Art Gallery of NSW(New South Wales) Exhibition
Louise Bourgeois: Has the Day Invaded the Night or Has the Night Invaded the Day?
25 November 2023-28 April 2024
Day and night, love and rage, calm and chaos. Enter a world of emotional extremes in this exhibition of the art of Louise Bourgeois, one of the most influential artists of the past century. Born in Paris in 1911 and living and working in New York until her death in 2010, Bourgeois is well-known for her fearless exploration of human relationships across a seven-decade career.
Louise Bourgeois: Has the Day Invaded the Night or Has the Night Invaded the Day? reveals the extraordinary reach and intensity of Bourgeois' art, from unforgettable sculptures of the 1940s to her tough yet tender weaving works of the 1990s and 2000s. It also reveals the psychological tensions that powered her search, through a dramatic presentation in two contrasting exhibition spaces. Moving from the well-lit rooms of " Day" to the darkened area of " Night" , viewers will encounter more than 120 works, including many never seen before in Australia.
Tickets can be booked online via the exhibition or event page on our website, or in person at the welcome desk at the Art Gallery. Tickets cannot be exchanged, but if something unexpected happens that prevents you from attending, you can change the date of your reservation in your confirmation email.
Do I think the sky is falling? Sort of.
My husband and I were recently in Egypt, where the temperature was a bit warm for my tiny princess self. So, we left Egypt. Back home, my dearest friends struggled with health stuff, with family craziness. . .
The game of life is hard, and a lot of us are playing hurt.
I ache for the world but naturally I' m mostly watching the Me Movie, where balance and strength are beginning to fail. What can we do as the creaking elevator of age slowly arrive? The main solution is to get outside every day, ideally with friends. Old friends — even thoughts of them — are my comfort.
Recently I was walking along a beach with Neshama. We go back 50 years. She is 84, short and strong. Every so often, she bent down somewhat tentatively (踌躇地) and picked up small items into a small cloth bag.
" What are you doing?"
" I' m picking up micro litter. I try to help where I can. "
I reminded her of an old story. A great warhorse comes upon a tiny sparrow (麻雀) lying on its back with its feet in the air, eyes tightly shut with effort. The horse asks it what it' s doing.
" I' m trying to help hold back the darkness. "
The horse laughs loudly, " That is so funny. What do you weigh?"
And the sparrow replies, " One does what one can. "
This is what older age means. We do what we can.
We continued our walk. Neshama bent tentatively to pick up bits of litter and started to slip, but I caught her and we laughed. We are so physically vulnerable in older age, but friendship makes it all a rowing machine for the soul. We can take it, as long as we feel and give love, and laugh gently at ourselves as we fall apart. We know by a certain age the great lie in our life — if you do or achieve this or that, you will be happy and rich. No. Love and service make us rich.
Bonobos often form friendly relationships with other bonobo s in separate social groups — the first time this has been seen in non-human primates (灵长类). This is in line with humans, but in contrast to chimpanzees, another primate, which frequently kill chimps in other groups. The findings challenge the idea that humans evolved (进化) from violent apes, says Surbeck at Harvard University. " This potential to form cooperative links between different groups is not uniquely human and it might have occurred earlier than we thought," he says.
Many animals cooperate, but they seem to do so only with those within their social circle, or in-group. Hostile (敌对的 ) interactions between groups are common among animals, including chimpanzees, so scientists have often assumed that hostility towards other social groups in humans is natural, says Samuni, also at Harvard. However, humans also often cooperate with people in different social circles, for example, by trading or teaching.
Bonobos are one of our closest living relatives. They are less studied than chimpanzees, but are known to be more peaceful, says Surbeck. To learn more about interactions between groups, Surbeck and Samuni observed 31 adult bonobo s from two social groups in Congo over a two-year period. The pair documented 95 encounters between the groups, which represented about 20% of their total observation time. Unlike chimpanzees observed in previous studies, they showed cooperation with out-group members. In fact,10% of all mutual grooming (梳毛) and 6% of all food sharing occurred among members of different social groups.
While bonobo s that groomed others usually got an immediate benefit, food sharing rarely resulted in a gift in return. This suggests that their actions were " not just motivated by selfish interests or immediate rewards" , Surbeck and Samuni report.
Otten, a researcher from the Netherlands, finds the study " exciting" , especially as it " challenges the idea of human exceptionalism" with regard to out-group cooperation. Otten says the bonobo s that were most cooperative within their groups were the same ones that cooperated more with out-group members. This agrees with findings from humans. " Scholars used to believe that in-group ‘love' goes together with out-group ‘hate' , but recent research suggests that often in-group cooperators are also out-group cooperators," he says.
Studies have shown the mere exposure effect, also referred to as the familiarity principle, inspires our decisions. It is a helpful psychological mechanism that helps us sustain our energy and focus our attention on other things. Getting used to new things takes effort and it can be exhausting. So unless we have a terrible experience, we are likely to buy from companies we' ve got used to. That is why companies spend so much money on advertising and marketing and why insurance companies openly charge existing customers more than new ones.
It' s not the case that we only desire things we already know. Some studies suggest when invited to share our preferences, we sometimes see less familiar options as more desirable. But when acting on that preference, we fall back to what we know. This might explain why sometimes the things we want and the things we do don' t quite match up. We might even return to companies that treated us poorly in the past or stay in bad relationships.
It' s easy to paint the familiarity principle as an enemy or something to battle as if it is something that holds us back from living our dreams. But this attitude might be overwhelming because it tends to encourage us toward big-picture thinking. Where we imagine that change requires a substantial dramatic swing that we don' t feel ready for. Some articles suggest the solution to familiarity frustration is complete exposure to novelty. While this can appear effective in the short run, we may only end up replacing one problem with another. It also risks overwhelm and burnout.
So what if we can work with the familiarity principle instead? Familiarity is something we can learn to play with and enjoy. It is a setting for creativity and a pathway to expansion. We can broaden the zone of familiarity bit by bit. If we think of familiarity as something that can expand, we can consider changing the conditions in and around our lives to make more space for our preferences to take root and grow gently. From here, we will start to make decisions, drawing from an ever-deepening pool of valuable options.
How to Plot a Short Story
A great short story drops the reader into its world swiftly and holds their attention all the way through. It can be as simple as knowing a few key moments you want to work your way toward. You' ll wind up with things you never imagined at the start. Follow these steps to plot your next story.
Brainstorm. You don' t need to have multiple short story ideas ready to go at a moment' s notice. When that idea comes to you, sit down and flesh it out. Make note of any characters, settings, or bits of dialogue that you see.
The foundations of your main conflict or theme often form a short story' s rising action. To create tension and movement, you must know exactly what your character wants and what would prevent them from getting it. Conflicts can be internal or external, so imagine at what stage the reader will be meeting your character.
Create a brief outline. Sketch out (草拟) the flow of events your short story will contain, including interactions between characters and key moments. Write down identifying characteristics. But when it comes to drafting, pick your moments of backstory carefully.
Pick a point of view. Many short stories work well in first-person because of their brevity (简洁). If your story needs to be told in second-person or third-person, that works, too. Regardless of which POV you choose, it' s usually best to center that narrative around one main character to ensure a consistent read on the situation at hand.
A. Select the right character.
B. Write out the central conflict.
C. All you need is one solid concept.
D. But there' s no hard and fast rule saying yours must.
E. Short stories allow the freedom to experiment because of their freestyle.
F. Plotting a short story doesn' t have to involve a detailed list of plot points.
G. To make the cut, a piece of information must contribute to the story' s central events.
What I will be hosting, to be exact, is a series of meditation retreats (冥想静修) to be held this spring. During each retreat, about a hundred 1 will come here from all over the world for a period of a week to ten days to deepen their meditation practices. Some of them are 2 , but many have never been to India. My role is to take care of these people during their 3 here. For most of the retreat, the participants will be in 4 . For some of them, it will be the first time they' ve 5 silence as a devotional practice, and it can be intense. However, I will be the one person they are 6 to talk to if something is going wrong.
I can help them. I am so 7 to help. All the listening skills I learned as a (n) 8 bartender, all the antennas (直觉) I' ve ever developed throughout my lifetime that have taught me how to 9 what people are feeling — they were all accumulated 10 I could help ease these good people into the difficult task they' ve 11 . I am so consumed by 12 at their bravery. These people have 13 their families and lives for a few weeks to go into silent retreat with a crowd of perfect 14 in India. Not everybody does this in their 15 .
Nowadays, we are used to opening an app to skim public review s for reference before going to a restaurant. If it has a score of 4. 8 or above on a 5-point scale, the restaurant (guarantee) to be a good choice; but if it is a 4 or even less, it almost always means the restaurant is so terrible that you are likely to suffer.
In the past months, topics such as " Restaurants with low ratings may taste better" (top) the list of search terms. But is essential for everyone is the authenticity of the evaluation. We need to analyze the reasons that lead to the present situation reflect on measures to improve credibility and consumer experiences.
For one thing, quite a few business runners rely so (primary) on good scores to attract consumers that they manipulate (操纵) ratings by buying positive review s to increase traffic. For another, some consumers may go their original intention and give high scores because they receive free dishes or discounts when (ask) to submit comments.
(concern) these phenomena, platforms must develop richer ways for quality players who need more (expose) to display themselves and earn what they deserve. Meanwhile, the rating mechanism should include regular monitoring, strict examination and punitive (惩罚性的) measures to create a health y competitive atmosphere. , users will eventually abandon platforms, leaving those tricky players to their marketing game.
Tom could communicate well with other people through the computer or even on the phone, but when it came to making public presentations, he was hopeless. He was aware that people at conferences would count up the times he said such things as " what I really meant to say was" when he got nervous.
Tom was an expert in Reality Robotics Company. His boss had asked him to do something that he was absolutely scared about. The next month he would be presenting on behalf of his company, and there would be a lot of people, and his boss, who had never attended Tom' s presentations, wanted to impress the audience with the innovative work that the company was doing. Tom knew his boss' s respect for him would plummet (坠落) if he said that he could not do it. So, he worked like crazy on the task.
One day, he felt a great need to relax. He turned on the TV. He laughed, and smiled through the first show, making him feel a little better. But it was the second show that really got to him, where the ventriloquist (腹语术者) Arthur worked with his dummy (假人) . This really provided him with an inspiration for how he was going to make his much-feared presentation a success.
The next day, he organized a meeting of the people that had the skills he needed, and, of course, his boss. When he explained what he wanted to do, he could sense that everyone was with him on this plan. But a lot of work had to be done for the object of the plan to be completed.
It was the day of the presentation. Tom was somewhat nervous, but nowhere near to the extent that he usually was for just such a situation. And they had to get to their destination early, for what needed to be done had to be completed before the audience knew what was going on.
注意：
1. 续写词数应为150左右：
2. 请按如下格式在答题卡的相应位置作答。
Paragraph 1: The much-anticipated presentation started.
Paragraph 2: Tom walked onto the stage, looking exactly the same as the presenter.
