THE IMPORTANCE OF THE CONCEPT OF RECIDIVISM IN THE SCIENCE OF CRIMINAL LAW

Karakalpak State University

2nd year student of the Faculty of law

          Annotation: in this article, we will highlight the impact of crime on the education of a person in the construction of civil society in our country, its maturation as a perfect person, and the consequences of repeated crimes are mentioned. Among other things, one of the nuances that is relevant today is highlighted about recidivism and is highlighted by comparing the type of recidivism in the Criminal Code of foreign countries with the Criminal Code of our country.          

 Keywords: recidivism crime, civil society, civil society, dangerous, extremely dangerous recidivist. 

It is clear to all of us that the upbringing of a person in the construction of a civil society, its maturation as a perfect person is significant in all respects. Educating a generation that is mature both physically and mentally requires a lot of attention and hard work, above all. In the case of all kinds of crimes that occur in our society, the upbringing of a person has its effect on the fact that he becomes a mature person in every possible way. Among these, one of the crimes that is relevant today is recidivism. 

The fact that a person deliberately commits a new crime after being convicted of a previously intentional crime is recognized as a recidivistic crime. In cases where a person who has committed a crime similar to a previously convicted crime, separately specified in the Criminal Code, the intentional Commission of a new crime by a person convicted of other articles of a special part of the Criminal Code is recognized as a dangerous recidivist crime.

To commit a deliberate new crime, in which a sentence of imprisonment can be imposed for a period of not less than five years, namely:

a) the commission of a very serious crime by a person who has previously been sentenced for a very serious crime or for a serious crime twice and sentenced to imprisonment for a period of not less than five years for each of them;

b) the commission of a serious crime by a person who has been sentenced to imprisonment for serious or very serious crimes for a period of not less than five years each, regardless of whether he was previously convicted twice for a serious crime or before-after, is recognized as an extremely dangerous recidivistic crime.

With the judgment of the court, a person can be considered an extremely  dangerous recidivist. At the time of the resolution of the issue of finding a person as an extremely dangerous recidivist, his conviction in the judgments of the courts of other states can also be taken into account.

Recidivism crimes are characterized by the fact that as a form of committing several crimes, the guilty person commits a new crime after being convicted of a previously intentional crime. It is a common or common recidivist crime based on the following two characters: intentional Commission of a new crime; the conviction of a person for a previously intentional crime.

In the norms of the special part of the Criminal Code, recidivism is recognized as a sign that the crime is associated with a dangerous and extremely dangerous recidivism and is assessed by the composition of the crime.The question of considering a person as a dangerous recidivist is not decided by the court, but on the grounds established by the law itself, the person is a dangerous recidivist.  The person should be found in the process of being charged by the bodies of his investigation as a dangerous recidivist. Because the commission of a crime by a dangerous recidivist is a characteristic sign of a number of crimes and leads to the application of more serious penalties]. For this reason, this situation should be indicated by the preliminary investigation body when it is involved in participation as an accused in a criminal case, and later this should also be reflected in the descriptive part of the court sentence. The rules apply for the removal of grounds for finding a dangerous recidivism in other cases, such as both the removal and deletion of conviction in relation to a dangerous recidivist crime, and the responsibility or exemption from punishment for a crime committed by a person earlier on purpose. Committing a repeated crime or committing a new intentional crime after being convicted of committing a previous intentional crime is not considered a punitive case in the following cases: if the term of criminal prosecution for a crime committed for the first time has passed; if the conviction was removed or extinguished in accordance with the established procedure; or if the liability for criminal acts committed earlier was canceled by law; 65, 66, 66-1 of the Criminal Code. 68, 69, 70, 71, 76-in the event that a person, according to his articles, has been released from criminal liability and punishment for a crime he has committed before. This situation applies not only to ordinary recidivism, but also to all other types of recidivism, among which there is a dangerous and extremely dangerous recidivism crime, since common signs belonging to ordinary recidivism crime are also characteristic of them. “If the guilty person is removed by Amnesty or pardon from the convicted person for the intentional murder committed before him, if yohud is canceled or removed in accordance with the procedure established by law, as well as if by the time of committing the crime of homicide the fans of bringing him to justice for the crimes committed before him have passed, the extremely dangerous recidivism is considered to be one of the most severe forms of committing several crimes. They include the appointment of imprisonment as punishment and imprisonment for a period of not less than five years.

Such a basis arises only in the presence of one of the following options for recidivism:

– the commission of a very serious crime by a person who has previously been sentenced for a very serious crime and sentenced to imprisonment for a period of not less than five years;

– the commission of a very serious crime by a person who was previously sentenced to two serious crimes and sentenced to imprisonment for a period of not less than five years for each of them;

– the commission of a serious crime by a person who was previously sentenced to two sentences for a serious crime and each of them was sentenced to imprisonment for a period of not less than five years;

When we studied the experience of some foreign countries on the issue of committing several crimes and introducing a sentence for them, we witnessed that in countries such as Spain, Japan, Germany this issue was also regulated within the framework of the section on punishment in criminal law, and in countries such as Russia, Kazakhstan, Belarus, together with punishment, within the framework of the section on  Below we will consider the specifics of the legislation of these states on the appointment of penalties for several crimes with a comparative-analysis.

In accordance with the federal law of the Russian Federation of December 8, 2003, the commission of a repeated crime as a form of several crimes is excluded from the Criminal Code.  Currently, a set of crimes and recidivism are recognized as forms of several crimes. Chapter 10 of the Criminal Code of the Russian Federation is called “the appointment of punishment”, in which the procedure for the appointment of punishment in a separate case for any crime is established independently.  That is, in the presence of mitigating circumstances (Article 62), the appointment of a punishment for a crime even lighter than specified in the law (Article 64), the appointment of a punishment for crimes that are not complete (article 66); the appointment of a punishment for a crime committed in participation (Article 67); the appointment of a punishment for a recidic crime (Article 68); 

An analysis of the Spanish Criminal Code shows that there are two forms of several crimes: crime totals and recidivism. The chapter on the rules for the appointment of punishment will address the totality of crimes.  In accordance with Article 73 of this JK, the total of crimes is understood as the commission by the guilty of two or more crimes or socially dangerous acts.  The Spanish Criminal Code does not provide for the rules for the appointment of a single penalty in the event of the commission of two or more crimes by a person.  In these cases, according to Article 73 of the Criminal Code, punishments are assigned for joint execution.  If one or another punishment cannot be performed together, they are performed independently in turn from heavy to light in sequence.

Article 76 of the Spanish Criminal Code establishes the maximum limit for the imposition of penalties on the aggregate of crimes.  The punishment imposed on the aggregate of crimes should not exceed three times the most severe punishment. Maximum limit in the following cases: 

if a person is convicted of two or more crimes, and for one of them a penalty of imprisonment of up to 20 years is established, then 25 years; 

if a person is convicted of two or more crimes and for one of them is provided for a sentence of imprisonment of more than 20 years, it is 30 years. 

Article 77 of the Spanish Criminal Code speaks of the appointment of a penalty for the ideal total of crimes.  The rule in this article is about “committing two or more offenses in one act”, that is, the crimes are applied to the ideal totality. In this case, the assigned uzil-kesil punishment arises from the punishment imposed for the severity of the crimes committed, and the punishment in this case should be lighter than the appointment of a separate punishment for crimes.

Proceeding from this, we can say that the punishment imposed by the Spanish criminal law on the ideal total of crimes is light in relation to the punishment imposed on the real set of crimes. 

The Japanese Criminal Code lists two types of committing several crimes: a set of crimes and a recidivist crime.  Chapter 9 of the criminal code is devoted to the set of crimes.  In accordance with Article 45 of the Criminal Code, a set of crimes is the commission of several crimes by a person for whom a court decision has not yet been made.  Article 54 of the Japanese Criminal Code gives the concept of the ideal total of crimes, and according to this article “if one act falls into several criminal structures, or the act is a means of committing a crime, or its consequence, and coincides with the composition of another crime, the deviation of the penalties provided for by law is assigned.”

Chapter 9 of the Criminal Code establishes the rules for the appointment of penalties for the totality of crimes. According to him, for the most serious crime, which is part of the totality of crimes, the method of applying a more severe punishment and methods of compensating for punishments are used. Aspects related to the commission of several crimes and the appointment of penalties for them in the Federal Republic of Germany are given in Chapter 3 of the third section of the Criminal Code, which is called “penalties for several violations of laws.”  According to paragraph 52 of this chapter, “if one or a similar act violates several criminal laws many times one law, one penalty is applied.”  The analysis of the content of this paragraph shows that its content is not about the commission of several crimes under the Criminal Code of the Federal Republic of Germany, but about the violation of several laws or one law several times. 

If several criminal laws are violated, a punishment is imposed by the established law. The punishment cannot be lighter in this than in other applicable laws. In this case, we are talking about the ideal set of crimes.  In Germany, the ideal set of crimes is considered as a single crime, and one main punishment is assigned to this single crime. 

As a conclusion, I can say that, for example, it is necessary to master the positive side, as the Spanish Criminal Code establishes a separate procedure for imposing punishment for recidivism. After all, the ideal totality of crimes and the degree of social danger of the real totality of crimes differ from each other. It would also be appropriate if a separate procedure for imposing punishment was established for a recidivist crime.

        References: 

Criminal Code of the Republic of Uzbekistan

Sharh to the Criminal Code of the Republic of Uzbekistan

THE EMERGENCE OF BAKERY PRODUCTS AND THEIR TYPES

Masharipova Bakhor Ixtiyor

2-A student of Food Technology, Faculty of Chemical Technology Karakalpak State University named after Berdak

Abstract: this article shows in detail the history of the emergence of bakery products, the main types and varieties of bread and bakery products.

Keywords: Bread Festival, bakery products, rye bread made from cedar and elan flour.

Bread is one of the most popular and widely consumed products in the world. Therefore, it is not surprising that he has his own holiday — World Bread Day (World Bread Day), this holiday is celebrated every year on October 16.   The holiday was established in 2006. The choice of date is due to the fact that on October 16, 1945, the United Nations Food and Agriculture Organization was created, which is engaged in solving problems in agriculture and production.

In every country in the world, bread and bakery products are always eaten in love. He is given the most honorable place on the table, bread was and remains a symbol of life. The history of bread goes back several millennia. According to scientific research, the first bakery products appeared about 8 thousand years ago. The first yeast bread was made in Egypt. 

In addition, in ancient times, white bread was consumed by people of the upper class, and black and gray bread was considered the food of the poor. It was only in the 20th century that rye and whole grain bread became known about its benefits and nutritional value, which became even more popular. 

Today’s Holiday, World Bread Day, is one reason to draw the attention of the general public to the problems of hunger, poverty and malnutrition in the world. Therefore, traditionally, on World Bread Day, many countries hold various bakery exhibitions, meetings of chefs, bakers and confectioners, fairs, master classes, folk walks, as well as free bread distribution to those in need, charity events.  People will be able not only to taste different varieties and types of bread and bakery products, but also to get acquainted with how bread appeared, history and traditions, what it was made of, how it was baked, etc.

THE MAIN TYPES AND VARIETIES OF BREAD AND BAKERY PRODUCTS

The range of products of the bakery industry consists of bread, buns, pore and bakery products, as well as varieties of local and therapeutic dietary bakery products. According to the commodity classification of bread and bakery products, they are divided into types, varieties and varieties. Types of bakery products are combined with the type of flour used in their preparation. There are such types of bread as wheat, rye, wheat-rye and rye-wheat.

Bread clay is determined by the grade of flour used in baking bread. Wheat bread is made from high, grade I and II, “Uzbekistan” and wheat flour, and rye bread is made from elanma, sidirma and jaydari flour. There are simple and improved varieties of bread according to the recipe. The bread variety combines a number of signs. These are the type of bread, the chili, the baking method (in a mold or tagdone), the shape of the product (buns, batons, wraps), the method of delivery to the consumer (pulled or sold in granules), etc. 

The assortment of Non-bun products consists of several hundred varieties. Rye bread made from rye flour. Rye bread made from Jaydari flour is produced with mold or tagdone, by pulling or by grading. In addition to ordinary rye bread, fermented (red) rye bread is made from such flour, enhanced decoction rye bread with the addition of spices, rye bread “Moscow”, 80% Rye rye flour, 15% II grade wheat flour and Red Rye, “Borodino” breads are also prepared by adding sugar, patoka and spices.

Rye bread made from Sidirma and elanma flour. This group includes not only bakery products made from rye flour varieties, but also prepared by replacing part of them with wheat flour. Elanma and sidirma rye from the flours themselves, rye bread is produced molded or tagdoned, pulled or sold in grains. From a mixture of Sidirma rye and “Uzbek” wheat flour, “Darman” bread with mold and tagdon, which is sold either by grain, Ukrainian bread (20-80% sidirma rye and 80-20% jaydari wheat flour), Uraina fresh bread (20-80% sifted rye flour and 80-20% second-grade wheat flour) is produced. In the same group again “Pahlavon” bread, which is made from Cedar rye and first-grade wheat flour, 5% fermented agan malt, 7% sugar, 3% vegetable oil, 1% cumin; sidirma rye flour and second grade wheat flour, 5% fermented malt, 10% sugar and 1.5% cumin, which can be prepared “President” bread; 80% sidirma rye flour and 15% “Uzbekistan” grade wheat flour, 5% fermented malt, 9% sugar and 0.5% spice “Tangoq bread”, 90% Elma rye flour and 10% first grade wheat flour, 2% Patoka tagdon, which can be prepared by adding Nani; It includes “Riga” bread, which is prepared with the addition of 85% sifted rye flour, 10% first-grade wheat flour, 5% non-fermented rye malt and 0.4% spice, etc.

Rye-wheat and wheat-rye bread made from rye flour. Rye-wheat is made from 60% rye and 40% wheat rye flour with mold or tagdone, pulled or sold by grain, and wheat-rye bread is made from 60% wheat and 40% Rye rye flour. Rye-wheat decoction bread is also prepared by adding 5% fermented rye malt.

Wheat bread. Wheat bread refers to bread baked in a mold or tagdon, pulled or sold in granules, made from wheat flour of jaydari, “Uzbekistan”, I, II and higher grades. Wheat bread is produced in different varieties. For example, from jaydari wheat flour, breads are made that are sold with simple molds and tagdons, pulling or grading. Bread “Zabaykalsk” is made from wheat flour of 50%  and 50% of second-grade. From wheat flour of the second grade, ordinary bread (molded or tagdoned), “Ukrainian palyanitsa” (tagdon), “Kiev arnaunati” (tagdon), white bread (molded or tagdon) and others are produced. From wheat flour” Uzbekistan “is produced bread, which is sold by mold or by grain, and” peasant ” grain bread with tagdons.

From wheat flour of the first variety, ordinary bread (with a mold or tagdon), home bread (tagdon), milk bread, “Saratov kalachi”, “Ukrainian palyanitsa”, Belarusian bread, city bread, white bread, etc. are produced. High-grade wheat flour is made from ordinary molded and tagdoned, raisin bread, milk bread, “Saratov kalachi”, “floral” bread, etc.

In subsequent years, the bakery industry produces white bread from wheat flour of higher, first and second grades. In comparison with ordinary wheat bread, the recipe for this bread differs in an excess (1.5 %) of the amount of pressed yeast. From this, the porosity of this bread should be 2-3% higher than that of ordinary bread.

Buns products. Granular bakery products with different shapes. This group includes batons, buns, saikas, robes, wrap aces, calachs, etc. Batons made from wheat flour of higher, first and second varieties are oblong, with a blunt or sharp shape at the ends. According to the type of products, there are several cuts on the transverse of the surface. The cuts on the surface of some batons are located along the length. The buns have a round or oblong shape with cuts located parallel on the surface. In cooking, due to the dense placement of dough, the wool of the saikas is without a shell. In the recipe for batons, buns, saikas and other buns products 100 kilos of flour includes less than 7% fat and sugar. To the recipe of some varieties of buns products, for example, in ordinary and urban batons, there will be no fat1i and sugar.

“Shirmoy” bread buns products. This group includes all types of non-bun products, the recipe of which contains more than 7% fat and sugar compared to 100 k of flour. (“Shirmoy” bakery products are divided into ordinary bakery, amateur products, simple and shaped “Viborg” bakery. Ordinary bakery products are of the first grade, and amateur and “Viborg” bakery products are made from high-grade wheat flour. The degree of bakery of these varieties differs in that 100 k of sugar, 7 k of cow’s fat and 90 pieces (3.5 k) of eggs are added to ordinary bakery, 17 k of sugar, 13 k of cow’s fat, 220 eggs (8.8 kg) and 4.2 g of vanillin; 20 k of sugar, 2 k of patoka, 7 k of cow’s); 25 k of sugar, 2 k of patoca, 10 k of cow fat, 100 eggs (4 k), 5 g of vanillin and 1 k of powdered sugar (for sprinkling on the surface) are placed in the formative “Viborg” bakery. From each of the above varieties of bakery, it is possible to prepare dozens of products that differ in shape.

REFERENCES:

1. Muzaffar Vasiyev,”technology of bakery products”. “Generation of the new century”, 2009

2.Shamuradov T.R. and so on. Repair and installation of technological equipment for the production of confectionery, non-buns and pasta: a tutorial for professional colleges. – T.: “East”, 2007. – 192 p.

THE WHEEL AND THE WILLOW:  

POTTERY AND POETRY MEET IN 18th CENTURY JAPAN

morning mists
a dream in paint
of people passing
–Buson

For more than a thousand years, poetry has been an essential element of Japanese cultural life.  Waka, the 31-syllable  ancestor of haiku, was written and collected in imperial anthologies for centuries.  In the early 1600s, a small group of potters, painters and calligraphers emerged in Kyoto, then the capital of Japan.  Members of the group synthesized their multiple talents and used the well-known poems to decorate wall-hangings and handscrolls.  

In time, the circle became known as the Rinpa School, named after the later adherent Ogata Korin  (Rin + pa ‘school’).  Korin (1658–1716) is one of the acknowledged giants of Japanese art. Among his major paintings are a six-fold screen of the waves of Matsushima and the paired, twofold screen God of Wind and God of Thunder.  

Korin, God of Wind and God of Thunder

Early 18th century, 421.6 cm x 464.8 cm

His masterpiece, the paired, twofold screen Red and White Plum Blossoms, is a designated National Treasure.

Korin, Red and White Plum Blossoms

Early 18th century, 156 cm x 172.2 cm each

Rinpa is still regarded today as one of the major movements in the long history of  Japanese art.  
In the following examples by two of the founders of the school, the calligraphy skills of the potter and tea ceremony student Hon’ami Koetsu (1558 – 1637) are displayed with underpaintings by Tawaraya Sotatsu (c. 1570 – c. 1640) to produce striking imagery in ink, silver and gold:

Early 17th century, 18.3 cm x 16.3 cm

The autumn moon shines brightly
upon the mountain
illuminating every fallen colored leaf 
–Anonymous   

Early 17th century, 19.7 cm x 17.1 cm

At the break of dawn
a skiff rides the
rapids of the river,
as the boatman’s sleeves
drift in the autumn mist
–Koga Michiteru

Emphasizing the autumnal subject of  the poem, the underpainting in this piece depicts chrysanthemums and mist in gold flakes and gold dust

Early 17th century, 18.3 cm x 16.3 cm

In the harbor where the waters converge, 
the waves are deep red
 as the floating autumn leaves swirl and eddy
–Sosei 

Early 17th century, 32.8 cm x 40 cm

I do not know if you 
will always be true. 
This morning after you left, 
I recalled your vows to me
looking at my long black hair 
so disheveled—
 like the tangles in my heart.
— Taikenmon-in no Horikawa  

Named among both the Thirty-Six Women Poetic Geniuses and the Thirty-Six Poetic Geniuses of the Late Classical Period, Taikenmon-in no Horikawa was a palace lady-in-waiting to Empress Taiken and a consort of Emperor Toba.  Sixty-six of her poems are included in imperial waka anthologies. 

Paired woodblock print of the poetess by Nishikawa Sukenobu

1731, 21 cm x 32.4 cm 

Following the path of Koetsu and Sotatsu, Ogata Kenzan (1663—1743) introduced literary art to ceramics.      

Kenzan, said Richard Wilson, a professor of Japanese art “was no ordinary potter.  The scion of a highly cultured Kyoto  family, he spent his early adulthood pursuing Zen and studying Chinese poetry and calligraphy.  When he finally took up ceramics at age thirty-seven, it  wasn’t to display manual skill but rather to  translate the world known to him into ceramic design.”    The work was revolutionary in concept and execution. 

Kenzan, Clay Tray

ca. 1720, 22.5 cm x 24.8 cm
“Desolate sprays, unyielding, defy the frost“ 

Kenzan’s unconventional work and willingness to challenge rivals in the marketplace won him great commercial success for much of his life.  Notes to  a recent exhibit provide a flavor to his work:
His most powerful weapons in that fierce competition were his fresh new designs, based on concepts created by his older brother, Korin. Mukozuke dishes with designs bordering their rims or wide-mouthed bowls that capture the moment when a stream is racing along, transcending the boundary between the interior and exterior: even today, his ideas, cutting across between the three-dimensional and the flat, seem new and full of playful inspiration. 

Two plates from a series comprising a ceramic calendar demonstrate Kenzan’s technique and poetic sensibilities.  A scene representing the month was painted on the face of the plates.  Two  poems by Fujiwara Teika are glazed on the bottom of the plates, one for the flower associated with the month, and one for the bird associated with it.  While Kenzan reaches for “three perfections” of painting, poetry and calligraphy in this mode, the items were meant for  functional use.  “The users,” said Wilson, “presumably enjoyed identifying the texts and images and trading their knowledge with companions.” 

Kisaragi
The Second Lunar Month
Early 18th century, 20.32 cm x 17.98 cm

Cherry Blossom

The February sky of cherry blossoms,
Fragrant reflections
On the sleeves of passers-by;
Sprigs in their hair.

Pheasant

A spring time hunter,
His trail in the mist.
The cry of a pheasant
Calling his mate. 

Shimotsuki 
The Eleventh Lunar Month
Early 18th century, 20.32 cm x 17.98 cm

Loquat

Greenless fields
Of wintry days,
Loquat blossoms on evergreen branches—
Or, is that a frost?

Plover

Plovers chirp on
Shoals in the Kamo River.
From the moonlight
The hills play hide and seek.  

One major literary source Kenzan drew upon for his work  was the Enki-kappo, a popular anthology of Ming Dynasty poetry translated from the Chinese into Japanese in the 1650s.  But a more important source was the poetry written by the Japanese Buddhist priest Sanjonishi Sanetaka, who lived from 1455 to 1537:

Spring Moon 

How many more years must I grow older? 
There’s no mist tonight , but the moon appears so blurred. 

Kenzan’s own art and poetry were heavily  influenced by Sanetaka.    For Kenzan, autumn was a recurring theme:

Kenzan, Maples and River

Edo period, 18th century, 30.5 cm x 43.1 cm 

Kenzan, Autumn Ivy, 

after 1732, 21.3 cm x 27.6 cm 

Though not yet
winds through the pines
blow all around
and I dread they’ll scatter
the crimson leaves of ivy.     

After collecting matsutake mushrooms with a group of friends in 1692:

Like Xie Lingyun [of ancient China],
Leaving my hut in mindless haste
For a mountain temple, barren with fallen leaves,
While still lost in high-minded amusements,
The temple bell tolls the day’s end. 

In 1962, Bernard Leach, ‘the Father of  British studio pottery,’ made his fifth pilgrimage to Japan and chanced upon what first seemed like a startling discovery—a spectacular trove of 160 Kenzan ceramics and eight notebooks covering a period of 15 months when Kenzan was in his mid-70s.   There were immediate allegations that the items were fakes, but Leach was convinced of their authenticity. 

Now regarded as forgeries by most but not all critics , the notebooks contained pottery designs, descriptions of his work and materials, and stories of his hosts, characterized as Men of Tea, poetry, painting and pottery.  Nostalgic waka and haiku punctuated almost every page. Falsely attributed to Kenzan or not, the poetry maintains a certain merit of its own.  As translated by  Leach:

The flowers of summer are gathered in festival;

How pleasant a quiet cup of sake.

A man leading a horse,

The autumn wind blows through its mane.

A priest sweeps pine needles

In cold autumn rain.

Over the notes of a flute,

The light snow falls. 

From out of dead trees

Circle the rooks;

The moon takes their place.

The snows are melting

On the hills,

Nightingales sing again

As they did in Kyoto.

And one that Leach suggested was a self-portrait of the potter:

Amongst a group  of willows
There is always one that does not sway with the breeze. 

Kenzan never married, though he adopted one son and later fathered another with a young Kyoto woman of the Miyazaki family.  Both sons became potters themselves.   Absent the master’s hand and diluted by imitators, the Kenzan style lost some of its luster in the mid-1700s.  Sakai Hōitsu (1761—1829) is credited with reviving the brand in the 19th Century.   The style continues to resonate artistically and commercially. 

Toward the end of his life, Kenzan moved from Kyoto to Edo, where he enjoyed the friendship and support of his greatest patron, Prince Kōkan, abbot of the wealthy Buddhist Rinnōji temple.  Kōkan died in 1738 at the age of 42.  Three years later, Korin’s widow, Tayo, with whom Kenzan had an abiding friendship, also died.  Having outlived patrons and friends, Kenzan’s last years were no doubt touched by some measure of loneliness.  He moved a final time to Fukugawa on the banks of the Sumida River outside Edo on what is now called Tokyo Bay.  He died in 1743 after a short illness, alone in his rooms at a boarding house owned by a timber merchant.  His modest departure from the physical world belies the enduring legacy he left behind to generations of Japanese artists and potters. 

Two death poems are inscribed on his gravestone.  The first is a Buddhist epigram:

Pleasure and pain once passed
Leave naught but dreams.

The second speaks more closely of the man:

All my life through
These eighty-one years
I have done what I wished
In my own way:
The whole world

In a mouthful. 

Kenzan, Plum Trees

First half of 18th century, 113.98 cm x 292.42 cm 

Russell Streur

Holder of two awards for excellence from the Georgia Poetry Society, Streur is the author of Fault Zones (Blue Hour Press, 2017) and his work is included in the anthology of Georgia poetry Stone, River, Sky (Negative Capability Press, 2015).  He is currently the editor of the on-line eco-poetic journal, Plum Tree Tavern, located at https://theplumtreetavern.blogspot.com/

…

Grateful

He’s anxiously reading about,

The life expectancy,

Of Jack Russell Terriers,

And discovering,

Unique and incredible,

Stories of resilience,

He’s feeling so grateful,

To have London,

In his life.

Taylor Dibbert is a widely published writer, journalist, and poet. He’s author of the Peace Corps memoir “Fiesta of Sunset,” and the forthcoming poetry collection “Home Again.”

Born in Catanzaro(1962-Italy) where he lives and works…Claudio Parentela is an illustrator,painter,digital painter,photographer,mail artist,cartoonist,collagist,textile artist,journalist free lance…Active since many years in the international contemporary art scene.He has collaborated &he collaborates with many,many zines,magazines of contemporary art,literary and of comics in Italy and in the world…& on the paper and on the web…some name amongst the many:NYArtsMagazine,Turntable & Blue Light Magazine,

Komix,LitChaos,Why Vandalism,Thieves Jargon,180 Mag,Braintwisting,The Doors of Creativity Anthology,Lo Sciacallo Elettronico,Inguine,Stripburger,Lavirint,Komikaze, Mystery Island Magazine,Monoclab, MungBeing Magazine,The Lummox Journal,The Cherotic R(e)volutionary,Sick Puppy,Malefact,Gordo,johnmagazine, SHITTY SHEEP-Lamette, alchimiadeldolore,Be|Different, UpScene Magazine ,Chance,Lucid Moon, Tryst ,Carolina Vigna Maru’s Blog, Abusemagazine, hijacked, Synthesis, filosofem.com, Spartandog, Numbmagazine,DrexterMagz,Que Suerte,Art Life,Pintalo De Verde,ApArte,Evasion,The Benway Institute,Phony Lid Publications,First Class,This Is Magazine,Diesel,Stu Magazine, Becoming Journal , Exposweb, Pockoville,Crane Magazine,Staplegun, Zupi ,4×6-art, Funtime Comics,Untergruntblatte, lartmagazine, Passenger May, Sekushi , Onthecamper,Head Press,Entmoot,

Lartmagazine,You&Me,Rorschach,Fagorgo,B.G.A.Comix,Tracce,Prospektiva,Balkan Spirit,Liberazione.net,Don Juan Online,Emozioni, Digitalabstract,Fatece Largo,Petrolio,Out Zine,Pssst Zine,Bolle Di Cartone,All About Fucking,Gibbering Madness,Rotkop,Anima Mal Nata,ZZZzine,Labour Of Love,Bianco D’Uovo,Bries,Ratriot,Kami Zine,Pus!,Bathtub Gin,Experimental Forest,Stardust Memories,Sunburn,Funtime Comics,Spaghetti,Plop,Topaz&Psichedelica,Joey and The Black Boots,Blind Man’s Rainbow,The White Buffalo Gazzette,Lore,Lunatic,Chamelon,Rigodor,Axolotl,Luca Bonanno Editore,Succo Acido,Pitchfork,Chainsmoker,Surface,Crimson Feet,Skyline,Re:Magazine,Oyster Boy Review,Anthology,Xero Magazine,Slic,Lit Pot Press, warmtoast cafe,Gumball Poetry,Mineshaft,Milk&Wodka,Yahoo Zine,Stardust

Memories,CartaIgienica,Faestethic,Field Report,Out Of The Blue,Comfusion Magazine,Careful,Ellin Selae,Multistorey,Disegni Di Sogni,Omnibus,The Sound Projector,Gooch Magazine,Laugh Clown Laugh,Shift, Castlemagazine- WAMtv,Vial,Frior,Debilana,Cool Strip Anthology,Territory,Panik, weblog.bezembinder.nl,Celulit,Pimba,OtomanoProper Gander,Container,Mammamiaquantosangue,Cikuta,Traspiratore,Gambuzine,Empty Life,Erroneo,Kalte Tage,Planeta Underground,Cabezabajo,

Poetexpress,Nexus,Criade,Love Eternal Lost Infernal,Algiza,Raven,A.K.O.M.,Mutate & Survive,Angelflesh Press,Skirocore,Sirota Jerica,Zone Optimiste De Bande Dessinèe,Breakfast All Day,The Brown Bottle,Crystal Drum,The Brobdingnan Time,Edgar,Il Foglio Clandestino,Microbe,New York Press,Something Else,O!!Zone,Vitriol,The Flashing Astonisher,Devil Blossoms,Contagio,The Dream Zone,Sinus,Yops Zine,Versus Press, lamoira. –ultrazine-graphola-tribenet-linarte-homme-moderne-furtherfield-globevisions-artbabyart- UpScene Magazine -zanzibart-braintwisting-arte.go-designradar-sitart-sciacalloelettronico-artfaq- Caveat Lector-lazaruscorporation-ionone-lospaziobianco-youandiproductions-artrenegades-artbureau-cimaisevirtuelle-americanspiritstudios-Choler Magazine-graphiland-artpoetryfiction-catalyzerjourna-ambulant-surfaceonline-lambiek-thebluesmokeband—equilibriarte-gumballpoetry-cafeshops-subtletea-vu gallery-silverfish-zeroboutique-mondocolorado-succoacido-artzar-unlikelystories-discord-aggregate-latchkey.net-bewilderingstories-artbarge-yokeandzoom-bhag.net-chaosgeneration-artgalerie34-lobstupidfish-netcells.net-thundersandwich-sensuoussadie-thepedestalmagazine- BecomingJournal- No More Flowers –

Space Junkies Magazine-lucidmoonpoetry-ubq-plumrubyreview-komikaze-tattoohighway-Burrow Magazine-Swoon Magazine-artistswithoutfrontiers- WAMTV-…El Eros Incesante -thedigitalartist-doubledarepress-theaxis-cloudking-monkeyview- Y SIN EMBARGO magazine –Dirt Cheap Magazine- Degrees of Separation- WeirdArt-drunkenboat-erreur404-bigbridge-monkeyview-opensewer-oysterboyreview-labisagra-Entero’ziNe-arti(e)rumori –botulinux-tenaviv-eternarte-fameweb-erbadellastrega-muse-apprentice-guild-dimensionearte-socialdesignzine-indiejournal- thanalonline-Rorschach-roxybar-genomart-spreadhead-duepunti- AnythingILike- LIFE DURING WARTIME- surreal collages-

-stategrezzi-agliincrocideiventi-stradanove-Tiscali Arte-hybridstudios-arthal-socialdesignzine-boxart-.eroxe-edizioniriccardi-art.e-zine-erroneo-SOGNOdiSEGNI 2002-clubghost-musicheart-linguaggioglobale- dwarfcadaver -actarus-xseven-whipart-girodivite-ideerandage-gordo.it-erbadellastrega-skorieindustriali-wema-Entero’ziNe-robotswillkill-omnisat-lucidmoonpoetry-H+Art-komikaze-hoardmag-phueydesign-Culture1.com-tattoohighway-arteutile-herecomethewilddogs-RetortMagazine- subculture-lovepain.com-showcomplex-lobstupidfish-wormwoodchronicles-ArtRemains-gallerythe-prettythings- artsingulier–dustydomino-halfempty- americanartists-cartaigienica-escualotis-artactif-webdesignersexperiments-outsiderink-pseudolo-samsara-strangedude-globevisions-lospaziobianco-yokeandzoom-cafeblu-casaditolleranza-equilibriarte-stickyourneckout- artrevolt project- Hugo Strikes Back!-botulinux-literarypotpourri-locomediadub-halfempty-Choler Magazine-Mistery Island Magazine-inkpots-

artisticdevil-lamette-studiocleo-lovepain-tribenet-inguine.net-Hermatena-prosetoad-stickyourneckout-pickwick-samsara-artfaq-rorschachonline-arte.go-jamcafe magazine-locomediadub-Animals in Mailart –roxybar-Arts Ablaze Gallery –Filosofem-enfusemagazine-sensuallogic-phirebrush-millenniumartgallery-dork magazine-galleryculture-Escáner Cultural-digitalconsciousness-Arts Ablaze Gallery –mousikelab-fameweb-socialdesignzine-theshowingplace- warmtoast cafe-gumballpoetry-invisibleinsurrection-hybridstudios-digizine-charnwood-arts-surface-wiredheart-poemus-artrenegades-mindcaviar-succoacido-gallerythe-Vulcanoidi- The Lamp-Araba Fenice -net-art-artetop-guzzardi.it-mentalcontagion-furtherfield-catalyzerjournal-Cristian S. Aluas CSA Books-Lummox Press/Journal-lovechess-americanspiritstudios-Mashnote Magazine …- ANIMAL magazine- Wicked -TheArtSource- Not The Tate, gallery- nonzi-escmagazine-graphiczone-

theamericanskin-undergroundxchange-Silent Presence Gallery-publiceyesore-locusmag-Unwound-cartaigienica-Buiten Westen -armando adolgiso.it-artdish-the-vu-BATHTUB GIN -JHON magazine-bonobo-galleryculture-linguaggioglobale-progettobabele-subsystence-samsaraquarterly-traspi.net-arteecarte-galerieserrano-vicodelferro-woesteweduwe-dimensionearte-braintwisting-topolin-prospektiva-placesofart-falsestart-GLUBIBULGA’ -arti(e)rumori –cafepress-annotazioni-electronic-art-edizioniriccardi-ilbolerodiravel-subculture-arthal-sitart-citizen32-paroladidonna-lilacedius-essendemme-inguine.net- DarkArtists-tangents-cimaisevirtuelle-riflessioni-jackmagazine-Exquisite Corpse -obscurity . webzine -UBQ | Leave Your Fingerprint-Rivista Anarchica Online-bedfordnovel-poemus-Tiscali – Arte-wormsarts-atopiaonline-dorkmag-digizine-pigmag-outsiderink-ROJO®magazine –doubledarepress-

redfoxpress-HOARD MAGAZiNE -NoTxt Magazine -filtered-magazine-Arts Ablaze Gallery –thewissahickon-doubledarepress-hoardmag-thundersandwich- rockheals-CimarronReview-charnwood-arts-jackmagazine-madhattersreview-Whalelane- BoundlessGallery-oysterboyreview-thewissahickon-invisibleinsurrection-aliens-cafe-masthead-ambulant-roxybar-blank-magazine-funtime.comics- ConArt-lovechess-zafusy- P.F.S.-bigbridge- EOTU Ezine – OK ARTE-SpokenWar- Bant Magazine-Hybrid Studios-lunaticchameleon-fearsmag-Mashnote Magazine –fifthstreetreview-locusmag-theaxis-XERO Magazine-Pulled Up Mag-litvision-inkpots-ESC! Magazine ––Animal Raw Art- Spent Meat- artbarge-buitenwesten-artuindenfair-youandiproductions- ionone-takingitglobal-thepedestalmagazine-Half Empty –iconique-

smallspiralnotebook- Transmission Magazine-sidewalkpoetry-vialmagazine-peaceseed-monophobic-thepoisonedapple-two-zero-Exquisite Corpse –kenagain-HEAD magazine-zerooneart-virtuallyinfamous-BATHTUB GIN – Illustrationmundo,Gambuzine-tenthousandmonkeys-CHANCE MAGAZINE-channel83.gallery-soupskin.- spreadhead- thelemming-prettythings-funhousemagazine-gallery-21-leportillon-raggededgepress-Bonobo galerie –hexvalue-netcells-retortmag-crystaldrum-locomedia-cafepress-Tokyo Cow-kufia-Crack! Fumetti dirompenti -Corps Possibles – Identités Possibles-retortmag-artrecess-johnmagazine-Tiscali – Arte-Roxy Web – Arte-biographic.ubq-deliriohouse-indiejournal-Outsider Ink-latchkey-poopsheet-lamoira-tribenet-linarte-homme-moderne-globevisions-artbabyart-zanzibart-arte.go-sitart-sciacalloelettronico-pseudolo-illu-station-botulinux-lazaruscorporation-lospaziobianco-Federico Feroldi Arte Contemporanea-rockheals-cimaisevirtuelle-americanspiritstudios-Choler Magazine-The House of Tate-artpoetryfiction-otro.it-Outsider Ink-Cimaise Virtuelle -GQ-La Tora Web-Mutate&Survive-Doodlers Anonymous-latchkey.net-Mashnote Magazine –Anteism-vorticeargentina-spreadhead-indiejournal-3rdthought-edificewrecked-galerieserrano-sugardrum-curiousculture-wrath.de-Magpie Magazine-Lazer ArtZine-DoDmag-Dark Sky Magazine,Paraphilia Magazine,New Chemical History,Cut-click Magazine,Dirt Cheap Magazine,GOB Magazine, Inprint-Mag,…
…etc…etc…and the list could continue again a long time…

During the 1999 he was guest of the BREAK 21 FESTIVAL in Ljubliana(Slovenja)…
…His obscure&crazy artworks are present &shown in many,many art galleries in the endless web&in the real world too…and then again at ’’GIRASOLE’’(Villa Basilica),at ’’TABULA RASA’’(Barcellona),at Vahagnartgallery ,at ‘’GALERIE SLAPHANGER’’(Amsterdam),at ‘’La Casa Di Tolleranza’’(Milan),at’’La Cueva-No Art Gallery’’(Milan),at Spazio Aurora(Milan),at Forte Prenestino(Rome),at Andenken Gallery(USA),at’’ HOEPLI INTERNATIONAL BOOKSTORE EXHIBITION SPACE’’(Milan), at Skorie Industriali(Rome),at theMUKY(Faenza), in Turin with the Association’’Mind The Gap’’,at The ‘’Pina Gallery’’(Koper),al ‘’Diesel Gallery’’(NY),at the ‘’METAVERSO’’(Rome),at the”Virtual Shoe Museum”,,at ‘’Little Cakes Gallery’’(NY),at the’’Interzona’’(Verona), at ’’Trainside Gallery’’(Haverhill,USA),at ‘’Blah Blah Gallery’’(U.S.A.),at ’’Scaremongering Gallery’’(USA),at ‘’Sage Club’’ (Berlin),at ‘’Panda Club’’ (Pistoia),at Creativa2006(Rignano sull’Arno-FI-Italy)),CAM_Casoria

Contemporary Art Museum(Casoria,NA,Italy),at ‘’Cultural Association EKIDNA(Carpi-MO-Italy)- at Glowinski’s’ Library(Olesnica-PL), ‘’Da Marisa Gallery’’XM 24(Bo-Italy),’’ Blog on Arthur Rimbaud’’ 2 shows at the Castello di Rivara, near Torino ,and at the the San Carpoforo church, place of the Accademia d’Arte di Brera in Milano, at ‘’Tenax’’ (Firenze),at ‘’Teatro Studio’’ di Scandicci (Firenze),at the Libreria Segnalibro of Ferrara(with the show’’Tarocchi Evoluti’’organized by the Associazione Hermatena),at ‘’Ambasciata di Marte (Florence)’’,at ‘’Klyk’’ (Firenze), at ‘’The Wurst Gallery’’(Portland-U.S.A.)- at Red Labels(Toronto-Canada), at Centre for Graphic Arts HogeDRUKgebied(Rotterdam-NL), at Galerija DLUM(Maribor-SI), at ’’Achab’’(Catania) and at all the other sicilian stops of the show’’SognoDiSegni’’,at Artitude Gallery(Paris),at ‘’Zo Cafè’’(Bologna),at the show” the show”CHILDREN NO MORE”(Bari-Italy),”at the Barcode(San Benedetto del Tronto-Italy),at Circolo Culturale Bertold Brecht(Milano-Italy), NO.HUMAN.NO.CRY(Monza-IT), at Atkinson Art Gallery ( Southport UK),at’’ DYNAMO’’ (Milano-Italy),at the show’’Arredi Digitali’’in San Benedetto Del Tronto and at the shows that GRAPHOLA has organized and continues to organize…at’’Leave Your Fingerprints’’ organized by the friend Mimmo

Manes&UBQ,at ‘’ Fira Magica de Santa Susanna’’(Spain),at”GUAPOPO Gallery”(Spain),at’’Sechiisland’s Micro Gallery’’(Brasil),at ‘’Museum of Porn in Art’’(Zurich),Cranky Yellow(Saint Louis, MO-US),at”Hoody Art Gallery”(London-UK),at’’Black Maria Gallery(LA-USA),at’’Third Drawer Dawn(Australia),at”Green Art Fair Miami 08″,at 3rdthought, at ”Umber Studios”(Minneapolis-USA),,at”Zoccoletti e Zoccolette”(BIOKIP GALLERY @ Pervinca OpenSpace-Milan-It),at ”The Woom Gallery”(Birmingham-UK)-SPAZIO ARKA(Assemini centro (CA)),”SUBject Festival”(Bologna-It),CeC 2009 Uttarakland (India),at ”I MALEDETTI DEL ROCK ITALIANO”(Palazzo del Podestà,Città di Castello-IT),”Human Emotion Project”(Brancaleone,Rome It),”Ocho Delicate Nature”(Milan-It),”Ocho global group exhibition & book”(Barcelona-Spain),at the ”Mezzanine”collective show curated by Chillin’s Productions(San Francisco-U.S.A.),”®out 3ª Mostra Internacional d’Art Urbà Publicitari”(Barcelona-Spain),”Inspiration Art Exhibition 3”(Tel Aviv-Israel),at”Phobia”collective show at the”Gallery’101′(Kaunas-Lithuania),at the”#2AdunanzAutogestitArtisti”(CasalBertone -Rome-IT),at the Italian Institute of Culture(London-UK)…and again..and again to other …He does a lot of mail art and he partecipates to all the mail art projects he knows…

…He has collaborated and he collaborates with many bands of industrial music,noise,experimental&electronic,harsh&death&metal gore…punx…….He has illustrated poems and stories&music of Gavin Burrows,Harry Wilkens,Vittorio Baccelli,Claudio Morici, Alberto Rizzi,Cristiano Quadalti,Shannon Colebank,Gary Sneyd,Robert Smith,Michael Kriesel,Mark Sonnenfeld,Nathan Medema,Richard D.Houff,…drawn together for&with Maurizio Bianchi M.B,Elvi Athan,Marcel Herms,Kapreles……for various publishers he has realized some booklets of illustrations and comics:’’Il Ratto Bavoso’’,and’’L’Incubo Dimezzato’’(Innovation Studio-B.G.A.Comix-Italy);’’Fashion Robot’’(David Lasky-Seattle-USA),’’L’Agnello Sacrificale e la Salamandra Impiccata al Patè 666’’(Medicina Nucleare-Italy);’’Storie’’(Progetto Siderurgiko-Italy),’’Eudemoni’’and’’Piccola Trilogia Nera’’(Poems of Alberto Rizzi and of Cristiano Quadalti with Claudio Parentela’s illustrations -Criatu Prod.-Italy);’’Jeanne Dark You Got Balls’’ and’’The Frogs’ Ballet’’(Self-produced);’’Black Kisses and Other Stories’’,and ‘’The Book Of Secrets’’(La Cafetiere Editions-Belgium);

’’Endless Tongue’’(texts of Richard D.Houff and Claudio Parentela’s illustrations -The Benway Institute-USA),’’Else Beds’’(Claudio Parentela’s illustrations and poems of Nathan Medema-JesusBunny Press-Canada);’’The Savage Soldier’’(Luca Menichini Prod.-Italy);’’Derrumbe’’( Valter Casini Ed.-Italy),’’Matter Ballet’’(Claudio Parentela’s illustrations and poems of Michael Kriesel-BoneWorld Publishing-USA),’’Social Reform’’(poems of Shannon Colebank and Claudio Parentela’s illustrations-Whizzbanger Prod.-USA);’’Le Miopi Della Montagna’’(Underground-Press-Italy).”The Weak Cuckoo”(Gran Negro Publisher-Spain).…He has drawn 2 tarots for’’Tarocchi Evoluti’’(published by Associazione Hermatena-Italy)…and always Hermatena Publishers has published my last and new tarots’ decks”I Tarocchi dell’Iride” and’’I tarocchi Dell’Archetipo Blu’’…and on the web he is present on many pages and in many places again… 

For contacts:

CLAUDIO PARENTELA

VIA F.CRISPI N.79
88100 CATANZARO-ITALY
Tel.Num&FAX.:+39 0961744087-Cell:3713423289

E-Mail: claudioparentela@alice.it — claudioparentela@gmail.com
My Web Sites: https://ilrattobavoso.altervista.org/—https://ibelieveinblackaliens.altervista.org/–https://claudioparentela.wixsite.com/mysite—https://claudioparentela.wixsite.com/mysite—http://parentelaclaudio.altervista.org/– –http://www.myspace.com/claudioparentela —https://twitter.com/cparentela —https://www.instagram.com/cparentela/— https://www.instagram.com/claudioparentela62/–https://www.instagram.com/claudioparentela2/—http://claudioparentela.tumblr.com/— https://www.facebook.com/claudio.parentela.1—http://www.flickr.com/people/49533264@N05/—https://www.linkedin.com/in/claudioparentela/—https://www.talenthouse.com/claudioparentela

My Art Blogs: http://theextrafinger.blogspot.com — http://foggygrizzly.blogspot.com– – http://cparentela.livejournal.com/ —  http://elvisinh.blogspot.com/ — http://thethermostatandthegreendragoon.blogspot.com/ — http://diabeticdew555.blogspot.com — http://cosmiccrystalsdirtypigs.blogspot.com/ —  http://coward33sneeze15.blogspot.com/–http://variationsinnortherndegradations.blogspot.com/

Brian Michael Barbeito is a Canadian writer and photographer. Recent work appears at The Notre Dame Review. 

Spirit of a Place, Spirit of a Thing (Artist Statement)

In an off handed remark during an interview, U.G. Krishnamurti, called by some an anti-guru, and by himself, ‘Something like a philosopher,’ said that he once thought he could sense the spirit of a place. But then he brushed it off through words and body language. It didn’t fit in with his philosophy and message. But I resonated with his statement anyhow, because I had always felt that I could feel the spirit of a place and also a thing. Old town, lake still and wide. City street, carnival game vendor and prizes. Bee. Spider. Flower. Vine. Ridge. Summit. Stone. Petal. Stream. Sun. Cloud. Bird and dusk, horizon and dawn. Lock, denoting love, affixed to lonesome bridge alone in the rain. Artifacts. Areas. Some saturnine and some sanguine. Hundreds of places and things, their spirit, against reason and logic, somehow speaking out, not with language of course, but calling out nevertheless. Semantics and nomenclature could argue what spirit means. Is it the atmosphere, the daemon, the angel, the area, the vibration, the feeling? Is it physical, metaphysical, true and there, or purely imaginary and projected? Difficult to know conclusively. But there is something I think in all that mise- en-scene, and so on the rural footpaths and metropolitan worlds also, I try and photograph it and also write about it, this spirit of a place and spirit of a thing.