Alsike convent

Alsike convent, located in the countryside between Stockholm and Uppsala, has existed since the 1960’s and has been active as a sanctuary for refugees who are in the process of waiting to get their residence permit or who are paperless, since the 1990’s.The existing convent consists of a group of buildings around a courtyard, located in close connection to a church. The main building is a typical Swedish vernacular, red painted house, with bow windows protruding from the roof. The diploma project is an extension to the convent. A project that lead to an exploration of the landscape, materiality versus abstraction; about the combination of the poetic with the pragmatic.Aliske kloster är lokaliserat i naturskön miljö mellan Stockholm och Uppsala, och har funnits sedan 1960-taet. Klostret har även sedan 80-talet verkat som ett flyktinghärbärge. Det existerande klostret är inhyst i en traditonell svensk landsbygdstypologi, ett falurött hus som tidigare var en by-skola, brevid klosterbyggnaden finns en medeltida tegel-kyrka. Examensarbetet handlar om en tillbyggnad av det befintliga klostret och handlar om hur det byggda förhåller sig till landskapet. Ääven den ovanliga mixen av arkitektonisk programering som kombinationen av boende, kyrka, flyktinghärbärge och andlig retreat innebär undersöks. Slutligen undersöker arbetet materaliteten och abstraktionen i tegel

The Market

"Transnational markets hold sway over all aspects of contemporary culture, and that has transformed the environment of recent art, blurring the previously discrete realms of price and value, capital and creativity. Artists have responded not only critically but imaginatively to the many issues this raises, including the treatment of artworks as analogous to capital goods, the assertion that art’s value is best measured by the market, and the notion that art and money share an internal logic. Some artists have investigated the market’s pressures on creative democracy, its ubiquity, vulgarity, and fetishizing force, while others have embraced the creative possibilities the market offers. And for a decade curators and theorists have speculated on the implications of this new symbiosis between art and money, cultural and economic value. Drawing on a wide range of interdisciplinary sources, in dialogue with artists’ writings, this anthology traces the historic origins of these debates in different versions of modernism and surveys the relationships among art, value, and price; the evolution and influence of patronage; the actors and institutions of the art market; and the diversity of artistic practices that either criticize or embrace the conditions of the contemporary market" -- Publisher's web site

Isolated housewives and complex maternal worlds: the significance of social contacts between women with young children in industrial societies.

This article reconsiders the picture of the mother of young children in industrialised societies as the 'isolated housewife', suggesting this notion is by no means straightforward. We suggest there is considerable evidence for the existence of mothers' social contacts and their significance both as 'work' and 'friendship' in industrial societies. A pre-occupation with the notion of the 'isolation' of 'housewives' has led social researchers to neglect sustained examination of the social relationships within which many/most mothers are involved on a day-to-day basis. Complexities of interpretation, for example what 'isolation' can actually mean, need to be drawn out from the existing literature. Evidence presented from two recent ethnographic studies shows patterned opportunities/constraints occurring in relation to mothers' social contacts within localised settings, whether through organised groups or other personal ties. The complex nature of individual women's social contacts is thus brought out. Some key questions are raised for the importance to sociology, anthropology and social policy of these apparently insignificant or invisible women's networks

Ella Fitzgerald à l'Opera House / Ella Fitzgerald, chant ; acc. par : O. Peterson (piano) ; H. Ellis (guitare) ; R. Brown (basse) ; S. Getz, C. Hawkins, I. Jacquet, L. Young, F. Phillips (ténor-saxo), S. Stitt (alto-sax), R. Eldridge (trompette), J. J. Johnson (tromb.), J. Jones, C. Kay (drums)

Titre uniforme : [Stompin' at the Savoy]Titre uniforme : [Them there eyes]Titre uniforme : [Moonlight in Vermont]Titre uniforme : [These foolish things]Titre uniforme : [Bewitched]Titre uniforme : [Stompin' at the Savoy]Titre uniforme : [These foolish things]Titre uniforme : [Ill wind]Titre uniforme : [Moonlight in Vermont]Comprend : IT'S ALL RIGHT WITH ME / Cole Porter - DON'CHA GO WAY MAD / Mundy, Stillman, Jacquet - BEWITCHED BOTHEREDAND BEWILDERED / Rodgers, Hart - THESE FOOLISH THINGS / Link, Stracheey, Marvell - ILL WIND / Arlen, Koehler - GOODY GOODY / Mercer, Malneck - MOONLIGHT IN VERMONT / Suessdorf, Blackburn - THEM THERE EYES / Tracey, Tauber, Inkard - STOMPIN'AT THE SAVOY / Sampson, webb, Razaf, GoodmanBnF-Partenariats, Collection sonore - BelieveContient une table des matière