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    • CommentAuthorModerator
    • CommentTimeJun 17th 2010 edited
    This is a forum for sharing your independent project, workshopping possible ideas for future initiatives, or starting collaborations with others.
    • CommentAuthorjoanh
    • CommentTimeJul 6th 2010
    An Open Call To Artists To Contribute To:
    TO TAKE PLACE: OCT. 31-NOV. 5, 2010
    BROOKVILLE, NY 11548

    Submit one 4x6 artwork in any media on the theme of death/life. Please include the words “A BOOK ABOUT DEATH” on the front and your name and your e-mail address/website URL on the back. The work may be sent in an envelope for protection or mailed as a postcard. All submitted work will become part of a permanent RAY JOHNSON ABAD ARCHIVE. It will not be returned.

    Submit a 4x6 artwork/card:
    BROOKVILLE, NY 11548

    Also submit a 4x6 jpg of the image with your name and e-mail and or web URL to:
    You must submit both a physical work and a virtual one to be part of the project. Every submitted piece will be posted to an on line exhibition blog at:
    Submission Deadline: October 15, 2010

    “A BOOK ABOUT DEATH” is an open, unbound, un-paginated book produced by artists worldwide. The original project conceived of by curator Matthew Rose invited artists to contribute 500 identical postcards on any aspect of the theme of death and took place at the Emily Harvey Foundation in NYC in September 2009. Visitors were encouraged to collect one of every card and take them home with them. Since then the ABAD project has grown and permutations of it have been seen worldwide in museums and other venues from Brazil and Belgium to Croatia and Italy. A set of cards is now in the collection of MOMA Archive in NYC and includes work from artists as well known as Yoko Ono to those struggling in obscurity. There are now many archives of ABAD all over the world springing from the collections of the first 500 cards. The pages are of every kind of design imaginable from personal and metaphysical to conceptual and abstract.

    “RAY JOHNSON AND A BOOK ABOUT DEATH” is a new exhibition that will include a facsimile copy of the original 1955 project by American artist Ray Johnson (1927 - 1995) that inspired it, all 480 cards from the Emily Harvey exhibit and your new submissions. Ray Johnson’s unbound “book” of the same title was mailed to his New York Correspondence School “students” and included pages in his idiosyncratic style that were funny, sad and ironic “one-page essays” on death. With the A BOOK ABOUT DEATH project, you are invited explore this universal subject by creating your own page.

    Ray Johnson lived nearby in Locust Valley and was a frequent visitor to Hillwood Art Museum. He was a good friend of artists who teach and work here and did several performance works on campus. Art alumni of Long Island University were contributors to the original ABAD project and would like their artist friends (like you!) to become part of the rich worldwide art community that has grown up around the project and they want the international art community to know more about Ray Johnson and the arts on our vibrant multi-cultural campus. More information about the original project is available at:
    • CommentAuthorlucarossi
    • CommentTimeJul 16th 2010

    • CommentAuthorDispatch
    • CommentTimeJul 21st 2010 edited
    Last month The Public School New York organized a panel to discuss possible independent strategies and use of space in New York, especially given the economic/real estate downturn. Focus was on the opportunities available and the challenges of setting things up.

    Here's a link:
    Conversion Strategies: Temporary-use and the Visual Arts


    "In New York, four distinct models for exhibition production have evolved as a result of recent economic decline:

    Nomads: curator-led organizations, often with nonprofit status, that develop exhibitions for unoccupied spaces, and are supported by grassroots fundraising initiatives. (e.g. No Longer Empty).
    Pop-ups: individual- or institution-led programs in a fixed location for an unspecified period of time, sometimes under precarious agreement with their hosts, and which are internally funded, reliant on small individual contributions, and/or supported by sales. (e.g. 177 Livingston).

    Initiatives: large-scale, extended projects led by institutions and individuals that facilitate all aspects of their operation, including programming, and are supported with major contributions from public and private sources. (e.g. X).

    Residentials: small, collectively led exhibition series set in apartments and other non-gallery (but unconverted) spaces, generally for short runs, handling all aspects of an oftentimes modest production, and which are internally funded. (e.g. Apartment Show).

    In the first three models cited above, partnerships may figure largely. These large, private- and city-funded development organizations—often operating as nonprofits—facilitate every aspect (except artistic programming) of a by-the-books, temporary occupancy for an arts organization. They also generally serve many other missions, including the economic and residential development of a specified area and are funded by diverse public and private sources. (e.g. Downtown Brooklyn Partnership).

    However subtle the differences between these actual exhibition models may be—individually or in relation to their historical counterparts—the market crash in September of 2008 marks the starting point of a rise in the symbolic capital of such projects. Following the close of X, one of the more visible temporary-use projects in recent years, an analysis of these exhibition models seems appropriate.

    The Public School New York could facilitate this analysis by hosting multiple classes on the history, current practice and concerns related to temporary-use space."

    • CommentAuthorhusasa
    • CommentTimeOct 6th 2012
    good,thanks for your post
    If you are a wower,please read
    • CommentAuthorjacktimo
    • CommentTimeOct 16th 2013
    All submitted work will become part of a permanent RAY JOHNSON ABAD ARCHIVE. It will not be returned.

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    • CommentAuthorwowcheng
    • CommentTimeOct 17th 2013
    I'm not normally one to cry that games are broken beyond repair, but I feel that Aion Gold is.

    It occurred to me tonight as I was taking my DH through the later parts of nightmare act 3. Most of the fights, boss fights included, have been a cinch. Dreadfully easy. Like, I died once in early act 3 because I wasn't paying any attention because I hadn't been remotely threatened for hours. Then, playing tonight, I died no less than six times between a boss pack and a champion pack.

    The first two times I died were due at least in part to an error on my part. The first of the two, I got low on health and headed back to where I knew I'd left two health globes waiting. They weren't there and I died. I can only assume that my merc picked them up. . The second death was because I'd parked the boss right on my res point and I didn't get clear in time. The only reason this boss pack was a threat at all though was because they were those phasing beasts that teleport right on top of you.

    The next four or five deaths were to a champion pack of the phasing beasts - with vortex and fire chains. So not only could they teleport to me, they could teleport me to them. This lead to so much spike damage that my 18.5k hp DH got practically instagibbed a couple of times I say practically, because it still took some time, but with potions on a 30 second cooldown and no other way to recover health, it was an instagib.Progression in WoW meant that you unlocked new content. Completing Kara a few times let you move to the new, higher tier content. WoW was allowed to be about gear because it also held non-gear related choices and challenges. It didn't matter how good your gear was, you would still wipe if you played terribly. It still took effort to coordinate a 25 man raid.

    Diablo 2, which I played to death, even post-LoD, despite its flaws had a lot of end-game progression. Even full clearing every difficulty would leave you hours upon hours of levelling to do if you wanted to hit max level. I still never had a level 99 character, even though I had several level 70+ characters. I only played single player and never twinked or hacked items. I tried many different builds... a trapassin, an elemental druid, a charged bolt sorceress still one of my favourites and one of the few characters I bothered to finish hell with. I had a high level zealot and a whole host of other characters.

    But Aion does not offer these same experiences. All it offers is a short, sweet burst until you get your character to level 60. It encourages you to play solo by effectively doubling your power when you do thanks to the really well designed mercenaries, but does not offer a true single player I have my gameplay interrupted around 50% of the time I play due to server resets or scheduled maintenance - another you Blizzard give to Aussies. The ten character slot limitation is truly intolerable if I want to roll variants - which I really don't now that I can always just change my skills on my main character and have the full power of my variant at my disposal.If you mostly play solo, you can be generally immune from that. But then you'll get to some point in progression say, Inferno Act II, where there's a gigantic jump in difficulty, and realize that you can only progress through hundreds of hours of farming gear. You will either like this setup, or you won't. To each their own.

    And before I'm accused of being a total hater, please note that I'm still playing Aion and still having fun. I just don't particularly like how the end-game is designed, which will severely impact the long-term playability of the game for me personally. site by