Subject: Surprise party came to get him (Julian Assassin's)


U.S. to Host World Press Freedom Day in 2011


Press Statement

Philip J. Crowley

Assistant Secretary, Bureau of Public Affairs

Washington, DC

December 7, 2010


The United States is pleased to announce that it will host UNESCO's World Press Freedom Day event in 2011, from May 1 - May 3 in Washington, D.C. UNESCO is the only UN agency with the mandate to promote freedom of expression and its corollary, freedom of the press.


The theme for next year’s commemoration will be 21st Century Media: New Frontiers, New Barriers. The United States places technology and innovation at the forefront of its diplomatic and development efforts. New media has empowered citizens around the world to report on their circumstances, express opinions on world events, and exchange information in environments sometimes hostile to such exercises of individuals’ right to freedom of expression. At the same time, we are concerned about the determination of some governments to censor and silence individuals, and to restrict the free flow of information. We mark events such as World Press Freedom Day in the context of our enduring commitment to support and expand press freedom and the free flow of information in this digital age.


Highlighting the many events surrounding the celebration will be the awarding of the UNESCO Guillermo Cano World Press Freedom Prize at the National Press Club on May 3rd. This prize, determined by an independent jury of international journalists, honors a person, organization or institution that has notably contributed to the defense and/or promotion of press freedom, especially where risks have been undertaken.


The Newseum will host the first two days of events, which will engage a broad array of media professionals, students, and citizen reporters on themes that address the status of new media and internet freedom, and challenges and opportunities faced by media in our rapidly changing world.


The State Department looks forward to working with UNESCO and the U.S. executive committee spearheaded by the Center for International Media Assistance at the National Endowment for Democracy, IREX, and the United Nations Foundation and the many civil society organizations they have brought together in support of the organization of events unfolding in Washington.


For further information regarding World Press Freedom Day Events for program content, please visit the World Press Freedom Facebook page

                 TURE  SJOLANDER

                 Corrupted Moderators:

31 march - 2 april 1998


 The Play












Conference Papers

Three papers

Ture Sjölander

Ture Sjölander,

The Inpact of New Technology on the Development of Culture



a. An annual 3-week internation satelliteTV high-tech art festivaL

b. Commercialise peace via satellite

c. An international lobby group: to connect all TV-systems of the world

- SATELLITE is the medium

- COMMUNICATIONS is the means

- PEACE is the message




The following text was written in 1973. It will be used as a basis for Mr Sjölanders comments today, 25 years later.




For the creation of paintings, works of graphic art, free-standing sculptures and reliefs there is a fairly limited number of materials and techniques; these have changed relatively little during the last 300 years.


Even though new materials and methods have developed, the artistic techniques in the areas of painting, graphic arts and sculpture have kept their traditional character. A painting on canvas today has a technical structure largely similar to that of a seventeenth century painting.


The possibility of giving pictorial expression to the artist's message is however not tied to traditional methods. For the majority of people in the industrial countries, television, video newspapers and advertising have become the dominant transmitters of pictures and visual images. Television and video in particular have come to extend more and more widely through the global development of distribution systems, and are frequently used as a medium for other art forms, such as film, theatre and pictorial arts.


In this context it should be emphasised that it is journalists, above all, who have been recruited to these areas and who have therefore had an opportunity of exploiting the particular and specialised resources which television and video have at their disposal. The fact that pictorial artists occupy a subordinate position would seem partly to be connected with the fact that art schools still limit their educational role to the traditional creation of static images.




The work of artistic/technical development presupposes that artists have access to specialised technical studio equipment.


Television has been in existence now for almost 50 years. During this period a significant number of cultural programmes have been made by artists. Very rarely, however, have these artists produced works directly intended/designed for this medium. Although television per se is a pictorial medium, it has primarily been used to transmit words. The stress has been laid on 'tele' or the transporting/transmitting aspects of the medium, and comparatively little attention has been paid to the conceptual element of 'vision'; that is to say those aspects having to do with the language of the images themselves.


If one looks back on the history of art and makes comparisons with the visual aesthetics used in television today, one is struck be the fact that the greater proportion of all television production today uses visual aesthetics dating back to the 16th century. As an example we may mention the aesthetics of Cubism: this implied a visualisation of several different points of view being given simultaneous expression and coinciding with the discoveries by modern physics of Time and Space being only relative and not absolutely fixed structures.


Cubism dates back more than 50 years, and yet, in a television programme a few years ago it would be unthinkable to use Cubist visual aesthetics.





This situation is however changing rapidly at the present moment. During the last decades or so, a series of international artists have initiated the construction of elctronic image laboratories, where they pursue the development of new art forms through experimental techniques.


Those internatinal artists who have access to modern electronic technology have been given the opportunity of realising, by a creative process, their ideas concerning a truly visually-oriented language. Artists with many different points of view and modes of expression have begun working with computer/electronics/video, taking their point of departure in their previous knowledge and training. Painters, sculptors, musicians, photographers, composers, choreographers and others have approached this medium with their own particular talents and creative methodology and all have contributed to media development in the area of television film and video and to a visual language characterised by greater awareness and creativity.


International electronic music studios have conducted its work of development in music for nearly 30 years, those artists who have been engaged in similar work within the visual arts field are mostly still obliged to manage completely without any corresponding access to electronic equipment.


In a number of countries considerable sums have been invested, for many years, in facilities for practical experimentation in both the visual and audio areas.






The creation of electronic images (sometimes called 'video art'), is an artistic development of visual language. Modern 'electronics' can convert sound vibrations into visual structures, and image components into patterns of sound, thereby giving visual expression to basic processes such as growth and change. The essential definition of 'video art' is based on the manipulation of video signals. Apart from the use of video to realise a series of images in a temporal sequence, artists can also exploit television as a physical, sculptural, object. At galleries they make 'installations' or 'environments' by placing one or more monitors or giant screen projections in specific, related positions. Video cameras, too, 'incorporate' the spectator into the work. In this way, it is possible to explore perceptions of what is seen, as well as the psychology of seeing, in a living context.


An electronic image laboratory, however, should not be limited to video. Another related area is the so-called computer animation (computer-assisted and/or computer-generated images). This technique is based on advanced forms of programming and opens up hiterto unimagined possibilities of free-image composition.


With the aid of electronics and laser the static image, too, will have an interesting development in the fields of painting and graphic arts. Attempts in this direction have been demonstrated in the form of 'video paintings', or more precisely, electronic painting and computer art.


Ture Sjolander




Those who claim that we live today in a visually oriented culture are probably word-blind. Today's visual art and visual media, with the possible exception of painting, still bear a master-slave relationship to elite literature and popular journalism - in the beginning was the Word. The word is power. People who can express themselves well and forcefully in speech and writing, more or less automatically achieve positions of power... while people who express themselves well in pictures, must often support themselves through stipends and other grants.


The producers of words dominate the cultural columns of newspapers, control official cultural policy and the most important visual media. And generally exert a damnably important influence on society. The arts in Sweden are infested by the speech chorus and the clatter of typewriters. Authors write screenplays and become film directors. Journalists become television producers (or programme directors) and make TV-films. Our entire culture is beset by word-producers. Authors, journalists, investigators, letter-writers, polemicists and critics. Who, in fact, knows anything about pictures? And why do we understand so little about visual semantics? Photography and motion pictures have existed for 100 years, television for 50. Despite this, pictures have not attained more than a purely illustrative function. Why? Probably, because most of our pictures are created by Word-people. In fact, roughly half the items on TV today could just as well be broadcast on radio instead.


Ture Sjölander 1973






Every mother is in fact a 'single-mother', raising the children alone 0-7 of age. Raising the boys to believe that they can not 'take care' of babies/children. Raising the girls to believe that they can, alone.....


Within every mother raised boy (or girl too for that matter) in the world, there will be a dormant Saddam Hussein and Bill Clinton (mother raised 100%.).


Within every mother raised baby girl in the world, there will be another mother; 'single mother'....


The children's (babies') very basic human rights, the rights of the child, to be, in time counted, equally exposed to both parents, father and mother, from birth, are none. The childrens' right, to have that equal access, from birth is none. A crime against the whole humanity. All kids are 'kidnapped ' from birth, and that's why the males are killing each other (in wars e.g.) and women do not.


Legislation seems to be the only solution if not 'power of culture' can solve this traditional 'gender-war', the world will continue to suffer, the next millennium too.


Stolen children means forever stolen adults.


Ture Sjölander

Voice your opinion in our online conference > Hässelby Online

23 December 2010

Dr Haneef deserves an apology


Josh Rosner

"There is little doubt Mohamed Haneef received a raw deal from Australia.

"Despite his ill-treatment at the hands of some - not least being the Australian Federal Police and the former Immigration Minister, Kevin Andrews - Dr Haneef has been the epitome of goodwill and decorum during his return trip to Australia for the first time since his deplorable treatment at the hands of the AFP and the Howard government in 2007."

"However, a significant and important gesture was missing from the final settlement."

"In a press statement, Dr Haneef claimed it was too late for an apology from the government. I'm sure the compensation he is to receive will ease the pain of what was patently a traumatic experience, in a country that prides itself on egalitarian notions of a fair go for all."

"The investigation into Dr Haneef would eventually cost the Australian taxpayer more than $8 million. Dr Haneef sought to make a new life for himself, far away from Australia. This he did with success, despite the AFP's persistent public declarations that the investigation remained open and ongoing."

"Whatever the truth behind Mr Keelty's resignation as commissioner of the AFP in September 2009, the fact is he never once felt it appropriate to offer Dr Haneef a public apology for the mental and physical anguish he received at the hands of his police force."

"Whatever the final settlement Dr Haneef will receive, he will once again board a plane and depart Australia without an apology from the one person he most deserves it from: Mick Keelty."

Josh Rosner lectures in political communication at the University of Canberra.

House Rules

Comments (194)


23 Dec 2010 6:38:50pm
War against Error is not a Terror, but Terrordriven Error is a Crime, as in this case! That's Why an apology shall be served properly and publicly.
Ture Sjolander :
23 Dec 2010 12:58:02pm
The damage done to Dr Haneef is irreversible unless he shall be appointed to be the Australian new Health Minister or get a compensation in the 8 million dollar bracket so he himself can publish a book world wide with all the documents over this whole case.
Without a public apology a million dollars is peanuts and if I was him I would never ever thereafter set my foot in this country. That is maybe what the government would like to happen.

Why are Courts and Governments so extremely constipated before they can apologize?
Ture Sjolander :
23 Dec 2010 5:54:45pm

Swedish Law do not compensate people for wrongful arrests, unlawful arrests, and they never make any public apologies.
The only dreadful "offer" you will get from a Swedish court is "INCOMMUNICADO" after arrest, and that is what Mr Assange can expect on arrival.

This is also the only reason why I don't never ever personally would return to Sweden.
They gave me a "bribe" of $20.000 after 63 days solitary confinement in police custody 13 years ago, and no apology whatsoever, after walking out as a free man.

My advise to anyone; don't you even get close to this nation!

                 TURE  SJOLANDER
                 Corrupted Moderators: