We Can Always Make Things Better: Think of French Revolution: May Day Yes In America It Took Place: Paris Commune: October Revolution: Long March: Gandhi: Martin Luther King: Nelson Mandela: Mother Teresa: Paris Climate Change Accord: Yes We Can Always Make Things Better: Again Think of America Today: Yes We Can Always and Forever Love More Do More Be More Give More of That What Humanity Is: An Infinity Unfolding Itself: Love Humanity for God Is the Expressive Divinity on Earth In Every Human Face Regardless of How They Look and In Every Living Thing Regardless of Where and How They Live and In Every Iota-Particle of All Matters Energies and Eco-systems and in the Living Ecology of Existence-Symphony They All Create Together Through the Eternal Observance of the Universal Rule of Law: If, You Do Not Believe in God Believe in Humanity's Infinite Goodness: For We Can Forever Love More Do More Be More Give More of That What Humanity Is: An Infinity Unfolding Itself: This Is Humanics On Which Path Regine Humanics Group of Publications Keep on Walking: Join Us: Believe for Without Faith There Is No Hope Without Hope There Is No Imagination Without Imagination There Is No Empathy Without Empathy There Is No Humanity: For Were We to Be An Infinity Unfolding Itself Humanity Can Not But Have Infinite Imagination Ingenuity and Creativity With Which Must We Keep on Going Forward and Onward Eternal Learners of All Humanity Towards Liberty and Equality for All Humanity Across This Mother Earth. Humanics For We Are All-For-One: One-For-All

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Jessie May Peters

First Published: September 24: 2015
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Culture Arkive










VII London Poetry Festival 2018: October 14-15


Street Artist Creates 50,000 Dot Painting Using Lab Pipette Bringing ICR’s Ground-breaking Cancer Research Into View at Its New Centre For Cancer Drug Discovery Opening on November 17



|| Wednesday: November 11: 2020 || ά. A unique painting, created by using a lab pipette and based upon real-life images of cancer research has been unveiled on November 10. The intricate artwork is made of an estimated 50,000 small dots of paint, each hand-dispensed from a laboratory pipette, the type, used by scientists conducting pioneering research into cancer. The painting is inspired by an image of a patient’s immune system, responding to a tumour and was created by renowned street artist Mr James Cochran, also, known as Jimmy C, for the Institute of Cancer Research:ICR, London.

Mr Cochran spent more than 250 hours, painstakingly applying 1cm droplets of paint from a lab pipette to a canvas. The artist, who is best known for his mural of David Bowie in Brixton, has previously suffered from a type of skin cancer, known as, basal cell carcinoma. Titled, Cell Defence, the 1.25m x 1.25m painting is in a pointillism style and is inspired by an image of liver cancer cells, taken through a microscope by scientists at ICR. The image shows how the body’s own immune system responds to the cancer cells to try and keep cancer’s ability to adapt and evolve in check.  

Strategies to harness the immune response against cancer are a key part of the ICR’s pioneering research to overcome the disease’s ability to evolve resistance to drugs. Mr James’ 50,000-dot work symbolises the complexities of cancer evolution research and the creativity and commitment, needed by ICR’s scientists to stay one step ahead of cancer.  

ICR’s pioneering cancer evolution research will take place at its new Centre for Cancer Drug Discovery, which opens later this month. After a period of time where cancer research was on hold due to the coronavirus crisis, ICR scientists are now back in their labs and this building will see around 300 evolutionary biologists and drug discovery scientists come together to lead an unprecedented ‘Darwinian’ drug discovery programme. This research programme aims to overcome cancer’s ability to evolve resistance to drugs and ‘herd’ it into more treatable forms, in order to turn cancer into a manageable disease, that can be controlled in the long term and effectively cured.  

The building is about to be officially opened but ICR still needs additional donations to equip the building so their scientists can start their urgent work to discover new strategies to defeat cancer. To donate to the new Centre for Cancer Drug Discovery, visit  ICR.ac.uk/painting

Professor Sir Mel Greaves, Founding Director of Cancer Evolution in the Centre for Cancer Drug Discovery, said, “By using a lab pipette as his brush and basing the painting on the ICR’s research into cancer evolution, James' piece does a wonderful job of capturing the blend of creativity and rigorous science, that our researchers use every day to outsmart cancer. That said, during the coronavirus crisis our research has been on hold but of course, cancer has not.

We have lost vital time in our research to defeat cancer and need support today to help us make up for lost time in defeating this disease. Many cancer patients are more vulnerable than ever, so, the need to understand cancer better and design smarter, kinder and more effective treatments has become even more urgent. Thankfully the opening of our new Centre for Cancer Drug Discovery will help with this and this painting is a symbol of that endeavour and hope.

 It will be a huge honour for us to have James’ unique work of art displayed in our state-of-the-art building, which will have computational scientists, mathematicians, clinicians, evolutionary biologists and drug discovery researchers all working hand in hand in an unprecedented way to find new treatments, that can overcome cancer evolution and drug resistance.”

Mr James Cochran said, “I’m used to using cans of spray paint in my art, so, swapping that for a lab pipette was quite challenging but, also, very rewarding. The process of slowly building up the painting dot by dot and the inspiration for the piece gave me a better understanding of the challenges, involved in finishing cancer and the inventiveness, needed by scientists to do that. I’ve had a number of treatments for a type of skin cancer called a basal cell carcinoma and I’ve lost loved ones to the disease, so, this commission was personal to me. The work the ICR is doing in tackling cancer’s ability to evolve resistance to drugs and treatments is so important, now during the coronavirus crisis, more than ever and I really wanted to reflect their efforts in this painting.”

 The unique pipette painting will be displayed permanently in the ICR’s Centre for Cancer Drug Discovery, where scientists will pass it every day as they work on discovering new drugs that can finish cancer. The Centre will be opening on November 17. Cancer evolution is one of the biggest challenges facing researchers in drug development. Cancer cells, which initially respond well to treatment can mutate to evade it and the patients stop responding.

The Centre for Cancer Drug Discovery is applying Charles Darwin’s principle of evolution to understand why we develop cancer and why it is so difficult to treat.

About The Institute of Cancer Research, London:ICR: The Institute of Cancer Research, London, is one of the world's most influential cancer research organisations. Scientists and clinicians at The Institute of Cancer Research:ICR are working every day to make a real impact on cancer patients' lives. Through its unique partnership with The Royal Marsden NHS Foundation Trust and 'bench-to-bedside' approach, ICR is able to create and deliver results in a way, that other institutions can not. Together the two organisations are rated in the top four centres for cancer research and treatment globally.

ICR has an outstanding record of achievement dating back more than 100 years. It provided the first convincing evidence that DNA damage is the basic cause of cancer, laying the foundation for the now universally accepted idea that cancer is a genetic disease. Today it is a world leader at identifying cancer-related genes and discovering new targeted drugs for personalised cancer treatment.

A college of the University of London, ICR is the UK’s top-ranked academic institution for research quality and provides postgraduate higher education of international distinction. It has charitable status and relies on support from partner organisations, charities and the general public. ICR's mission is to make the discoveries that defeat cancer. For more information visit ICR.ac.uk

About the new Centre for Cancer Drug Discovery: The new Centre for Cancer Drug Discovery will bring together world-leading groups in drug discovery and cancer evolution to create new resistance-busting treatments, aiming to overcome or redirect the whole process of cancer evolution. The building will house a series of pioneering projects including: Use of AI and advanced maths to ‘herd’ cancer so it is forced to adapt to one treatment by developing weaknesses against others; Creating the world’s first anti-evolution cancer drug to slow down cancer’s ability to evolve and so delay its resistance to treatment;   Devising innovative, multi-drug combinations that block several different cancer genes at once – as used to achieve cures or long-term control for diseases such as HIV and tuberculosis; The ICR’s pioneering new approach relies on bringing together drug discovery and evolutionary scientists into a single collaborative space and needs to meet a funding shortfall to complete and equip the Centre for Cancer Drug Discovery as soon as possible.

About James Cochran: James Cochran is an Australian artist, based in London, who is known for his Cochran's signature aerosol pointillist style; portraits or urban landscapes, painted entirely from dots and dashes of spray paint, which can be found around the world. In particular, his famous portraits include David Bowie and William Shakespeare, which can be seen on the streets of London. This technique, developed into what he called the 'drip paintings' and the 'scribble paintings', composed of layers of coloured drips or energetic lines to form vibrant and poetic cityscapes and portraits.

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Helsinki Biennial 2020 Brings 40 Artists and Groups to the Finnish Archipelago Vallisaari for Inaugural Edition: June 12-September 27

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Background Image Is of Bleached Coral: Global Warming and Climate Change Are Hard at Work: Devastating the Web and Ecology of Life: Are We Working Hard to Rise to Fight Extinction or Keeping Busy Consuming to the End?



|| Wednesday: March 11: 2020 || ά. The Helsinki Biennial 2020 is taking place, during June 12 and September 27 in the summer. The Exhibition is presenting and celebrating the works of 40 artists and groups of artists, who are participating in the inaugural edition, The Same Sea. Being held at Vallisaari, an island in the Baltic Sea, the Biennial presents over 75% new commissions and site-specific works, sensitively positioned across this remarkable maritime setting.

Responding to, whilst safeguarding, Vallisaari’s natural environment, The Same Sea reflects upon the ever-pressing notion of interdependence. Curators MMs Pirkko Siitari and Ms Taru Tappola, Head Curators of Helsinki Art Museum invite a dialogue between artists and collectives from Finland and Australia, Cambodia, Germany, India, Japan, Kenya, Latvia, Poland, South Korea, Thailand, Turkey, the UK and the USA. Welcoming both locals and visitors from far-off places, this major moment in Helsinki’s cultural trajectory affirms its position as a city of arts and culture.

“Art and culture form an essential part of Helsinki’s story. We recognise how investment in the arts positively adds to the development of the city but, also, directly to the well-being of our citizens. Helsinki Biennial will both provoke and inspire audiences by confronting significant global issues. Its location on an island creates a truly unique setting where the art is in continuous dialogue with the surrounding nature and, importantly, it is open, free of charge, to everyone.” says the Mayor of Helsinki, Mr Jan Vapaavuori.

New commissions embrace diverse themes, ranging from relations to nature, borders, identities, human traces, time and empathy. As a physical manifestation of interconnectedness, Mr Jaakko Niemelä’s large-scale wooden construction Quay Six greets visitors as they disembark at the northern quay of Vallisaari. Referencing the melting of Greenland’s northern ice sheet, the construction reaches six metres high, mirroring the rise in sea level should the glacier vanish completely.

Ms Christine and Ms Margaret Wertheim bring their Crochet Coral Reef project to Helsinki, The Helsinki Satellite Reef, one of the world’s largest participatory science and art projects. Made of recycled plastic, including, disused plastic bags, the handmade reef is created with residents of Helsinki, calling attention to the extensive plastic waste threatening the world’s oceans.

Other commissions have, also, involved local Helsinki communities, such as, Mr Paweł Althamer’s collaboration with the nearby Suomenlinna Open Prison for Seven Prisoners; a two-part documentary and VR film, which invites viewers to join seven inmates, including Mr Althamer himself, on an escape from prison, via open waters and changing, seasonal landscapes.

Utilising recycled materials, Mr Tadashi Kawamata’s Vallisaari Lighthouse is a temporary landmark, comprised of found material from Vallisaari. Sitting atop a bunker-like elevator shaft, jutting skywards to a height of several metres, the lighthouse can be seen from various viewpoints out at sea, the neighbouring island of Suomenlinna and the Helsinki waterfront.

Ms Marja Kanervo’s work similarly draws from the island’s existing infrastructure. Working on-site across three floors of Block A of the Pilot House, Kanervo’s site-specific interventions, forms and marks imprinted across the space, merge with the traces of former residents, straddling the space between real life and fiction.

Positioned outside of the Alexander Battery, one of the main biennial venues, Ms Laura Könönen’s large-scale sculpture depicts an explosion of broken shards of rock. Appearing as though the structures were at one point a complete solid, the work forces us to revisit our ideas of stability and permanence. The sculpture forms part of the larger work No Heaven up in the Sky, which will be placed on permanent display in Helsinki’s Hyväntoivonpuisto Park after 2020.

Ms Katharina Grosse’s large-scale, in-situ painting masks the exterior walls of Vallisaari’s former school building, converging with the surrounding landscape. Rather than a conventional painting, the result of Grosse’s painting process is more like a sculpture, that emerges from a geographical location.

Echoing Helsinki Biennial’s commitment to inspiring public debate around the relationship between humanity and nature, the BIOS Research Unit will establish the Vallisaari Research Station within the island’s former fire-fighting depot. Hosting seminars and lectures from visiting scientists throughout the biennial, BIOS’ project specifically focuses on the lost, severed connection between the environment and the economy.

Helsinki Biennial is supported by the City of Helsinki and the Jane and Aatos Erkko Foundation.

Helsinki Biennial: Helsinki Biennial is an international contemporary art event, which takes place on Vallisaari island. Informed by Vallisaari, a former military island, fusing wild nature and urban heritage, sustainable and responsible values lie at the core of Helsinki Biennial. Free to the public, each edition will, primarily, comprise of major new, site-specific commissions by leading international artists. Helsinki Biennial embodies the city’s ambitious, cultural vision, committed to developing Helsinki’s art scene both on a grassroots and institutional level. A major initiative of the City of Helsinki and Helsinki Art Museum, the Biennial is directed by HAM’s Director Ms Maija Tanninen-Mattila. The Biennial is further supported by an international advisory committee, made up of curators and academics, including, Ms Kari Conte, Director of Programmes and Exhibitions at the International Studio and Curatorial Programme, New York, Ms Lena From, the Head of Special Projects at the Public Art Agency Sweden and Ms Joasia Krysa, Professor of Exhibition Research at Liverpool John Moores University and Liverpool Biennial.

::: Caption: Margaret and Christine Wertheim and the Institute For Figuring: Coral Forest at Lehigh University Arts Galleries: Their new commission, The Helsinki Satellite Reef, will be presented at Helsinki Biennial 2020: Image: LUAG:Stephanie Veto :::

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Woman in the Window Exhibition at the Dulwich Picture Gallery: October 14: 2020-January 17: 2021


|| Wednesday: February 05: 2020 || ά. The Dulwich Picture Gallery is to hold  its autumn exhibition, completing its 2020 programme. Woman in the Window, which runs from October 14, 2020-January 17, 2021, will be the first exhibition to explore this enigmatic motif throughout art history. This image, in which the Woman has received a Possession Order, which she is reading. Not many Art Galleries in this world, not even, this Dulwich Art Gallery, would spend much of their ‘precious’ ‘showing off’ time to highlight the ‘here and now’. To this world of galleries, art only happened in the past and it does not happen any longer!

Sad, though, it is true, the overwhelming majority of art galleries think ‘art’ only happened in the past, long, long ago and, since, that happening, humanity has become ‘artless’, as, if, they have accepted, well, everything was done and dusted and we better not bother! Except, we do. Humanity still creates array of arts, a whole lot of the forms they are creating did not exist before. However, where are they being exhibited? There are some new galleries, small but, they are seeking to utter a space for these new creations. Not many they are, however.

The Eye: Photography: By Charlotte Epstein: Camberwell College of Arts: Summer Arts Show 2016 June 18-25


Take the Dulwich Art Gallery, it exists and does its works and, it does wonderful works, yet, it does so among an ocean of homelessness, rough sleeping, drug abuse, gangs, knife and gang-related crimes and much more besides, across Southwark, Lambeth, Lewisham, Greenwich and the Central London areas and a whole lot of ‘these women’, like the one in this image, as well as, men and in them a whole lot of young people, had read these Possession Orders and got evicted and thrown out onto the streets. And, one can bet, there would be found rough-sleepers around Dulwich at some point of the year, particularly, at night.

And with these vast problems and human suffering, there are many souls and many community, voluntary and youth organisations, who are seeking to do wonderful works, including, doing works in arts to highlight these issues, as well as, through these works seeking to empower the involved. Why is it that Dulwich or other galleries have not got time about being bold and visionary and courageous and get out there and locate these souls and organisations and young people, who are doing these works and work with them and bring about a living-breathing exhibition of today from their works, from their photography, from their filming, their paintings, designs, drawings, theatres and dance works and much more. That work, that kind of work and exhibition would begin a ‘renaissance’ in local cultural scenes.

Who is there at the Dulwich Gallery or any other galleries for that matter, visionary enough, bold enough, imaginative enough, courageous enough and ‘mad enough’ to gather the Gallery’s strengths of imagination, vision and bravery to bring such a project into life and let London see what cultural renaissance looks and feels like! Forget Surrealism or Cubism or Dadaism and ask what is the term for artistic madness when someone finds an abandoned, burnt out car and she makes a great piece of a ‘scream’ of a creative work and all she does is this: she sits there in front of the work on that burnt out car and takes a photograph of the artwork, that will vanish into the thin air some day or, get burnt again by some others anytime there after!

We publish a few pieces of work here to show, yes, the Woman in the Window is a great piece of work but compare that with the ones we have published! Humanity is an infinity unfolding itself. The art had not been done, ended and dusted in Van Gough or in Picasso or Dali or Turner or whatever. Art galleries must invest in the ‘here and now’ and with this, they can, effectively, become the rooting mythical tree into the body and earth of the living communities, that they are to serve.



Balance: celebrations of the past, surely, but, with that the celebrations of today must have the resources, time, space and energy. Where is that work? Somewhere, somewhen, someone must begin that work of rooting the galleries onto the earth of the communities, in, with, among whom they must work, exist and serve. Their work must portray the works of the old and great masters of the past but, there are great masters of today, being at work here and now and their works, must, at the same time, have the resources, time, space and energy from all galleries so that the galleries become a living-breathing mirror of the living-breathing humanity outside them.

The Woman Reading that possession order is outside Bournemouth Road or Lambeth Walk or, may be, she has finished reading it and now, sleeping in the Southbank, outside the ‘mighty’ Hayworth Gallery or the National Arti Gallery on the other side of the River or she is queuing at the back of the St Martin in the Field church to be taken in from the hard and horrible cold for a space for the night and for something to eat and drink!  


Ojan Shirozhan: CAMA Gallery London

This new exhibition from ancient civilisations and Italian Renaissance paintings, to 21st century installation art, the exhibition will present how artists have portrayed different ideals, morals and fears through this bold and provocative subject.

Woman in the Window follows British Surrealism, February 26-May 17, which will trace the roots of surrealism in Britain as far back as 1620 and the Gallery’s first major photography exhibition, Unearthed: Photography’s Roots, June 17-September 20, which will explore the history of photography as told through depictions of nature.

Ms Jennifer Scott, the Director of Gallery, said, “Our 2020 programme is imaginative and daring, from deadly typewriters in British Surrealism, to the influence of cauliflowers on science in Unearthed.’’ 

::: Caption: Woman Reading Possession Order, from the series Persons Unknown, 1997: Tom Hunter: Image: Dulwich Picture Gallery ::: 

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The Humanion UK Online Daily

Culture Coverage: December 16: 2019<January 01: 2019

We are working to present the Arkive slightly differently than the the way it was so far. Until the New System comes into effect here's the published materials in this period.