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Peter Frankopan the British historian and Director of the Oxford Centre for Byzantine Research has published an article in The Guardian titled ‘The Byzantine empire's own 'eurozone' crisis offers a lesson for the EU today’, in which he states “…the Byzantine empire has the distinction of being one of the very few realms to survive for more than a millennium, from the foundation of Constantinople in 330 to its fall in 1453. …Like the EU, the Byzantine empire was a multilingual, multi-ethnic commonwealth that spread across different climates and varied local economies, ranging from bustling cities to market towns, from thriving ports to small rural settlements. Not only that, but it also had a single currency – one, furthermore, that did not fluctuate in value for centuries. Contrary to popular opinion expressed on an almost daily basis in the House of Commons, where MPs queue up to describe over-regulation or over-complex legislation as "Byzantine", the Byzantine empire was in fact a model of sophistication – particularly when it came to the sorts of areas where the EU has been found wanting. Unlike the European Union, Byzantium was not riddled with inefficiency and disparity when it came to tax: profits could not be parked in a more attractive region, thereby undermining the empire's structure. Government in Byzantium was lean, simple and efficient. …If Eurocrats could learn from the structure of the empire, then so too could they benefit from looking at how it dealt with a chronic recession, brought on by the same deadly combination that has crippled western economies today. In the 1070s, government revenues collapsed, while expenditure continued to rise on essential services (such as the military); these were made worse by a chronic liquidity crisis. So bad did the situation become that the doors of the treasury were flung open: there was no point locking them, wrote one contemporary, because there was nothing there to steal. Those responsible for the crisis were shown no mercy…”  Inspired by Peter Frankopan, The Guardian ow.ly/j4uLh Image source Twitter ow.ly/j4vh6 Byzantine lesson for the EU today (April 6 2013)

Peter Frankopan the British historian and Director of the Oxford Centre for Byzantine Research has published an article in The Guardian titled ‘The Byzantine empire’s own ‘eurozone’ crisis offers a lesson for the EU today’, in which he states “…the Byzantine empire has the distinction of being one of the very few realms to survive for more than a millennium, from the foundation of Constantinople in 330 to its fall in 1453. …Like the EU, the Byzantine empire was a multilingual, multi-ethnic commonwealth that spread across different climates and varied local economies, ranging from bustling cities to market towns, from thriving ports to small rural settlements. Not only that, but it also had a single currency – one, furthermore, that did not fluctuate in value for centuries. Contrary to popular opinion expressed on an almost daily basis in the House of Commons, where MPs queue up to describe over-regulation or over-complex legislation as “Byzantine”, the Byzantine empire was in fact a model of sophistication – particularly when it came to the sorts of areas where the EU has been found wanting. Unlike the European Union, Byzantium was not riddled with inefficiency and disparity when it came to tax: profits could not be parked in a more attractive region, thereby undermining the empire’s structure. Government in Byzantium was lean, simple and efficient. …If Eurocrats could learn from the structure of the empire, then so too could they benefit from looking at how it dealt with a chronic recession, brought on by the same deadly combination that has crippled western economies today. In the 1070s, government revenues collapsed, while expenditure continued to rise on essential services (such as the military); these were made worse by a chronic liquidity crisis. So bad did the situation become that the doors of the treasury were flung open: there was no point locking them, wrote one contemporary, because there was nothing there to steal. Those responsible for the crisis were shown no mercy…”

 

Inspired by Peter Frankopan, The Guardian ow.ly/j4uLh Image source Twitter ow.ly/j4vh6

 

 

Androulla Vassiliou the 69 year old Cypriot lawyer and European politician who is the European Commissioner for Education, Culture, Multilingualism and Youth, known for being very active in social and cultural fields within the UN and EU, has been subject of an article by Coline Milliard for Boulin Artinfo titled ‘We Can't Leave Culture to the Market’. Milliard states “Speaking at the first Edinburgh International Culture Summit, EU culture commissioner Androulla Vassiliou reaffirmed the need for EU states to maintain funding for the arts. "Culture represents a public good in which every citizen has a stake and I believe that the case for public intervention is as strong today as it has ever been: the markets alone cannot deliver all that a civilised society needs," she later said in a press statement. The International Culture Summit … brings together politicians and artists from an array of countries to discuss the role culture can play in encouraging dialogue between nations. …As she inaugurated the summit, Scottish culture minister Fiona Hyslop said that the arts and creative sector were "key to economic and indeed social recovery, rather than a distraction from it," the EUobserver reported. Vassiliou and Hyslop's comments arrive at a moment when most European countries are facing severe art funding cuts. Although the Scottish government only reduced its culture spending by 5% since 2010, the rest of the UK experienced cuts of 30%. The European Union is planning to counteract this tendency by increasing its own culture budget by almost 40% for the next EU budgetary cycle in 2014-2020, bringing it up to €1.8b (£1.41b). The "Creative Europe" proposal is currently under discussion at the European parliament, but it is facing firm opposition from Germany, the Netherlands, and the UK. A final decision should be reached by early next year. If it goes ahead, an estimated 300,000 artists could benefit from "Creative Europe" funding.”  Inspired by Coline Milliard, Blouin Artinfo ow.ly/hYDej Image source Marina Ofugi ow.ly/hYDcO We can’t leave culture to the market (March 6 2013)

 

Androulla Vassiliou the 69 year old Cypriot lawyer and European politician who is the European Commissioner for Education, Culture, Multilingualism and Youth, known for being very active in social and cultural fields within the UN and EU, has been subject of an article by Coline Milliard for Boulin Artinfo titled ‘We Can’t Leave Culture to the Market’. Milliard states “Speaking at the first Edinburgh International Culture Summit, EU culture commissioner Androulla Vassiliou reaffirmed the need for EU states to maintain funding for the arts. “Culture represents a public good in which every citizen has a stake and I believe that the case for public intervention is as strong today as it has ever been: the markets alone cannot deliver all that a civilised society needs,” she later said in a press statement. The International Culture Summit … brings together politicians and artists from an array of countries to discuss the role culture can play in encouraging dialogue between nations. …As she inaugurated the summit, Scottish culture minister Fiona Hyslop said that the arts and creative sector were “key to economic and indeed social recovery, rather than a distraction from it,” the EUobserver reported. Vassiliou and Hyslop’s comments arrive at a moment when most European countries are facing severe art funding cuts. Although the Scottish government only reduced its culture spending by 5% since 2010, the rest of the UK experienced cuts of 30%. The European Union is planning to counteract this tendency by increasing its own culture budget by almost 40% for the next EU budgetary cycle in 2014-2020, bringing it up to €1.8b (£1.41b). The “Creative Europe” proposal is currently under discussion at the European parliament, but it is facing firm opposition from Germany, the Netherlands, and the UK. A final decision should be reached by early next year. If it goes ahead, an estimated 300,000 artists could benefit from “Creative Europe” funding.”

 

Inspired by Coline Milliard, Blouin Artinfo ow.ly/hYDej Image source Marina Ofugi ow.ly/hYDcO

Spanish public won't accept a financial coup d'etat (October 10 2012) Spanish public won’t accept a financial coup d’etat (October 10 2012)

Katharine Ainger the Barcelona based writer interested in the points where art, creativity, radical democracy and ecological justice intersect, reports in an article for The Guardian titled ‘The Spanish public won’t accept a financial coup d’etat’, claiming that Spain’s government is right to fear the public reaction to this new round of suffering mandated by the financial markets. Ainger states “The attempt by the Spanish “Occupy” movement, the indignados, to surround the Congress in Madrid has been compared by the secretary general of the ruling rightwing People’s party (PP) to an attempted coup. Spanish democracy may indeed be in peril, but the danger is not in the streets. According to the Financial Times, the EU has been in secret talks with the economy minister Luis de Guindos to implement further austerity measures in advance of Spain requesting a full bailout. …The government is right to fear the Spanish public’s reaction to this new round of suffering mandated by the financial markets. … Spain is on the brink of insolvency and under huge pressure to accept a rescue package. In return, the eurozone’s fourth largest economy will have to surrender sovereign and financial control to the IMF, the European commission, and the European Central Bank. …Already many protest signs say: “We can’t take any more.” With a 26% unemployment rate, 22% of Spanish households now live below the poverty line and a further 30% cannot “reach the end of the month”… Loss of sovereignty is fuelling desire for Catalan independence with huge protests. Spanish citizen movements, like those in Greece, Ireland, Portugal, Italy and France have demanded a debt audit, to see who really owes what to whom.”

 

Inspired by The Guardian ow.ly/ebhGS image source Twitter ow.ly/ebhC5

My work is about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, posted online and disseminated via online media and social networks. The works are diaristic in nature that metaphorically record a spectators experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging my historical painting practice.

Adapting Pop Arts notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.

The work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Pop Culture through an artistic and conceptual exploration of specific people and events of the day.

The works are presented as individual pieces printed with Archival-Inks on 308g Cottonrag-paper, along with A3 sized bound monthly editions, and monthly looped video compilations.
www.ianbunn.com

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