Currently everybody wants to go to the moon. Natalie Portner won't. "We already have been there six times and we found out that it doesn't make sense to continue these visits" is one of Natalie Portners central statements. "There is only dust, no atmosphere and the gravity is only one sixth of what humans are used to on Earth: not really a place you want to be." "And Art?", Jeff Koons may ask. "No", says Natalie Portner: "Art is for people and as there are and will be no people on the moon, everything you place on the moon that is not for science or research, is trash." And with a smile she adds: "And that's what humans like to do: placing trash everywhere. A little bit like dogs." But that is not the connection she wants to be seen to Jeff Koons. "I love Jeff. He is really great. Only with the moon he really is wrong. Sorry to say that." In this book everything about Natalie Portner's view of the moon, science and art and the future of humans on the planet earth.
Of course, Natalie Portner was not on Mars. But she was there with her eyes, and the visual impressions the images of probes and rovers made on her led to a complex emotional response. That Emotional Response is found in the fourteen never-before-publicly-shown images reproduced in this book. A powerful appeal for a love of the world we live in and a call to live with awareness and responsibility. The art of Natalie Portner breaks the conceptual aesthetic rules of the classical concept of art. The quality of her work is in its demand on the viewer, a challenging manifesto that makes committed art and responsible living a unity.
This book builds on the scholarship of the law of state jurisdiction, engaging with fundamental questions about states' legislative competence, to respond to climate change. Considering general theory, the author advocates for a systemic analytical framework for the contested issue of 'extraterritoriality' in international law. Exploring the crystallisation of 'climate change jurisdiction', the book provides a comprehensive exploration of the jurisdictional bases and limitations for unilateral climate protection measures. In doing so, cross-cutting issues of world trade law, international civil aviation law, the law of the sea, and importantly, the customary international law of state jurisdiction are considered. Amidst the myriad of developing norms, a novel 'considerate design' tool is introduced to assist policymakers in finding a better balance between regulatory autonomy, development needs and the protection of common concerns.
A free media is inextricably linked to a healthy democracy, but in many parts of the world liberal democracies are deemed to be dying or on the demise – a demise that many forms of media have enabled while heralding themselves as democracy’s saviour. The hollowing out of democracy in these ways has left many people questioning the value of (neo)liberal democratic societies. What can we do about it? Democratic Delusions explores the potential of our media and tech systems to be democratic and contribute to a just and transformative democracy. This is only possible, Natalie Fenton argues, by first situating our political systems and mediated worlds within global capitalism. By interrogating different media and their relationship to seven key elements of democracy – power, participation, freedom, equality, public good, trust, and hope – the book asks: What is the response of society when the ability of news media to speak truth to power has been restricted by corporate logic? And, how do we tackle a deep-rooted market logic that shifts public debate towards private interest and marginalizes progressive perspectives? The book explores how these elements can be reimagined through newly conceived media and tech landscapes and, ultimately, what democracy might be in a future mediated world that places more power in the hands of more people. This is essential reading for students and scholars of media and communications, journalism, political communications, political science, and sociology.
It's all black and white", she told me, and that was a contradiction to what I up to now had seen from her work: large colored canvases, impressive colors, bright, somewhat reminding of Mark Rotko in power and intensity, but at the same time with an ease that was overwhelming at once, warmth and joie de vivre. But her sketchbooks were only black and white, the black of the pencil and the white, the parts of the page where the pencil had not left its mark. So from that point of view "It's all black and white" was correct. (Marcellus M. Menke on the sketchbook works of Natalie Portner) Hands on edition on 90 g paper cream white. "Es ist alles schwarz-weiß", sagte sie mir, und das war ein Widerspruch zu dem, was ich bisher von ihren Arbeiten gesehen hatte: große farbige Leinwände, beeindruckende Farben, leuchtend, ein wenig an Mark Rotko erinnernd in Kraft und Intensität, aber gleichzeitig mit einer Leichtigkeit, die unmittelbar überwältigend war, Wärme und Lebensfreude. Aber ihre Skizzenbücher waren nur schwarz und weiß, das Schwarz des Bleistifts und das Weiß, die Teile der Seite, auf denen der Bleistift seine Spuren nicht hinterlassen hatte. So gesehen war "Es ist alles schwarz und weiß" also richtig. (Marcellus M. Menke über die Skizzenbuch-Arbeiten von Natalie Portner) Studienausgabe auf 90 g Papier cremeweiß
It's all black and white", she told me, and that was a contradiction to what I up to now had seen from her work: large colored canvases, impressive colors, bright, somewhat reminding of Mark Rotko in power and intensity, but at the same time with an ease that was overwhelming at once, warmth and joie de vivre. But her sketchbooks were only black and white, the black of the pencil and the white, the parts of the page where the pencil had not left its mark. So from that point of view "It's all black and white" was correct. (Marcellus M. Menke on the sketchbook works of Natalie Portner) "Es ist alles schwarz-weiß", sagte sie mir, und das war ein Widerspruch zu dem, was ich bisher von ihren Arbeiten gesehen hatte: große farbige Leinwände, beeindruckende Farben, leuchtend, ein wenig an Mark Rotko erinnernd in Kraft und Intensität, aber gleichzeitig mit einer Leichtigkeit, die unmittelbar überwältigend war, Wärme und Lebensfreude. Aber ihre Skizzenbücher waren nur schwarz und weiß, das Schwarz des Bleistifts und das Weiß, die Teile der Seite, auf denen der Bleistift seine Spuren nicht hinterlassen hatte. So gesehen war "Es ist alles schwarz und weiß" also richtig. (Marcellus M. Menke über die Skizzenbuch-Arbeiten von Natalie Portner)
Women face discrimination across the globe, irrespective of culture, religion, ethnicity, or whether they live in developed or developing countries. There is evidence that even in countries where there is no conflict and despite all the international provisions protecting the rights of women, the rights of widows, as women and members of the human race are disregarded. There may not be subjected to inhuman mourning rites or abuse all in the name of customs, religious or traditional practice.
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