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Llama
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El World Trade Center de New York es importante no por "ser" sino por ya "no ser". Importa por ser ausencia, y como tal se representa, al igual que el hueco en Manhattan se ha convertido en solar mediático, en adoración religiosa, en un espacio que en lugar de abrir discursos busca cerrarlos. La moneda devaluada es un estímulo frente a esa sacralización del recuerdo. La reliquia profanada se reintroduce y comparte desde la blasfemia buscando generar una nueva historia crítica común.

"Si la responsabilidad del artista no es representar ni interpretar el mundo, sino cambiarlo. Si cambiarlo significa cambiar también la manera en que las cosas cambian. ¿Una hoja de ruta a ninguna parte? ¿Personal e intransferible? ¿Sin salida?" Planteaba Ricardo Antón con motivo de la mesa redonda "El nuevo rostro del mundo" para reflexionar sobre los cambios políticos y sociales que se han producido a raíz del 11-S y el 11-M.

Un leve gesto artístico, personal y social, es reivindicar el ejercicio de la representación de ciertos eventos sujetos al peso de la interpretación unidireccional de esa historia. El penique de las Torres Gemelas es esa reivindicación donde se hace propia la versión, el recuerdo de un evento. El souvenir recogido en lo alto de las Torres antes de su derrumbe ve desaparecer su imagen del recuerdo que las representaba desde la apropiación de un nuevo ceremonial.

Si la responsabilidad del artista no es representar ni interpretar el mundo, sino cambiarlo. Si cambiarlo significa cambiar también la manera en que las cosas cambian… ¿Será el artista capaz de modificar su entorno cotidiano en maneras que permitan generar procesos comunes para compartir buscando un tránsito alternativo?

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New York’s World Trade Center is important not for "being" but for "not being". It is important for its absence, and it is represented as such in the same manner that the gap in Manhattan has become a media building site, a node of religious worship. It is now a space that instead of opening discourses it seeks to close them out. The devalued coin is an stimuli against that sacralization of memory. The desecration of the relic is reintroduced and shared from the blasphemy that seeks to generate a new common critical history.

"If the artist’s responsibility is not to represent, or interpret the world, but to change it. If changing it means as well changing the way in which things change. Is it a travel route to nowhere? Personal and non-transferable? Without a way out?" Asked Ricardo Antón ahead of the round table "El nuevo rostro del mundo" (The New Face of the World) in order to think through the political and social changes that have taken place since September 11 and March 11.

A minimal artistic gesture, personal and social, is to reclaim the representation of certain events subject to the unidirectional interpretation of that history. The penny of the Twin Towers is that reclamation, where the reversion is than made ones own. The memory of an event: The souvenir picked up from the top of the Twin Towers before its crumbling sees its image disappearing from the memory that represented them turning into the appropriation of a new ceremonial.

If the artist’s responsibility is not to represent, or interpret the world, but to change it. If changing it means as well changing the way in which things change. It is a travel route to nowhere? Will the artist be able to modify the daily environment in manner that allow to generate common processes to be shared searching for alternative paths.

Maggie, TOPS School, Age 10
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Taken directly from the information provided at the display at Suzzallo/Allen Library:

From Seeds of Compassion comes a multidisciplinary artistic movement, "What Does Compassion Look Like?" It uses the pure and awe-inspiring vision of children to spread the message of compassion through creative expression. The campaign engages the hearts and minds of our young people through reflection, creativity and community dialogue highlighting and celebrating the power of compassion. The result is art! Created in classrooms, community centers, homes, and international programs, there is art in all media — drawing, painting, poetry, music, video, and more. This art is shared with the public in art galleries, online, at community gatherings and at the Seeds of Compassion event itself before tens of thousands of people. Visit www.whatdoescompassionlooklike.org/ to see how children are beautifully answering the question, "What does compassion look like to you?"

Seeds of Compassion is a five-day historic gathering, from April 11-15, 2008, to engage the hearts and minds of our community by highlighting the vision, science, and programs of early social, emotional, and cognitive learning. Seeds of Compassion is honored to welcome His Holiness the 14th Dalai Lama to Seattle to participate in dialogue with leading educators, researchers and policy makers, and to share his inspiration for a more compassionate world. www.seedsofcompassion.org.

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