Robbie just did not have a passion for labels

        In November 2002, then immigration minister Denis Coderre put forward a recommendation for a national debate on the issue of identity cards for all Canadians. Proposing that such a card would be similar to the PRC [permanent residence card], Coderre noted that “identity has taken on new prominence” since the events of 11 September 2001. He also suggested that debating an identity card would provide the opportunity “to clarify what it means to be a citizen, a Canadian” (Coderre, 2003). Coderre’s call led to the Biometrics: Implications and Applications for Citizenship and Immigration forum held by CIC in October 2003. Government officials, participants from the private sector and other “experts” attended this by-invitation-only forum. Coderre’s suggestion of a national identity card was met with critique. The former Privacy Commissioner of Canada in his Overview of the Annual Report to Parliament declared, among other things, that a national identity card would create “Big Brother dossiers” that could “open the way to being stopped in the streets by police and required to identify ourselves on demand” (Radwanski, 2003, p. 3). The national identity card did not move beyond debate, however Coderre’s recommendation was not the first instance of such a call. One occasion in particular had certain elements in common with Coderre’s, namely, the suggestion that the card would thwart terrorists. A Notice of Motion was filed in October 1971 in the House of Commons considering the “Compulsory Carrying of Identification Cards” for Canadian citizens and immigrants. Filed by Member of Parliament Fernand Leblanc, this motion was in response to the 1970 events known as the October Crisis involving the Front de Libe ́ration du Que ́bec (FLQ), the kidnapping and killing of Quebec Justice Minister Pierre Laporte, the kidnapping of British Trade Commissioner James Cross and the invoking of the War Measures Act by the federal government. Leblanc noted that “such a card could ensure the protection of the community in case of riots and terrorist acts”, while one MP argued that the motion be “examined from every angle with very long tongs, and then dropped into a furnace and burned” (Leblanc, 1971).

— Simone Browne "Getting carded: Border Control and the politics of Canada's permanent resident card"

TIL That Joseph Stalin signed his name on documents in red crayon

Unsubscribing from Akimbo

aborted proposal for a public art commission in Mississauga, © 2015

I am drifting, adrift. No matter how much we talk about drift as method, no matter how powerful the bonds of affection become on these trips – not just between spouses and lovers and children but also between friends – there remains a sour note. Something in the ecstatic feeling of travel together remains shiftless, rootless and untrustworthy. Maybe that is part of its charm. We show up in the middle of the night at run-down motels. We burn hundreds of gallons of gasoline extracted from the Alberta tar sands whose pipeline system my small family is tracing in this particular drift. We sneak photographs out the passenger window and poach wireless in hotel parking lots. In Detroit, I encounter women from a neighbourhood organization fighting the construction of a refinery to convert tar sands oil into the gasoline that I will burn in my car as I drive home. They are neither drifting nor adrift, and they don’t need me to articulate the tar sands’ spatial politics or elucidate the relationship between the micro and the macro of petroleum production. But if given a chance to contribute full-time to the ‘front lines’ of a movement, to become ‘embedded’ in a specific place and campaign, I am pretty sure I would shy away. In the United States, there are relatively few examples of ‘militant research’ – the situated, collective knowledge production that animates social movements and enhances a collective capacity for political imagining.

The term itself originated in a particular context – the Argentinean crises of the early 2000s – and can only in its broadest outlines be applied to an American reality of political fragmentation, professionalised activism, and the containment of radical intellectuals in the academy. It’s not just that it is very difficult to work in this way (though it certainly is); it’s also that many people in the Compass come from an art background in which questions over the wisdom of committing to a cause versus leveraging art’s purported autonomy for critical ends still provoke heated debate. There is something I trust about my untrustworthy drifting; it is just hard to articulate what it is and far easier to recognise what it lacks. Though the group has called for a ‘longer, slower, deeper’ engagement with geography and the infrastructures of transnational capitalism, we rarely spend more than a few days in any place and often no more than an afternoon. While the conversations we have may be meaningful and the observations perhaps astute, they are limited, and not just in an ‘all knowledge is partial and contingent’, post-structuralist sort of way. The duration of our engagement allows some impressions to be gathered but prevents the slow filtering of multiple, contradictory streams of information that staying in a place over a longer time, say months or years, might permit. From time to time, we visit places in the Midwest that point to liberating, sustainable futures and are inspired by what we find. We describe these drifts as knitting together a Midwest Radical Culture Corridor, a real-and-imagined place built of relationships between divergent, but sympathetic, oppositional political, aesthetic and life practices. When we return and speak to friends working full-time in areas in which we only dabble (permaculture, ‘natural’ building, local food systems) it sometimes uncovers wildly divergent points of view about the same parallax people and places. By dropping in for a day or week, we may see only what we are primed to see and what our local hosts and guides would like to show. 

If this critique sounds familiar, it should. Tourism has been discussed and criticised in strikingly similar terms. Bashing tourists has a long and proud history among intellectuals, from Daniel Boorstin’s classic indictment of their pursuit of spectacular inauthenticity to Zygmunt Bauman’s less-than-flattering portrayal of the tourist as a signal figure of postmodernity. Even those whose critique is more nuanced, notably Dean MacCannell, acknowledge the challenge of ‘ethical sightseeing’. Perhaps the Compass drifts romanticise and exoticise those we visit as much as heritage parks and living history museums do for more mainstream tourists. How different is it, really, that my ‘tourist gaze’ is directed at cooperative solar energy systems, barter economies, and homemade aquaculture tanks? My ability to sustain a belief in these efforts is bolstered by my mobility: shielded from the often discouraging and mundane details of day-to-day operations, I am free to remain ‘inspired’. That this sort of mobility is largely an artefact of both class and race privilege is so obvious as to seem beneath comment. It helps explain why most of us on these drifts have graduate degrees, faculty positions, or neo-bohemian lives of voluntary (and mostly gentle) poverty. Our privileged mobility parallels the mobility of capital that produced the rust-belt cities, megafarms, and supply chains we trace in an attempt to know.

If this critique seems rather damning, it certainly feels that way to me, and it’s levelled against myself most often. But it also feels too easy, absolute and disabling. It makes me feel helpless in my sadness and isolation, and guilty in turn for feeling impotent. Like many discussions of privilege by people on the American left, it remains mired in a zero-sum, almost Catholic identity politics whereby privilege is a sin to be disavowed and expiated at all costs. Compass friends Maribel Casas-Cortes andSebastian Cobarrubias wrote, ‘the category of privilege can limit the potential activities or alliances of social movements, or dismiss those that already exist’.
They suggest that a more helpful approach might be to remain conscious of how privilege operates while considering how the subject positions it produces might be used. This ‘non-categorical politics’ demands a rigorous practice of inquiry, action, and self-reflection, ideally connected to concrete political activity but also calling into question the constitution of subjectivities and experiences. ‘By attending to the microscopic elements of everyday life, research can connect with people’s experiences, allowing for mutual recognition and the discovery of previously unthinkable combinations and possibilities.’

In other words, what do our distinct positions within interlocking systems of oppression, capitalisation and socialisation enable us to experience, think, know and do? What do our sometimes contradictory, sometimes overlapping positions allow us to occupy, subvert and create? This shift of emphasis from privilege to position accomplishes several important tasks. First, it makes visible the ways that mobility is not a function of privilege but rather a function of the capitalist present, which distributes forms of mobility unequally according to privilege. People and forces with different positions within the capitalist present experience and use mobility in different ways. Some of them are exploitative, others liberating, but all are intellectually and politically productive. Second, it favours a dialectical approach over the dichotomy of inside/outside on which conventional forms of tourism – as well as disabling identity politics – are based. If tourism traditionally functioned to create a field of the exotic other against which one’s own culture might be understood, thinking positionally suggests that these relationships are multi-dimensional, overlapping, shot through with contradiction and in constant motion. The form of mobile research that the drift represents is therefore, in part, an attempt to understand our own positions in dialogue with others’ subjectivities and as part of broader institutions and infrastructures. As Casas-Cortes’ and Cobarrubias have written in the context of the drifts practiced by Precarias a la Deriva, ‘“field research” is a temporary expedition into singular experiences. Precarias’ project searches for commonalities and fosters singularities’. This recognition of positioning within systems – our singular commonality – and shared experience among individuals also sets apart these forms of artistic practice from a neo-avant-garde approach hinging on alienation, distance and shock.

Thinking about the drift this way, my self-critique becomes less damning, enabling me to ask the more open-ended question, ‘What, ultimately, is produced by our drifting?’ We know our drifts and gatherings create affection, most durably among ourselves but also for and with those we encounter and visit. They help us overcome isolation and sadness and enlarge our capacity to care. We believe drifting produces knowledge, however incomplete, of social and economic systems as manifest and contested by localised efforts. We hope it initiates relationships, however tenuous, between ourselves and the places and people we meet on our travels. Rather than making some grandiose claim for this method, or dismissing it as self-indulgent and lazy, can the love, knowledge and relationships we know we build be recast as something meaningful and politically necessary, if necessarily incomplete?

—Sarah Kanouse

Rankin Family

"More than ever today, nature has become inseparable from culture; and if we are to understand the interactions between ecosystems, the mechanosphere, and the social and individual universes of reference, we have to learn to think 'transversally'. As the waters of Venice are invaded by monstrous, mutant algae, so our television screens are peopled and saturated by 'degenerate' images and utterances. In the realm of social ecology, Donald Trump and his ilk - another form of algae - are permitted to proliferate unchecked. In the name of renovation, Trump takes over whole districts of New York or Atlantic City, raises rents, and squeezes out tens of thousands of poor families. Those who Trump condemns to homelessness are the social equivalent of the dead fish of environmental ecology."


—Félix Guattari, The Three Ecologies

Spa

My point isn't to split hairs around definition and semantics but rather to underscore the emerging buzz around social practice art. And by "buzz" I also mean "money." SPArt, a grant-making organization based in LA, recently awarded three $10,000 grants that they themselves characterize as social practice art. Winning projects include an art-making workshop with former inmates, an interactive broadcast at an LA swap, and a collective that will create a "new space for women to learn and create."

The big question moving forward isn't whether social art projects—or whatever you'd like to call them—will proliferate. As this astute piece in Art News makes plain, the movement is gaining momentum and shows no signs of abating. Rather, the more pressing issue is whether larger, richer foundations will climb aboard and funnel money toward arts organizations that roll out more collaborative and interactive programming. Conversely, it will also be interesting to see if arts organizations, looking for a piece of the social practice funding pie, will radically alter their programming or adroitly place existing programs under the social practice rubric.

We'll keep you posted. But you already knew that.

Pantone 448C

FS: "Reconsidering the Object of Art: 1965-1975" (Los Angeles Museum of Contemporary Art, October 1995) caused a stir in part due to its perhaps ironic affiliation with Philip Morris as a sponsor (considering the loaded leftist-based political imagery on display), and your subsequent withdrawal from the show. When were you made aware of Philip Morris' sponsorship of the exhibition?

AP: Not until pretty late, there was a period when I was taking care of my mother and dealing with her estate afterward and I was basically not there. It was not until Hans Haacke faxed me some of the material and I just lost it so I faxed the head of the museum, saying "get me out of here" and actually they were really very good about it. They kind of got it, as to why it was important for me to pull out, but that would have been one to two months after the show opened and from what I understand from Hans is that they were not aware of the Philip Morris sponsorship until the opening of the show.

FS: Haacke and yourself have been outspoken in the discussion about corporate use of the arts for their own public-relations purposes. Tell me, how do you think corporations actually influence the production of visual art? Especially among younger artists?

AP: I think it's very, very scary. I think I finally realized why Philip Morris is so much behind Jesse Helms, because Helms is trying to get rid of the National Endowment for the Arts and of course without the NEA there would be basically no government funding. So everyone would have to go to Philip Morris, or something else like Philip Morris and the thing is, Philip Morris is one of the few corporations that is clearly and visibly and simply evil. It's not a complex moral issue here, it really is just killing people, and if it were not in control of all this art funding it would be such an easy target, but course, younger artists are right to think that they are not going to be able to get funding if they don't take advantage of these funds. Things are already difficult enough as it is, and of course we have postmodernist doubt but, then it makes things so much harder for people to see clearly when their self interest is at stake. I've actually heard really good, concerned, left-thinking friends of mine say, "Well, they haven't really proved a connection between smoking and cancer." So it's scary because the corporations have so much power and they really are able to silence younger artists from protesting in effective ways and also they cloud people's moral perceptions, which I think is very scary. So I think they are the devil.

the infinite tweet

'As concepts such as "good enough" mothering suggest, Winnicott is a fairly sanguine soul. But he also takes pains to remind us what a baby will experience should the holding environment not be good enough:
 
The primitive agonies

Falling for ever
All kinds of disintegration
Things that disunite the psyche and the body

the fruits of privation
 
going to pieces
falling for ever
dying and dying and dying
losing all vestige of hope of the renewal of contacts

One could argue that Winnicott is speaking metaphorically here – as Michael Snediker has said in a more adult context: "One doesn't really shatter when one is fucked, despite Bersani's accounts of it as such." But while a baby may not die when its holding environment fails, it may indeed die and die and die. The question of what a psyche or a soul can experience depends, in large part, on what you believe it's made of: Spirit is matter reduced to an extreme thinness: 0 so thin!

In any case, Winnicott notably describes "the primitive agonies" not as lacks or voids, but as substantives: "fruits."'

—Maggie Nelson, The Argonauts

"Where has the human connection gone? Share 1 minute of eye contact with 1 person"

"Prior to the 1970s one finds no trace of U.S. twentieth century folk art as a cultural field. The Museum of American Folk Art was founded in 1963 but for its early supporters, most of them old guard and wealthy collectors from the northeast, 'the possibility of genuine contemporary expression was of negligible interest' (Hartigan, 1991 : 29). There were no contemporary folk art galleries in 1970 and very few writings on the subject, nor had such work appeared at public auction. Antiques dealers and even the large auction houses had handled the odd twentieth century piece, nearly always by an anonymous hand, but in general objects made after 1900 were assumed to have been influenced by machine-made articles or modeled on elite or popular sources, and thus not properly 'folk art' at all. Moreover, since folk art's pricing was derived from the antiques trade, twentieth century objects lacked the cachet of years and so were typically passed over.
While the parameters of the twentieth century folk art world continue to be subject to debate, an examination of three indicators - membership in the Museum of American Folk Art, numbers of twentieth century folk art exhibitions, and numbers of galleries specializing in this type of art - suggest the field's expansion through the 1970s. Additionally, museum acquisitions, regular public auction sales, and university course offerings in folk art suggest its growing legitimation. Data from art periodicals, archival records, auction house catalogues, exhibition catalogues, encyclopedias, and several folk art histories taken in sum illustrate the inception, extension,
and autonomization of a new artistic subfield." 
Julia Ardery, 'Loser wins': Outsider art and the salvaging of disinterestedness

affect fencing

"I am living on Fogo Island, Newfoundland, working for the Fogo Island Arts Corporation. Ai Weiwei's current situation, the questions that surround his life and art, are foremost on my mind. This is a freewrite of sorts, the idea being not to get caught up in form, not to force ideas to come, but to let them flow, stream, carry experience forward. [Clarice Lispector moment] It is telling that I move to the Ai Weiwei issue so quickly, right off the bat. Yes, of late, while waiting for my coffee to perk each morning, I search the net for updates on "Ai Weiwei's situation." We don't know if he is dead or alive. We don't know if he will ever be released. We don't know what will become of his practice, his work, his story, the people he supported, the people who supported him, the other artists, intellectuals and social activists that have also disappeared. Missing. [See here Judith Butler's essay "Indefinite Detention" in Precarious Life.] Me here, working 9-5 for a contemporary arts organization in rural Newfoundland, an organization with a mandate explicitly concerned with the relationship between local and global, personal and political. What can I do about what is happening to Ai Weiwei and others right now? What can I do from so far away? In isolation. Me here, living in a small outport community, in a country that shows no will to intervene in China's human rights abuses. Economics. What am I to do, not knowing the facts? How to respond? "Give an account of oneself." [Judith Butler moment] Initiate discussion. Look to Ai Weiwei's work for signs. Pressure the state. Question discourse. Think about mediation."
- Jack Stanley in Parcel Lab

zero-sum

In the slums . . . the closer colors are to the rainbow, the more enticing they are. 

—Louis Cheskin, Color Research Institute 

Sign here

Sapporo Tenjin-yama Art Studio observes The Sapporo Ordinance for Eliminating Organized Crime Groups (Boryoku-dan Haijyo Jyourei: Section 8).

As stipulated in Article 8 of the Sapporo Ordinance for Eliminating Organized Crime Groups (Boryoku-dan Haijyo Jyourei), Sapporo Tenjin-yama Art Studio may not be used for the activity of organized crime groups. When filling out this application, please check the box below if you agree to the following content.

   My purpose(s) of using Sapporo Tenjin-yama Art Studio has no relation to activities of a designated organized crime group (Boryoku-dan) and/or the other antisocial forces or their benefits. In agreeing these terms, I state that I have no objection to Sapporo Tenjin-yama Art Studio, if Sapporo Tenjin-yama Art Studio cancels my application and residency in the event that it be ascertained that I am using the Sapporo Tenjin-yama Art Studio for organized crime group activity or the benefit thereof. I also understand and agree that Sapporo Tenjin-yama Art Studio provides the police with information on this application to ascertain whether my use of Sapporo Tenjin-yama Art Studio is related to activities of a designated organized crime group (Boryoku-dan) and/or the other antisocial forces or their benefits.  

Burqa of Skin

Juggalos

The Juggalos, a loosely-organized hybrid gang, are rapidly expanding into many US communities. Although recognized as a gang in only four states, many Juggalos subsets exhibit gang-like behavior and engage in criminal activity and violence. Law enforcement officials in at least 21 states have identified criminal Juggalo sub-sets, according to NGIC reporting.^e

• NGIC reporting indicates that Juggalo gangs are expanding in New Mexico primarily because they are attracted to the tribal and cultural traditions of the Native Americans residing nearby.

Most crimes committed by Juggalos are sporadic, disorganized, individualistic, and often involve simple assault, personal drug use and possession, petty theft, and vandalism. However, open source reporting suggests that a small number of Juggalos are forming more organized subsets and engaging in more gang-like criminal activity, such as felony assaults, thefts, robberies, and drug sales. Social networking websites are a popular conveyance for Juggalo sub-culture to communicate and expand.

• In January 2011, a suspected Juggalo member shot and wounded a couple in King County, Washington, according to open source reporting.¹³

Juggalos’ disorganization and lack of structure within their groups, coupled with their transient nature, makes it difficult to classify them and identify their members and migration patterns. Many criminal Juggalo sub-sets are comprised of transient or homeless individuals, according to law enforcement reporting. Most Juggalo criminal groups are not motivated to migrate based upon traditional needs of a gang. However, law enforcement reporting suggests that Juggalo criminal activity has increased over the past several years and has expanded to several other states. Transient, criminal Juggalo groups pose a threat to communities due to the potential for violence, drug use/sales, and their general destructive and violent nature.

• In January 2010, two suspected Juggalo associates were charged with beating and robbing an elderly homeless man.¹⁴

Federal Bureau of Investigation "2011 National Gang Threat Assessment – Emerging Trends

Clasical Economic Theory as expounded by Round Baldwin

"For De Certeau, the walking body moves in search of a familiar thing in the city. He invokes Freud, saying that walking recalls baby’s moves inside of the maternal body: ‘To walk is to be in search of a proper place. It is a process of being indefinitely absent and looking for a proper.’"

—Doina Petrescu, The Indeterminate Mapping of the Common

The fuzz in Alberta

The Song of the Smoke

BY W. E. B. DU BOIS

   I am the Smoke King

   I am black!

I am swinging in the sky,

I am wringing worlds awry;

I am the thought of the throbbing mills,

I am the soul of the soul-toil kills,

Wraith of the ripple of trading rills;

Up I’m curling from the sod,

I am whirling home to God;

   I am the Smoke King

   I am black.

   I am the Smoke King,

   I am black!

I am wreathing broken hearts,

I am sheathing love’s light darts;

   Inspiration of iron times

   Wedding the toil of toiling climes,

   Shedding the blood of bloodless crimes—

Lurid lowering ’mid the blue,

Torrid towering toward the true,

   I am the Smoke King,

   I am black.

   I am the Smoke King,

   I am black!

I am darkening with song,

I am hearkening to wrong!

   I will be black as blackness can—

   The blacker the mantle, the mightier the man!

   For blackness was ancient ere whiteness began.

I am daubing God in night,

I am swabbing Hell in white:

   I am the Smoke King

   I am black.

   I am the Smoke King

   I am black!

I am cursing ruddy morn,

I am hearsing hearts unborn:

   Souls unto me are as stars in a night,

   I whiten my black men—I blacken my white!

   What’s the hue of a hide to a man in his might?

Hail! great, gritty, grimy hands—

Sweet Christ, pity toiling lands!

   I am the Smoke King

   I am black.

A lot of work to do

advertisement / 广告

中、美、欧艺术精英全球交流项目 Global Exchange Program for Art Specialists in China, USA and Europe

•    Wonderka Art Management, LLC, New York • Paris 依托北京艺海廊桥文化艺术中心、中国国际广播电台国际在线书画频道、国大公益等中国艺术传播机构，联合中、美、欧顶尖艺术机构和院校，在北京、上海、纽约、伦敦、巴黎等城市全面推出“中、美、欧艺术精英全球交流项目”。 •    该项目由中国模块―国际艺术精英课程、美国模块――纽约文化艺术深度之旅、欧洲模块―欧洲文化艺术深度之旅三个部分构成。 •    Wonderka邀请国际著名艺术人士，以短期课程和考察访问为形式，融专题授课、实地参访、交流座谈、策展和收藏咨询为一体， 与海外高端文化艺术活动紧密结合，为中国广大艺术爱好者深度考察欧、美文化艺术提供高品质的服务。

第二期纽约文化艺术深度之旅（行程） The 2nd High-end Tour for New York Culture and Art

第1天，6月15日  (June 15th) 上午（Morning Events）： 参观美国艺术联盟 (American Federation of Arts)，了解如何与美国美术馆和博物馆进行项目对接 Visit American Federation of Arts and learn how to connect/collaborate with American museums and art museums. 下午（Afternoon Events）： •    参观戈勃朗基金会 (Gabarron Foundation)，交流艺术基金会的管理与运作 Visit Gabarron Foundation and exchange experiences in the management and operation of art foundations •    前往纽约第五大道购物，并参加世界顶级奢侈品牌Prada旗舰店的特许欢迎酒会。 Shopping at the 5th Ave and attend the welcome wine banquet at the Prada Flagship. 晚间（备选）：Evening Events  (Optional)   前往纽约林肯中心（Lincoln Center）观赏纽约地标。Visit the Lincoln Center

第2天，6月16日  (June 16th) 上午（Morning Events）： 参观Hort家族艺术品收藏。Hort家族经过5代人的努力，现有私人藏品超过3,000 件，享誉纽约私人收藏界 Visit the Hort Family Collection. The Hort Family is well-known among the New York private collectors for their over 3,000 items in their collections after the endeavor of five generations. 下午（Afternoon Events）： 参观德意志银行画廊, 德意志银行有超过5万7千件藏品分布在全球900多家办公室 Visit 60 Wall Gallery, Deutsch Bank. It has over 57,000 items in the collection distributed among over 900 offices globally. 晚间（备选）：Evening Events (Optional) 前往百老汇大街欣赏景点剧目――歌剧魅影 Go to Broadway and watch the classic musical—The Phantom of the Opera

第3天，6月17日  (June 17th) 日间 （Day Events）： 参观艺术和创新开拓中心（艺术家工作室）。该中心鼓励艺术家进行创新，强调艺术与科学的结合，并开设驻留、教育、培训等多种项目 Visit Pioneer Works Center for Art and Innovation (Artist studios). The center helps produce creative work and social change. Collaboration between the arts and sciences is critical. Residency, educational and training programs are also offered in the center. 晚间（备选）：Evening Events (Optional) 哈德逊河豪华游轮夜游 Hudson River Night Cruise

第4天，6月18日  (June 18th) 上午（Morning Events）： 参观大都会博物馆，美国最大的艺术博物馆，共收藏有300万件展品 Visit Metropolitan Museum of Art, the largest art museum in America with over 3 million items in the collection. 下午（Afternoon Events）： 参观弗里克美术馆，该馆以收藏欧洲老油画闻名 Visit the Frick Collection, which is famous for its collection of Old Master Paintings from Europe. 晚间（备选）：Evening Events (Optional) 欣赏卡耐基音乐厅音乐会 Concert at Carnegie Hall

第5天，6月19日  (June 19th) 上午（Morning Events）： 参观惠特尼美国艺术博物馆―有超过2万1千件藏品，其双年展为众多年轻艺术家和新兴艺术家提供了更多的展示机会 Visit Whitney Museum of American Art with over 21,000 items in the collection. The Whitney Biennale provides unique opportunities for younger and less well-known artists 下午（Afternoon Events）： 参观纽约现代艺术博物馆，世界上最著名和最具影响力的现代艺术博物馆。其藏品包括绘画，雕塑，版画，摄影，印刷品，商业设计，电影，建筑，家具及装置艺术等。 Visit MoMA, which is often considered the most influential museum of modern art in the world. The museum's collection offers an overview of modern and contemporary art, including works of architecture and design, drawing, painting, sculpture, photography, prints, illustrated books and artist's books, film and electronic media.

第6天，6月20日  (June 20th) 日间（Day Events）： •    参观白宫―美国总统的官邸和办公室 Visit the White House •    参观林肯纪念堂――被视为美国永恒的塑像及华盛顿市标志，为纪念美国第十六届总统亚伯拉罕·林肯而建 Visit the Lincoln Memorial •    参观华盛顿纪念碑――为纪念美国首任总统乔治·华盛顿而建造 Visit the Washington Monument •    参观美国国会大厦――美国国会大厦是美国国会所在地，是民有、民治、民享政权的最高象征 Visit the United States Capitol

第7天，6月21日  (June 21th) 上午 （Morning Events）： 参观国立美术馆，其藏品很好的记录了西方艺术从中世纪至今的发展里程，并拥有美洲地区唯一一件达芬奇的作品 Visit National Gallery of Art, the Gallery's collection traces the development of Western Art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas 下午 （Afternoon Events）： 参观弗瑞尔美术馆和赛克勒美术馆，两者被合称为“美国国立亚洲艺术博物馆” Visit The Freer Gallery and Arthur M. Sackler Gallery, which are called jointed as “NATIONAL Gallery of Asian Art”

第8天，6月22日  (June 22th) 上午（Morning Events）： 参观私人藏家收藏 Mr. David C. Levy Visit private collections by David C. Levy 下午（Afternoon Events）： 参观纽约视觉艺术学院，被选为历史50年以来最重要的三所设计与艺术学院之一；也被评为在50年内最顶尖的设计专业学院。几乎所有美国历史上的美国动漫大片和特效大片都有SVA老师与学生的参与，包括玩具超人，蜘蛛侠，蝙蝠侠，功夫熊猫，赛车总动员，米老鼠与唐老 鸭，WALL.E, 海底总动员，等等 Visit School of Visual Arts, New York, which has been voted as one of the three most important schools that combine design and art in the past 50 years, as well as the No.1 design school in the past 50 years. Almost all the famous fimls and cartoons are related with professor and students from SVA, including Superman, Spiderman, Kongfu Panda, Car, Wall. E. Finding Nemo, etc. 晚间 (备选)：Evening Events (Optional) 芭莎之夜, 纽约最闻名的夜间嘉年华 Night Bazaar

第9天，6月23日  (June 23th) 日间 （Day Events）： 参观画廊（高古轩，佩斯，大卫斯沃纳，詹姆斯科恩，凯尚，前波，否画廊等） •    高古轩画廊（Gagosian Gallery）是拉里•高古轩(Larry Gagosian)创办的一家当代艺术画廊，代理了安迪沃霍尔（Andy Warhol）、达明赫斯特（Damien Hirst）、德库宁（Willem de Kooning）、杰夫昆斯（Jeff Koons）等当代顶尖艺术家作品 •    佩斯画廊是全球最有影响力之一的画廊，在纽约、伦敦和北京和香港均由画廊，代理查克克劳斯（Chuck Close）、毕加索（Pablo Picasso）、张晓刚、张洹等顶尖艺术家作品 •    大卫斯沃纳画廊集中展出新兴的美国和国外艺术家的作品，代理了杰夫昆斯（Jeff Koons）、草间弥生（Yayoi Kusama）詹姆斯韦林等当代顶尖艺术家 Visit galleries (Pace, Gagosian, James Cohan, David Zwirner, Klein Sun, Chambers, Fou, etc) 晚间 (备选)：Evening Events (Optional) 直升机夜游纽约 Helicopter Tour

Preregulation

 "The following must go into my finished Directives: When you meet a Gethenian you cannot and must not do what a bisexual naturally does, which is to cast him in the role of Man or Woman, while adopting towards him a corresponding role dependent on your expectations of the patterned or possible interactions between persons of the same or the opposite sex. Our entire pattern of socio-sexual interaction is nonexistent here. They cannot play the game. They do not see one another as men or women. This is almost impossible for our imagination to accept. What is the first question we ask about a newborn baby? Yet you cannot think of a Gethenian as "it." They are not neuters. They are potentials, or integrals. Lacking the Karhidish "human pronoun" used for persons in somer, I must say "he," for the same reasons as we used the masculine pronoun in referring to a transcendent god: it is less defined, less specific, than the neuter or the feminine. But the very use of the pronoun in my thoughts leads me continually to forget that the Karhider I am with is not a man, but a manwoman. The First Mobile, if one is sent, must be warned that unless he is very self-assured, or senile, his pride will suffer. A man wants his virility regarded, a woman wants her femininity appreciated, however indirect and subtle the indications of regard and appreciation. On Winter they will not exist. One is respected and judged only as a human being. It is an appalling experience."

— Ursula K. Le Guin The Left Hand of Darkness