“Barrie is youthful and bold,” marketing and communications manager Cheri Harris said. “It is a community deeply connected to its past, the parkland and the adventures it provides. The city is innovative and entrepreneurial. With borrowed elements from the past, and the strength of the corporate colour preserved, Barrie looks forward to its future.” [Source]
Kathryn Jean Lopez: How are “dhimmi life under Islam” and “PC life in a multicultural world” similar?I remember looking at logos of institutions who stressed diversity either in their title, or in their mission statements, and found this very same infantilizing going on at the design level.
Diana West: For me, this pairing was something of a “eureka” moment in the writing of the book.
I would describe PC life in a multiculti world as being marked in part by self-censorship based in fear — fear of professional failure, opprobrium or social ostracism. I would also describe this same self-censorship as a form of childishness. During one lecture on The Death of the Grown-Up, I took a question from a man who wondered, in a rather agitated way, if I were actually saying that multiculturalism is juvenile. I hadn’t phrased things that way, but, on quick reflection, I told him that, yes, that was indeed what I was saying. The fact is, buying into multiculturalism — the outlook that sees all cultures as being of equal value (except the West, which is essentially vile) — requires us to repress our faculties of logic, and this in itself is an infantilizing act. I mean, it’s patently illogical to accept and teach our children the notion that a culture that has brought liberty and penicillin to the masses is of no greater value than others that haven’t. In accepting the multicultural worldview, we deceive ourselves into inhabiting a world of pretend where certain truths are out of bounds and remain unspoken — even verboten.
 |  |
 |  |
 |  |
 |  |
 |
As a result of a Strategic Review of Government of Canada, Culturescope.ca has been discontinued since April 1st, 2008 as the original program objectives have been fulfilled. The digital space has evolved tremendously since the Canadian Cultural Observatory was created in 2003 and the website still contains rich resources and documents on diverse thematic areas.The evolution of culturescope.ca fulfilled these objectives:
The Canadian Cultural Observatory (Observatory) and Culturescope.ca: The Department of Canadian Heritage launched the Observatory in November 2003 to provide statistics and information on cultural and heritage policies, programmes, legislation and regulations. Its objectives are to advance cultural development in Canada by fostering responsive research, encouraging informed decision-making in policy and planning, and stimulating community debate and improved knowledge exchange. Culturescope.ca is the Observatory's collaborative, interactive website developed in partnership with the not-for-profit, private and public sectors...[Source]But we still keep coming back to those multi-culti stick designs.
"[The poster is ] full of American energy and optimism. But the plane above the city was almost an omen."She was commenting on this post, where I was writing about the poster for the TWA airlines from 1956, which I've also posted above.
APPRAISER: Let me tell you what I know about the poster. The obvious thing is, it's advertising TWA flights to New York City. The artist signs his name "David." His full name is actually David Klein. And David Klein was a very prolific artist who worked for TWA. This is one of the more recognizable and one of the more popular images that he designed.
GUEST: Really?
APPRAISER: And in my opinion, it is one of the greatest graphic depictions of Times Square. It's a geometric, abstract, almost kaleidoscopic view of this great, bustling intersection. He captures all of the energy, he captures all of the excitement, he captures all of the movement. It was done in 1956. It is part silk screen and part photolithograph. The bright colors have been put on through a silk-screen process, and everything else has been printed via a lithographic process. One of the other great things about the poster is the plane that's on top. The plane is the TWA Lockheed Constellation, known as the Connie. They were considered great airplanes. You see it was a propeller plane. There's the propellers on it. And with these planes, TWA was able to initiate full service to Europe. Now, I'm not the only one who likes this poster. The company liked it so much that they continued to reuse it in subsequent years. But there's one way that we can tell that this is the original printing and not a later printing, and that is the airplane itself. Because shortly after 1956, propeller planes were phased out and jet planes were phased in. So subsequent printings of this poster don't show the detailed Constellation. They show the silhouette of a jet plane actually leaving a vapor trail behind it as it goes across.
GUEST: Oh, my goodness.
APPRAISER: And not only was the company very fond of this poster, but this poster is also in the permanent collection of the Museum of Modern Art in New York-- MOMA.
(More here)
David Klein was born in El Paso, Texas in February of 1918. He moved to California where he attended the Art Center School [later renamed the Art Center College of Design] in Los Angeles.
During the 1930s, he was an active member of the California Watercolor Society. This group of artists often chose to paint watercolors depicting scenes of everyday life in the cities and suburbs of California. They painted directly with little or no preliminary pencil drawings, and used paper as a ‘color’ in a new and creative way.
[...]
David served in the army during the Second World War, where he illustrated numerous army manuals.
[...]
After the war, David Klein moved to New York and settled in Brooklyn Heights, where he would live for the next 60 years. In 1947, David Klein worked as an art director at Clifford Strohl Associates, a theatrical advertising agency. Before long, David became the illustrator of choice for many of Broadway’s best-known shows of the period.
[...]
David Klein is best known, however, for his influential work in the field of travel advertising. During the 1950s and 1960s, David Klein designed and illustrated dozens of posters for Howard Hughes’ Trans World Airlines (TWA).
David’s use of bright colors depicting famous landmarks in an abstract style defined the state of poster art of the period. In 1957 a TWA poster of New York City became part of the permanent collection of the MoMA (Museum of Modern Art) in New York. These works are much imitated and to this day define the excitement and enthusiasm of the early years of post-war air travel. They defined the Jet Set style and have become iconic.
David won numerous awards for Excellence from the Society of Illustrators for his TWA work, including his Philadelphia, Boston, Switzerland, and Africa poster art.
[...]
David Klein also created poster and advertising artwork for several films, most notably Barry Lyndon, The Island of Dr. Moreau, and The Gauntlet.
Although Mr. Klein worked commercially almost until the end of his life, in his 70s, he returned to his artistic roots, focusing his creative energies on watercolor paintings.
[...]
Examples of David Klein’s early and later watercolors are in the permanent collection of the Department of Interior’s Museum.
[...]
(The complete article is here)
Modern life affords so few opportunities to think, to relax, to think. Make the most of every moment aloft between New York and Los Angeles or San Francisco. Rest in the fully flat seats of the First and Business Class cabins. Or enjoy enhanced Wi-Fi and a full library of entertainment at every seat. And with the most daily nonstop flights, you can make the most of your time on the ground too.This is the homosexual actor who recently "got married," and "has" two children, juxtaposed with the real legend, Gregory Peck. And look at the guilty smirk on Harris' face. And see how Peck stands with such confidence.
The legend is back.
NEIL PATRICK HARRIS // ACTOR
The living-room curtains are of heavy Swedish linen: life-sized thistles, printed in light blue and charcoal grey, on a white background. They are very beautiful (and so must the thistles in Sweden be) and they also have an emotional context; Margaret made them, and, when they did not hang properly, wept, and ripped them apart and remade them, and now they do hang properly.p. 239
...I think if it is true that we are all in the hands of God, what a capacious hand it must be."
- Johnson: Today we're going to visit your opus, your masterpiece, Gibbs Garden. I can't wait to tour it.Jim Gibbs then talks extensively about his daffodils, and later about his flowering trees, and especially on how to prune crepe myrtles.
- Gibbs: Thank you, I look forward to showing it to you.
- Johnson: why did you select this site?
- Gibbs: In 1973, I knew that I wanted to build a world class garden. But I knew that first of all, I had to come up with a criteria for searching for and. I knew that I needed an abundance of water. I needed a mature, forest setting. I wanted to make sure that we had rolling topography to feature all the plant material...So I started searching for land in 1980, and I found this beautiful piece of property. There was no question I had all the water that I needed. Hundreds of springs everywhere. And a stream that flowed through the valley. And I would be able to create all of the ponds - there were 32 ponds I wanted to build - the bridge crossings and the waterfalls.
- Johnson: This garden has a very old look about it. And you said you started in 1980, so this is a 33 year-old garden. It looks like it's been here for over a hundred years.
- Gibbs: Most people that come to the Gibbs garden say: "Did you inherit this from your parents?" And of course, if you can find a piece of property as beautiful as this is with all the natural formations that we had, it'd make such a difference, because so many gardens that have been built have started as prairie land and it takes seven years just to make the garden have enough age and maturity.
- Johnson: Sure. Give us a quick overview of the garden.
- Gibbs: We actually have sixteen garden venues. Three of these are feature gardens. And they serve as the three magnets that pull people from one point to the next. And within those three magnets, we've been able to develop the other sixteen garden venues. So when you come to Gibbs Gardens, if you come every three weeks, you're going to see something different in bloom. It was designed that way from the first of March to the middle of December. So we like for people to come and see every bloom festival. And we have a calendar that shows our flower festivals and our music festivals
Top: Lychee, Strawberry, Orange, FreesiaThe scent does last several days. Its final notes are a light combination of the floral and fruit, with the floral dominating slightly.
Middle: Lily-of-the-valley, Rose, Tubrose, Gardenia, Jasmine
Base: Pralin, Vanilla, Musk, Woody notes
It has the lily-of-the-valley that I wrote about here.
Description: Poppy Blossom by Coach begins with fruity notes of mandarin, strawberry and lychee. The heart is a bunch of muguet, centifolia rose, tuberose, jasmine and gardenia. The warm and gourmand dry-down mixes praline, vanilla, blond woods and white musks.The era of the individual perfumer is over. Although Karyn Khoury is attributed as Poppy Blossom's creator, she worked with a large team of perfumers to make the scent. She says about the process:
At a glance: A playful and optimistic scent
History: After Poppy, and Poppy Flower, a citrusy and sparkling fragrance, Coach introduces Poppy Blossom, a more floral and fruity scent. According to the brand, the perfume combines the vivacious energy of Coach Poppy and the floral femininity of Poppy Flower. The fragrance embodies a whimsical, modern and sophisticated woman with an exhilarating personality.
Bottle: Poppy’s signature flacon is reinterpreted with a red poppy-like ribbon and a golden juice.
...We spent many hours with Reed Krakoff (Coach’s executive creative director) and his team, listening to their vision of the brand and customer.But, the "nose" of the original Poppy is Celine Barel, who has a modest collection of perfumes, including one nice one she designed for Jessica Simpson (modern pop star).
[...]
The result is a beautifully blended fragrance with great presence, signature and diffusion, which represents modern beauty, elegance and charm.
Poppy Blossom combines the vivacious energy of Poppy with the floral femininity of Poppy Flower. This luminous and warm fragrance is inspired by the modern beauty of the Poppy Woman.But, as I said earlier, if left to its own qualities, Poppy Blossom is light, fresh, fruity and floral, and is perfect for spring and summer.
...known as Our Lady's tears or Mary's tears from Christian legends that it sprang from the weeping of the Virgin Mary during the crucifixion of Jesus. Other etiologies its coming into being from Eve's tears after she was driven with Adam from the Garden of Eden or from the blood shed by Saint Leonard of Noblac during his battles with a dragon.Here are some symbolic meanings of the lily of the valley:
The name "lily of the valley" is used in some English translations of the Bible in Song of Songs 2:1, but the Hebrew phrase "shoshannat-ha-amaqim" in the original text (literally "lily of the valleys") doesn't refer to this plant. It's possible, though, that the biblical phrase may have had something to do with the origin or development of the modern plant-name.
It is a symbol of humility in religious painting. Lily of the valley is considered the sign of Christ's second coming. The power of men to envision a better world was also attributed to the lily of the valley. [Source: Wikipedia]
-Return of happinessThese are the verses from Song of Solomon (2:1-17), which mention the lily of the valley:
- Purity of heart
- Sweetness
- Humility
- Happiness
- Love's good fortune
- It is also believed that this flower protects gardens from evil spirits. [Source]
I am the rose of Sharon, and the lily of the valleys.-------------------------------------------------------------------------------------------------------------------------------------------------------------
As the lily among thorns, so is my love among the daughters.
As the apple tree among the trees of the wood, so is my beloved among the sons. I sat down under his shadow with great delight, and his fruit was sweet to my taste.
He brought me to the banqueting house, and his banner over me was love.
Stay me with flagons, comfort me with apples: for I am sick of love.
His left hand is under my head, and his right hand doth embrace me.
I charge you, O ye daughters of Jerusalem, by the roes, and by the hinds of the field, that ye stir not up, nor awake my love, till he please.
The voice of my beloved! behold, he cometh leaping upon the mountains, skipping upon the hills.
My beloved is like a roe or a young hart: behold, he standeth behind our wall, he looketh forth at the windows, shewing himself through the lattice.
My beloved spake, and said unto me, Rise up, my love, my fair one, and come away.
For, lo, the winter is past, the rain is over and gone;
The flowers appear on the earth; the time of the singing of birds is come, and the voice of the turtle is heard in our land;
The fig tree putteth forth her green figs, and the vines with the tender grape give a good smell. Arise, my love, my fair one, and come away.
O my dove, that art in the clefts of the rock, in the secret places of the stairs, let me see thy countenance, let me hear thy voice; for sweet is thy voice, and thy countenance is comely.
Take us the foxes, the little foxes, that spoil the vines: for our vines have tender grapes.
My beloved is mine, and I am his: he feedeth among the lilies.
Until the day break, and the shadows flee away, turn, my beloved, and be thou like a roe or a young hart upon the mountains of Bether.
The architectural elements of the Baltimore Room are from the parlor of a brick row house built for Henry Craig between 1810 and 1811. The parlor was the most important room in Henry Craig's dwelling devoted to entertaining guests. Accordingly, it contained the finest woodwork, which illustrates a delicacy and restraint typical of the Neoclassical style of the period.-------------------------------------------------------------------------------------------------------------------------------------------------------------
They made these Baltimore style tables in the 1880s, 1890s, 1900, 1910. And so they were copies of the original tables.This is what I could find out about this style:
...The good news is that you have a really fully inlaid table. A really high styled table...We're going to try and figure out now whether its First Period or Second Period...You have period table from 1785 to 1795, maybe 1800, so it's a real thing.
...The legs have graduated bell flowers, which are sand-burnt to make them three dimensional....
In the years immediately following the Revolution, Baltimore became an important port, and a school of cabinetmaking flourished there during the Federal period [1780-1820]. Elaborate pieces of painted furniture made the Baltimore pieces’ sophistication and grace hard to match. In addition to the painted furniture, Baltimore was known for its use of églomisé (glass panels with symbolic figures) and large ovals inlaid in mitered panels. Like Baltimore, Annapolis also became an important Maryland cabinetmaking center. The most prominent craftsman was John Shaw. A labeled mahogany bookcase-desk by John Shaw was made in 1797 and formerly stood in the Kennedy Green Room in the White House. It is now is shown in the Diplomatic Reception Room. The Maryland State House holds a desk for the President of the Senate made by John Shaw in the same year. [Source: Bartley Classic Reproductions]And:
Baltimore furniture, decorated with paint or fancy wood inlays, and beautifully detalied Baltimore silver of this period [the Federal era] took their places in the forefront of American design. The merchants=craftsmen John and Hugh Finlay typified the trade; they advertized in 1803 that they had for sale but would "also make to any pattern all kinds of fancy and Japanned furniture." Their wares and shop skills ran to car, pier, tea, dressing, writing and shaving tables; stands for candles and washpans; bedsteads along with bed and window cornices; cane-seat, rush-seats and Windsor chairs; and fire and candle screens "with or without views adjacent to the city." In this flush time of European war and Baltimore profit, the wealthiest Baltimoreans could afford interiors, furnishings and finery that spoke clearly of personal and family taste. [Source: The Architecture of Baltimore: An Illustrated History. Mary Ellen Hayward and Frank R. Shivers, eds. John Hopkins University Press, 2004. P. 29. Full Text Online, here]General information from Wikipedia:
Federal furniture refers to American furniture produced in the Federal Period, which lasted from approximately 1789 to 1823. Notable furniture makers who worked in the federal style included Duncan Phyfe and Charles-Honoré Lannuier. It was influenced by the Georgian and Adam styles, and was superseded by the American Empire style...
Pieces in this style are characterized by their sharply geometric forms, legs that are usually straight rather than curved, contrasting veneers, and geometric inlay patterns on otherwise flat surfaces. Pictorial motifs, when extant, usually reference the new federal government with symbols such as the eagle. [Source: Wikipedia]
