Here comes the summer! You are planning to travel this summer. In your everyday working life, it is the most fantastic and entrancing moment when you’re biting into your sandwich during your lunchtime and searching for the tourist agents. You haven’t yet decided where to go. You may go for an ancient temple in the east, a gothic castle in the west, an emerald sea in the south or even a beautiful mountain in the north. In front of your computer monitor, you’ve found the right tourist agent, but suddenly the advertisement of the tourist agent is slightly changing. All the words from the advertisement make a billowy wave that starts spinning in your mind.

Dual Mirage Part 2

Tourists Dream

Dual Mirage Part 2: Tourists Dream begins by presenting the moment when we are dreaming of travelling somewhere and what the engaging free and enchanting moment interprets in the global society. The place that we want to travel is somewhat in-between idealised and practical space, artificial and natural space. The moment longing for somewhere else other than here is as an instantaneous escape and is done in search of other utopia. It is presented as future and nostalgia. It is a mirage.

Tourists Dream also explores the mirage generated at the point at which the service industry circulates, within the ‘transitional space’. This is achieved by considering industries such as the tourism and hospitality industry, financial sector and real estate business, all of which are highly entangled with each other.

Dual Mirage Part 2  Tourists Dream Contributors: Mora Bendesky, Hyunjoo Byeon, Oksun Kim, Uin Kim, Jungmin Kwon, Eunu Lee, Jeong-Hoo Lee, Sôm Lee, Hyemin Son, Gee Song, Juhee Youn

Part 2 Event

The event of Dual Mirage Part 2 consists of the launch of the book and also the video screening. The launching of the publication of Dual Mirage Part 2: Tourists Dream will be introduced by artist Hyemin Son. It is then to be followed by the video screening Tourist’s Dream by the invited curator Hyunjoo Byeon. Both the book and the video screening share and develop the idea of transitional movement in various aspects of global society, reinforcing the theme of tourists’ dream.

Artists: Kyungah Ham, Yang Ah Ham, Stuart Hawkins, Adrian Paci, Lisl Ponger, Jaye Rhee, Hiraki Sawa, Bo Kyung Suh
Curated by Hyunjoo Byeon

Accompanied by the launch of the book Dual Mirage Part 2: Tourists Dream, the video screening Tourist’s Dream draws into varied tourists’ dreams and the underlying political, cultural and socio-economical elements that construct the migratory movements in this age of global mobility. Through the artworks by eight international artists, Tourist’s Dream navigates how global mobility transforms the way to perceive the world and expands geographies by positioning oneself in a space away from everyday life; examining also the effects it has on the diverse migratory movements in our time. In addition, it explores mirages which tourism provides by rebranding spaces in a capital-saturated society and interrogates a fantasy to consume a given culture.

The artists emerged from their common interests in the issues surrounding today’s migratory movements such as tourism, the tourist industry, territoriality, cultural identity, mobility, dislocation, migration, and global communication initiate an essential convergence in Tourist’s Dream. Kyungah Ham’s Travel & Journey (2003-05) investigates a fantasy to experience exotic cultures and cultural hierarchies in tourism by exploring the phenomenon of theme parks in Asia which replicate the symbolic monuments and landmarks of Europe and America. In her Tourism in Communism (2005), Yang Ah Ham travels to the only possible tourism area in North Korea, Mount Kumgang, developed by South Korea’s Hyundai Group. The artist depicts that tourism can be only a superficial exploration which is isolated from ordinary life, as the video was also shot on a touristic horse-drawn carriage. Stuart Hawkins playfully illustrates the artificiality of a touristic approach through her journey in search of the anthropologically perfect native CoCoMan in Souvenir (2006).

The journey reveals the pervasiveness of globalisation that is profoundly connected with the media culture, and it has caused a strange reaction in that it seeks out notions of pure cultural authenticity. Lisl Ponger´s déjà vu (1999) captures our desires for distant lands with its documentary sequences. This collective cliché of exotic otherness, combined with a series of narrations in various languages without subtitles, exposes the western-centered mode of perceiving the world and its hidden colonialism, consequently raising the awareness of our limited perception of reality. In Centro di Permanenza Temporanea (2007), which is named after an Italian refugee camp, Adrian Paci transforms an airport, a symbol of global mobility in our time, into a displaced space. A group of people standing on an aircraft boarding staircase represent migrants who are stranded “in between”, yearning for a better life, and thus an inhumane side of our ever-globalising world is revealed. Whilst Paci draws into the harsh reality of migratory movement in this age, the tiny humans and animals wandering around in the artist’s flat in Hiraki Sawa’s Migration (2003) poetically represent a restless journey in our lives and portrait our nostalgias in the global age. In Mediterranean (2009), Jaye Rhee creates her own Mediterranean setting in her studio with objects which embody images of the location of the Mediterranean. Rhee discloses how tourism and its industry construct common desires through distributing a signified image by envisaging the place with objects that can be found in daily life. In the work Citydel (2005), two separate videos parallel the passers-by looking at a girl in a bikini and a girl who enjoys her vacation on the artificial island in the Han River, which is located in the middle of Seoul. By creating a subtle rupture between them, Bo Kyung Suh questions what we dream for through traveling and where mirage exists.

Project Space 2:
Friday 6 August 2010, 6-9pm
Rivington Place
London EC2A 3BA UK

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In each of these periods parts of the world have tasted the sweetness of the fruits (abundant products and accumulation of wealth), while others have had to endure various forms of exploitation, inequality and depletion of natural resources.

Since World War II,  what is known as ‘Globalisation’ is supposed to be the result of planning by certain world leaders to eliminate borders and facilitate trade, thus creating interdependence and reducing the chances of conflict. Initially triggered through international treaties and regulations, Globalisation is assumed to function as an engine that pursues coexistence and global prosperity through free trade, exchange of technologies, people and ideas, while simultaneously diminishing the imbalance between strong nations and the so called “underdeveloped countries”.

After decades of modern Globalisation, are we on the way to achieving peaceful coexistence and true global prosperity?

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Indiegogo.com

Launched in 2008, Indiegogo is a very popular crowdfunding site that was founded by three partners: Danae Ringelmann, Slava Rubin, and Eric Schell. Each of them bring different skills to the table in terms of finance, marketing, and IT. It has seen 3,500 projects uploaded from 100 different countries around the world. So, as long as you have a bank account, you will be able to participate.

Like the majority of crowdfunding sites online, Indiegogo is free to add your proejct to, and also like a majority of the sites online, Indiegogo takes a commission from the successful site. At the time of this writing, it’s a 4% fee, so when you’re deciding on how much money you need to complete your project, add that amount into your request.

Kickstarter.com

Another very popular crowdfunding site is Kickstarter. Unlike Indiegogo, your project on Kickstarter will have a particular deadline. You have only that amount of time to collect all of the donations you’re requesting, or the project fails and you get no money at all. The upside for contributors is that their credit cards won’t be charged. The upside for the project owner is that deadlines usually help people to take action faster.

And that’s a differentiation that Kickstarter makes plain. People who donate to your crowdfunding project are not investors. They have no say in how the project goes from the time you get the funding until it is complete. They don’t get their money back for any reason, and it’s up to the person who put the crowdfunding project up to fulfill on the promises made in return for donations.

On the other hand, your project will run on Kickstarter until the dealine you set for it to be fully funded. If your project is funded early, people can still donate and you’ll end up with more than you asked for. For example, a recent project for social marketing software asked for a mere $10,000 and came away with $181,535!

International members are permitted on Kickstarter as long as they have an Amazon Payments account. The fee for a successfully funded crowdfuning project on Kickstarted is 5%.

There are also specific crowdfunding sites for people who want to do specific things. SellaBand,com is for musicians, Quirky.com is for inventors, and CreateaFund.com is for people who want to create their own crowdfunding site.

You can participate in crowdfunding on many different levels and you can get funding for just about any project you want to get funded. To learn more about any of the issues involved with crowdfunding and how it works, visit us at http://90MinuteCashAdvance.com.

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The finance required to fund an election attempt in the 21st century is now of a size that can only be raised in the corporate sector. (It also raises the issue of whether these financial implications inhibit the true application of the democratic process for anyone seeking office, because of onerous financial considerations.)

As far as the leadership of any political party is concerned, raising financial support produces the problem of divided loyalties between sponsors and electors. A solution seems to have been found in the introduction of the “Party Line”, which effectively fudges the issues of local democracy by confining activity to the Party Agenda.

Political parties can demonstrate control over their members through adherence to the Party Line. This in turn provides corporate sponsors with the confidence to invest and support an organisation that can manage its direction and any changes to that direction. In so doing it can deliver on policies which are capable of supporting corporate views and desires.

For business to invest in anything, be it new equipment, staff or sponsorship, it needs to be sure that there is an acceptable level of return on that investment, whatever that might be. That is the nature of business and we should have no problem with that discipline.

However the actual democratic process seems to be under increasing threat from the powerful influences the corporate sector can now wield, further exacerbated by the acceleration of the doctrines of Capitalism across the globe.

The challenge lies in the shift in people power that this process seems to be implementing. We now have a reduction in voters at the ballot boxes because of apathy we are told, but a greater assertion of control over the corporate sector through consumerism.

Companies react to the will of there customers and this in turn causes movement by political reaction to meet corporate need. Somehow the corporate sector has managed to inject itself between the politician and the voter, enabling it to increasingly introduce corporate values and the dictates of profit into our everyday life.

Whilst consumerism operates in a similar fashion to democracy, our ability to influence and change could become restricted to our needs as consumers, rather than our needs as members of society. This new democracy is unhealthy because of the serious imbalance it creates within society, at a time when we need to be able to function as flexibly as possible in coming to terms and dealing with climate change.

Copyright 2008 – John Coombes

Born in 1946 in South London and with a Secondary education, for 35 years John Coombes had a successful career in the City where he built several companies and a £100 million group. In the late 80′s he became disillusioned with “just making money” and in his early 40′s suffered several traumas including ME, Breakdown and Bankruptcy. In the space of 18 months Coombes went from a City boardroom to the paint shop in a small art metal works factory. At the time the Stock market and housing market also collapsed and he lost everything, including his family.

Over the last 20 years he has embarked upon a sabbatical which has resulted in him now coming to view life and its workings from a new, totally different and more meaningful perspective. In his manuscript “What if WE are God”, of which this article is an extract, there are amusing as well as very poignant stories that provide the backdrop to a deeply penetrating observation on the human condition, and how we seem to continually hold ourselves back from realizing our true potential as a species in this thing called life.

Article Source: http://EzineArticles.com/?expert=John_Coombes

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In ten tight chapters Jean takes the reader through her principle ideas, from Blood in the High street to Global Compassion, dissecting the representation of major tragedies played out by news corporations for mass consumption and arguing passionately that news is an essential part of a free society.

The frank and often personal accounts of news digestion and analogies to food, especially Jeans sincere and compelling accounts of her own childhood experiences in her Fathers butchers shop make an otherwise complex and often inaccessible subject matter personal, memorable and hugely relevant.

Carnage and the Media: The Making and Breaking of News about Violence is available from all good book shops: priced £19.99
Published by Penguin Books

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Robert McGeehan:
“You just don’t know what you’re talking about on this as well as everything else”

George Galloway:
“we’ve already worked out that I’m stupid and the 80,000 people who elect me every 4 years, they must be stupid too. We’re all out of step except Uncle Sam over here, the whole parade ground.”

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