1
10
106
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https://theamplificationproject.org/files/original/2aedcbcfc28d0964ec4ea5a0fb2e30eb.jpeg
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Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<a href="https://egyptiandispatches.blogspot.com/">Egyptian Dispatches, by Stephen Perkins (USA)</a>
Creator
An entity primarily responsible for making the resource
Stephen Perkins
Contributor
An entity responsible for making contributions to the resource
Stephen Perkins
Source
A related resource from which the described resource is derived
egyptiandispatches.blogspot.com
Description
An account of the resource
This <a href="https://egyptiandispatches.blogspot.com/">blog</a> documents two trips I took to Cairo, Egypt, in 2013 to visit my Armenian-Egyptian and American wife. Things were tense in this period as the reaction to the Muslim Brotherhood's new government was taking hold. Intertwined within the larger political situation were my more personal experiences as both a visitor to Egypt as well as a newly widowed husband making arrangements to bring his wife back home to the USA.
Date
A point or period of time associated with an event in the lifecycle of the resource
2013
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Egypt and USA
Format
The file format, physical medium, or dimensions of the resource
Blog
Rights
Information about rights held in and over the resource
Stephen Perkins
Language
A language of the resource
English
Subject
The topic of the resource
Egypt, Revolution, Armenians, Street Art
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https://theamplificationproject.org/files/original/9bb4cb7346f890383d3ec402c199b9c5.mp4
3f81304c28e17b8221d2d6aaab11be24
https://theamplificationproject.org/files/original/04048acdb71fae628b5771039cf0e894.jpg
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Moving Image
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Ashrama - What is your refuge?, by Aashray Harishankar (USA)
Creator
An entity primarily responsible for making the resource
Aashray Harishankar
Contributor
An entity responsible for making contributions to the resource
Director / Organizer - Aashray Harishankar
Tapestry Design - Pablo de Larrañaga Aramoni
Centerpiece Design - Charlie Jacobs
Scenic Design - Teresa Piecuch
Scenic Design - Askia Vargas-Toure
Lighting Design - Alejandro Melendez
Choreography - Livya Howard-Yashar
Film - Nehemiah Luciano Stark, Irene Gil Ramon, Lara Kurdoglu, Manuel Inacker
Publisher
An entity responsible for making the resource available
Aashray Harishankar is a composer, audio engineer, creative director, and keyboardist with musical foundations in Carnatic (South Indian classical) keyboard, media scoring, and electronic music production. With a BA in Music & Technology from Stevens Institute of Technology, and an MFA in Music Performance & Composition at California Institute of the Arts, Aashray has focused his pursuits in the art of sonic exploration and innovation in immersive audiovisual experiences. He has established himself as a pioneer of such technology as the ROLI Seaboard (a keyless keyboard), and has collaborated on a wide variety of works in film, television, animation, dance, music, and art installation. Spurred by his diverse background in the arts and technology, Aashray envisions future projects that will bring together artists and scientists alike to tackle solutions to real-world problems through a combination of creative and technical thinking.
His newest project, “Ashrama”, is an immersive installation piece that explores the idea of refuge and the basic need of all humans to be sheltered and cared for. It explores refuge as it exists in our environment, in people, nature, things, ideas, music, dance, technology, etc. The project explores both the physical and mental need for comfort and shelter from the chaos of the world around us, and aims to open our eyes, ears, hearts, minds, and bodies to the lives of others, to their struggles and refuges. “Ashrama” eventually intends to deliver tangible change to those who are without refuge, whether physical or mental. It aims to not only bring awareness but to support those who are literally or emotionally unhoused, to give them a refuge to re-balance and revitalize their life energy.
Description
An account of the resource
"Ashrama" is an immersive, multi-disciplinary installation exploring refuge in our daily lives. Through collaboration on immersive surround soundscapes, video, projections, light, art, environment design, sound stories, writing, and many other forms of expression, Aashray connects the varying perspectives on life through a shared desire and need for comfort and security. This video documents the first iteration of "Ashrama", presented at California Institute of the Arts in Los Angeles, CA.
Date
A point or period of time associated with an event in the lifecycle of the resource
4/30/2022
Format
The file format, physical medium, or dimensions of the resource
YouTube Video
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
BB3 Soundstage, California Institute of the Arts, Valencia, CA, USA, 4/29/22 - 5/1/22
Type
The nature or genre of the resource
Installation Documentation
Rights
Information about rights held in and over the resource
Aashray Harishankar
Relation
A related resource
Ashrama
Language
A language of the resource
English
Subject
The topic of the resource
Refuge, Installation, Art, CalArts, Sound Art, Tapestry, Projection Art
Source
A related resource from which the described resource is derived
https://youtu.be/u6u-d-Jkb7s
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https://theamplificationproject.org/files/original/e9e9c9e5f3979f84d9018c4d7b04b842.png
9f47295c0de42cab7f6381513f9516f0
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
20'x 20'
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Student's community mandala invites public participation
Creator
An entity primarily responsible for making the resource
Asli Kinsizer
Contributor
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Suny Oswego Students and Oswego Community Members
Source
A related resource from which the described resource is derived
I was a designer and teacher in Istanbul, Turkey for over 24 years. I earned my second Master's degree in Graphic Design in 2019 from SUNY Oswego, have shown work at the T. A. G.' 55 Annual Juried Exhibition, and has also won the Aulus W. Saunders Service Award twice. As an artist, I view my role as being ‘one of the exposers of the situation, providing a voice for the oppressed, and offering an alternative that inspires change. Through my Strong Women exhibition (an ongoing project). I am currently a doctoral student in Art Education at the University of North Texas.
Description
An account of the resource
The mandala comes from within -- it is about layering and symbols representing love and community spirit and family and connection, but doing it in this ancient concentric form.
The mandala is the image that the community will be invited to come in and create, filling in my design with colored sand.
Date
A point or period of time associated with an event in the lifecycle of the resource
April, 2019
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Suny Oswego State University
Oswego, NY
Format
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Sand Painting
Rights
Information about rights held in and over the resource
Asli Kinsizer- Artist
Relation
A related resource
Community Mandala
Language
A language of the resource
English
Subject
The topic of the resource
Mandala, Art, Community, Collaboration
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https://theamplificationproject.org/files/original/16b2d24a1fb788bbe0ecc4bf7cc7ba6e.jpg
62c16ff09a84ff12c40af2a8f0d16660
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Digital san of 35 mm negative
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Deserted UNRWA camp, Jericho Palestine, 1977, by David Greenfield (USA)
Creator
An entity primarily responsible for making the resource
David Greenfield
Description
An account of the resource
This is an image of a dirt street, lined on both sides with low mud houses, without any people present.
I shot this image in 1977 while passing through this UNRWA camp. The negatives were developed and a proof sheet was made, but then the negatives were lost, and only recently discovered. I doubt that this camp is still there.
Date
A point or period of time associated with an event in the lifecycle of the resource
1977, summer
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Outside of Jericho, Palestine (then it was Israel)
Rights
Information about rights held in and over the resource
Deserted UNRWA camp, Jericho Palestine, 1977 by David Greenfield is licensed under CC BY-NC-ND 4.0
Palestine
Refugee camp
UNRW
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https://theamplificationproject.org/files/original/4201abe446376edf4ccb43b54bd44e1d.jpg
a8b7a2547b8989f5179980cee7d33823
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Acrylic on canvass, 5' x 6'
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Peace Gate, by David Greenfield (USA)
Creator
An entity primarily responsible for making the resource
David Greenfield and 4 students from the villages of Tarsiha, and Mi'ilya Israel
Description
An account of the resource
A large arched gate loom in the foreground, straddling a serpentine road that winds its way through a peaceful and verdant landscape. The painting is very textured with layers and layers of 4 words- life, love, justice, and peace in Arabic, English, and Hebrew.
This painting was made in 1988, during the first Intifada, and was a collaborative work painted by myself and four 10th and 11th grade students from Tarsiha (Christian) and Mi'ilya (Christian) in northern Israel, where I was an artist-in-residence. Every day we were overwhelmed with words and images in the papers, television, and radio. We felt that as artists, we needed to create an image that represented our desire for a path to a war-free future. The painting is a visual mantra, made by multiple layers of 4 words stenciled in English, Arabic, and Hebrew: life, love, justice, and peace.
Date
A point or period of time associated with an event in the lifecycle of the resource
1988
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Ma'alot-Tarshiha, northern Israel
Rights
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Peace Gate by David Greenfield and 4 anonymous art students is licensed under CC BY-NC-ND 4.0
Subject
The topic of the resource
Peace, Salam, Shalom, Life, chaim, chay-ya, peace-gate, Maalot-Tarshiha, Mi'ilya, Israel
Chaim
chay-ya
Israel
Life
Maalot-Tarshiha
Mi'ilya
Peace
peace-gate
Salam
Shalom
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https://theamplificationproject.org/files/original/c8f36af42f9e97cd5a44a1cb71c34d22.jpg
6d386d70682e3cc89d3e3e02eccd8475
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Mixed media, acrylic on plywood, 25" x 40"
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Searching for Escape, by David Greenfield (USA)
Creator
An entity primarily responsible for making the resource
David Greenfield
Description
An account of the resource
A small transparent acrylic panel over a color xerox of a man, peering over two red-splattered maps of the middle east, searching for a way out.
Searching for an escape from the tyranny of the past and the bloodshed of the present middle east.
Date
A point or period of time associated with an event in the lifecycle of the resource
1986
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
San Francisco, CA
Rights
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Searching for an escape by Dr. David Greenfield is licensed under CC BY-NC-ND 4.0
Israel
Maps
Palestine
Suffering
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https://theamplificationproject.org/files/original/b20c6026a59c410557486b2f768b1708.jpg
28b7e2f9b6543d52390641a3abae0f70
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
8" x 12"
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Endless Sorrow, by David Greenfield (USA)
Creator
An entity primarily responsible for making the resource
David Greenfield
Description
An account of the resource
Two robotic figures are seen leaving a house, one carrying the other who is draped in his arms, mortally wounded.
I was an American serving in the Israeli army in the mid-1970s, when during basic training, members of the PLO came into a small village in the north, capturing a house and holding the family inside hostage. My unit was sent to provide extra security in the village and neighboring towns while we waited for seasoned veteran soldiers to rescue the hostages. After they arrived, they stormed the house, and a number of civilians and PLO fighters were killed. One of the Israeli soldiers soon exited the house carrying one of the dead. It was his brother and it was his brother's house. This was my first real exposure to war, and the image of the event has been seared into my memory and has been one of the reasons that I became an anti-war activist.
Date
A point or period of time associated with an event in the lifecycle of the resource
1981
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Drawn in Santa Cruz, California, and published in the Santa Cruz Express (a local newspaper) in 1991
Format
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Pen and ink on archival paper
Rights
Information about rights held in and over the resource
Endless Sorrow by David Greenfield is licensed under CC BY-NC-ND 4.0. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/
IDF
Israel
Kfar Yuval
PLO
Soldiers
Victims
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https://theamplificationproject.org/files/original/717702023e2003a984ad0b3800d33206.jpg
0dc2e67ee30a3bfc4367e475d97706ae
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Arylic and mixed media on canvas, 6' x 10'
Dublin Core
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Title
A name given to the resource
Sacrifice, by David Greenfield (USA)
Creator
An entity primarily responsible for making the resource
David Greenfield
Date
A point or period of time associated with an event in the lifecycle of the resource
1988-89
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
It was painted in San Francisco and was exhibited in the "New Talent 1990" exhibition at the Katia LaCoste gallery in San Jose in May, 1990.
Rights
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Sacrifice by David Greenfield is licensed under CC BY-NC-ND 4.0
Description
An account of the resource
Sacrifice was painted in San Francisco after I returned from a 6-month stay in Israel/Palestine as an artist-in-residence in 1988 during the first Intifada. The images are from photographs and sketches of a soldier, teacher, the artist, a child, and a dead goat.
First Intifada
Israel
Palestine
Soldier
Victim
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https://theamplificationproject.org/files/original/06dbc465d6aeb67f7d5bbfd30ac5e9fc.JPG
558b8465c03992e8ade0869a8830e8f3
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
108x84", Acrylic and oil on canvas.
Dublin Core
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Title
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The Exiled-2, by Qais Al-Sindy (USA)
Creator
An entity primarily responsible for making the resource
Qais Al-Sindy
Description
An account of the resource
This painting is no. #2 of the series of 'Exiled'. I tried to capture the inner feeling of those who are forced to leave their houses, families, friends, the most; their homeland. These feelings are hard to depict as they are very deep. How do you feel when you are a minority in your country, and you are caught in the middle of the sectarianism. Eventfully, you will be forced to leave.
Date
A point or period of time associated with an event in the lifecycle of the resource
2015
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
San Diego, California, USA.
Format
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Jpg.
Rights
Information about rights held in and over the resource
© Qais Alsindy
Relation
A related resource
Exiled.
Language
A language of the resource
English.
Country
Displaced
Exiled
Homeland
Iraq
Leave
Refugee
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https://theamplificationproject.org/files/original/84b814c5f5045ede5a370eb8acfb7c42.JPG
edf5d2e82771206395dc1e724fb20bfb
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
108x84", Acrylic and oil on canvas.
Dublin Core
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Title
A name given to the resource
The Exiled-1, by Qais Al-Sindy (USA)
Creator
An entity primarily responsible for making the resource
Qais Al-Sindy
Description
An account of the resource
People leaving their country forcibly. The big cube represents the Homeland. They are carrying each other. They are leaving their country, but, their country will NOT leave them. <br /><br /><br />We know that history is always written by the winners. Yet, for me; we the artists are making the history to be encoded according to our dreams and wishes to make our world be better. The crises of exiled people as a consequence of the terrorism is one of the major problems that we have to archive in our encoded Histories. It is certainty produced at the point where the imperfections of memory meet the inadequacies of documentation! There are few among us who have the insight and ability to carve history itself; but each of us can work to affect a small portion. These small acts, scenes and fragments of art will be written into the history of our generation. My art attempts to add to that history.<br /><br /><br />This artwork was exhibited in the exhibition titled: Encoded Histories in Gallery of La Mesa College in California, USA
Date
A point or period of time associated with an event in the lifecycle of the resource
2015
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
San Diego, California, USA.
Format
The file format, physical medium, or dimensions of the resource
Jpg.
Rights
Information about rights held in and over the resource
© Qais Alsindy
Relation
A related resource
Exiled.
Language
A language of the resource
English.
Country
Displaced
Exiled
Homeland
Iraq
Leave
Refugee
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