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Muizing1 has been a member since December 11th 2008, and has created 41 posts from scratch.

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A Different Berlin Wall


This promotional video created by phone company LG and projected on a building in Berlin incorporates some very imaginative high-tech imagery  and intelligent scripting which heightens the impression of “audience participation” in an alternative dimension.

It also gives new meaning to the term: “Berlin Wall” – a wonder-filled  example of how applied creative imagination can provide the “magic” that helps to re-structure reality in new and exciting ways.

The World’s Saddest Dolphins

…Are the ones enslaved by human beings….

This report was put together by ACRES – Animal Concerns Research and Education Society.

Dolphins don’t express emotions with their facial muscles.
Their mouth is just shaped in a way that we humans misinterpret as a smile. So even when a dolphin is suffering from high stress, visitors to marine parks often come away thinking that the dolphin is having a good time. This is usually far from the truth.

Captive dolphins are abducted dolphins.
Dolphins are highly intelligent social creatures that live in pods, forming close bonds with family members. Humans visitors to marine aquariums often fail to see that the dolphins there had to have been ripped from their natural ocean environments, snatched away from their family and pod mates, held in nets, carried in trucks, hoisted into planes and flown for hours.

Most dolphins die during capture.
30% to 80% of dolphins die during the capture itself, mostly from drowning in the nets and from wounds sustained during the process. Others may die pretty soon after, from the stress, panic and trauma. Think about it this way. To bring a single dolphin into an aquarium, the captors may have caused the death of four of her pod mates.

Transport is traumatic.
A dolphin’s body is not adapted to air temperatures or the effects of gravity on land. So when a dolphin is hoisted out of the water, she can overheat very quickly. And the sudden pressure of her own body weight over her inner organs can cause severe pain and sometimes permanent cramps all over its body. Imagine going through such agony for ten to twelve hours while being transported to a new water tank. These cramps can even make the dolphin incapable of moving when lowered back into the water, resulting in death by drowning.


Captivity is sensory deprivation.
Dolphins in the wild are very curious animals and live in a world full of sounds, sights, movement, colour, varying landscapes and changing currents. Contrast this with the captive environment – often four walls in a land-based lagoon devoid of visual or auditory stimuli. There’s nowhere to go except back and forth. And nothing to do except turn round and round.
The food is now dead fish, and it arrives in a bucket. The dolphins in concrete-walled pools face the worst hell of all, with their sonar bouncing back and forth deafeningly.


There’s nothing natural about their new lives.
The late ocean explorer Jacques Cousteau said: “No aquarium, no tank in a marine land, however spacious it may be, can begin to duplicate the conditions of the sea. And no dolphin who inhabits one of those aquariums or one of those marine lands can be considered normal.” Free-living dolphins from the ocean are accustomed to three-dimensional surroundings, to diving deep and travelling great distances. These conditions cannot be duplicated in captivity, where natural feeding and foraging patterns are lost and even behaviours associated with mating, dominance, and maternal care are severely altered.

Captivity leads to insanity.
Prisoners in solitary confinement, caged zoo animals and captive dolphins develop similar behaviour patterns. They pace back and forth, rock and sway, bang their heads and in the case of dolphins, swim endlessly in tight circles. This is called stereotypical behaviour and it’s a sign of neurosis. It stems from the destruction of the dolphin’s sophisticated social structure, the feelings of intense claustrophobia and the profound frustration from being unable to hunt or behave naturally. The symptoms may even include suicidal behaviour and unnatural aggression.

Keeping dolphins in captivity shows a lack of intelligence in humans.
Dolphins are incredibly clever creatures, even brighter than chimpanzees according to some scientists. They are capable of great emotion and sensitivity. Some researchers have suggested that they should be treated as “non-human persons”. We have to ask ourselves if it is morally acceptable, or even clever of us humans, to confine such amazing animals in amusement parks.

ACRES – Animal Concerns Research and Education Society.

FaceBook: Unfriend Coal


Facebook announced in February 2010 that it was building a massive new data centre in Oregon, USA. Claiming to be using the latest energy efficient computers, it did not mention that it would be powering the hungry beast with the dirtiest of all energy: coal.

GreenPeace is running a campaign to try to make them realise what a bad choice that is. Their campaign: Facebook: Unfriend Coal asks Facebook to:

  • Increase the use of clean energy to make Facebook coal free Develop a plan to make Facebook coal free by 2021
  • Educate your users about how Facebook powers its services and its carbon footprint
  • Advocate for clean energy at a local, national and international level

“Basically, we are campaigning to get Facebook to drop coal and commit to 100 percent renewable energy, cutting its carbon footprint and helping in the struggle to prevent catastrophic climate change.”

FaceBook does not need to use dirty energy to power its data–it should be setting an example.

Shirin Neshat: Art in exile

Shirin Neshat is perhaps the most famous contemporary visual artist to emerge from Iran.
Born in Qavin, one of the most religiouc cities in Iran, her work, predominantly in film and photography draws on her own experiences as an exile from Iran, to explore with great sensitivity Islam and gender relationships and the widening political rift between the West and the Middle East.
Journalist Peter Bradshaw wrote of Neshat’s debut feature film "Women Without Men" in his 2010 film review in the Guardian:

"The Anglo-Iranian comic Shappi Khorsandi recently revealed that Jon Snow had told her about a conversation he had once had some years ago with the then prime minister, Tony Blair.

The premier had asked Snow, plaintively, why Iran hated the British so much. Snow replied hesitantly: "Well, you know, because of Mossadeq …" – that is, the left-leaning Iranian leader, toppled in 1953 by a coup instigated by the British and American governments because of his determination to nationalise oil. Blair replied blankly: "Who?"

Perhaps watching this excellent movie would be a way for Blair, and the rest of us, to brush up on British and Iranian history."


In this presentation, Neshat talks about her journey as an artist in exile, with particular reference to her feature film "Women Without Men"

"The story I’d like to share with you today its my challenge as an Iranian artist. as an Iranian woman artist. As an Iranian woman artist living in exile.

Well it has its pluses and minuses and the dark side, politics doesn’t seem to escape people like me. Every Iranian artist in one form or another is political. Politics has defined our lives.

If you’re living in Iran you’re facing censorship, harassment, arrest, torture, at times execution. If you’re living outside  like me, you’re faced with a life in exile. the pain of the longing and the separation from your loved ones and your family.

Therefore we don’t find the moral and emotional, psychological and political space to distance ourselves from the reality of social responsibility.

Oddly enough, an artist such as myself finds themselves also in the position of being the voice. The speaker of my people, even if I have indeed no access to my own country. Also, people like myself, we’re fighting two battles in different grounds.

We’re being critical of the west, perception of the west about our identity, about the image that is constructed about us, about our women, about our politics, about our religion. We are there to take pride and insist on respect. At the same time we’re fighting another battle that is our regime, our government, our atrocious government who has done every crime in order to stay in power.

Our artists are at risk. We are in a position of danger. We pose a threat to the order of the government, but ironically this situation has empowered all of us because we are considered as artists central to the cultural political social discourse in Iran. We are there to inspire, to provoke, to mobilize, to bring hope for our people.

We are the reporters of our people and are communicators to the outside world. Art is our weapon. Culture is a form of resistance. “


Iranian Artist Shirin Neshat talks about life as an artist in exile, and her debut feature film: “Women Without Men”


“I envy sometimes the artists of the West, for their freedom of expression. For the fact that they can distance themselves from the question of politics. For the fact that they are only serving one audience, namely the Western culture

But also I worry about the West because often in this country, in this western world that we have, culture risks to be a form of entertainment.

Our people depend on our artists and culture is beyond communication.

My journey as an artist started from a very personal place.
I did not start to make social commentaries about my country. The first one that you see in front of you is actually when I first returned to Iran after being separated for a good 12 years. It was after the Islamic revolution of 1979. While I was in absence from Iran, Islamic revolution had descended on Iran and entirely transformed the culture from Persian to Islamic culture.

I came mainly to be reunited with my family and to reconnect in a way that I found my place in society, but instead I found a country that was totally ideological and that I didn’t recognize anymore. More so I became very interested as I was facing my own personal dilemmas and questions I became immersed in the study of the Islamic revolution, how indeed it had incredibly transformed the lives of Iranian women. I found the subject of Iranian women immensely interesting in the way that the women of Iran  historically seemed to embody the political transformation. So in a way, by studying a women, you can read the structure and ideology of the country.

So I made a group of work that at once faced my own personal questions in life and yet it brought my work into a larger discourse, the subject of martyrdom, the question of those who willingly stand in that intersection of love of god, faith but violence and crime and cruelty. For me this became incredibly important and yet I had a neutral position towards this.

I was an outsider who had come back to Iran to find my place, but I was not in a position to be critical of the government or the ideology of the Islamic revolution. This changed slowly as I found my voice and I discovered things that I didn’t know I would discover, so my art became slightly more critical, my knife became a little sharper, and I fell into a life in exile.

I am a nomadic artist. I work in Morocco, in Turkey, in Mexico. I go everywhere to make believe it’S Iran. Now I’m making films.

Last year I finished a film called "Women Without Men". Women without Men returns to history, but another part of our Iranian history. It goes to 1953 when American CIA exercise a coup and removed democratically elected Dr Mohammad Mosaddegh. The book is written by Iranian woman Shahrnush Parsipur’s , a magic realist novel. This book is banned and she spent 5 years in prison. my Obsession with this book and the reason I made this into a film is because it at once was addressing the question of being a female, traditionally, historically in Iran and the question of four women who are all looking for an ideal, a change, freedom and democracy.

While the country of Iran equally as another character also struggles for an idea of freedom and democracy and independence from the foreign intervention. I made this film because I felt it was important for it to speak to the westerner about our history as a country. All of you seem to remember Iran after the cultural revolution. Iran was once a secular society and we had democracy and this democracy was stolen from us by the American government, by the British government.

The film also talks to the Iranian people in asking them to return to their history and look at themselves before they were so Islamified. In the way we looked, in the way we played music, in the way had intellectual lives, and most of all, in the way that we fought for democracy. These are some of the shots I create for my film. This is some of the images of the coup and we made the film in Cassablanca, recreating all the shots.

This film tries to find a balance between telling a political story but also a feminine story. Being a visual artist indeed I am foremost interested to make art. To make art that transcends politics, religion, the question of feminism and become an important universal work of art.

The challenge I had was how to do that. How to tell a political story but an allegorical story. How to move you with your emotions but also to make your mind work. This is some of the images and the characters of the film.

Now comes the green movement, summer of 2009 as my film is released, uprising begins in Iran. What is unbelievably ironic is the period that we tried to depict in the film, the cry for democracy and social justice repeats itself now, again in Teheran. The green movement significantly inspired the world. It brought a lot of attention to all those Iranians who stand for basic human rights and struggle for democracy. What was most significant again for me was once again, the presence of the women. They are absolutely inspirational for me.

If in the Islamic Revolution the woman portrayed was submissive and didn’t have a voice, now we saw a new idea of feminism in the streets of Teheran. Women who were educated, forward thinking, non traditional, sexually open, fearless and seriously feminist.
These women, and those young men united Iranians across the world, inside and outside.

I then discovered why I take so much inspiration from Iranian women: that under all circumstances they have pushed the boundaries, they confronted the authorities, they have broken every rule, in the smallest and the biggest way and once again they proved themselves.

I stand here today to say that Iranian women have found a new voice and their voice is giving me my voice and it is a great honour to be an Iranian woman and an Iranian artist, even if I have to operate in the west only, for now."

MayDay! MayDay! Herbal Remedies Banned

No, not April Fool, it’s the first of May.

Bank holiday, an extra day off, a Royal Wedding, a Prince and a Princess… so much for people to watch on TV and in the news. Street parties and celebrations.

It would be difficult to find a better time to  “slip a little something in for the weekend…”  and rest assured very few people will notice…

Well then, how about a little inoffensive piece of legislation that will never do anyone any harm, like banning the use of herbal remedies. Who uses herbal remedies anyway? It’s a term that sounds so quaint and antiquated, like something you read on an old newspaper cutting in your great grandmother’s scrap book.

It’s the Twenty First Century now, we should all grow up and start behaving like Modern Adults. 21st Century Citizens and all that, and we all know that you don’t use “Herbal Remedies”.

You go to your Drug Store, Chemist or supermarket and buy proper medicine, created in pristine, clean laboratory conditions, with no nasty “natural” “dirty” bits that probably creep or crawl into anything not made in test tubes and glass bottles. We really have come a long way since people did things like that.  Right?

Well don’t worry because all the kind, caring pharmaceutical companies and drugs manufacturers have been heroic enough to stand up for your health and mine, because they really care about us, and to stop the damage Herbal Remedies could do to us, they have just banned hundreds of them…

Now products have to meet “safety, quality and manufacturing standards, and come with information outlining possible side effects.”

This ruling puts as many obstacles as it can in the way of herbal remedy manufacturers, and even individuals wishing to use product directly from nature’s pharmacy. The big multi-national pharmaceutical companies have the resources to bypass these obstacles, but small and medium sized businesses will be forced to close.

Herbal remedies have been used by qualified practitioners for hundreds and even thousands of years, and the effects and side-effects of them have been observed and documented. They are part of the wisdom of mankind.

Yes, herbal remedies can have negative side effects if used incorrectly. When something does go wrong it is likely to hit the headlines and receive massive press coverage.

However, natural herbal remedies have far less negative effects than most of the “modern” synthetic un-natural drugs, and far less coverage is given to these negative effects. Billions of dollars of profit make it worthwhile for giant multinational pharmaceutical companies to lobby continuously to create a positive image for their products and to build a negative one of “natural remedies” which are not controlled by them, and therefore stand in the way of their profits.

What they do not publicise is that they are promoting many drugs which do huge amounts of damage, are often prescribed unnecessarily, and in most cases have only a few years of observed side-effects, run in their “clinical trials”, unlike many of the “herbal remedies” which have been studied for centuries by healers.

And yet this law or European Directive has been brought in because they suggest they are worried about the “side-effects” of “herbal remedies”.