Blacky The One Ear

Give an animal your heart and you get it back a thousand times. Animals enrich our lives. A conclusion, a thought-provoking impulse to look around in an animal shelter or maybe even take a little animal from the street; there are so many... perhaps on the way to a long friendship with deep gratitude. Our cat family has grown slowly but surely; all received animals originate exclusively from a shelter or from the street. We just have a big heart... None of these animals we want to miss. They are a wonderful part of our lives. Although they do not really "talk”, however, they constantly communicate with us; even if we do not always understand ... Unfortunately, one is repeatedly confronted with moments in which you doubt the humanity. As on the day on which this little black, fluffy tomcat stood outside our front door with a cut-off, bleeding ear ... The rest of the story "Blacky" better tells himself.

An innovative historical and ethnographic examination of Dominican identity formation in the Dominican Republic and the United States.

The world is a sad and lost place full of violence and confusion. People are hungry for a spiritual leader, a mystic, a prophet, or perhaps even the return of a Messiah. Sometimes Gods anointed ones are right under our noses, but we dont even see them. Sometimes theyre simply too small. Often theyre just anonymous, but spiritually endowed people who do great deeds of charity. The ancient sages say that a single person can lift the entire world out of its pit simply by doing small deeds of love. That, in a nutshell, is Malchus One Ear. He claims he lost his ear in the Garden of Gethsemane when Peter cut it off, but Jesus healed it. Malchus is a physical anomaly, an intellectual enigma, and a spiritual paradox all rolled up in a psychotic mystery. Hes also Gods prophet and Messiah in waiting. When a young woman conceives and gives birth to a son, she sees that he is a strange baby. When she can no longer hide the baby in her tenement, she sets him afloat on the East River in New York City. When he is discovered, he is taken to Bellevue Hospital. Who is Malchus and what does he mean to our world?

Davey, a blind student, refuses all help from his new classmates, even while playing kickball at recess, until they find a way to help without doing everything for him.

Black behind the Ears is an innovative historical and ethnographic examination of Dominican identity formation in the Dominican Republic and the United States. For much of the Dominican Republic’s history, the national body has been defined as “not black,” even as black ancestry has been grudgingly acknowledged. Rejecting simplistic explanations, Ginetta E. B. Candelario suggests that it is not a desire for whiteness that guides Dominican identity discourses and displays. Instead, it is an ideal norm of what it means to be both indigenous to the Republic (indios) and “Hispanic.” Both indigeneity and Hispanicity have operated as vehicles for asserting Dominican sovereignty in the context of the historically triangulated dynamics of Spanish colonialism, Haitian unification efforts, and U.S. imperialism. Candelario shows how the legacy of that history is manifest in contemporary Dominican identity discourses and displays, whether in the national historiography, the national museum’s exhibits, or ideas about women’s beauty. Dominican beauty culture is crucial to efforts to identify as “indios” because, as an easily altered bodily feature, hair texture trumps skin color, facial features, and ancestry in defining Dominicans as indios. Candelario draws on her participant observation in a Dominican beauty shop in Washington Heights, a New York City neighborhood with the oldest and largest Dominican community outside the Republic, and on interviews with Dominicans in New York City, Washington, D.C., and Santo Domingo. She also analyzes museum archives and displays in the Museo del Hombre Dominicano and the Smithsonian Institution as well as nineteenth- and early-twentieth-century European and American travel narratives.

Includes report of the New Jersey Agricultural College Experiment Station.

An ear-opening reassessment of sonic art from World War II to the present Marcel Duchamp famously championed a "non-retinal" visual art, rejecting judgments of taste and beauty. In the Blink of an Ear is the first book to ask why the sonic arts did not experience a parallel turn toward a non-cochlear sonic art, imagined as both a response and a complement to Duchamp's conceptualism. Rather than treat sound art as an artistic practice unto itself-or as the unwanted child of music-artist and theorist Seth Kim-Cohen relates the post-War sonic arts to contemporaneous movements in the gallery arts. Applying key ideas from poststructuralism, deconstruction, and art history, In the Blink of an Ear suggests that the sonic arts have been subject to the same cultural pressures that have shaped minimalism, conceptualism, appropriation, and relational aesthetics. Sonic practice and theory have downplayed - or, in many cases, completely rejected - the de-formalization of the artwork and its simultaneous animation in the conceptual realm. Starting in 1948, the simultaneous examples of John Cage and Pierre Schaeffer initiated a sonic theory-in-practice, fusing clement Greenberg's media-specificity with a phenomenological emphasis on perception. Subsequently, the "sound-in-itself" tendency has become the dominant paradigm for the production and reception of sound art. Engaged with critical texts by Jacques Derrida, Rosalind Krauss, Friedrich Kittler, Jean François Lyotard, and Jacques Attali, among others, Seth Kim-Cohen convincingly argues for a reassessment of the short history of sound art, rejecting sound-in-itself in favor of a reading of sound's expanded situation and its uncontainable textuality. At the same time, this important book establishes the principles for a nascent non-cochlear sonic practice, embracing the inevitable interaction of sound with the social, the linguistic, the philosophical, the political, and the technological. Artists discussed include: George Brecht John Cage Janet Cardiff Marcel Duchamp Bob Dylan Valie Export Luc Ferrari Jarrod Fowler Jacob Kirkegaard Alvin Lucier Robert Morris Muddy Waters John Oswald Marina Rosenfeld Pierre Schaeffer Stephen Vitiello La Monte Young