Pregled posta

Marketing

History and potentiality
The portraitures made by Avedon of remarkable personalities, captured a certain epoch iconographed by their persona, and yet we see that split second of vulnerability, which Avedon, a hunter, armed with the ability to slice through that thin moment, laser like, made eternal that particularity of emotion, returning them to their humane existence, the susceptibility of fear, rejection, despair, and bewilderment, re-establishing their trivial existence commonly found in any humanly being. Avedon’s Marilyn Monroe, the highly charged sex symbol, was caught in the glimpse of exhaustion, contrary to her famous cliche image of dancing with flaring white skirt, dynamic, youthful, energetic, immortalized by Matty Zimmerman. We, the mortal souls, have our moment, of a publicly upheld persona and a simpler definitive existence. This duality exists in everyone, you and me, however simpler our beings are. This duality, had a simultaneous existence in Avedon’s Marilyn Monroe, it is both historical and ahistorical; she marked the era of woman’s emancipation, sexual liberty and her relentless dissipation of energy surmounting in eventual revelation of tiredness in her privacy, however huge her external persona, she is, after all, a human, human all too human. Would any arthropod in their being have that duality? Are they outside this nature? Is the rule of nature singularly pervasive, with a simultaneous existence in all beings? This is a question worth exploring and fantasizing. Yes fantasizing, would you not agree that for what is real, exists a priori in our consciousness, before we perceive it in our reality. I think therefore I am, such powerful dictum, that trace everything whether real or conjured to our consciousness, terminating in the ‘I’.

Would the introduction of the camera, induce the arthropod to perform, to straighten up and put on a perceivable ‘I would like to be seen persona’, as would most mortals? Is this occurrence pervasive in arthropods or particularly prominent in certain order of arthropods? Perceivably this trait would be more alarming in actors and actresses.
The prominent character trait of the fighting spider is that they love to fight. When two males met each other, they would go into a trance like dance, made semi-circle around each other, sized each other up, charged at each other, and snapped both front legs in a frantic horizontal movement, sometime they fight till one died or one’s limb was bitten off. The looser would run away and the other would give chase. We would declare triumphantly the winner. Is not fighting a savage trait that we all inherited when we were born, as a skill of survival, gaining the privilege to be here, in this being of presence? Through history, we could see that intelligence and art, is a form of decadence in survivality, savage and brutality is the skill in the preservation of the lineage. The Mongols and the Qing, seemingly rule over the far superior civilisation of the Song and the Ming.

Would we be able to record the history of the arthropods, its history, or its history relative to our being? Have we ever seen a massive war conducted by one insect against another? Most of us would have. We could not understand the feud between them, but we could see one of these episodes play out in documentary; they recur.
Everyday there are so many births and deaths, as well as the continuum between them. Hardly any being, animate or inanimate could escape, the trinity: birth, being and death. Their histories are so insignificant to us, perhaps due to the lack of perceivable connection between ours and theirs, or perhaps their occurrence was predictably replayed with such certainty that we call them behaviour. History with certainty becomes a pattern, a definite thing, a triviality. Would each episode be exactly similar? Very Unlikely. However, at macro level, a blurring of the particularity recalls only the certainty of the event. Our inability to see them in detail, their minute nuances, nor even recognising their differences, nor identify this spider from that spider, we would not be able to postulate their history. They look predictably similar. Would this generality present itself when we zoom into them in the computer? No one was known to have acquired that sensibility to tell them apart by their faces after repeated scrutiny. Would you be able to empathise the sorrow faced by the loosing spider, or the pride of the winner? As I recall, their identity could be found in their movement, peculiar within each, slight variation in shape and colour, or their deformity, but seldom could we be dead sure of their identity.

Perhaps the history in fighting spider is derived from the history of human vanity, as most of us would be emotionally attached to their fighting spiders during younger days; this is enthrallingly worth conscious exploration. It had become the collective memory of those post second World War generation, the baby boomers. Spide

Midtown Manhattan, New York City, New York, United States

Summary

The Actors Studio building, constructed as a small neighborhood church for the Seventh Associate Presbyterians, shortly after the congregation purchased the land in 1858, is a fine and rare example of a vernacular Greek Revival structure in Manhattan which has survived in a remarkably intact condition. Maintained by its original congregation for eighty-six years, the building has been owned by the famous Actors Studio since 1955. The Actors Studio is a non-profit drama school, run by and for professional actors, known for its teaching of the "Method" technique.

Created by Konstantin Stanislavsky at the Moscow Art Theater, this acting system was promoted in this country by Lee Strasberg, longtime artistic director of the Actors Studio. Since its inception, the school has been the training ground for same of America's most distinguished actors. The building's simple Greek Revival design, with a modified Tuscan temple front, is a late example of the style which was so popular in New York during the 1830s and 1840s. The well-proportioned facade of the building, articulated by unadorned pilasters and a low pediment, illustrates the high quality of the work of the architect-builder who, like many of the period, used pattern books to create a distinctive Greek Revival style building. The building is a fitting home for its famous school, the Actors Studio.

History of the Neighborhood

From its earliest history, Manhattan grew northward - from the southern tip of the island as the population expanded. From 1850 to I860, Manhattan's population grew by approximately 300,000 people, while streets in the area of what is today's midtown were built up with' residences. During this period, the fashionable districts tended to be located around Fifth Avenue, near the middle of the island. The neighborhoods closest to the rivers were less desirable because these areas became the locations for the necessary, but least pleasant elements of urban life: garbage dumps, slaughterhouses, stables, lime kilns, lumberyards, warehouses, and distilleries. Along the island's western edge, the commerce of the waterfront and the New York Central Railroad, whose tracks ran along the water, brought freight as well as a certain rough and tumble character to the west side of Manhattan. The section from the Twenties through the Fifties between Eighth and Tenth Avenues, which by the turn of the century had become known as "Hell's Kitchen," maintained this less-than-savory atmosphere well into the twentieth century.

The land on which this building was constructed, once within the farm tract of Robert B. Norton and then owned by his children, was not subdivided into lots and sold until 1849. Manhattan's expanding population in the 1850s and the building boom which followed the Civil War in the 1860s provided the impetus for extensive residential growth in this area, to the east of the most industrialized section. Ihe neighborhood quickly filled with brick and brownstone rowhouses, tenements, and "French flats," providing moderate-cost housing for those who worked in the local industries as well as those who could not afford to live in more affluent neighborhoods.

A growing population develops with it certain institutions, and churches are among the first to be built. Curing the mid-nineteenth century, the number of churches in Manhattan soared, from 84 in 1825, to 290 in 1857, most located in the newly developing sections of the city. One of these built in the following year was occupied by the Seventh Associate Presbyterian Church, a small working-class congregation formed to serve the local population.

History of the Seventh Associate Presbyterian Church

The Presbyterian Church was started in New York early in the eighteenth century, with its first church on Wall Street. Through the rest of the century, there were three congregations: that on Wall Street, a second known as the "Brick Church" on Beekman Street, and another in open fields on Rutgers Street. None of the church buildings of. these early congregations survive. Near the middle of the eighteenth century, groups began to break away from the established collegiate form of worship, following factions which were being established in Scotland known as the Covenanters and the Seceders. In this country these new branches became known as the Reformed Presbyterians, the Associate Presbyterians, and later the Associate Reformed

Presbyterians. The number of people declaring themselves Presbyterians multiplied as did the buildings constructed to house the growing congregations. By 1871, the Presbyterians were the most numerous and active Protestant group in New York City, with more than ninety churches and mission chapels among the various branches.^

The Seventh Associate Presbyterian Church was formed in 1855 as an Associate Presbyterian congregation. The congregation, also known as