' s lover, sharon, and photographer david armstrong, one of my oldest, best friends, and 2 or 3 other boys. cookie used to write a monthly art critique for details magazine. she was the starlet of the lower east side : a poetess, a short - story writer, she starred in john waters ' s early movies. she was sort of the queen of the whole downtown social scene. " of the many she photographed in their last stretch of life, cookie mueller was the most famous. a writer with a tres hip cult following, she became a muse to goldin, in that she crafted a portal of words onto the wild world that was new york, in her case in the 1970s. " i didn '


was the most famous. a writer with a tres hip cult following, she became a muse to goldin, in that she crafted a portal of words onto the wild world that was new york, in her case in the 1970s. " i didn ' t think of them as people with aids, " goldin writes. " about ' 85, i realized that many of the people around me were positive... at that stage, we still didn ' t know very much. there was a lot of ignorance. we were very obsessed with what caused it : there were all kinds of rumors, everything from amyl nitrate to bacon. people were tested and being told they had something called arc, that quickly became medically non - relevant. i was in denial that people were going to die. i thought people could beat it. and then people started dying. " here goldin photographed the wakes of mueller ' s husband, vittorio, whom she married only a few months before, and then the wake of mueller, again within the space of mere weeks. 1990 - 1993 : after the fall of the berlin wall, hans haacke returned to his native germany in 1990, and to the site of the former wall that had long seemed to divide the entire world into two political polarities. there he found a former guard tower from which snipers shot at east germans fleeing to the west. in a work called " death tower, " haacke affixed a mercedes benz logo at the top. haacke ' s ideological point : that corporations target and constrain lives in the same way that dictatorships do. at the 1993 venice biennale, haacke ' s entry in the german pavilion was an epic production called germania. in place of a stable floor, haacke jackhammered marble into fragments which the viewer had to walk precariously over. on a prominent, curved wall, the name " germania " was inscribed theatrically in a classical invocation of myths of the past. a viewers walked through the pavilion, the shifting marble was amplified by loudspeakers, imparting a sense of tectonic shifts that imparted analogy to the historic shifts undergoing the german people as a result of a unification many did not welcome. haacke ' s analogous work was anything but subtle in its implication that the " german question " that the national socialists under hitler had asked, and that had been asked by the imperial german powers in the centuries preceding, was still being decided as unification confronted a generation upon whom the


work was anything but subtle in its implication that the " german question " that the national socialists under hitler had asked, and that had been asked by the imperial german powers in the centuries preceding, was still being decided as unification confronted a generation upon whom the newly unified german government placed severe restrictions in granting citizenship only for those who could prove their legacy of german blood. 1990 : the walker art center commissioned hachivi edgar heap of birds ' building minnesota ( 1990 ), a signage installation mounted on the banks of the mississippi river in minneapolic, minnesota. " heap of birds set forty large, metal, billboard - like signs along minneapolis ' s downtown riverfront. the signs honored the forty dakota men who were sentenced to death by abraham lincoln and andrew jackson after the us - dakota conflict of 1862, in what is the largest mass execution in american history. " ( walker art center. ) in new york : purchased? stolen? reclaimed?, heap of birds offers us an explicit assertion of indigenous geography by inserting historical and spatial indicators as substitutes for road distance indicators. the first two refer to history. the third to the refusal of the native peoples to concede the loss of their lands. 1990 : four national endowment for the arts ( nea ) grants awarded to performance artists by the nea peer review panel were vetoed by nea director john frohnmayer in june, 1990. the four artists were singled out because of their sexual preferences and political discourses. three of the rejected artists, holly hughes, tim miller and john fleck, are gay and deal with homosexual issues in their work ; the fourth, karen finley, is an outspoken feminist. the endowment had been under attack since 1989 for funding supposedly " lewd " work, and it became known that the four rejected artists have continually been singled out by conservatives in the past. the nea claimed that the artists ' work violated an anti - obscenity pledge which each grant applicant was required to sign in order to receive funds. in 1993, all members of the nea four received compensation surpassing their grant amounts in 1993 when courts ruled in support of the four artists. but the damage had already been done, as many in congress now found it acceptable to challenge the funding of art based on the so - called moral content. since then the debate that has come to be known as the culture wars dividing up the issues of funding and art have hardened into two entrenched camps, each demonizing the other. karen finley, meanwhile, sought a higher ruling against the restrictions


. since then the debate that has come to be known as the culture wars dividing up the issues of funding and art have hardened into two entrenched camps, each demonizing the other. karen finley, meanwhile, sought a higher ruling against the restrictions of content as a violation of free speech and on the use of nea funds and definitions for " obscenity. " on june 25, 1998, eight years after the frohnmayer veto, the supreme court handed down a ruling upholding a " congressional decency test " for awarding federal grants to artists. the high court requires the national endowment for the arts to take into account " general standards of decency and respect for the diverse beliefs and values of the american public " in awarding grants. the only dissenting opinion in the 8 - 1 decision came from justice david h. souter who said that this law violated the first amendment. the clinton justice department argued in favor of the censorship provision. as a result of this case and others in lower courts, the nea abolished all grants to individual artists. on january 17, 1991, the day that operation desert storm began in the first iraq war, the abortion project opened at artists space in new york. the collaboration between new york artists kathe burkhart and chrysanne stathacos, and further organized by real art ways curator anne r. pasternak, the exhibit is an installation commemorating the 20th anniversary of the " manifeste de 343, " a french public declaration in 1971 stating all the signatories had had abortions, the most celebrated of whom included simone de beauvoir, catherine deneuve, marguerite duras, gisele halimi, bernadette lafont, francoise sagan, agnes varda, jeanne moreau, brigitte bardot, and scores of other prominent women in the arts. that manifesto opens with the lines, " one million women in france have an abortion every year. condemned to secrecy, they have them in dangerous conditions when this procedure, performed under medical supervision, is one of the simplest. these women are veiled in silence. i declare that i am one of them. i have had an abortion. just as we demand free access to birth control, we demand the freedom to have an abortion. " the abortion project doubled the manifeste ' s number, collecting 686 signatures of women in the arts, which was enlarged and painted in red directly on the gallery walls. the second part of the exhibit consists of artworks by 40 women artists who have long


the abortion project doubled the manifeste ' s number, collecting 686 signatures of women in the arts, which was enlarged and painted in red directly on the gallery walls. the second part of the exhibit consists of artworks by 40 women artists who have long been involved with issues of gender and women ' s rights that had been shown at simon watson gallery, in new york. they included barbara kruger, adrian piper, lorna simpson, kiki smith and nancy spero. the third part of the show featured " the abortion project anthology, " a publication featuring the work of women poets, artists and writers, including laura cottingham, eileen miles, jill rappaport, kaye rosen, christine sanders and lynne tillman. besides artists space and real artways, the abortion project was also installed at new langton arts, san francisco, ca, and at hallwalls, buffalo, ny, where it stirred considerable controversy with the city ' s conservative press and the religious right. 1991 : the collective of queer women artists known as fierce pussy is formed to bring lesbian identity and visibility into aids activism and street demonstrations throughout the 1990s. although composed of successive waves of lesbian activists, nancy brooks brody, joy episalla, zoe leonard, and carrie yamaoka have made up the core membership. 1991 - 1993 : felix gonzalez - torres, the conceptual sculptor who in january 1996 died of aids at age 38, combined his personal experiences with public conceptual art installations. in one exhibit, he piled wrapped candy in a corner and invited viewers to take one, replenished from an " endless supply, " an idyllic sentiment exemplary of a desire for heaven on earth. yet his art is anything but sentimental. his billboard installations of the early 1990s displaying the photographic images of his empty bed are simple facts of loss as much as they are tributes to his lover lost to aids in a public gesture that directs his grief into the collective that receives all private life events as political motivations and ends. in some of gonzalez - torres ' minimalist candy installations the weight of the candy is to equal his lover ' s weight, other ' s his own weight, and still others the weight of both men combined. in the above installation, the candy is to be maintained at 1200 pounds. 1991 - 1995 : general idea, the trio of artists whose queer art has been internationally exhibited since the early 1970s, would become decimated by the hiv virus, with two of its members, jorge zontel and felix partz, dying only months apart from each other in


idea, the trio of artists whose queer art has been internationally exhibited since the early 1970s, would become decimated by the hiv virus, with two of its members, jorge zontel and felix partz, dying only months apart from each other in 1995. surviving member, aa bronson, has since gone on to make an art of post - science shamanism geared for a generation seeking a healing that science has so far shown itself incapable of supplying. ( see more about general idea and their iconic aids art in part 4, when the personal is made political : left political art timeline, 1980 - 1989. ) 1992 : artist and writer david wojnarowicz died of aids - related causes. although feminists in the 1970s had widely disseminated the notion of the person being political, as late as the mid 1980s, few male artists, gay or straight, made his personal life the center of his work as acutely and ultimately as tragically as had david wojnarowicz. then, too, it appears that wojnarowicz ' s work from the very beginning emerged directly from his personal experience. he claimed that he didn ' t study art history, didn ' t go to college, and he was begrudged for not being an art world networker. and so he made his art about the things he knew : his boyhood ; his sexuality ; life on the street ; and witnessing his body as it progressively fell victim to the hiv virus. a prolific and impassioned writer, the text of his art work, when i put my hands on your body, overlain the image of excavated graves, speaks as freshly these years after his death as when he wrote them. " when i put my hands on your body on your flesh i feel the history of that body. not just the beginning of its forming in that distant lake but all the way beyond its ending. i feel the warmth and texture and simultaneously i see the flesh unwrap from the layers of fat and disappear. i see the fat disappear from the muscle. i see the muscle disappearing from around the organs and detaching itself from the bones. i see the organs gradually fade into transparency leaving a gloaming skeleton gleaming like ivory that slowly revolves until it becomes dust. i am consumed in the sense of your weight the way your flesh occupies momentary space the fullness of it beneath my palms. i am amazed at how perfectly your body fits to the curves of my hands. if i could attach our blood vessels so we could become each other i would


of your weight the way your flesh occupies momentary space the fullness of it beneath my palms. i am amazed at how perfectly your body fits to the curves of my hands. if i could attach our blood vessels so we could become each other i would. if i could attach our blood vessels in order to anchor you to the earth to this present time to me i would. if i could open up your body and slip inside your skin and look out your eyes and forever have my lips fused with yours i would. it makes me weep to feel the history of your flesh beneath my hands in a time of so much loss. it makes me weep to feel the movement of your flesh beneath my palms as you twist and turn over to one side to create a series of gestures to reach up around my neck to draw me nearer. all these memories will be lost in time like tears in the rain. " 1992 - 1993 : after being diagnosed with lymphoma, hanah wilke took to documenting her treatment of the disease and ultimately her death. called the intra - venus series, wilke created a monument that speaks for more than the feminism she for twenty years had represented with her art. each successive photo and video makes it increasingly obvious that wilke defied the societal convention of dying silently and away from view. she ignored the pity, disgust, and sentimentalism that so many people attach to death and dying, just as she refused misery and bitterness to overwhelm her life ' s work ' s. all this is the personal is political taken to its culmination. as did camus in his writing, wilke took a stand on death by imposing on it her choice of making death part of her art. this is a political act as much as it is for many a spiritual act, or just a living act. wilke died on january 28, 1993. during the later stages of her illness, she collaborated with her husband, donald goddard, on a series of photographs documenting the realities of her physical and mental transformation. consensus has it that the artist wolfgang staehle was the first net host to sponsor an artsite online when he founded the thing in 1991 in new york. although it ' s capacity was limited to that of a bulletin board system ( bbs ), staehle had a vision that the net would become something of a production, conferencing, and distribution platform for artists and art cognoscenti - - in essence a net art world for the conceptual artist. he went on to establish


art market is more prodigiously profitable than ever. to be continued. 1992 : sue williams ' show at 303 gallery was something of a watershed for women ' s art in representing her own personal experience of violent abuse. few prior representations of battered women were as frank, graphic, biting and politically energizing as this show, which gave other women who had similar experiences incentive to make their own art of release. ( see my feature, from victim to victor : women turn the representation of rape inside out on huffington post. ) alfredo jaar ' s geography = war, 1991, is a large installation. duratrans, light boxes, fifty - five - gallon metal barrels and water in a dark room illuminate images of war that set the scene for work that speaks directly to the viewer ' s conscience. the work consists of fifty - five gallon barrels filled with water, over which are suspended light boxes with photographs of the citizens of koko. the photographs are seen by viewing the reflections in the water - filled barrels. as the viewer peers into the barrels to see the photographs, he or she also sees his or her own reflection. jaar seems to be asking each of us to confront our own role in societal injustices. the light boxes are like those used for advertisements in hotels, train stations, and airports. usually, such displays advertise goods to be consumed ; here, they present people living in the direst circumstances. jaar deploys such reversals to make the viewer aware of his or her own position as a citizen of the world. jaar has stated : africa and latin america are rapidly becoming the dumping grounds for millions of tons of toxic industrial waste from the so - called " developed " countries.... some of the world ' s poorest nations have been targeted as potential dumpsites for us and european waste... forced to choose between poison and poverty, some are choosing the poison, which will bring them " incomes " sometimes larger than their annual gross national product.... 1993 : it doubtful that there has ever been a whitney biennial that received a more unanmious barrage of negative criticism from the press than the biennial of 1993. that no doubt is because it is the only biennial to have openly and flagrantly disinterred all the racial, ethnic and sexual stereotypes ever espoused by white supremacy. it should come as no surprise that many of the white critics of both sexes were incensed in having a mirror forced before them, while showing little if


disinterred all the racial, ethnic and sexual stereotypes ever espoused by white supremacy. it should come as no surprise that many of the white critics of both sexes were incensed in having a mirror forced before them, while showing little if any cognizance that their complaints signified a desire to suppress the expressed experience of the women, queers, transgendered, and people of color whose art, until the 1990s, was rarely if ever represented in the museums, blue chip galleries, and trade journals from which the elite art world is comprised. the negative response ranged from the irrational : a critic called the radically daring exhibition " dazed recognition of the degree to which artistic conservatism had gripped the museum. " the critic didn ' t bother explaining how exhibiting a new art that made its legacy of suppression a medium to be altered, and that had never been explored thematically or formalistically by a prior museum, was artistic conservatism. a prominent magazine delivered called the biennial " a fiesta of whining, " a slur aimed at the tropical peoples of the biennial as surely as a reprimand for not forgetting that the artists ' ancestors were raped by their owners, or were purposely given blankets with small pox so to eradicate their race. clearly the said critic considered his own grievance of being shaken out of his cultural amnesia the only thing worth whining about. one newspaper critic called the art by people who have historically been denied access to cultural institutions, " a pious, often arid show that frequently substitutes didactic moralizing for genuine visual communication. " yes, when people endure murder, poverty, apartheid in the name of racial, religious, or ideological supremacy, they are apt to turn both pious and moralizing - - especially considering that it is the surpremacists who have made " genuine visual communication " impossible. " pious " and " moralizing " are words that make me think of gandhi, martin luther king, jr., and desmond tutu. for that matter, many of goya ' s, david ' s, delacroix ' s and picasso ' s gracing the museum ' s halls are moralizing - - without the self - deprecating humor of the biennialists. one trade journal critic didn ' t even bother to pass her writing as criticism, so contemptuous and smug was its assumption of privilege and entitlement in commenting that she couldn ' t think of cultural genocide when all she could think about was in what good shape a certain performance


' t even bother to pass her writing as criticism, so contemptuous and smug was its assumption of privilege and entitlement in commenting that she couldn ' t think of cultural genocide when all she could think about was in what good shape a certain performance artist kept herself. clearly the reviewer forgot that slaves endured labor and native americans ' closeness to nature, which often made them far stronger - - and potentially more dangerous - - than the ruling classes. in the end david ross and the curators, elisabeth sussman, john g. hanhardt, thelma golden, and lisa phillips, got their revenge, as it turned out that the 1993 biennial must have had one of the highest returns in terms of subsequent artist success. the great majority of them went on to make significant historical, monetary and institutional gains for the art expressive of the politics of feminism, ethnicity, sexuality and gender. whether or not the impact would or would not have been made without the 1993 biennial, the fact is the art world is a substantially more inclusive place because of the very artists who were scolded for being too aggressive in their artistic activism. 1993 - 1995 provocatively inviting misinterpretation in a society prone to islamophobia, shirin neshat ' s women of allah series, in which several shots are of iranian women covered by chadors under the muslim law of hijab and holding guns that for many western viewers reinforce the image of hostility we carry with us since 9 / 11. which is why it is important to point out that these images were made six, seven, eight years before 9 / 11. then what are they about? explicitly, they commemoration the iranian women who fought in the iran - iraq war of 1980 - 1988. implicitly, they reflect the social codes that compel us to conform to traditions we would rather do without. neshat ' s art exhibits many of the codes governing women ' s homosocial dress and behavior depicted in the centuries - old islamic miniatures of women ' s eyes peering out from recessed lambrequins and tightly - wrapped veils. the guns were an early ploy of neshat ' s to impart an aura of strength and resilience on her women. she later learned that more subtle signs impart even more strength and resilience, though without the dramatic signification. such as the sight of muslim women who band together to contend with male imperatives buttressed by writ of law. it is through neshat ' s work that we begin to realize that what appears to


new generation of queers " look back on the stonewall and pre - stonewall eras with romantic nostalgia... this, generation while still active in act - up, queer nation, and wac, still feels a sense of sorrow at not knowing what it was like to be there that night at the first moments of revolution when the legendary ( possibly apocryphal ) fed - up drag queen threw the first bottle at a cop. " ann pasternak had only just begun her long tenure as the director of creative time in new york the year that she bravely co - sponsored hunter reynolds : patina du prey ' s memorial dress, a healing ritual and performance sculpture. i say brave, because in writing the affair sounds potentially offensive, introducing the signage of a drag queen - - which to many viewers brings with it the image of outrageous disregard for convention - - at a function demanding propriety out of respect for the dead and their grieving survivors. in fact, reynolds ensures that there is not only no glimmer of camp, irony, or humor breaking through the spectacle of a large balding man wearing a classically handsome black bell dress while rotating on a dais for the audience ' s riveted inspection. it ' s the stillness and the silence of the gallery ' s numerous and lingering visitors that encourages our silence, then directs our eyes onto the names of the then 25, 000 aids dead printed exquisitely in gold and undulating in and around the dress ' s sumptuous folds. the atmosphere not only cultivates respect, but signals that, regardless of the dress, this is no ordinary drag queen taken to the stage. reynolds is in fact invoking the history of the healing shaman ritual in which the tribal shaman, usually a man, dons the traditional clothing of the tribe ' s women to summon a power ascribed in the society to women alone, yet which becomes more concentrated when the conduit of the power passed to him is male. perhaps because it is an acknowledgement too esoteric to be understood in the modern context it is presented, reynolds has seen to it that the bodice of the strapless dress is cut for a male torso. it takes some time to notice the difference, but it no less discretely registers on our mind ' s eye until it dawns on us that, besides the absence of a wig, the artist declines to simulate cleavage. the overall effect is provocative not so much for the negation of stereotypes, but for the many enigmas bestowing an aura


' s eye until it dawns on us that, besides the absence of a wig, the artist declines to simulate cleavage. the overall effect is provocative not so much for the negation of stereotypes, but for the many enigmas bestowing an aura of mystery and awe onto this angel of deathly benevolence. ( commentary on the fourth resounding show of 1994 follows the two images below. ) 1994 : black male : representations of masculinity in contemporary american art, curated by thelma golden at the whitney museum of american art. considering the the black male as an icon brings with it an array of negative stereotypes that many of us would rather forget, thelma golden would prefer that we remember them so to put them permanently to rest. the more renown works include robert colescott ' s painting " george washington carver crossing the delaware : page from american history, " depicting the subject surrounded by stereotypical figures including aunt jemima and the cream of wheat man. one of gary simmons ' best installations, " lineup, " situated several gold - plated sneakers in a police lineup, while another favorite, fred wilson ' s biting installation of black male mannequins in the uniforms of museum guards draws a good deal of attention. and for good reason. wilson is asking us why the only black personnel seen in museums are the guards. surprisingly, the most negative response to the show was from black audiences who want to see blacks portrayed positively in art. in one interview, golden let down her guard to show her exasperation : " i have said this about 4 million times. this show is not representation. this is not a documentary survey on black men as they live and breathe today, it is not a catalogue of types. it is about the way in which contemporary artists have looked at black masculinity, especially how it has been portrayed in popular culture. my role in it was to talk about how truly obsessed america is with race, if we really get down to it. and if we get down to it, it is not really race, it is black masculinity - - that ' s what it is. they are synonyms, in a weird way. " 1993 - 97 : glasnost and perestroika were russian words that circulated throughout the media in the second half of the 1980s for representing the new soviet policy under mikhail gorbachev calling for increased openness and transparency ( glasnost ) in government institutions and activities, and the reduction of corruption ( perest


that circulated throughout the media in the second half of the 1980s for representing the new soviet policy under mikhail gorbachev calling for increased openness and transparency ( glasnost ) in government institutions and activities, and the reduction of corruption ( perestroika ) among communist party officials. with less censorship and greater freedom of information, artists flourished under the new reforms, which expanded at least for the 1990s with the collapse of the soviet union. the near official gouge of the new policies being tried came in the personage of oleg kulik, an artist who in the 1990s became best known for living performances as a human dog who, having escaped from his leash, defecates in museums and bites people. many of kulik ' s commentators have interpreted his performances mad dog and reservoir dog to be metaphors for russia, a country that, as the critic max seddon describes it, is " naked, poor, something to be feared, a product of the unbridgeable conflict between west and wild east. " philospher and critic boris groys likens kulik ' s clown - like behavior to the futurists in possessing no fear of looking laughable, which is the quality necessary to becoming emancipated from the heavy seriousness of contemporary art and its authorities. but there apparently is also a zoocentric impetus, one in which animals play no mere supporting role. in april 1997, kulik inhabited new york ' s deitch projects space, or more accurately, a heavily - secured dog house built in the space. entitled i bite america and america bites me, the performance was an unsubtle parody of i like america and america likes me, the now iconic performance work made by joseph beuys in new york some twenty - two years earlier, and in which he inhabited the space for three days with a live coyote. only now kulik plays the part of the canine. there was nothing comic or ironic about the performance, with many visitors finding it unsettling how like a dog kulik becomes. the artist has gone on record commenting on his belief that humans are not the center of the biosphere, nor do they control it. he would like to see humankind regard itself in its proper perspective as equal with animals, not lords to them. it ' s a philosophy that puts his performances as a bird, a fish and a bull, in perspective. it seems that kulik believes that ' true democracy ' cannot be had without true participation from animals and plants. before writing him off as a


it ' s a philosophy that puts his performances as a bird, a fish and a bull, in perspective. it seems that kulik believes that ' true democracy ' cannot be had without true participation from animals and plants. before writing him off as a loon, we might recall that leonardo da vinci in his notebooks proposed something similar. to have once been a nation with great utopian aspirations only to then find them dashed by the obscenely insane pogroms of megalomaniacal dictators against tens of millions of their own people time and again, can only lead to two character responses : heroic action and apathetic cynicism. in june 1989 the world watched the heroism of the chinese people quashed by brutal militarism openly and defiantly on our televisions, leaving us only to imagine what brutalities transpire behind closed doors. since then, chinese artists, both those living abroad and within the mainland nation, have reacted to the massacre of 1989 in varied ways, the extremes of which are embodied by the painters li zijian and yue minjun. although li zijian is a us - based artist, his larger audience is chinese, who better appreciate his buddhist themes of humanity and compassion, which many westerners find to be too sentimental, while eschewing his n. c. wyeth - like style. but the painting that has energized people of all walks is his history painting of the nanjing massacre. i should say, all walks except some japanese audiences, who refuse to acknowledge the veracity of the history depicted. ( read about the suppression of the japanese propaganda paintings made during the sino - japanese war in my political art timeline, 1945 - 1966 : postwar art of the left on huffington post. ) the history the rest of the world remembers is one of japanese armies invading the nanjing province of china on december 13, 1937, and throughout its six - month occupation, japanese soldiers began a massive campaign of rape and murder called variously the rape of nanjing or the great nanjing massacre. within six months, between 200, 000 to 300, 000 chinese people were slaughtered. li never brought up the tiananmen square massacre or analogized the nanjing massacre with it, but since li met the buddhist monk xing yun, he traveled with the financial and spiritual support of the master through china, where it was within his interests to also garner the government ' s support of his project. the timing of li ' s sudden enlightenment near immediately after the tiananamen square events, coupled with the fact


financial and spiritual support of the master through china, where it was within his interests to also garner the government ' s support of his project. the timing of li ' s sudden enlightenment near immediately after the tiananamen square events, coupled with the fact that li emigrated to the u. s. after his father was inprisoned for political reasons, has given some ( including myself ) to see in his work an obvious correlation between the 1937 and the 1989 massacres. yue minjun ' s painting have been called light hearted by his gallery ' s pr. i think they ' re quite sinister. not sinister in terms of the artist ' s inner personality revealing itself, but as a commentary on the cynicism that fills many otherwise decent chinese citizens as a result of their seven decades under autocratic rule. cynicism seems especially the resort of people that find that capitalism without democracy has virtually become state policy. and as yue ' s paintings exemplify, if capitalism with democracy as we know it is sedative, then capitalism without civil rights must be narcotically delusional. what else could yue ' s re - signification of goya ' s masterpiece of the the third of may, 1808 mean, what with it re - enacted with a cloned doppelgang replete with locked grins. grins under democratic capitalism signify selling out, but grins in autocratic capitalism signify emptying out - - spiritually, socially, politically. of course i exaggerate to make my point, which is precisely what yue does. private lives hold secret moments of redemption. but to hold onto hopes for democracy under hardline murderers means to live as hostage - - something yue couldn ' t paint and live to be free about it. and so he paints hostages. and what do hostages do when being observed by their captors? exactly what yue ' s dopplegang does - - smile in excess. as with all behaviors, desperation has a code. in yue ' s work, the code can be deciphered with the key of context, which in yue ' s paintings are encoded by location, many of them well known. where is the lampoon transpiring. who or what is being mocked. yet to decode their encoded message, we need to remember that yue ' s paintings are not really lampoons, not really mockeries. they are a nation held hostage, which means they mean exactly the opposite of what they seem. 1995 : on the occasion of the third international women ' s conference in beijing


that yue ' s paintings are not really lampoons, not really mockeries. they are a nation held hostage, which means they mean exactly the opposite of what they seem. 1995 : on the occasion of the third international women ' s conference in beijing, ann pasternak of creative time co - published, and robin kahn edited, time capsule : a concise encyclopedia by women artists, with introductions by kathy acker and avital ronell, and contributions by more than 500 women artists from the world over, including kenya, the czech republic, russia, and cuba. ( creative time and sos international, new york, 1995 ). 1995 - 1996 : artists of color have used art for recording histories of colonialism, slavery, the civil rights struggles, and various injustices delivered their peoples for the better part of the 20th century. it ' s just that white audiences until recently never bothered to look. which is why, when the arbiters of " high " culture chose to finally open the doors of the visual arts to artists of color in the 1990s, many were taken aback by the critiques of the history of white oppression and patronage they were confronted with. among the more direct and powerful of these critiques came from carrie mae weems. since weems, like david wojnarowicz, works with image and text combined, her work best represents itself. the text here accompanied the wall installation weems called, from here i saw what happened and i cried, made between 1995 - 1996, and comprised of 33 crimson - toned prints of african americans appropriated from a century of photography and public media. from here i saw what happened : you became a scientific profile, a negroid type, an anthropological debate & a photographic subject. you became mammie, mama, mother & then, yes, confidant - ha. descending the throne you became foot soldier & cook you became uncle tom, john & clemens ' jim, drivers, riders & men of letters. you became a whisper, a symbol of a mighty voyage & by the sweat of your brow you laboured for self, family & others. for your names you took hope & humble. black and tanned, your whipped wind of change howled low, blowing itself - ha - smack into the middle of ellington ' s orchestra. billie heard it too & cried strange fruit tears, born with a veil you became root worker, juju mama, voodoo queen, hoodoo doctor. some said you were the spitting image of evil. you became playmate to the patriarch and their


. billie heard it too & cried strange fruit tears, born with a veil you became root worker, juju mama, voodoo queen, hoodoo doctor. some said you were the spitting image of evil. you became playmate to the patriarch and their daughter. you became an accomplice out of deep rivers. mixed - matched mulattos, a variety of types mind you - ha. sprang up everywhere. your resistance was found in the food you placed on the master ' s table - ha. you became the joker ' s joke & anything but what you were - ha. some laughed long & hard & loud. others said " only thing a niggah could do was shine my shoes. " you became boots, spades & coons, restless after the longest winter, you marched & marched & marched. in your sing song prayer you asked, didn ' t my lord deliver daniel? from here i saw what happened. and i cried. german photographer andreas gursky and canadian photographer edward burtynsky have revived the credence of the notion that aesthetics and politics can be conjoined in the same visual and ideological spaces by providing cautionary photographic narrations on the state of human over indulgance in industry and consumption of both commercial and natural goods. for gursky, the emphasis is placed on the individual lost within the richest mine of signs and signifiers, models and mythologies, history has ever produced. corporate culture has seized hold of the signage, manufacturing, infrastructure and superstructure with the aid of populist and elitist iconography alike. while paying specific attention to the imagery and texts, media and ambience launched by advertisers, urban planners, architecture firms, news networks, financial marketers, and politicians, gursky rigorously catalogues the overarching barrage f rom the vantage of the panoramic scope or wide - angled lens that in his hands iconically reifies the collectivity of the corporate mythos, ethos, and agora. but whereas gursky renders the post - industrial landscape, edward burtynsky ' s series of manufactured landscapes takes on an almost primitive approach to the industrial landscape, revealing that the industrial age is still vital, just made invisible to the more affluent and middle - class. in cataloguing the hidden epicenters of industrial production and waste of quarries, recycling yards, factories, mines, ship breaking, and oil fields, burtynsky enables our cognition of the human environmental imprint at the same time that he strikes down