“Agitainment" is a portmanteau or morpheme of the words agitation and entertainment that is used to describe certain kinds of Performance Art, experimental theatre, Music or Art .
Although not yet a term in popular usage or yet to be featured in the dictionary agitainment is often used anecdotally to describe art forms that delibertly or wilfully aim to provoke, annoy or agitate the audience
Take, for example this quote regarding the band Vortis:
“”agitainment”-celebrating life via the raucous energy of its genre-defying rock 'n' roll, while simultaneously challenging listeners and provoking thought.”
The purpose of this is usually to illicit a reaction, be it positive or negative. Agitainment has its roots in and takes its lead from the ideas of Antonin Artaud and the theatre of cruelty , carried through into the happenings and interventions of the 1960’s and 1970’s and the situationists international to punk and alternative comedy.There are also elements of guerrilla art and the ideas of spectacle, the aim is often to “shake up”” audiences out of a perceived lethargy by breaking the usual rules of performer/audience interaction. This can often involve innovative use of space, direct communication with the audience, challenging perceptions of the genre (be it music, theatre or art) or simply trying out something new
Definitions
More of an attitude than a unified or defined manifesto practitioners of agitainment would probably reject the label itself as too narrow and missing much of the point of their art. It is often a label applied by people to art forms they do not like or understand, which paradoxically can be one of the aims of the practitioners themselves, to make the audience dislike them
Agitainment is a term that is usually used to describe current or modern work but it can be applied retrospectively. Take for example The Sex Pistols, they could be descried as agitainment because they purposefully provoked a response with their music, clothing and attitude and yet were highly entertaining with it. The Sex Pistols did not care what kind of response they provoked, positive or negative, as long as they weren’t met with apathy they were happy: This lies at the heart of agitainment.
Much of the discussion surrounding agitainment concerns genre and the blurring of it. Many practitioners believe that conventional terms do not apply and that labeling yourself a “Musician”, “Performer” or “Artist” is too limiting and that in fact the task of definition lies with the audience. Challenging of preconceived ideas and definitions allows artists to create their own genre, their own scene and to play around with structures, forms and processes. Some of the main (often contradictory) aims of agitainment are:
* Not to have any definite aims
* Explore/explode definitions
* To create
In this way they follow many previous movements that have sought to challenge the status quo.
Although not yet a term in popular usage or yet to be featured in the dictionary agitainment is often used anecdotally to describe art forms that delibertly or wilfully aim to provoke, annoy or agitate the audience
Take, for example this quote regarding the band Vortis:
“”agitainment”-celebrating life via the raucous energy of its genre-defying rock 'n' roll, while simultaneously challenging listeners and provoking thought.”
The purpose of this is usually to illicit a reaction, be it positive or negative. Agitainment has its roots in and takes its lead from the ideas of Antonin Artaud and the theatre of cruelty , carried through into the happenings and interventions of the 1960’s and 1970’s and the situationists international to punk and alternative comedy.There are also elements of guerrilla art and the ideas of spectacle, the aim is often to “shake up”” audiences out of a perceived lethargy by breaking the usual rules of performer/audience interaction. This can often involve innovative use of space, direct communication with the audience, challenging perceptions of the genre (be it music, theatre or art) or simply trying out something new
Definitions
More of an attitude than a unified or defined manifesto practitioners of agitainment would probably reject the label itself as too narrow and missing much of the point of their art. It is often a label applied by people to art forms they do not like or understand, which paradoxically can be one of the aims of the practitioners themselves, to make the audience dislike them
Agitainment is a term that is usually used to describe current or modern work but it can be applied retrospectively. Take for example The Sex Pistols, they could be descried as agitainment because they purposefully provoked a response with their music, clothing and attitude and yet were highly entertaining with it. The Sex Pistols did not care what kind of response they provoked, positive or negative, as long as they weren’t met with apathy they were happy: This lies at the heart of agitainment.
Much of the discussion surrounding agitainment concerns genre and the blurring of it. Many practitioners believe that conventional terms do not apply and that labeling yourself a “Musician”, “Performer” or “Artist” is too limiting and that in fact the task of definition lies with the audience. Challenging of preconceived ideas and definitions allows artists to create their own genre, their own scene and to play around with structures, forms and processes. Some of the main (often contradictory) aims of agitainment are:
* Not to have any definite aims
* Explore/explode definitions
* To create
In this way they follow many previous movements that have sought to challenge the status quo.
Chocolate chai is a type of beverage that combines the flavors of chai and chocolate. It is typically a blend of cardamom, cinnamon, vanilla, cloves, nutmeg, coriander, ginger, black pepper, and chocolate chunks. However, cocoa powder may be substituted for the chocolate chunks. Vegans in particular may prefer to substitute soymilk for whipped cream and milk. In addition to chocolate chai tea, it is also possible to make snickerdoodles out of it, as a Slashfood article points out. There is also a delicious custard recipe of the chocolate chai persuasion.
Chocolate chai can be mixed with chocolate Thai to create high chai chocolate thai. Typically the methodology involves blending concentrated chocolate chai mix with near-boiling THC-infused magic milk, then pouring over ice.
Chocolate chai can be mixed with chocolate Thai to create high chai chocolate thai. Typically the methodology involves blending concentrated chocolate chai mix with near-boiling THC-infused magic milk, then pouring over ice.
It would normally be assumed by the reader without inside knowledge that facts in an article which are not attributed to a certain source or group are universally accepted. This article was prompted by the reading of several articles in the Judaism series, (most recently the one about Tu B'Shvat a Jewish holiday) where such is not the case. This article is intended to help the reader clarify the religious source of some ideas in Judaism on his/her own when WikiPedia articles do not specify that information well. This will be done largely by reading between the lines.
To begin with we must recognize a distinct split in Jewish theology: that between traditional and non-traditional Judaism. For the purpose of this article let us refer to traditional Judaism as practice going back more than 500 hundred years in its current form and let us refer to non-traditional Judaism as going back less than 200 years even in its most original form. There is really nothing in between.
The fundamental difference between the two may be defined as the question of whether Judaism is/should be defined as reflecting a timeless connection to God at the moment of Sinai Biblical Mount Sinai (and therefore never to be revised) or as reflecting the Jew's evolution in conjunction with the rest of humanity as just one cultural group belonging to the greater human culture (and therefore naturally subject to change with the times).
Knowing this, the reader has enough information to identify the source of most Jewish practices. Basically, if an activity is described firstly as having been done the same way as Jews moved from one country/society to the next over the centuries and secondly has not been revised to reflect the issues of the times or of the culture than the source is traditional Judaism (as described below). Conversely, if the practice is described either firstly as originating in the past hundred years or so or secondly as being cross connected to other things (as described below) then the source is non-traditional.
If, by the criteria mentioned above, a statement about Judaism looks traditional, this means that its source is from the traditional Jewish texts, as follows: The primary text for traditional practice is seen as the Talmud. That text assumes essentially that the reader has the 24 books of the Bible and the six orders of the Mishnah memorized and goes into lengthy discussion about how the ancient rabbis derived Jewish law from the Bible. At some point (5 or six centuries ago) the established opinions of the rabbis were codified in the Shulchan Aruch which takes the final rulings of the most accepted viewpoints up to that date and provides a common text for the populace to read and practice without having to master the Talmud. Other sources of law for traditional Judaism all link (either by understanding or by direct reference) to these works. It can be said that these works and others that link to them form a cohesive set which are collectively the source of traditional Judaism.
If, by the criteria mentioned above, a statement about Judaism looks non-traditional, this means that its source is not linked to the cohesive set of works which constitute traditional Judaism. The source of those practices can be assumed to be recent innovations designed to culturally blend Judaism with the rest of the world. Such practices are described in this article as cross connected (above) in the sense that they link to practices and concepts outside of Judaism. In other words they link to the practices of society. For example, the article about Tu Bishvat discussed the practice of a Tu Bishvat seder in which ecology is discussed. Since the ecology is a topic of current events one would assume that the source is not from the Talmud and Shulchan Aruch. Instead, this is a reference to an issue of modern society. As such the source of the practice is non-traditional versus traditional as described above
In dealing with non-traditional sourcing the article will usually (hopefully) specify the source in terms of the historical conditions under which the practice began.
To begin with we must recognize a distinct split in Jewish theology: that between traditional and non-traditional Judaism. For the purpose of this article let us refer to traditional Judaism as practice going back more than 500 hundred years in its current form and let us refer to non-traditional Judaism as going back less than 200 years even in its most original form. There is really nothing in between.
The fundamental difference between the two may be defined as the question of whether Judaism is/should be defined as reflecting a timeless connection to God at the moment of Sinai Biblical Mount Sinai (and therefore never to be revised) or as reflecting the Jew's evolution in conjunction with the rest of humanity as just one cultural group belonging to the greater human culture (and therefore naturally subject to change with the times).
Knowing this, the reader has enough information to identify the source of most Jewish practices. Basically, if an activity is described firstly as having been done the same way as Jews moved from one country/society to the next over the centuries and secondly has not been revised to reflect the issues of the times or of the culture than the source is traditional Judaism (as described below). Conversely, if the practice is described either firstly as originating in the past hundred years or so or secondly as being cross connected to other things (as described below) then the source is non-traditional.
If, by the criteria mentioned above, a statement about Judaism looks traditional, this means that its source is from the traditional Jewish texts, as follows: The primary text for traditional practice is seen as the Talmud. That text assumes essentially that the reader has the 24 books of the Bible and the six orders of the Mishnah memorized and goes into lengthy discussion about how the ancient rabbis derived Jewish law from the Bible. At some point (5 or six centuries ago) the established opinions of the rabbis were codified in the Shulchan Aruch which takes the final rulings of the most accepted viewpoints up to that date and provides a common text for the populace to read and practice without having to master the Talmud. Other sources of law for traditional Judaism all link (either by understanding or by direct reference) to these works. It can be said that these works and others that link to them form a cohesive set which are collectively the source of traditional Judaism.
If, by the criteria mentioned above, a statement about Judaism looks non-traditional, this means that its source is not linked to the cohesive set of works which constitute traditional Judaism. The source of those practices can be assumed to be recent innovations designed to culturally blend Judaism with the rest of the world. Such practices are described in this article as cross connected (above) in the sense that they link to practices and concepts outside of Judaism. In other words they link to the practices of society. For example, the article about Tu Bishvat discussed the practice of a Tu Bishvat seder in which ecology is discussed. Since the ecology is a topic of current events one would assume that the source is not from the Talmud and Shulchan Aruch. Instead, this is a reference to an issue of modern society. As such the source of the practice is non-traditional versus traditional as described above
In dealing with non-traditional sourcing the article will usually (hopefully) specify the source in terms of the historical conditions under which the practice began.
Isaac Morales was a famous Mexican leader who signed the building of Mexico City and Juarez. He also established the Mexican border patrol when Mexicans started to leave Mexico and caused the population to go down. He lived during the 15th century and then died of a fatal heart attack in 1589.
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http://209.132.69.82/uploaded_from_zbc/200404/user_image-1081836851hai.jpg