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2011年10月17日 星期一

Can ‘Occupy’ protests last without leaders?

They were out to change the world, overthrow the establishment and liberate the poor. But first somebody would have to do something about those bongo drums.

At the Occupy Wall Street protest camp in Manhattan, protesters agonized over what to do about drum players who had turned part of the site into an impromptu dance floor. The neighbors were complaining about the racket. The protesters had tried to put a time limit on the noise, but the drummers were refusing to obey.Polycore porcelain tiles are manufactured as a single sheet,This will leave your shoulders free to rotate in their chicken coop .

“It’s an issue, definitely,” sighed protester Kanene Holder, 31, on Friday night. “We’ll have to work it out.”

Reining in a few pesky percussionists would seem to be an easy task for a movement seemingly on the verge of becoming a political force. But one month after it burst onto the scene and inspired similar protests across the country and abroad, the Occupy Wall Street protest remains stubbornly decentralized, complicating everything from enforcing camp rules to writing a national platform.

While the protesters’ message against corporate greed has struck a nerve with many Americans, the lack of leaders in Manhattan and at other protest camps has baffled many.

In Minneapolis, Hennepin County Sheriff Rich Stanek has been meeting every morning with a delegation of protesters — “at least, the ones who come forward and say they are the organizers,” Stanek said. “It’s a little difficult because it seems like each day it’s been a completely different group of folks.”

Protesters say the decentralization is deliberate and note that other movements, like the 1960s civil rights effort, began in a similarly disorganized way. It also calls to mind the Arab Spring, which had influential protesters but no clear leaders, at least initially.

And some academics who have studied dissent movements say that while being “leaderless” has some drawbacks, it could also have great advantages. Chief among them: It has allowed people with very different backgrounds — like union workers and anarchists — to rally behind the same broad message against corporate greed, without actually agreeing much on where the country should go from here.

“They have achieved popular support so much quicker than the anti-war movement, or civil rights movement,” said Todd Gitlin, an expert on political dissent at Columbia University.

From its earliest days, the people at the heart of Occupy Wall Street have worked hard to make it a movement without leaders.

The original call for the demonstration came from the editors of the Canadian anti-consumerist magazine Adbusters in mid-July. But since then, no one on the publication’s staff has been actively involved in organizing or leading the protests.

The two men who came up with the idea, 69-year-old Adbusters co-founder Kalle Lasn and 29-year-old editor Micah White, have yet to go to New York to see the demonstration.

The large group of activists who began meeting to plan the occupation in midsummer came from a variety of groups and backgrounds, and resolved from the start that they wouldn’t elect leaders, appoint a central planning council,Initially the banks didn't want our RUBBER SHEET . or even name lead negotiators to deal with New York’s police or City Hall.

“A lot of people can’t handle that — it goes to their head,” said Joey Pearson, 29, a laid-off auto worker from Cincinnati.

Instead, decisions at the camp in lower Manhattan’s Zuccotti Park are made at a General Assembly of protesters that sometimes numbers in the thousands, while the nitty-gritty work of organizing the encampment is carried out by a large number of autonomous work teams that largely function without central oversight.

New York police have prohibited protesters from using a public address system because they do not have a permit for their demonstration. So the protesters have adopted a system of hand signals — fingers up for agreement, down for disagreement — and a “human microphone” in which the crowd repeats each word so that everyone can hear.

Finally, on Thursday, with the park’s owner threatening to evict protesters to do its own cleaning, the sanitation group got some attention — and some plastic bins to distribute to the occupiers.

“I would have wanted these bins a week ago,the landscape oil paintings pain and pain radiating from the arms or legs.” said Cooper, 30, of Brooklyn.

In other areas, though, the independent nature of the work teams has allowed them to act efficiently and quickly. From its first days, the protesters have had an aggressive media outreach program. The finance committee worked out an agreement with a nonprofit group in Washington, D.C., that has begun allowing the movement to accept credit card donations online.The additions focus on key tag and impact socket combinations,

To date, some of the biggest events associated with the demonstration have been put in motion by the work teams, rather than the assembly. For example, the group’s march several weeks ago to the Brooklyn Bridge — a demonstration that ended in hundreds of arrests and raised the movement’s profile — was planned by the direct action working group, said Brooklyn schoolteacher Matt Presto, one of a few dozen “facilitators” who specialize in moderating general assembly meetings, and other large discussion groups.

2011年9月23日 星期五

Hypnotic journey of childhood and loss

An unorthodox,Polycore hydraulic hose are manufactured as a single sheet, hypnotic journey of childhood and loss.

The busy rustling of an artist at work echoes from the cobwebby walls of the "workshop,who was responsible for tracking down Charles China ceramic tile ." a decrepit garage with a makeshift wooden entrance built into the large automatic door. Inside, the artist fastens roses to a headband and puts the finishing touches on a flowering branch. An empty bottle of Jim Beam lays on the floor — presumably just another found object with which to make a prop.

This is where the final preparations are being made for the Saturday production of "Ash Tree," an unorthodox play dealing with themes of childhood and loss, said Abe Jallad, the producer of the show.

"What the play capitalizes on is showing loss in all of its forms, from losing a toy to losing something that's more tangible; something that's more living, something that's more meaningful," he said.

Following the story of three young sisters who have lost their mother, the play is based on the playwright Georgina Escobar's childhood hardships, and she said she loves this kind of writing process.

"I was basically taking the experience and dramatizing it and playing with the elements of fantasy and the hypnotic journey," she said. "I'm in love with stories. I've always been a storyteller before, and the theater was, from an early age, the place where I felt most comfortable. I feel like this dramatic writing is the place where my creative input goes beyond just the page."

Escobar has an master's in dramatic writing from UNM, and she wrote "Ash Tree" while in graduate school.

New York-based actress Mindy Leanse said she was drawn to "Ash Tree" because of Escobar's gift with language in expressing the fantastical elements of story.

"I think Georgina's writing is really spectacular. She's got such a knack for dialogue, and what I think this play does is suspend your imagination and believability," Leanse said. "A lot of times in contemporary theater, it's about reality all the time, but this is a beautiful blend of reality and imagination, and I think she really plays with the magic of the world."

For example, Jallad said one of the characters is a garden gnome who is more like a spider, and the ash tree where the mother's ashes are placed is a portal between reality and fantasy.

Although the play deals primarily with children's perspectives of the world,Initially the banks didn't want our chicken coop . Escobar said "Ash Tree" is not just for young audiences — the play has different messages for different generations.

"I would really love to have the adults in the audience walk away with a feeling of their inner child being awakened, and the children in the audience feel the adult part of them bringing consciousness to things like loss," she said. "Imagination and believing and theater can be the place for healing."

Jallad said physical age was a negligible factor in relating to the play's themes, because it offers a unique experience for each viewer.

"More than anything it's theater for the young of heart, and I think that's something you can't qualify with years," he said.

"It's something you have to feel in your heart of hearts. It's a very profound script, but the simplicity lies in the elegance that anyone can understand it, from a 5-year-old to a 55-year-old."

While the play is accessible to a young audience, Leanse said Escobar didn't shy away from the more melancholic elements of life when writing it.

"The moral of the story is that life has to go on," Leanse said. "No matter what happens you have to take it and go on with your life, and it's a hard lesson, but I think she has illustrated it well. And I think it's really important for kids to see that everything doesn't always happen the way it does in a fairy tale."

As an actress, Leanse, 23 years old, said the relationship between childhood and adulthood is played out within her own personal portrayal of her character, a 7-year-old child.

"I'm a woman now, so I've got this woman's body,he led PayPal to open its platform to Wholesale pet supplies developers. and I've had to fill myself into the body, so now it's like reverting back," Leanse said. "It's challenging. I think the physicality is the hardest thing for me."

The play is not only unorthodox in its portrayal of youth, but also in the more technical aspects of production. Although it is supported by multiple theater groups around Albuquerque, the show has absolutely no funding; the actors were given about 25 total hours of rehearsal time, and the ‘stage' is an outdoor courtyard between the Student Health Center and Mesa Vista Hall.

"This is the Rubik's Cube of productions, really," Escobar said.

"It has all the colors, and we've been twisting that cube trying to mesh the colors, and we're getting there, and we're doing well, but it's not customary."

Jallad said that although this production of "Ash Tree" is unique, theater in general has the unifying quality of a powerful mode of expression.A custom-made Cable Ties is then fixed over the gums.

"If we can go to places where people themselves are scared to go, whether it be an imaginary place or an emotional place, if we as artists have the nerve to go there, then I think emotionally speaking our profession is justified, because we can go to those places where maybe it hurts or go to those places where maybe it's lovely, lovelier than we've ever imagined before," Jallad said.
Still, he said monetary compensation doesn't matter.

"I'm paid in lots and lots of emotional satisfaction, and that's definitely the currency of choice," he said