"The Russian Embassy in Bulgaria has issued a note demanding that its former Soviet-era ally clean up the monument in Sofia's Lozenets district, identify and punish those responsible, and take 'exhaustive measures' to prevent similar attacks in the future, the news agency reported Monday.
The monument was spray-painted on the eve of the Bulgarian Socialist Party's celebration of its 123rd anniversary, the Sofia-based Novinite news agency reported.
The vandalism was the latest in a series of similar recent incidents in Bulgaria — each drawing angry criticism from Moscow.
Early this year, unknown artists painted another monument to Soviet troops in Sofia in the colors of the Ukrainian flag.
In August last year, a Soviet army monument in Sofia was painted pink in an 'artistic apology' for Bulgaria's support of Soviet troops who suppressed Czechoslovakia's Prague Spring revolt against Moscow-based communist rulers."
(Anna Dolgov, 19 August 2014, The Moscow Times)
"Ikea, with the help of ad agency Instinct, created a new website to launch its PS 2014 collection and the website is built entirely through Instagram. The agency released a short video to show how the Instagram site works. Each of the 34 items in the PS 2014 line has its own Instagram account so shoppers can take a closer look at the products and get inspired when decorating their own spaces at home."
(Katie Richards, 27 June 2014, Business Insider Inc.)
"Is music something 'out there', a kind of structure or artefact, that can be dealt with in a static way? Or does it rely on processes which call forth interactions with the sounds? Should we conceive of music users besides the music, and think about music as something which is perceived, conceptualised and enacted upon in order to be meaningful? Is music an ontological category, or a sounding phenomenon that calls forth epistemic interactions with the sounds? And can music be considered as a sonic environment and the music user as an organism that generates music knowledge as a tool for adaptation to the sonic world?
These questions revolve around the ecological concept of coping with the (sonic) world (Reybrouck, 2001a, 2005a, b). Musical sense-making, in this view, can be addressed in terms of interactions with the sounds, both at the level of perception, action and mental processing. It is a position that broadens the scope of music research, encompassing all kinds of music and sounds, and going beyond any kind of cultural and historical constraints. Music, in this broadened view, is to be defined as a collection of sound/time phenomena which have the potential of being structured, with the process of structuring being as important as the structure of the music. As such, it is possible to transcend a merely structural description of the music in favour of a process-like description of the ongoing process of maintaining epistemic contact with the music as a sounding environment. A central focus, in this approach, is on the role of musical experience and the way how listeners make sense of music as it sounds (see Blacking, 1955; Määttänen, 1993; Reybrouck, 2004; Westerlund, 2002)."
(Mark Reybrouck, 2012)
Reybrouck, M. (2012). "Musical sense-making and the concept of affordance: an ecosemiotic and experiential approach". Biosemiotics, 5 (3), 391-409.
"We want women from all backgrounds of the industry and at every stage in their career to fulfil their potential and realise their dreams. We value openness, honesty and a positive approach towards collaborating with women and mean across the UK to achieve our mission.
Our vision is to see a change in the UK's animation and VFX industries. We want to support a network of women who can help each other achieve success at every stage of the animation or VFX pipeline. This change will be visible when we see results such as: better female characters on screen, an increase in women-led start-ups and an increase in women winning awards in technical areas."
"Gilbert and Sullivan's fifth Savoy Opera, Patience (1881), is a shining example of the critical role of satire in popular culture, and a most important record of how many self-righteous upper middle class contemporaries viewed fringe schools of thought and pop culture during the dissipation of the Evangelical church. The operetta's premise is that Reginald Bunthorne and Archibald Grosvenor--characters reputedly based upon Oscar Wilde and Charles Swinburne respectively, although the actor who originally played Bunthorne drew on Whistler--are shams as bogus as the aesthetic movement that they embody."
(William R. Terpening, 1998, Victorian Web)