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I Humanics Spring Festival 2019: April 06 in London

I Regine Humanics Annual Lecture 2019: Whither to Homo Sapiens: Delivered by Dr J Everet Green: April 06 in London
 

VII London Poetry Festival 2019: St Matthews at Elephant and Castle: Meadow Row: London SE1 6RG: October 14-15

 
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Regine Humanics Foundation Ltd Publishes The Humanion among doing other things: We do not and shall not accept fundings or contributions from any type, form, manner and layer of Governments of national, international, supra-national or any other type or bodies formed by them nor from rich individuals or bodies or agencies of any kind. This, to us, is as a matter of absolute philosophic principle to ensure our resolute and complete independence. The ways, in which, we invite support from the readers, members of the public and all other individuals and agencies and businesses of any kind, are: a: Voluntary Subscription Payments: b: Voluntary Contributions: c: The Minimal and Symbolic Membership Fees to Our Regineumanics Family: d: Buying a Copy of The Long Walk to Humanics: e: Contributing to Our Events and f: Advertisement in The Humanion. We say it here and invite you for your support and we do not keep asking you on every page your visit to read the materials. You make a conscious, wilful and philosophic choice to Support The Humanion and The Foundation. If, you do: thank you: If, you do not, thank you, too, for reading The Humanion. The world has, apparently, accepted that Capitalism is the High Pinnacle of All Systems and, some still dream that Marxism will rescue humanity from this Killing Mechanism Capitalism, we refuse to subscribe to that and Humanics is the Post-Marxist and Post-Capitalistic World View of What Humanity can be and what it can do and how infinitely better a human condition can be created in a Humanical Society, by eradicating ownership and money and by establishing belongingship in human enterprise, setting all humans at liberty and equality under the rule of law in natural justice with a direct form of democracy, humanics calls it, Humanicsovics, in which, each human soul is her:his own High Representative. In this, Humanics is the Minority Vision and, in this, we do not and can not expect millions and billions of people supporting our vision today but We Whole-Heartedly Believe That ONE DAY This Humanity Shall BE ALL HUMANICAL: By When: We Know Not But This: That Being a Monstrous Killing Mechanism Capitalism IS Unsustainable: But the World Shall Change One Day and Every Change Begins with an Idea, with a Vision: We invite you to Envision the Vision of Humanics and Support The Humanion and The Foundation to Keep Taking Forward the Vision of Humanics for an Infinitely Better Humanity in an Infinitely Better Human Condition for All Humanity Across Mother Earth. Thank You.

First Published: September 24: 2015
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Culture
 

 

 

 

 

 

 

 

 

 

Culture Arkive

 

 

 

 

 

 

 

VII London Poetry Festival 2018: October 14-15

 

Flying High: Woman-Artists of Art Brut: Bank of Austria Kunstforum in Vienna: February 15-June 23

 

 

 

|| January 20: 2019 || ά. Flying High is the first Exhibition, devoted to female positions in Art Brut produced from 1860 until the present. The Exhibition flies high in every sense: it has gathered together 316 works by 93 women artists from 21 countries, which, in many aspects of content and aesthetics, challenge the contemporary idea of what art is. The Exhibition adopts the term Art Brut, raw art or outsider art, defined by Jean Dubuffet in 1945 as starting point for the primordial, non-academic art produced outside the cultural mainstream. Flying High is taking place in Vienna, Austria between February 15 and June 23. And, here is The Humanion’s lone voice: the entire art world across the globe has been strangled into submission, that suffers and suffocates by what we would call ‘the famine of creativity, ingenuity and imagination’ or in other words from Munchausen Syndrome by Proxy, dictated onto the entire world of art, which the arts establishments and the dead and now mummified art galleries let into and seek to promote and be as dead as their promoters and with them they, then, go about annihilating all creativity. Most of what these galleries are wasting obscene amount of money promoting and calling arts, are surely going to struggle to find any space in the future dustbins. And the arts, that grow outside their scope, struggle along, while no one pays attention to them.  

Like the entire market, the market profiteers and the whole distorteddia conglomerate, imposing, dictating, directing and herding a form and manner of dehumanised mechanistic form of mimicry of life on people exactly as the perpetrator of Munchausen Syndrome by Proxy does to her:his victim so that people are made to feel and, accept this as the high-truth, that they are not able to think, not able to read, not able to question, not able to learn, not able to conduct their everyday necessary tasks, not able know how to go for a walk or use a map or run their house or park their cars or find their telephone or make a telephone call or write a letter etc and everything is made easy by ‘this and that’, that these profiteers and the distorteddia conglomerate have ‘invented’ while all ‘this and that’ make them ship-loads of money, the very people are now being robbed off their natural faculties and abilities like the person, who imposes all the most cruel, most harmful, most devastating and most calculating disabling, dismantling, disfiguring, distorting, disempowering and disenfranchising a vulnerable child or vulnerable adult by imposing the dictate that that child is unable to do this and that so that the child is ripped off all her:his natural potential, day after day, week after week, month after month and it goes on, to develop and become a well-functioning adult.

Instead, by any manner of definition this vulnerable child or adult is ‘destroyed’ to the extent that she:he now can not, even, hold a spoon to drink the soup for which she:he, must, rely absolutely on her:his ‘Dictator’. We are using these two expressions to represent the two sides of the same coin: Munchausen Syndrome by Proxy, applicable to the art establishments and Munchausen Syndrome by Proxy, applicable to the entire world and world’s humanity whereby we are being robbed off our very humanity, all our human potentials of both what we can be and what we can do and our very human agencies and with these stripped off us what remains of us are that of a neglected, abused, harmed and made utterly devastated human soul, that has been robbed of all its potential to be and do human. We are utterly, absolutely and comprehensively dehumanised so that we know not how to be and do any longer so that we rely on absolutely to all the ‘contraptions and gadgets’, that they invented to make money so that we keep buying and using them because we no longer are able to exist without them. This is the lowest-path of the highest and guaranteed profiteering, which is guaranteed by the imposition of this Munchausen Syndrome by Proxy. We are going to write a great deal more on this to present the world with the absolute monstrous dehumanisation, mercilessly being pursued by these devastating forces and the world seem to sleep walk onto the way of ‘dusty death’, as Macbeth would put it. And in this any initiative, that goes to bring that world of art, that no one knows exist and present it to the world is a refreshing thing. Flying High is such an initiative and we invite everyone to try and be there.

The diversity and heterogeneity of the works being presented in the Bank Austria Kunstforum Wien demonstrate clearly that the scope of the Art Brut concept today has, over time, encompassed far more than works of the mentally ill; it, also, includes the production of mediumistic, spiritualist woman-artists, lone wolves and woman-artists with disabilities. This broadening of scope derives, not least, from the radical change in psychiatric medicine and its institutions, from formerly closed buildings to more open structures and, even, their dissolution. Contemporary Art Brut emerges today, to a great extent, from studios or from the structures created by the artists themselves.

The chronology of the exhibition starts with highlights from the historic collections of the psychiatrists Walter Morgenthaler, Stiftung Psychiatrie-Museum Bern and Hans Prinzhorn, Universitätsklinikum Heidelberg. Both collected and supported art from psychiatric institutions in the early twentieth century and produced publications on it,  Ein Geisteskranker als Künstler, 1921, Madness and Art and Bildnerei der Geisteskranken, 1922, Artistry of the Mentally Ill.

The main room of the Bank Austria Kunstforum Wien is showing masterpieces from the collection of Jean Dubuffet, Collection de l’Art Brut, Lausanne, which he assembled between 1945 and 1976. A representative selection of works from the L’Aracine Collection, LaM, Lille Métropole Musée d’art moderne, d’art contemporain et d’art brut, Villeneuve d'Ascq, concludes the overview of the collections that had a decisive and formative influence on the development and history of Art Brut. Moreover, the show includes many works from important international and Austrian private collections.

The history of female Art Brut artists reflects the history of women’s emancipation on a precarious level: they have always been the outsiders among outsiders. Art Brut has never been treated on a par with the high arts. Since women, first, have to conquer their place both within Art Brut and, also, beyond feminist art, it is high time for a presentation of their works. This is the task that Flying High. Woman-Artists of Art Brut in the Bank Austria Kunstforum Wien has set itself.

The exhibition demonstrates that aesthetic points of view are gaining more and more relevance as opposed to diagnostic criteria and biography and, also, the artists’ eccentricity. Its inclusion of works by a diversity of women artists creates a multifaceted panorama of creative powers of expression: wherein lies the difference between the ‘individual mythologies’, Harald Szeemann, that Art Brut is based on depending on whether it was produced by female or male artists? Do women’s works really tell a different story from men’s? How are differences in production methods, media and iconographies visualised? The show pursues these questions and reflects the direct and primordial, frequently, also, subversive, expressive power and quality of Art Brut created by women. Visualising the differences and the potential similarities in the expressiveness of female and male artists by juxtaposing examples will be the topic of a different exhibition.

As in everything, this, also, applies to art: only what can be seen, exists. Curators: Ingried Brugger and Hannah Rieger and Assistant Curator: Veronika Rudorfer.

Caption: Jodie Carey Earthcasts 2017: Image: Edel Assanti:::ω.

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Welcome to The Bacterial World at the Oxford University Museum of Natural History: Open Till May 28: 2019: A Visible Exhibition to Bring to Visibility the Invisible Enigma of Life

 

|| January 07: 2018 || ά. As soon as we hear the word ‘bacteria’ most of us think of illness and disease but a fascinating and enlightening new exhibition at Oxford University Museum of Natural History breaks this long-held myth and it is about time for without these bacteria, life, would have to find a different way of being engineered and all together a different way of existing! Last autumn, Bacterial World began to seek to rehabilitate the reputation of bacteria and counter the popular misconception that they are all bad or to be feared. And, on behalf of the terribly ‘prejudiced’ and highly ‘de-prided’ and utterly disconnected to Jane Austen, the poor invisible bacteria of this earth, The Humanion thanks the organisers for this timely presentation of the bacterial world so to put the record ‘clearly and visibly’ straight for the ‘bacterial kind’ for this ‘prejudicial humankind’! And, the best news is this bacterial presentation goes on till May 28. Therefore, there is no reason why readers should not take on the additional role of becoming visitors and pay the invisible bacteria kingdom’s visible worlds a visit!

Incorporating more than 55 exhibits, spanning monumental art, geological and deep-sea specimens, film, and digital interactives, Bacterial World will demonstrate how these tiny organisms wield huge influence over us, shaping the past, present and future of life on our planet. The exhibition will feature items generously loaned from institutions, including, the Wellcome Collection, Yale Peabody Museum of Natural History, the Pitt Rivers Museum and the Natural History Museum, London. Bacteria were the earliest form of life on Earth and exist practically everywhere today; from the deepest oceans to the driest deserts and even in the clouds. Bacteria survive, thrive, fight and die by the trillion every moment. These remarkable organisms can swim using nanoscopic motors and battle with spears. They sense, communicate and remember. What’s more, there are as many bacterial as human cells within our bodies.

Bacterial World will demonstrate how science is unfolding knowledge on the secret lives and hidden stories of the smallest of organisms and their influence on us and our planet. Making visible the microscopic world around us, one of the most striking elements of the exhibition and, at 28 metres long, by far the largest, is a giant inflatable E. coli sculpture created by renowned Artist Mr Luke Jerram. Suspended from the roof, in itself a dramatic feat of engineering, Mr Jerram’s E. coli is five million times bigger than the real thing.

As bacteria were the earliest lifeforms, Mr Jerram’s artwork could be considered as a curious portrait of our distant ancestors. He asks: are we attracted or repelled by it? And do we feel any different, if, we can put aside our preconceptions about food poisoning and discover that one of the first applications of DNA technology was the manipulation of E. coli to produce human insulin, improving innumerable lives?

Geological fossils will show evidence of how bacteria oxygenated the Earth 02.4 billion years ago. Deep sea specimens will demonstrate ecosystems where there is no sunlight; where, down in the darkness, bacteria use a cocktail of chemicals to generate energy in a possible echo of how life first began.

There will, also, be a display of animals and plants, which live symbiotically with bacteria, for all manner of reasons, to create bio-luminescence, that lures prey or creates camouflage, such as, bobtail squid, lanternfish and ponyfish to support diet, rabbits, koalas, leafcutter ants, leeches, vampire vats and in order to create a toxin for hunting or defence, arrow worms, blue-ringed octopuses, pufferfish, armadillos and horseshoe crabs, to name but a few.

A display of ‘Top 10 Bacteria, that Changed the World’ will show the positive impact bacteria have had and continue to have, on the planet. Bacteria feed the world by driving the nutrient cycles on which all life depends. A display of pea plants shows how bacteria break things down in decay and then ‘fix’ vital nitrogen to the roots to ensure growth. They, also, help to fight disease: the exhibition will show how the Wolbachia bacterium is being used to combat malaria.

Bacterial World shows how bacteria, might, help us to tackle some of our biggest environmental problems. Bacteria in the oceans have evolved to consume some human-caused pollution, including, oil-spills, as in the case of the Deepwater Horizon disaster. Recently-discovered bacterium Ideonella Sakaiensis can eat some plastic, due to an evolved ability to produce an enzyme, called, PETase, which breaks down Polyethylene terephthalate:PET, an amazing evolution story and, perhaps, a small ray of light in the fight against global pollution.

Visitors will enjoy the chance to play Gut Wars, a specially developed game in which they set bacteria armed with different weapons and abilities up against one another in a simulated gut environment.  Another interactive, Bacteria Explorer, will allow users to descend into the microscopic world of bacteria and learn more about their shapes and abilities by exploring virtual three-D models. 

Professor Paul Smith, the Director of the Museum of Natural History, says, "Bacteria are essential for, almost, every aspect of life on Earth, from the very origins of life itself to the deeply intricate relationships, that underpin all ecosystems. Drawing on research from across the University of Oxford, the Bacterial World exhibition explores our very intimate relationships with bacteria and reveals the vital roles they play in enabling our planet's huge variety of life."

Professor Judith Armitage FRS, the Lead scientist for the Exhibition, Professor of Biochemistry at University of Oxford and President-Elect of the UK Microbiology Society, says, “I hope this Exhibition goes some way to revealing the generally unknown and unseen vast, diverse world of bacteria. Bacteria have been evolving since the beginning of life on Earth and helped form the planet on which we live, providing the oxygen and much of the nitrogen needed for current life.

Their complex communities, where they live and die, compete, communicate, co-operate, fight and have sex, have evolved for specific environments and, we are coming to realise, are essential for healthy soils, oceans and, even, ourselves. While some, in the wrong place, can cause diseases, we need to understand microbial communities to be able to continue to control those diseases and to maintain both a healthy body and a healthy planet.”

About Oxford University Museum of Natural History: Founded in 1860 as the centre for scientific study at the University of Oxford, the Museum of Natural. History now holds the University’s internationally significant collections of entomological, geological and zoological specimens. Housed in a stunning Pre-Raphaelite-inspired example of neo-Gothic architecture, the Museum’s growing collections underpin a broad programme of natural environment research, teaching and public engagement. In 2015, the Museum was a Finalist in the Art Fund Prize for ‘Museum of the Year’. In 2016, it won the top accolade, ‘Best of the Best’, in the Museums + Heritage Awards.:::ω.

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The Glenbow Western Research Centre at the University of Calgary: Moving Home Or Taking Up Residence: A Good Call For Without Heritage There Can Be No Humanity For We Are Held in Our Memories That Are Alive in Our Heritage

 

 

|| November 15: 2018 || ά. Two of western Canada’s leading learning institutions are creating an innovative approach to community-based research: the Glenbow Western Research Centre at the University of Calgary. Over the next two years, Glenbow’s Library and Archives will be relocated to the University of Calgary to provide the widest possible access to this remarkable collection.

“This initiative will provide new opportunities for students, scholars and the public to access the historic Glenbow collections by housing them within our University’s archives.” said the President of the University of Calgary, Ms Elizabeth Cannon. “The Glenbow collections will elevate the University of Calgary’s Libraries and Cultural Resources, providing enhanced engagement with teaching, research and public interest in Western Canada.”

This move to the University, for a 99-year period, closely aligns Glenbow’s collections with teaching and learning and research interests at the University. The relocation gives students easy access to another world-class collection and will benefit users in a wide range of disciplines, including, local, regional and provincial history, social studies, cultural and social history, religious studies, geography, political science, military history and artefacts and agriculture.

“We are excited about this collaboration and the prominence the University is placing on these important research materials.” says Glenbow Board Chair Mr Irfhan Rawji. “The university will be able to ensure greater public and academic access than Glenbow is currently able to provide. By leveraging this new space at the University to feature part of Glenbow’s collection, we can focus on ensuring other impressive aspects of our collection, such as, our vast array of contemporary and historical art, have more room to be displayed in our building for the public to enjoy.”

The collections include provincially owned archives currently held by Glenbow and stewarded in accordance with existing standards, that Glenbow is responsible for providing under the Glenbow-Alberta Institute Act and its service agreement with the Province. The Province of Alberta has approved the relocation agreement.

“The Glenbow Western Research Centre will ensure the long-term conservation of and expanded public access to these valuable records, that help tell our shared stories and history.” said Mr Ricardo Miranda, the Minister of Culture and Tourism for the Government of Alberta. “I support this initiative because it supports our government’s efforts to further enhance Alberta’s archives.”

The addition of the Glenbow collections to the University of Calgary is made possible through the generous support of the Calgary community. Mr Bill Siebens and family are providing support integral to the relocation. Other donors, passionate about preserving Western Canadian history and culture, may, contribute to support the relocation of the collections to the university and their on-going stewardship.

“We were inspired to make this significant gift as we believe it is critical to preserve the valuable records and artefacts, that illustrate who we are as Albertans; who we are as Western Canadians. With society moving at such an incredible pace and with technology changing before our eyes, we felt a responsibility to preserve that, which came before us so that future generations can explore and learn from the rich lessons of the past.” said Mr Bill Siebens.

“The cultural resources contained in the library and archives are treasured stories of families, of commerce, of struggle, all woven in with the innovation and progress, that brought us to where we are today. We are proud that the centre will serve as an invaluable resource for students, faculty, researchers and the general public. We know that its vast archival holdings will help inform future decision-making related to all facets of community life.”

The Glenbow Western Research Centre will be located in the Taylor Family Digital Library and the collections will be stewarded by experts at the University’s Libraries and Cultural Resources. The transition will take place over the next two years, beginning in January 2019, with the new location expected to open in the fall of 2019. Details on the relocation will be available at ucalgary.ca/glenbow to ensure smooth transition and clear access to materials.

The Siebens family contribution is part of the university’s on-going fundraising campaign, Energize: The Campaign for Eyes High. The campaign is currently at $01.126 billion towards its overall goal of $01.3 billion.

About Energize: The Campaign for Eyes High.:::ω.

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Year Gamma Arkive 2017-18

Year Beta Arkive 2016-17

Year Alpha Arkive 2015-16

Greenwich Theatre: Box Office: 020 8858 7755

 

 

 

 

 

 

 

 

 

 

Art

Art is that in which 'I':in which the entire creation is included because the 'I' is connected to it all as it faces all-around-shores of eternity: imagines itself being and becoming and, in expressing this being and becoming it uses many forms, manners and mediums so to bring about that what it is being and becoming.  It is the best expressions of both: the truth and the sublime. Art is that what offers humanity the means to grasp the infinite potential of humanity and in turn, through art, this 'I' aspires to be exactly that: an infinity unfolding itself.

 

 

 

 

 

 

 

 

 

 

 

 

Photograph of a Photograph of a Painting of Long Long Long Ago: September 30: 2016

Trevi Fountain: Rome: August 2016: Ohie Mayenin

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Life's Laurel Is You In One-Line-Poetry A Heaven-Bound Propagated Ray Of Light Off The Eye Of The Book Of Life: Love For You Are Only Once

 

 

Life: You Are The Law The Flow The Glow: In Joys In Hurts You Are The Vine-Songs On The Light-Trellis

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

|| All copyrights @ The Humanion: London: England: United Kingdom || Contact: The Humanion: editor at thehumanion.com || Regine Humanics Foundation Ltd: reginehumanics at reginehumanicsfoundation.com || Editor: Munayem Mayenin || First Published: September 24: 2015 ||
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