Bill Viola is a contemporary video artist whose artistic expression depends upon electronic and image technology in New Media. His works focus on the ideas behind fundamental human experiences such as birth and aspects of consciousness. Viola grew up in Queens, New York, Westbury, New York, he attended P. S. 20, in Flushing, where he was captain of the TV Squad. On vacation in the mountains with his family, he nearly drowned in a lake, an experience he describes as "… the most beautiful world I've seen in my life" and "without fear," and "peaceful."In 1973 Viola graduated from Syracuse University with a BFA in experimental studies. He studied in the College of Visual and Performing Arts, including the Synapse experimental program, which evolved into CitrusTV. Viola's first job after graduation was as a video technician at the Everson Museum of Art in Syracuse. From 1973 to 1980, he studied and performed with composer David Tudor in the new music group "Rainforest". From 1974 to 1976, Viola worked as technical director at Art/tapes/22, a pioneering video studio led by Maria Gloria Conti Bicocchi, in Florence, Italy where he encountered video artists Nam June Paik, Bruce Nauman, Vito Acconci.
From 1976 to 1983, he was artist-in-residence at WNET Thirteen Television Laboratory in New York. In 1976 and 1977, he traveled to the Solomon Islands and Indonesia to record traditional performing arts. Viola was invited to show work at La Trobe University in 1977, by cultural arts director Kira Perov. Viola and Perov married, beginning an important lifelong collaboration in working and traveling together. In 1980, they lived in Japan for a year and a half on a Japan/U. S. Cultural exchange fellowship. During this time, Viola was an artist-in-residence at Sony Corporation's Atsugi Laboratories. In 1983, he became an instructor in Advanced Video at the California Institute of the Arts, in Valencia, California, he represented the United States at the 46th Venice Biennale in 1995 for which he produced a series of works called Buried Secrets, including one of his best known works The Greeting, a contemporary interpretation of Pontormo's The Visitation. In 1997, the Whitney Museum of American Art organized and toured internationally a major 25-year retrospective of Viola's work.
Viola was Getty Scholar-in-residence at the Getty Research Institute, Los Angeles. In 2000, he was elected to the American Academy of Arts and Sciences. In 2002, he completed Going Forth By Day, a digital "fresco" cycle in High-Definition video, commissioned by the Deutsche Guggenheim Berlin and the Guggenheim Museum, New York. In 2003,The Passions was exhibited in Los Angeles, London and Canberra; this was a major collection of Viola's charged, slow-motion works inspired by traditions within Renaissance devotional painting. The first biography of Viola, entitled "Viola on Vídeo", was written by Federico Utrera and published in Spain in 2011. Bill Viola Studio is run by his wife, Kira Perov, the executive director, she has worked with Viola since 1978 managing and assisting Viola with his videotapes and installations. She documents their work in progress on location. All publications from the studio are edited by Perov. Viola's art deals with the central themes of human consciousness and experience - birth, love, a kind of humanist spirituality.
Throughout his career he has drawn meaning and inspiration from his deep interest in mystical traditions Zen Buddhism, Christian mysticism and Islamic Sufism evident in the transcendental quality of some of his works. The subject matter and manner of western medieval and renaissance devotional art have informed his aesthetic. An ongoing theme that he explores is dualism, or the idea that comprehension of a subject is impossible unless its opposite is known. For example, a lot of his work has themes such as life and death and dark, stressed and calm, or loud and quiet, his work can be divided into three types, visual, a unique combination of the two. According to art critic James Gardner of the National Review, Viola's conceptual work is forgettable just like most video art. However, others have different opinions. On the other hand, Gardner feels that Viola's visual work such as "The Veiling", his combination of both the conceptual and visual such as "The Crossing" are impressive and memorable.
Viola's work exhibits a painterly quality, his use of ultra-slow motion video encouraging the viewer to sink into the image and connect to the meanings contained within it. This quality makes his work unusually accessible within a contemporary art context; as a consequence, his work receives mixed reviews from critics, some of whom have noted a tendency toward grandiosity and obviousness in some of his work. Yet it is this ambitiousness, his striving toward meaning, attempts to deal with the big themes of human life, that make his work so appreciated by other critics, his audiences and collectors, his early work established his fascination with issues. In particular, Viola's obsession with capturing the essence of emotion through recording of its extreme display began at least as early as his 1976 work, The Space Between the Teeth, a video of himself screaming, continues to this day with such works as the 45-second Silent Mountain, which shows two actors in states of anguish. If Viola's depictions of emotional states with no objective correlative — emotional states for which the viewer has no external object or event to understand them by—are one feature of man
Café Guerbois, on Avenue de Clichy in Paris, was the site of late 19th-century discussions and planning amongst artists and art lovers – the bohèmes, in contrast to the bourgeois. Centered on Édouard Manet, the group gathered at the café on Sundays and Thursdays. Émile Zola, Frédéric Bazille, Louis Edmond Duranty, Henri Fantin-Latour, Edgar Degas, Claude Monet, Pierre-Auguste Renoir and Alfred Sisley joined in the discussions. Sometimes Paul Cézanne and Camille Pissarro joined them; the group is sometimes called The Batignolles Group, many of the members are associated with Impressionism. Conversations there were heated. On one evening in February 1870, things became so heated that Manet, insulted by a review that Duranty wrote, wounded Duranty in a duel; the injury was not fatal, the two remained friends. Piece about Émile Zola which mentions the café Batignolles Group article in ArtLex Art Dictionary Mention of the café in Manet biography Short piece on the café About the duel Manet as a regular frequenter of the Café Guerbois
Princess Marguerite Adélaïde Marie of Orléans, French: Marguerite d'Orléans, Polish: Małgorzata Orleańska, was a member of the House of Orléans and a Princess of France by birth. Through her marriage to Prince Władysław Czartoryski, Marguerite was a princess of the House of Czartoryski. Marguerite was the third child of Prince Louis, Duke of Nemours and his wife Princess Victoria of Saxe-Coburg and Gotha. Marguerite married Prince Władysław Czartoryski, second child of Prince Adam Jerzy Czartoryski and his wife Princess Anna Zofia Sapieha, on 15 January 1872 in Chantilly. Marguerite and Władysław had two sons: Prince Adam Ludwik Czartoryski Prince Witold Kazimierz Czartoryski 16 February 1846 – 15 January 1872: Her Royal Highness Princess Marguerite of Orléans 15 January 1872 – 24 October 1893: Her Royal Highness Princess Marguerite Czartoryska
The Oregon Spectator, was a newspaper published from 1846 to 1855 in Oregon City of what was first the Oregon Country and the Oregon Territory of the United States. The Spectator was the first American newspaper west of the Rocky Mountains and was the main paper of the region used by politicians for public debate of the leading topics of the day; the paper's motto was Westward. Although small publications were printed in California from 1834, there were no newspapers published in that territory until after American triumph in the Mexican–American War of 1846 — several months after establishment of the Oregon Spectator. A printing press, brought to Oregon from the Sandwich Islands, had been in operation at the Waiilatpu Mission as early as 1839; the Oregon Printing Association was formed in Oregon City with the purpose of establishing a newspaper. The OPA consisted of a group of seven, including William G. T'Vault, James W. Nesmith, John P. Brooks, George Abernethy, John H. Couch, Robert Newell, John E. Long.
It formally declared that the press they acquired was never to be used "...by any party for the purpose of propagating sectarian principles or doctrines. The group secured a press from New York; the OPA produced the first issue of the Oregon Spectator on Thursday, February 5, 1846. The publication thereby became the first newspaper published on the Pacific coast of the United States. T'Vault served as the first editor of the paper. Most of the owners of the paper had roots in the Methodist Mission which had dominated Oregon politics prior to the establishment of the Provisional Government in 1841. T'Vault was succeeded in a matter of months by Henry A. G. Lee, the Association's original choice, but had not been hired due to differences over his salary. Lee remained for only a few months, was succeeded for another two months by John Fleming, the paper's printer. George Law Curry, who succeeded them, lasted into 1848, when he resigned due to a dispute with the Association over his wish to adopt a "firm and consistent American tone."
The United States formed the Oregon Territory in August 1848, with Oregon City—the home of the Spectator—serving as the seat of government for its first three years. After Curry's departure, Aaron E. Wait of Massachusetts, became the editor. On February 10, 1848, Wait enlarged the paper to twenty-four columns; the first edition was only four tabloid pages. It was printed on a hand press, purchased in New York City and shipped by sailing vessel around Cape Horn; the paper was published semi-monthly, with pages of 11 by 15 inches, arranged into four columns. For the first four years the owners did not allow sectarian political discussions in the paper; this lack of partisan politics from the Spectator's pages does not mean it did not have an overt political line, however, as throughout its existence the paper took a consistent stance agitating opposition to Hudson's Bay Company. In the view of pioneer Western American historian Hubert Howe Bancroft, the Spectator might reasonably be viewed as the organ of the American merchant class against its British competitors.
During most of the provisional government period, it was the only newspaper published in Oregon. The paper advocated in favor of the principles of morality and education among the European-American immigrant population of the Oregon Territory. Owing to transportation and communications difficulties, "current" national news in the Spectator was at least 6 months out of date, consisting of rewrites of material covered in newspapers brought into Oregon by annual migrations of settlers or by ship via the Hawaiian Islands. After 5 issues T'Vault was dismissed as editor for his moderate temperament, to be replaced by Henry A. G. Lee. Lee lasted for 9 issues in the formal editor's role before he was himself replaced in favor of a period of collective editorship. Effective with issue 18 George Law Curry formally took over the editorial reins, he remained on the job until he was removed in 1849, to be replaced by Aaron E. Waite, followed as editor by Wilson Blain. In 1850 the Spectator and the press on which it was produced were sold to Robert Moore, who continued with Blain at the editorial desk.
Blain was subsequently removed by D. J. Schnebley, who purchased the publication and edited it for a time in conjunction with C. P. Culver; the Spectator was sold one final time, with C. L. Goodrich buying the paper in March 1854 and continuing it until its termination in March 1855. Oregon City's position being eclipsed by that of nearby Portland as the center of commerce and Salem for politics, the paper's fortunes faltered, publication ceased in 1855; as the main newspaper in the region, the Spectator was used to inform the populace of current topics, such as the debate over banning the manufacturing and sale of ardent spirits by law of the Provisional Legislature where Samuel Parker and James Douglas debated the proposed law. Parker accused Douglas and the Hudson’s Bay Company of selling rum at Fort Vancouver with Douglas asserting the sovereignty of the HBC over its own people, but pledging to enforce any laws of the Provisional Government against all other parties. Under George Curry's editorship, the paper attacked Jesse Quinn Thornton when Thornton was sent to Washington, D.
C. He had been sent as a representative of the government, but Curry accused Thornton of trying to secure favorable federal appointments for himself and his political allies; the Spectator was indexed by a project of the Works Progress Administration in 1941. The index is available in two volumes hosted by the Oregon State University library. Archives of the issues themselves are available
Henry Thia is a Singaporean former actor and comedian. Thia was a member of the main cast of Comedy Nite throughout its run. Although he had many roles in various sketches, his most memorable role is Lion King in the sketch series Liang Ximei, he made a transition to English television in 2004, where he played the recurring role of Georgie Gan in Police & Thief. Thia is known to the public for his strikingly similar looks to Singaporean politician Khaw Boon Wan, a fact he acknowledges by jokingly referring to Khaw as his twin. 2018 Wonderful! Liang Xi Mei2017 Take 22016 Long Long Time Ago Young & Fabulous Let's Eat2015 My Papa Rich2014 A Fantastic Ghost Wedding Kiasu2013 Judgement Day Firefly Red Numbers2012 Greedy Ghost2011 The Ghosts Must Be Crazy It's a Great, Great World Fist of Dragon2010 Old Cow vs Tender Grass Phua Chu Kang The Movie Lelio Popo2009 Love Matters Where Got Ghost?2008 Money No Enough 2 Folks Jump Over the Wall2007 Just Follow Law2006 I Not Stupid Too The Vietnamese Bride2005 One More Chance2004 I Do I Do2002 I Not Stupid1999 Liang Po Po: The Movie That One Not Enough1998 Money No Enough 2018 My Agent is a Hero 流氓经纪 Happy Can Already!
4 欢喜就好42017 Life Less Ordinary 小人物向前冲 Have A Little Faith 相信我 Happy Can Already! 2 欢喜就好2 Happy Can Already! 3 欢喜就好32016 Hero 大英雄 I Want to Be a Star 小咖大作战2012 Beyond X元素2010 Happy Family2009 Easy Cooking Sayang Sayang2008 Police & Thief: The Upgraders Pulau Hantu 2007 Folks Jump Over The Wall 飞越佛跳墙 Phua Chu Kang: Dark Side of the Loon Police & Thief: Who's your Daddy?2006 Police & Thief: Man in the Net Part 1 & 2 Police & Thief: Who stole Georgie Gan?2005 Zero to Hero 阴差阳错2002 Beautiful Connection1998 Hitman in the City Henry Thia on IMDb Profile on xinmsn
The Tarlac class is a ship class of landing platform docks, based on the Indonesian Navy's Makassar class, commissioned under the Philippine Navy. Two ships were ordered and constructed by the Indonesian state-owned shipbuilder PT PAL; the lead ship was launched on 17 January 2016 as BRP Tarlac. The second ship was named as BRP Davao del Sur; the class was called the "Strategic Sealift Vessel" before the class was formally named. Construction of the first unit started in January 2015 and was delivered in July 2016, while the second unit started a few months after and delivered by 2017 after going through sea trials; these ships would be the first of its kind to be operated by the Philippine Navy, are meant to be used for amphibious operations and transport duties in support of the Armed Forces of the Philippines, but will double as a support platform for Humanitarian and Disaster Relief and Search & Rescue operations. The original strategic sealift vessel project was based on a proposal to acquire a converted Ro-Ro vessel from Japan as recommended by the Center of Naval Leadership & Excellence in 2009.
Purchase and technical assistance was to be provided by the DBP Maritime Leasing Corporation Inc.. It was one of the priority items in the wish list for purchase between 2012 and 2016 presented by the armed forces to the House of Representatives' committee on national defense and security on 26 January 2011, but this project did not push through due to delays in budget allocation and with the ship being offered and sold to another buyer. A separate project from the Strategic Sealift Vessel, the Department of National Defense was rushing the acquisition of one or two multi-role vessels for the Philippine Navy through government-to-government contract at a cost of 5 to 10 billion pesos; the reported source of the said ships is either South Korea or Singapore. Previous statements and news reports indicate that the multi-role vessels are comparable to landing platform docks operated by foreign navies like the Singaporean Endurance class or the Spanish Galicia class, it was confirmed that the ship would be from South Korea and is a variant of the Indonesian Navy Makassar class LPD, is packaged with four units Samsung Techwin KAAV-7 amphibious assault vehicles, two units Daesun 23-meter landing craft utility LCU-23, four units 9.8-meter rigid-hulled inflatable boats, one unit truck-based mobile hospital, two units Kia KM-250 21⁄2-ton troop trucks, two units Kia KM-450 11⁄4-ton troop trucks, two units Kia KM-450 ambulances, two units Kia Retona 1/4-ton utility vehicles, one unit forklift/cargo handling equipment.
In May 2011, reports surfaced on the possible acquisition of three landing platform docks from Indonesian shipbuilder PT PAL. This would be of indigenous design and will have no resemblance to the constructed model for the Indonesian Navy, the Makassar class, of South Korean origin; this would represent another option as South Korea has been pushing for the sale of at least one platform based on the Indonesian Navy Makassar class. As of December 2011, the Philippine Navy was cleared to start negotiations for the ship/s from any friendly nations with a budget of Php 5 billion. With the cancellation of the original SSV project, the two projects were combined as the strategic sealift vessel, based on the original multi-role vessel parameters and requirements. Based on the "Philippine Fleet Desired Force Mix" strategy concept publicly released in May 2012, the Philippine Navy requires at least four strategic sealift vessels to be available by 2020. On 24 May 2013, the DND announced the proposed acquisition of two service support vessels worth P2 billion each, describing the ships as vessels smaller than the original MRV requirement but still capable of moving a battalion of troops with their armored vehicle complement, equipped with helipad and a platform for search and rescue operations which could be fitted with hospital facilities.
On 29 August 2013, the DND declared PT PAL of Indonesia as the winner of the two SSVs and considered as the "lone eligible bidder" with a bid price of Php 3,963,999,520.00. Other firms never pursued their interest in the actual bidding procedures; the design is based on the Makassar class of Landing Platform Dock used by the Indonesian Navy, which in turn were based on a low-cost LPD design from Korean shipbuilder Daewoo Shipbuilding and Marine Engineering / Daesun Shipyard. The communication equipment is supplied by the Portuguese company EID Naval Communications the ICCS5 communications control system, Harris RF Communications VLF-HF and V/UHF radios; the ships have a Combined Diesel and Diesel layout and will be using similar engines as those used by their Indonesian counterparts, the MAN 9L28/32A medium speed engines. Combined power from the two engines will produce 7,830 brake horsepower transferred to two controllable pitch propellers. PT PAL confirmed that the SSVs will be designed to support one 76 mm gun on the foredeck as the main armament.
Two stern-facing 25 mm guns will be fitted, one each on the port and starboard sides. The weapons systems are supposed to be installed separately by the Philippine Navy after delivery; as of 25 October 2019, both existing vessels are only armed with six manually operated.50-caliber machine guns. The ships were designed with a hangar and helicopter landing deck for two medium-sized helicopter, with the specifications emphasizing the US-made Sikorsky Black Hawk helicopter as basis, but changes in the Philippine Navy's requirement on changed the design to have a hangar for two medium helicopt