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Singapore Metro Map

editor — Mon, 24 Oct 2016 12:30:00 +0000

In Singapore Here, Foucault’s play of signs’ (1991: 217) is quite explicit, presenting evidence of globally-interconnected systems with one nation highly dependent on another for fiscal stability. The global times have changed since the 1990s. Then, globalization was heralded by the orthodoxy as a kind of free-market nirvana, a new, heady and inevitable force, holding promises of new and better times for the networked cultures of the world. The neoconservative views of Francis Fukuyama, for example, predicted the end of divisive ideologies with the universalism of western, liberal, humanist democracies as a final form of global, human governance. This, he

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Singapore Map Tourist Attractions

editor — Thu, 20 Oct 2016 13:18:00 +0000

In Singapore during that week of December 2011, dominating the media were reports of how the global economy affects our lives. It was exactly the time of the eurozone sovereign debt crisis, and the International Herald Tribunal, the Straits Times, CNN and BBC news spoke of little else. These economic realities were in defiant contrast to the charm, and optimism, of the 160 life-sized baby elephants occupying the public spaces of Singapore. But on further investigation it soon became apparent that there were links between the economic realities of the eurozone and the art event, in that both were relevant

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Baku Sumqayit Map Tourist Attractions

editor — Tue, 18 Oct 2016 20:30:00 +0000

But perhaps the most crucial contribution to the exhibition is Mosha, the little grey elephant with a white, prosthetic leg decorated with signatures of the cities that have featured the Elephant Parade – London, Milano, Amsterdam, Copenhagen, Singapore, et al. We Love Mosha, designed by Diana Francis (Figure 4), is described as the source of our commitment’ Featuring in every such parade, Mosha is the inspiration for the global series of baby elephant artwork exhibits (Elephant Parade Singapore 2011: 26) and as Diana Francis says, Mosha represents the city commitment to The Asian Elephant Foundation. Such stories are compelling for

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Singapore Map

editor — Mon, 17 Oct 2016 15:36:00 +0000

To consider these questions theoretically, it could be said that the designed elephants act as a punctum, Roland Barthes’ (1993) term for the point in a photograph that activates the rest, known as the studium. The semiotics, of the visual field, are drawn together into readable form via the punctum and, thus, the symbolic language of art finds a meaning-making process. Could this be applied to the urban spaces of Singapore and the baby elephants of The Elephant Parade? Locals and visitors stop, notice, photograph, read the signage, admire the elephants, respond to the unique designs and expressions, and perhaps

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Singapore Subway Map

editor — Tue, 11 Oct 2016 08:18:00 +0000

Artworks: Encountering the Elephant Parade Singapore In the midst of the deepening, globalized, economic crisis of 2011, Singapore shoppers were out in force in November and December 2011. On 10 November 2011, a media conference at The Fullerton Bay Hotel launched the Elephant Parade Singapore, with speakers from each of the participating partners.1 The Elephant Parade co-founder Mike Spits and other speakers drew attention to the plight of the Asian elephants, the inception and mission of the Elephant Parade and Singapore’s dedication, as a global city, to global concerns of ecology and environment. With a range of original and colourful

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