Shishukunj is a registered children's charity based in the London, England established in August 1976 (no. 284206). Its name translates to "Garden for Children." Its mission is to promote education, poverty alleviation, and Indian cultural and religious awareness among children. It is run entirely by volunteers.
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Study buddies is a Class Of 3000 episode where it is DANGEROUSLY hot out. Li'l D fails a test and his class can not go to "Water Water World" with the whole school unless Li'l D passes that test. While Sunny is trying to help him study, he goes to Li'l D's history class with him. Miss Lopez showed up and told the history teacher, whom Sunny had when he was a boy, that Sunny failed that exact same test. Now both Li'l D and Sunny have to retake that test, the one they both failed. Sunny uses music to help him study while Li'l D goofs off. Oddly, Li'l D passes the test and they can go. Right? Wrong. Sunny tried to sing the words to the songs he made up to help him study, but the cranky old history teacher hissed, "NO TALKING WHILE TAKING TESTS!" at the two, which wasn't good for Sunny. He failed that test, just like he had years ago.
The students weren't going to be able to go to this water park with the rest of the Westley school.
This whole time, Kam has been having problems with his swet glands--he was born without any, according to Kim--and is going delusional. He thinks Tamika is a water fountain at one point! So the kids find a "swimming hole" and decide to take a swim in it. Where is this water coming from?
None other than Water Water World! The gate to the water park BURSTS open and water floods everywhere! Sunny was still at the school when he sees all the water about to flood the whole Westley campus, so he springs into action. He used his Study Songs for history class to remember what the Romans used to do: build dams to block the water! He built one with lots of tunnels for the water to run through and Westley was saved; not only that, but his old history teacher was PRETTY impressed! She passed him on the test and now they could go to Water Water World!
Or did IT come to THEM?
The students weren't going to be able to go to this water park with the rest of the Westley school.
This whole time, Kam has been having problems with his swet glands--he was born without any, according to Kim--and is going delusional. He thinks Tamika is a water fountain at one point! So the kids find a "swimming hole" and decide to take a swim in it. Where is this water coming from?
None other than Water Water World! The gate to the water park BURSTS open and water floods everywhere! Sunny was still at the school when he sees all the water about to flood the whole Westley campus, so he springs into action. He used his Study Songs for history class to remember what the Romans used to do: build dams to block the water! He built one with lots of tunnels for the water to run through and Westley was saved; not only that, but his old history teacher was PRETTY impressed! She passed him on the test and now they could go to Water Water World!
Or did IT come to THEM?
Abigail Kis (born 1975) in London is a singer and songwriter who auditioned for the band Touch (later Spice Girls) in 1994 and was chosen after Michelle Stephenson left the band. She refused the offer afterwards because she wanted to spend time with her boyfriend. After Abigail Kis left she was replaced by Emma Bunton.
Circuit for Art and Alterity
Electric Palm Tree is a circuit of critical art practices and research dedicated to issues of alterity and planetary co-existence.
In contemporary global culture, the discourses of cosmopolitanism and multiculturalism run parallel to each other without engaging in a substantial dialogue. Whereas cosmopolitanism disregards matters of context, treating all culture as part of a global continuum and focusing on those cultural practices that are easily integrated into this global hegemony, multiculturalism sees it as its task to compensate for this cosmopolitanism — which is in many ways modeled on western standards — by representing “others” in a well-meaning but patronizing and latently colonial manner. Whilst cosmopolitanism is associated with a plea for new universalism on the basis of common values such as democracy, multiculturalism leads to identity politics and its fetishist focus on differences, neglecting a political process of dialogue and negotiation between them.
Critical of these tendencies, Electric Palm Tree defends neither the universal nor the non-identical but intervenes in this frozen dialectic, setting discourse in motion again through critical exploration and artistic “re-invention”. The asymmetrical, uneven and conflicting relations between different “cultures” are to be examined as to their structures and conditions, embedded as they are in global capitalism, and to be re-articulated and recomposed through critical artistic practices. Thus, Electric Palm Tree pursues an inquiry into the state of alterity and different forms of the communal.
The unfamiliar and awkward name Electric Palm Tree refers to an actual object – an artificial palm tree made of florescent coloured plastic and lit with LED lights. These electric palm trees can be found in many tropical and non-tropical metropolises across the globe, serving the attention economy. Whereas the meaning of palm tree as a symbol of victory and peace has been extended to signify the tropical, the exotic and idyllic, and finally the (post) colonial and tourism, these uprooted artificial palm trees unveil or “enlighten” such myths of the “natural” palm tree. Standing and blinking in the (sub)urban darkness, often in front of restaurants, cafes, clubs, shops, or gas stations, they present a vernacular and distorted state of exotic otherness or ideal existence. Electric palm trees, therefore, are ambivalent signifiers of co-existence and global exchange; in all their debased glory, they point beyond the pipe-dreams of cosmopolitanism and multiculturalism.
Taking this object and its implication as our shared condition and thus the point of departure for any undertaking, Electric Palm Tree forms a circuit of critical art practices that enables their execution, production, gathering, circulation and also deviation. Seeking to function like an electric circuit, Electric Palm Tree aims to create an alternative current of exchange between artistic practices and researches, as well as other cultural and intellectual fields. Electric Palm Tree intermittently defines specific focuses, and different artistic projects are instigated accordingly. Whilst each focus and project involves different individual and collective forms of activities through various channels of communication in the public sphere, the related ongoing research and referential materials are gathered and shared to establish an online library.
Electric Palm Tree is a circuit of critical art practices and research dedicated to issues of alterity and planetary co-existence.
In contemporary global culture, the discourses of cosmopolitanism and multiculturalism run parallel to each other without engaging in a substantial dialogue. Whereas cosmopolitanism disregards matters of context, treating all culture as part of a global continuum and focusing on those cultural practices that are easily integrated into this global hegemony, multiculturalism sees it as its task to compensate for this cosmopolitanism — which is in many ways modeled on western standards — by representing “others” in a well-meaning but patronizing and latently colonial manner. Whilst cosmopolitanism is associated with a plea for new universalism on the basis of common values such as democracy, multiculturalism leads to identity politics and its fetishist focus on differences, neglecting a political process of dialogue and negotiation between them.
Critical of these tendencies, Electric Palm Tree defends neither the universal nor the non-identical but intervenes in this frozen dialectic, setting discourse in motion again through critical exploration and artistic “re-invention”. The asymmetrical, uneven and conflicting relations between different “cultures” are to be examined as to their structures and conditions, embedded as they are in global capitalism, and to be re-articulated and recomposed through critical artistic practices. Thus, Electric Palm Tree pursues an inquiry into the state of alterity and different forms of the communal.
The unfamiliar and awkward name Electric Palm Tree refers to an actual object – an artificial palm tree made of florescent coloured plastic and lit with LED lights. These electric palm trees can be found in many tropical and non-tropical metropolises across the globe, serving the attention economy. Whereas the meaning of palm tree as a symbol of victory and peace has been extended to signify the tropical, the exotic and idyllic, and finally the (post) colonial and tourism, these uprooted artificial palm trees unveil or “enlighten” such myths of the “natural” palm tree. Standing and blinking in the (sub)urban darkness, often in front of restaurants, cafes, clubs, shops, or gas stations, they present a vernacular and distorted state of exotic otherness or ideal existence. Electric palm trees, therefore, are ambivalent signifiers of co-existence and global exchange; in all their debased glory, they point beyond the pipe-dreams of cosmopolitanism and multiculturalism.
Taking this object and its implication as our shared condition and thus the point of departure for any undertaking, Electric Palm Tree forms a circuit of critical art practices that enables their execution, production, gathering, circulation and also deviation. Seeking to function like an electric circuit, Electric Palm Tree aims to create an alternative current of exchange between artistic practices and researches, as well as other cultural and intellectual fields. Electric Palm Tree intermittently defines specific focuses, and different artistic projects are instigated accordingly. Whilst each focus and project involves different individual and collective forms of activities through various channels of communication in the public sphere, the related ongoing research and referential materials are gathered and shared to establish an online library.