Ant Skyscraper along a highway in northern Namibia. These impressive constructions dot the landscapes everywhere in the northern half of Namibia. The ants which build these are tiny, barely individually visible, and do their work only in the dark of night. Though this is an average size, we were told they reach a height of 8 meters (25 ft.) ( ! ! ). Native people used to "pave" the floors of their huts, with smashed, broken down bits of these, a habit which was emulated by the early Boer settlers of the region ... Apparently , in the building process, the ants infuse the clay with a coagulant, allowing it to cohere in a manner reminiscent of concrete, when thus utilized.

John Ruskin

Ruskin's views on art, wrote Kenneth Clark, "cannot be made to form a logical system, and perhaps owe to this fact a part of their value." Certain principles, however, remain consistent throughout his work and have been summarized in Clark's own words as the following:

That art is not a matter of taste, but involves the whole man. Whether in making or perceiving a work of art, we bring to bear on it feeling, intellect, morals, knowledge, memory, and every other human capacity, all focused in a flash on a single point. Aesthetic man is a concept as false and dehumanizing as economic man.

That even the most superior mind and the most powerful imagination must found itself on facts, which must be recognized for what they are. The imagination will often reshape them in a way which the prosaic mind cannot understand; but this recreation will be based on facts, not on formulas or illusions.

That these facts must be perceived by the senses, or felt; not learnt.

That the greatest artists and schools of art have believed it their duty to impart vital truths, not only about the facts of vision, but about religion and the conduct of life.

That beauty of form is revealed in organisms which have developed perfectly according to their laws of growth, and so give, in his own words, 'the appearance of felicitous fulfilment of function.'

That this fulfilment of function depends on all parts of an organism cohering and cooperating. This was what he called the 'Law of Help,' one of Ruskin's fundamental beliefs, extending from nature and art to society.

That good art is done with enjoyment. The artist must feel that, within certain reasonable limits, he is free, that he is wanted by society, and that the ideas he is asked to express are true and important.

That great art is the expression of epochs where people are united by a common faith and a common purpose, accept their laws, believe in their leaders, and take a serious view of human destiny."

Founded in 1683, The Ashmolean re-opened on Saturday 7th November 2009. Their new display approach is "crossing culture crossing time." It was my first glimpse today, the much loved older museum is still here, but now enormously extended and plenty more to enjoy.

Supported by the Heritage Lottery Fund, the Ashmolean is currently undergoing a £61 million redevelopment. Award-winning architect Rick Mather has designed a new building to replace all but the Grade I listed Cockerell building. His design will double the existing gallery space, allow environmental control, and create a dedicated Education Centre and conservation facilities.

I've tried to show something of the atmosphere and texture of the museum in many of the photos, I also wanted to convey the sense of movement and people's interaction with the art objects, therefore razor sharp clarity (were I to achieve that) was not my number one objective. This set will grow as I explore the new galleries, I hope you'll forgive me if I do not tag or describe everything right away as there is so much to take in! Martin Beek Oxford, November 2009

Read the Way He Writes: A Festschrift for bpNichol.

edited by Paul Dutton & Steven Smith.

Toronto, summer/fall [ie 14 october] 1986.

5-3/4 x 8-11/16, 136 sheets ivory zephyr antique laid perfectbound into cream mayfair card wrappers, all except inside covers printed offset, black interiors in blue covers.

cover photograph by Michael Ondaatje.

53 contributors ID'd:

Margaret Avison, David Aylward, Douglas Barbour, Rafael Barreto-Rivera, Earle Birney, Bill Bissett, George Bowering, Giordano Bruno, Barbara Caruso, Thomas A.Clark, Bob Cobing, Victor Coleman, Margaret Coole, jwcurry, Frank Davey, Brian Dedora, Christopher Dewdney, David Donnell, Charles Doria, Louis Dudek, Paul Dutton, Glenn Goluska, Rosalind Goss, Brian Henderson, Dick Higgins, Roy Kiyooka, Robert Kroetsch, G.Lind, Daphne Marlatt, John Bentley Mays, Steve McCaffery, David McFadden, Avis Nichol, bpNichol, D.J.Nichol, Barb O'Connelly, Sean O'Huigin, Michael Ondaatje, Andy Phillips, John Riddell, Raquel Rivera, Joe Rosenblatt, R.Murray Schafer, Stephen Scobie, Gerry Shikatani, Steven Smith, Paul Soucy, Sharon Thesen, Lola Lemire Tostevin, Richard Truhlar, Jiri Valoch, Fred Wah, Marilyn Westlake.

Nichol inclusions:

i) "just another just another" (quoted in full in (xix-5) below; poem)

ii) [Aleph Unit Opened], redrawn by Barbara Caruso (p.36; visual poem; reduced)

iii) [Aleph Unit Distance], redrawn by Barbara Caruso (p.36; visual poem; reduced; (i) & (ii) under the heading from Aleph Unit (Seripress, 1973))

iv) H: a collaboration (quoted in full in (xxiv) below, pp.44-45; prose in 2 numbered parts:

–1. "H - the eighth letter of the Roman alphabet, ancient and modern. h comes,"

–2. (in 7 numbered parts:

––a. "Mostly white. A line that completes itself. An inside. An outside too. An image at"

––b. "Blue then in the midst of white. The shape of a feeling. A felt shape and a mood"

––c. "Two tall ones and a small one. A small one who is lost between two tall ones. It is"

––d. "Little i. Little me. Three versus two and a kind of joining. Five. A hand that does"

––e. "Broad strokes. An embrace. Absolutely equal space with something in between."

––f. "Everyone's small. What happens. Surely things are lighter. There is a sequence and"

––g. "It has disappeared. It is all gone. Among them all there is something lighter as if"))

v) "what happened" (quoted in full in (xlii1) below, p.115; poem)

vi) "pile up the movement the fingers" (quoted in full in (xlii1) below, p.117; poem)

vii) "it is the minute haunts you" (quoted in full in (xlii1) below, pp.118-119; poem)

viii) "wond'ring to wed them" (quoted in full in (xlvii5) below, p.139; an aria, possibly in full, from Space Opera)

ix) [DOORS 2] (visible reduced in full in (lxv7) below, p.167; visual poem)

x) [TU 4 (IKONIK)] (visible reduced in full in (lxv7)below, p.167; visual poem, center section only as on the cover of Transformational Unit)

xi) ["photobooth, Vancouver, 1950s?"] (p.182; photostrip in 4 parts, all face-on selfportraits:

–1. [expressionless]

–2. [slight smile]

–3. [slight smile turned slightly more to left]

–4. [smiling, left side of face shadowed])

xii) ["photobooth, Toronto, 1960s?"] (p.182; photostrip in 4 parts, all selfportraits:

–1. [face on]

–2. [looking right]

–3. [looking left]

–4. [looking rear])

xiii) "layers", photographed by Marilyn Westlake (p.214; concrete poem)

xiv) "from Nichol's Sea and Sky Series, watercolour on paper, 1977", photographed by Marilyn Westlake (p.214; graphic)

xv) "blue" (quoted in full in (lxxix6) below, p.22o; poem)

also includes:

xvi) "bpNichol", by Michael Ondaatje (front cover; cropped photograph, portrait at Coach House Press; see also (xci) below)

xvii) "Note" Special thanks to Ellie Nichol for the collusion in the purloining of", by [Paul Dutton?] (p.4; prose acknowledgement for photographs)

xviii) Foreword, by Paul Dutton & Steven Smith (pp.5-6; prose, with quote by David McFadden on Nichol (from an interview?))

xix) bpNichol On The Train, by George Bowering (pp.7-2o; prose in 9 parts:

–1. "A FEW YEARS BACK, SOME CANADIAN WRITERS - PIERRE BERTON AND OTHERS" (pp.7-8; no Nichol references)

–2. "It comes as no surprise that the leading train poet is bpNichol. His first" (pp.8-9; Nichol quotes from:

––a. "prairie, lakes, trees" (line 7)

––b. "rolling into night" (lines 6-7)

––c. "sun overhead" (lines 5-7)

––d. "father i have so much to say" (lines 14-15))

–3. "'Trans-Continental' is made of forty-nine short sections, and a trip from" (p.9; Nichol quotes from:

––a. "a drainage ditch" (lines 1-2)

––b. "a d in a cloudbank" (lines 1-2)

––c. "a longing for flesh" (line 5)

––d. "hornpayne to armstrong" (lines 1-2))

–4. " The brain of a poet like bpNichol is as much animated toward composition" (pp.1o-11; Nichol quotes from:

––a. "a drainage ditch" (lines 8, 9)

––b. "this many miles from home" (lines 1-2, 7-9)

––c. "ness" (lines 1-2, 5-6, part of 8)

––d. "up & down" (lines 14-16))

–5. "The same reader or any other can read each each speck of the poem over and" (pp.11-13; Nichol quotes from:

––a. "empty eyes" (lines 8-14)

––b. "father i have much to say" (lines 14-15)

––c. "just another just another" (see (i) above)

––d. "a longing for flesh" (lines 12-13)

––e. A Letter to Mary Ellen Solt

––f. "a trance state" (lines 1-2)

––g. "mist again at dawn" (lines 12-14)

––h. "a new beginning" (lines 1-2)

––i. "final finale" (lines 1, 12))

–6. "The journeying of 'Trans-Continental' is followed a decade later by the" (pp.14-16; Nichol quotes from:

––a. "minus the ALL ABOARD" (lines 1-5)

––b. "the old guy who spoke to the porter just now said:" (lines 1-1o (with quote by Agnes Workman), part of 16)

––c. "vanishing" (lines 13-14)

––d. "insistent instances" (line 17)

––e. "beginnings & endings" (lines 4-5)

––f. "because i was raised on trains" (lines 16-21)

––g. "blueberry bushes, fruit shrunken, dried," (part of line, 3 part of 5, 9-11)

––h. "mile what?" (lines 1o-11)

––i. "final finale" (lines 1-2))

–7. "That is perhaps the neatest irony of the contemporry long poem - that we" (pp.16-18; Nichol quotes from:

––a. "beginnings & endings" (lines 2-3, 8, part of 15)

––b. "insistent instances" (lines 1, 18 misquoted with added "can")

––c. "because i was raised on trains" (part of line 16)

––d. "the conductor takes our luncheon reservations" (line 7)

––e. "so there it is" (lines 3, 5)

––f. "the old guy who spoke to the porter just now said:" (part of line 8)

––g. "vanishing" (part of line 8, 19-21)

––h. "where is this poem going?" (parts of lines 1, 7)

––i. "mile what?" (part of line 11)

––j. "too much like a rock song" (lines 4-1o)

––k. "minus the ALL ABOARD" (part of line 1)

––l. "i don't like the "symbol"" (part of line 1, part of 2-3, 5-6, part of 8-9)

––m. "later" (lines 16, 17))

–8. "The saints, familiar to readers of The Martyrology, visit after a routing" (pp.18-2o; Nichol quotes from:

––a. "okay saints" (part of line 6, 1o-13)

––b. "this next bit doesn't quite cohere" (lines 5-16)

––c. "as night falls" (lines 11-14)

––d. "in Hornpayne" (parts of lines 2, 3, 7, 8; 12-16)

––e. "is this the poem i wanted to write?" (lines 4-6)

––f. "that's that tone" (lines 3, part of 8, 12-15))

–9. "The first stanza of Continental Trance tells of giving up a plan for the nar-" (p.2o; Nichol quotes from:

––a. "mist against dawn" (lines 11, 12-14)

––b. "too much like a rock song" (line 9)))

xx) METAMORPHOSIS A TRIBUTE TO B P NICHOL, by Bob Cobbing (pp.21-29, visual poetry in 8 parts with title page:

–1. [METAMORPHOSIS 1] (p.22; derived from 3 visual poems by Nichol from ABC The Aleph Beth Book:

––a. "DEAD. HAVING ACCEPTED THIS" (the "B" in ABC)

––b. "BETWEEN OURSELVES & THE POEM" (the "P" in ABC)

––c. "BEYOND OURSELVES BY" (the "N" in ABC))

–2. [METAMORPHOSIS 2] (p.23; derived from:

––a. "TTTT", by bpNichol (visual poem)

––b. "(Rubber stamps and letraset (sheets of cellophane printed with trans-", by John Robert Colombo (prose on Nichol's "TTTT"))

–3. [METAMORPHOSIS 3] (p.24; derived from 2 concrete poems by Nichol:

––a. "arrow worra worra arrow"

––b. Blues)

–4. [METAMORPHOSIS 4] (p.25; derived from:

––a. Historical Implications of Turnips, by bpNichol (concrete poem)

––b. "("Turnips are" is a permutational sound poem -- permutational in that", by John Robert Colombo (prose on Nichol's Historical Implications of Turnips))

–5. [METAMORPHOSIS 5] (p.26; derived from Nichol's mind trap)

–6. [METAMORPHOSIS 6] (p.27; derived from 2 visual poems by Nichol:

––a. Allegory 6

––b. Allegory 7)

–7. [METAMORPHOSIS 7] (p.28; derived from Nichol's Allegory 32)

–8. [METAMORPHOSIS 8] (p.29; derived from visual poems by Nichol:

––a. eyes 4

––b. eyes 5

––c. eyes 2

––d. eyes 3))

xxi) Henri Chopin, Sten Hanson, Lilly Greenham, Bob Cobbing, bpNichol. Tenth International Poetry Festival, Glasgow 1978, by Sean O'Huigin (p.3o; photograph, group portrait (note that "Lilly" should be "Lily" & it was at the 1oth International Sound Poetry Festival))

xxii) A Visit, by Robert Kroetsch (pp.31-35; poem in 5 numbered parts with epigraph by Nichol, lines 158-16o of IN THE PLUNKETT HOTEL:

–1. "I was going to Plunkett Saskatchewan" (pp.31-32; quotes part of line 85 of Nichol's IN THE PLUNKETT HOTEL in line 14)

–2. "and when the kid came by on his bike" (p.32; Nichol referenced line 12)

–3. "the continent is contained" (pp.32-33; Nichol referenced line 6)

–4. "when a stoutish gal in a half-ton roared" (pp.33-34; Nichol referenced line 25)

–5. "writing / riding" (pp.34-35; quotes lines 17-18 of Nichol's IN THE PLUNKETT HOTEL))

xxiii) "PLUNKETT GENERAL STORE", probably by Avis Nichol (p.36; photograph on baby bp on Glenn Nichol's knee)

xxiv) The Seripress Collaborations: Nichol & Caruso, by Barbara Caruso (pp.37-46; prose with quotes from:

–1. bpNichol (from conversations with Caruso)

–2. Introduction, by Caruso & Nichol (to The Adventures Of Milt The Morph In Colour)

–3. "our next approach", by Caruso (from notes toward H An Excursion)

–4. a possibility for bp, by Caruso (from further notes toward H An Excursion)

–5. Barbara Caruso (from journal notes for april 1976)

–6. H: a collaboration, by Nichol (in full; see (iv) above))

xxv) From A Commonplace Book (for bpNichol), by Thomas A.Clark (p.47; a collection of quotes by William Blake, Maurice Denis, Gertrude Jeckyll, Hugh Macdiarmid, Vladimir Mayakovsky, Gertrude Stein, Ludwig Wittgenstein)

xxvi) Nichol in performance at Harbourfront, Toronto, 1984, by Marilyn Westlake (p.48; photograph)

xxvii) Surviving the Paraph-raise, by Stephen Scobie (pp.49-68; prose in 7 numbered parts & footnotes (no direct Nichol references in pts.1, 2, 4, 5:

–1. "FIRST THEN, BY WAY OF EXPLANATION, A NOTE ON THE TITLE. SURVIVING THE" (pp.49-5o)

–2. "Leonard Cohen's poem 'The Cuckold's Song,' included in his 1961 volume" (pp.5o-53)

–3. "The signature is one of those forms of utterance, much beloved by Derrida," (pp.53-58; with quote by Nichol (lines 93-95 of Hour 18, p.54) & reference to McCaffery/Nichol p.56)

–4. "The paraph was originally intended, you will recall, 'as a kind of precau-" (pp.58-62)

–5. "But she's not doing too badly herself. 'Phyllis' – 'a generic name in pastoral" (pp.63-64)

–6. "Writing about Nietzsche, Derrida sums up what is involved in an author's" (pp.64-66; with quotes by Nichol from:

––a. "orange" (lines 1-12)

––b. STATEMENT)

–7. "What remains to be said: the raising of the paraph into the text, as rare an" (pp.66-67; passing reference to Nichol)

–[8. footnotes, pp.67-68])

xxviii) bpNichol: Sonic Snapshots. Fragmentary Movements, by Steven Smith (pp.69-72; prose with quotes from:

–1. Mayakovsky, by Four Horsemen

–2. BEAST, by bpNichol

–3. "stear clear", by bpNichol)

xxix) bpNichol, Rafael Barreto-Rivera, Steve MCaffery, Paul Dutton – The Four Horsemen performing Mayakovsky, Erindale College, 1974, by Frank Davey (p.72; photograph)

xxx) Wizard Oil and Indian Sagwa, by R.Murray Schafer (pp.73-75; prose, preceded by Note, p.73, on collaborations with Nichol & his part in as Johnny Mailloux in Wizard Oil)

xxxi) Johnny Mailloux, selling, by Marilyn Westlake (p.75; photograph, portrait of Nichol)

xxxii) Nichol, around 1966, by Andy Phillips (p.76; photograph

xxxiii) Paternal Body as Outlaw, by Lola Lemire Tostevin (pp.77-8o; prose in 3 numbered parts & notes:

–1. "MUCH HAS BEEN WRITTEN, IS BEING WRITTEN, ON THE MATERIAL BODY," (p.77; with quote by Nichol, lines 1-4 of "so many bad beginnings")

–2. "Since many women are now rethinking the maternal at the level of" (pp.78-79; Nichol quotes from:

––a. "SAINT REAT" (line 4)

––b. "the girl approaced me when the reading ended" (lines 1o, 24-25)

––c. "sleepless night nothing takes shape" (line 17)

––d. "ah reason there is only feeling (part of line 1-3)

––e. EPILOGUE: (line 31)

––f. the quote "intellect or emotions" does not appear anywhere in the martyrology as a phrase

––g. the martyrology book 4 (lines 11o1, 11o5)

––h. Hour 11 (line 19)

––i. Hour 13 (lines 1-2))

–3. "The son's voice has come through loud and clear. There is no need for a" (pp.79-8o; quote by Nichol, lines 41-51 (without spaces) of Hour 26)

–[4]. NOTES(p.8o))

xxxiii) St. Rum (for bp), by Victor Coleman (p.81; poem, 22 lines)

xxxiv) Victor Coleman, Steve McCaffery, Ellen Tallman, Nichol, Roy Kiyooka, bill bissett, 'Writing In Our Time' panel discussion, Vancouver, 1979, by an uncredited photographer (p.82; group portrait)

xxxv) Nichol, McCaffery, Tenth International Sound Poetry Festival, Glasgow, 1978, by Douglas Barbour (p.82; photograph)

xxxvi) Book bells, slowly moving (for bpNichol), by Dick Higgins (pp.83-99; prose in 5 parts:

–1. Note (p.83)

–2. Book Three, Chapter Four The numerator of the third seal (pp.83-87)

–3. Book Head, Chapter Slide The slip of the third crown (pp87-91)

–4. Book Jordan, Chapter Tip The working of the heavenly splendor (pp.91-95)

–5. Book Tip, Song Barrie The waking up of the dragons (pp.95-99))

xxxvii) "Photo", by Andy Phillips (p.1oo; portrait of Nichol at lower right on a sand road walking away from beach, hat in right hand, teees at left, bush at right)

xxxviii) Random Walking The Martyrology's Book V, by Rafael Barreto-Rivera (pp.1o1-1o7; prose essay wth quotes by Nichol from

–1. The Martyrology Book V:Chain 3 (lines 4o5-411 (p.1o1), 12o9-121o, 471-473 (p.1o2), 492-493, 118o (p.1o3), 1182-1184 (pp.1o3-1o4), 534-548 (p.1o5), 8o7 (p.1o6), part of 8o9, 416-418 (p.1o6), 1192-1195, 1197-1212 (p.1o7), 125o-1252 (relineated as 4 lines, p.1o7))

–2. The Martyrology Book V:Chain 1 (lines 2o5-2o6 (p.1o1), 269-271 (pp.1o1-1o2), 118o (p.1o2), 643-644 (p.1o3), 768-771 (p.1o4), part of 161-164, 724-727 (p.1o6))

–3. A Note on Reading The Martyrology Book V (p.1o2)

–4. The Martyrology Book V:Chain 2 (lines 77-9o (misspaced pp.1o2-1o3))

–5. The Martyrology Book V:Chain 9 (part of line 179-181, 134-138 (p.1o4), 217 (misquoted p.1o7), 224-225 (p.1o7))

–6. The Martyrolgy Book V:Chain 5 (line 24 (p.1o4), 136 (misquoting "illusions" for "delusions", p.1o6))

–7. "blue" (ie "...bluer / bloor"; in full unlineated p.1o6)

–8. "blue" (ie "...bluer / blur"; in full unlineated p.1o6)

––note that the quotes "in a throw of the cosmic dice" (p.1o2) & "valley of the shadow" (p.1o6) are not in The Martyrology Book V)

ixl) Nichol in performance, 1972, by Paul Soucy (p.1o8; photograph)

xl) for bpn, by Margaret Avison (p.1o9; poem)

xli) Griffin Ondaatje, Ellie Hiebert, Quintin Ondaatje, bpNichol, Michael Ondaatje, 1971, by Roy Kiyooka (p.11o; photograph)

xlii) Soul Rising out of the Body of Language: Presence, Process and Faith in The Martyrology, by Brian Henderson (pp.111-128; prose in 2 numbered parts & notes with epigraph by Nichol, lines 1275-1276 from the martyrology book 4:

–1. "IN ITS CONCERN WITH THE 'ACTIVE PRESENT,' THE PROCESS WRITING OF" (pp.111-12o; with quotes by Nichol from

––a. the martyrology book 4 (part of line 1276 (p.111), 781-783 (pp.111-112), 915-92o (p.112), 892-9o3 (pp.112-113), 437-444, 1275-1276, 362-365, part of 136 misquoted (p.113), 622-624, 258-262 (p.114), 137-14o, 1o97-11oo (p.116), 23o-236 (p.117), 8o-82 (p.118), 1358-1368 (p.119), 1144-115o, 329-33o (p.12o))

––b. "there must be a beginning made" (lines 4-5, p.113)

––c. "we gather round to talk at night" (part of line 66 (p.114), 45, 8-9 (p.119))

––d. "make the setting here" (lines 1-7 misspaced, p.114)

––e. "saint orm" (ie "...i throw up"; lines 2-4, p.114)

––f. "opened & told them" (line 8-part of 9, 12, p.115)

––g. "saint of no-names" (line 1o, p.115)

––* [see (v) above]

––h. "ah reason there is only feeling" (lines 4-1o misquoting "absence" for "presence" (p.116), 18-19 (p.118)

––* [see (vi) above]

––i. "the window reverses itself" (parts of line 19, 5-6 misquoted (p.117)

––j. "a frog drops in the pond" (lines 58-59, p.118)

––k. "one woman who was all women to me" (lines 12-14, p.118)

––• [see (vi) above]

––l. "hot night" (part of line 9, p.119)

––m. "early morning victria's streets" (line 6, p.119)

––n. "looking out the window at the snow" (lines 29-3o, p.119)

––o. "sleepless night nothing takes shape" (lines 1o-16, p.119)

––p. "out of the side of the buddha's mother" (lines 43-45, p.12o)

––q. "a thing without eyes or lips" (part of line 9, p.12o))

–2. "It is not by accident that Nichol has alluded throughout much of his long" (pp.12o-127; with quotes by Nichol from

––a. "i wanted an image or a metaphor" (lines 14-16, p.12o)

––b. "where is my place in this world father" (lines 61-62 (p.12o), 66-69 (p.121))

––c. the martyrology book 4 (part of line 1222-1226, part of 138, part of 9 (p.121), 244-245 misquoted (p.127))

––d. "ellie & me" (line 28, p.121)

––e. "'older than adam's' older than me i am old" (lines 1-5, p.121)

––f. "gazing into the sky" (lines 47-51 (p.122), 4-9 (p.123))

––g. "from the lake's edge" (part of line 29, p.122)

––h. "how it is done how it is said the head sheds the lies its lived by" (part of line 18, p.124)

––i. "moving down to where the farmhouse stood" (line 14, p.124)

––j. "bushes" (lines 1-13, p.126)

––k. "you walk thru the door into the room filling the mind with (quaint" (part of line 3, p.126)

––l. "there are many roads to that centre" (lines 17-18, p.127)

––m. ""in the midst of life we are in death" draco" (lines 13-16, p.127)

––n. "one woman who was all women to me" (lines 12-14, p.127)

––o. "the sky is as this word is" (lines 1o-12, p.127)

––p. "driving west thru albion's hills adjala climbing" (lines 49-51, p.127))

–3. NOTES (p.128))

xliii) Nichol and dsh (Dom Sylvester Houedard), Glasgow, 1978, by Sean O'Huigin (p.128; photograph)

xliv) bpNichol: The Movies, by Michael Ondaatje (pp.129-13o; prose with quotes by Ondaatje from

–1. sons of captain poetry)

xlv) [untitled photograph], by David McFadden (p.13o; group portrait of Nichol & Michael Ondaatje)

xlvi) "Here's an old snap of bp along with Michael Ondaatje. A couple of springtime", by David McFadden (p.13o; prose caption to (xlv) above)

xlvii) Confronting Conventions The Musical / Dramatic Works of bpNichol, by Paul Dutton (pp.131-14o; prose in 5 numbered parts:

–1. "WITH THE EXCEPTION OF 'THE BROWN BOOK: A PLAY,' WHICH APPEARED IN" (p.131)

–2. "In his early thirties, possessed of encyclopedic knowledge of the musical" (pp.131-133; with quotes by Nichol from

––a. I Can't Talk (line numbers unknown (not in revised Group), p.132)

––b. We're In The Group (lines 1-5 version 1, p.132)

––c. Ordinary Man (lines 1-2, 13-14, p.132)

––d. If It Wasn't For You (lines 2, 6-7, p.132)

––e. I Am Obsessed (line 2, p.132))

–3. "But first, let us treat briefly of Tracks, a two-act musical drama, co-written (pp.133-135)

–4. "While researching material for Tracks, Nichol came upon a bit of local lore" (pp.135-137; with quotes y Nichol from

––a. Cross-Purposes (excerpts of 13 lines, p.136)

––b. Dreams (4 lines, p.136)

––c. "What is this curse" (8 lines, p.137)

––d. Faces (6 lines, p.137))

–5. "While Space Opera is, in sequence of composition, the second of Nichol's" (pp.137-14o; with quotes by Nichol from

––a. Space Opera (dialogue, 4 quotes p.138, 2 p.14o)

––* [see (viii) above]))

xlviii) On Toronto Island, around 1966, by Andy Phillips (p.141; 2 photographs:

–1. [untitled, Nichol on beach with hat in right hand, tree top left, sky top right, beach bottom left, water bttom right]

–2. [untitled, Nichol looking to left close-up at left from below, no background])

il) On Toronto Island, around 1966, by Andy Phillips (p.142; 2 photographs:

–1. [untitled, Nichol at left from crotch up with hat on, tree & sky background]

–2. [untitled, Nichol at right full figure silhouette with hat on, on beach with water about to wash over his feet])

l) "around 1966", by --?-- (p.143; photograph, potrait of Nichol seated lower left in front of painting by --?--)

li) "with brothers Bob and Don (a.k.a. dj)", probably by [Avis Nichol] (p.143; group portrait of 3 Nichol brothers)

lii) With Steve McCaffery, somewhere over Manitoba, 1974, by Paul Dutton (p.145; photograph, portrait of Nichol & McCaffery in airplane)

liii) With Sten Hanson, Glasgow, 1978, by Sean O'Huigin (p.145; photograph, portrait of Nichol & Sten Hanson)

liv) Michel Dean receives a sprinkling of 'Plaster de Paris' (the user can look just like Alfred Jarry, come from his low-ceilinged garret) from the proprietor of The ''Pataphysical Hardware Co. at 'L'Affaire ''Pataphysique', Toronto, 1985, by Marilyn Westlake (p.146; photograph; also visible are copies of

–1. Plaster de Paris (object in Nichol's hand)

–2. '' (T-shirt designed by Nichol & jwcurry, pink on tan variant worn by Michel Dean)

–3. '' (T-shirt designed by Nichol & jwcurry, white on black variant worn by Nichol))

lv) With Steve McCaffery, Harbourfront, Toronto, 1985, by Marilyn Westlake (p.147; photograph of reading with text by McCaffery & Nichol visible,

–1. "DENTA")

lvi) bpNichol, Steve McCaffery, Paul Dutton, Rafael Barreto-Rivera. The Four Horsemen performing Mixed Metaphors, Toronto, 1981, by Marilyn Westlake (p.147; photograph)

lvii) Johnny Mailloux takes a shot of Wizard Oil and Indian Sagwa (see pp.73-75), Toronto, 1981, by Marilyn Westlake (p.148, photograph, portrait of Nichol performing work by R.Murray Schafer)

lviii) St. Riking (a pose, with arms outstretched), by Marilyn Westlake (p.149; photograph, portrait of Nichol)

lix) Nichol, around 1966, by Andy Phillips (p.15o; photograph)

lx) Project For An Opera Of The Twentieth Century G. S.: something tht happened once and it is very interesting, by John Bentley Mays (pp.151-153; script, act 2 scene 3 (2nd version) dedicated "for bpNichol, who introduced me to G.S.")

lxi) Outside 27 Rue-de-Fleurus, Gertrude Stein's Paris home, 1985: Steve McCaffery, Paul Dutton, Stephen Scobie, bpNichol, Margo Barreto-Rivera, Gerry Shikatani, by Raquel Rivera (p.154; photograph, group portrait)

lxii) Addition to the Great Canadian Dictionary, by Earle Birney (p.155; poem, 23 lines)

lxiii) "Photos", by Marilyn Westlake (p.156; 4 untitled portraits of Nichol:

–1. [looking down to left holding microphone] (top left)

–2. [looking to left eyes closed holding microphone & stand] (top right)

–3. [straight on looking down at microphone & beating chest] (bottom left)

–4. [leaning into frame top left looking down with hands over mouth] (bottom right))

lxiv) bpNichol: A Sonography, by Richard Truhlar (pp.157-16o; list in 5 parts:

–1. RECORDS (p.157)

–2. CASSETTES (pp.157-158)

–3. ANTHOLOGIES (p.158)

–4. COLLABORATIONS (pp.158-159)

–5. NOTES (pp.159-16o; prose with quote by Nichol from

––a. Ear Rational • Sound Poems 1970-80))

lxv) letters for NICHOL, by John Riddell (pp.161-167; concrete poetry in 7 parts:

–1. "book book book book book book book" (ie "N", p.161)

–2. "writing a reading of a writing being written/having been read reading that" (ie "I", p.162)

–3. "of a reader to feel pleasure" (ie "C", p.163)

–4. "location" (ie "H", p.164)

–5. "poem sound poem sound poem" (ie "O", p.165)

–6. "L" (p.166)

–7. "UR" (p.167; collage of covers to Nichol's

––a. A Draft Of Book IV Of The Martyrology (top half of David Aylward's graphic St. Reat?)

––b. Familiar (much reduced anonymous cover photograph, "DRINK CocoCola", group portrait with Nichol 5th from left)

––c. Journal (Glenn Goluska's cover typography)

––*. Doors: To Oz & Other Landscapes (see (ix) above)

––d. The Captain Poetry Poems (part of D.J.Nichols rear cover graphic)

––e. Ballads Of The Restless Are (Barb O'Connelly's cover lettering)

––*. Transformational Unit (see (x) above)

––f. The Teaching Of Aress Kinken (most of Gareth Lind's cover graphic Tales Of The Myth Collector By Rawl Castz)

––g. Konfessions Of An Elizabethan Fan Dancer (Barbara Caruso's cover typography for the 3rd edition))

lxvi) humble people, by Rosalind Goss (p.168; graphic dedicated "for bp")

lxvii) Exegesis / Eggs à Jesus The Martyrology as a Text in Crisis, by Frank Davey (pp.169-181; prose essay in 13 parts:

–1. "ANYONE WHO HAS ATTEMPTED TO HELP STUDENTS IN A READING OF ALL OR PART" (pp.169-17o, with quotes from

––a. Douglas Barbour, This courageous poet stalks the trails of saints

––b. Frank Davey, bpNichol

––c. bpNichol, the martyrology book 4, lines 348-357)

–2. "Such praise reflects one of the difficult problems The Martyrology raises:" (pp.17o-171, with Nichol quotes from

––a. "i wished i has a ship", lines 36-41

––b. the martyrology book 4, lins 124-136)

–3. "Another serious probem that a reader encounters in The Martyrology is" (pp.171-172, with quote by Nichol from

––a. "i wished i has a ship", lines 13-2o)

–4. "A third problem created by The Martyrology lies in the distinction" (pp.172-173, with quote by Nichol from

––a. "orange", lines 2-13)

–5. "The structure of this essay appears to promise some answers to these ques-" (pp.173-174)

–6. "Another awkward feature of The Martyrology that impedes this essay from" (pp.174-175, wit quote by Nichol from

––a. the martyrology book 4, lines 1233-1239)

–7. "A third element that complicates this essay is the increasingly exegetical" (pp.175-177, with quotes by Nichol from

––a. the martyrology book 4, lines 81-82, 265-285, 497-515, 521-534, 576-589, 1246-13o1)

–8. "Yet Nichol might well in response to this essay point to various other passages in" (pp.177-178, with quote by Nichol from

––a. the martyrology book 4, lines 1o43-1o5o)

–9. "Further complicating any attempt to deal with these various puzzles is the" (p.178, with quote from

––a. Frank Davey, bpNichol)

–1o. "The most recent of the published volumes of The Martyrology, Book 5," (pp.178-18o, with quotes by Nichol from

––a. the martyrology book 5:chain 1, lines 424-435

––b. the martyrology book 5:chain 2, line 22o

––a. the martyrology book 5:chain 3, lines 397-412, part of 775, 777, 778-78o)

–11. "Book 5 also contains didactic passages which appear, much ike those in" (p.18o, with quotes from

––a. bpNichol, the martyrology book5:chain 5, lines 93-1o1

––b. Stephen Scobie, "The Martyrology is the culmination...")

–12. "By Book 5, The Martyrology can be read as a writing looking for language," (p.181, with Nichol quotes from

––a. "nights that run together on the bed", lines 1-3 misquoting "myths" in place of "nights"

––b. "open your heart", lines 5-9)

–13. NOTES)

lxviii) 2 (for bp Nichol), by Jiri Valoch (p.183; poem, 2 lines)

lxix) three exercises (for bp Nichol), by Jiri Valoch (p.183; poem, 3 lines)

lxx) Around a pillar, around 1970, by Andy Phillips (p.184; photograph, portrait of Nichol)

lxxi) B. P. Specific Writing, by Christopher Dewdney (pp.185-187; prose in 2 parts:

–1. B. P. Specific Writing (pp.185-186)

–2. Abstract (pp.186-187))

lxxii) Nichol with sister Deanna, brothers Don and Bob, parents Avis and Glenn, 1966, [possibly by Avis Workman?] (p.19o; photograph, group portrait)

lxxiii) With his niece, Avis, 1966, [possibly by Avis Nichol?] (p.19o; photograph, group portrait)

lxxiv) The Martyrology as Paragram, by Steve McCaffery (pp.191-2o6; prose essay in introduction, 5 numbered parts & notes:

–o. "WE WILL FOCUS ON THE LUDIC FEATURES OF 'THE MARTYROLOGY,' THOSE" (pp.191-192)

–1. The Scene of Witz (pp.192-195, with quotes by Nichol from

––a. the martyrology book 5:chain 1 (lines 566-567 as epigraph)

––b. the martyrology book 5:chain 3 (lines 35-37, 44-45, 49-5o, 51-52, 2o4-2o7))

–2. The Paragram (pp.195-197; with quotes by Nichol from

––a. the martyrology book 4 (lines 273-282)

––b. "last note" (lines 5-12))

–3. The Unconscious as a Lettered Production (pp.197-199; with quotes by Nichol from

––a. the martyrology book 4 (ines 72-77, 348-365, 1155-1157)

––b. the martyrology book 5:chain 1 (lines 787-788)

––c. the martyrology book 5:chain 3 (lines 1o61-1o66, 1o79-1o81))

–4. Cratylean Linguistics Through Ramus (pp.199-2o2; with quotes by Nichol from

––a. the martyrology book 5:chain 1 (lines 46-61)

––b. the martyrology book 4 (lines 124-125, 1217-1221, 1228-1236)

––c. "bushes" (lines 6-1o)

––d. "within the difference" (lines 7-9)

––e. "'dogma i am god'" (part of line 6-28)

––f. the martyrology book 5:chain 3 (lines 778-78o, 962-965))

–5. Mikhail Bakhtin: the Dialogic Utterance (p.2o3)

–6. NOTES (pp.2o3-2o6))

lxxv) UR L: on the autobiography of you, by Daphne Marlatt (pp.2o7-2o9; prose with quotes by Nichol from sections of Journal:

–1. "how can i write with nothing in my head no pressure" (x4)

–2. "as these things are they are only dreams as i have told" (x3)

–3. "maybe there are stories make sense maybe theres a"

–4. "i have said everything i can say having started ot so" (x2))

lxxvi) Sixteenth (?) birthday,\, [likely by Avis Nichol] (p.2o9; photograph)

lxxvii) bp (front) with brother Don, Sister Deanna, about 1946, [likely by Avis Nichol] (p.21o; photograph, group portrait)

lxxviii) The Child in Him, by Sean O'Huigin (pp.211-213; prose essay with quote by Nichol from

–a. The Child in Me)

lxxix) Some Notes in Progress about a Work in Process: bpNichol's The Martyrology, by Douglas Barbour (pp.215-224; prose essay in 8 parts:

–1. "NOW I CAN NEVER FLY WITHOUT IT HAPPENING. SUDDENLY I'M UP THERE" (p.215)

–2. "Cloudtown" (p.215)

–3. "Part of what I seek to do in these notes is to register, through a reference to" (pp.215-216, with quote by Robert Kroetsch on Nichol from

––a. The Continuing Poem)

–4. "Although neither T.S. Eliot's poetry nor his criticism springs immediately" (pp.216-217; with quote by Al Purdy on Nichol from

––b. A.W.Purdy: An Interview, by Gary Geddes & Al Purdy)

–5. "In Poetry as Discourse, Anthony Easthope argues a lengthy and interesting" (pp.217-22o; with quotes by Nichol from

––a. the martyrology book 5:chain 2 (lines 69-71 (69 including quote from

–––1. the martyrology book 4, line 9))

––b. A Note on Reading The Martyrology book V)

–6. "Book 5 opens with a map of one part of downtown Toronto – a closed" (p22o; with quotes by Nichol from

––* [see (xv) above)

––a. the martyrology book 5:chain 1, line 12o1)

–7. "Much of what I have written so far takes its bearings from recent post-" (pp.22o-223; with quotes by Nichol from

––a. Statement

––b. the martyrology book 4 (lines 1o97-1o99))

–8. NOTES (pp.223-224))

lxxx) now they found th wagon cat in human body, by Bill Bissett (p.225; poem, with dedication "for bp")

lxxxi) "as always ths pome first apeerd in we sleep inside each othr all wch", by Bill Bissett (pp.225-226; prose with quotes by Nichol from

–1. Cycle No. 22 ("drum and a wheel")

–2. Lament ("for dalevy"))

lxxxii) Briefly, To Martyr and Suffer, by Gerry Shikatani (pp.227-236; prose with quotes by Nichol from

–1. "hot night" lines 27-28 (p.227)

–2. the martyrolgy book 4 lines 82o-836 (pp.227-228), 1o49-1o5o (p.228), 1358-1364 (pp.228-229), 348-365 (pp.229-23o), 1-12 (pp.234-235), 1322-1331 (pp.235-236)

–3. "horrendous degree of personl reference" (from an unID'd interview, p.228)

–4. "this morning there are no clouds anywhere", part of line 3 (p.23o)

–5. Hour 11, part of line 3, 5-8 (p.23o), 2o, 21-23, 82 misquoted, 83, 112-115, 38-39 (all p.231)

–6. Hour 13 lines 3-9, 38-41, 38-39 misspaced (all p.232)

–7. Hour 14 parts of line 1o, 11-12 misquoted (p.232), 42, 57 misquoted, 64 misquoted, 65-67 misquoted (all p.233)

–8. the martyrology book 5:chain 1 lines 1o-31 (p.233)

–9. "there are many rods to that centre" lines 1-5 (p.234)

–1o. the martyrology book 5:chain 9 lines 184, 217-223, 256 misquoted (all p.235))

lxxxii) Receiving the Governor General's Award from Governor General Roland Michener, 1971, by --?-- (p.236; photograph, group portrait of Nichol, Michener & othrs unID'd)

lxxxiii) The Mutual Friend, by Brian Dedora (pp.237-238; prose)

lxxxiv) Music at the Heart of Thinking Journeying & the Returns, by Fred Wah (pp.239-242; prose in 11 parts:

–1. "This series of MHT is written in the development of a critical poetic that sees" (p.239)

–2. music at the heart of thinking, no. 21 (p.239)

–3. music at the heart of thinking, no. 22 (p.239, with quotes by Nichol from

––a. "the woods", lines 1o-11

––b. .End, lines 11-13

––c. "nothing will have taken place but the place", source unID'd)

–4. music at the heart of thinking, no. 23 (p.24o, with quotes by Nichol from

––a. "the woods", line 5

––b. "(putting a match to paper", lines 1o-11)

–5. music at the heart of thinking, no. 24 (p.24o, with quotes by Nichol from

––a. "prairie, lkes, trees,", part of line 9

––b. "rolling into night", line 8

––c. "always, lines 1-2 misquoted)

–6. music at the heart of thinking, no. 25 (p.24o, with quotes by Nichol from

––a. "always", lines 16-17

––b. "looking out", line 9)

–7. music at the heart of thinking, no. 26 (pp.24o-241, with quotes by Nichol from

––a. "eyes close, line 14

––b. Prologue: 1335 Comox Avenue, line 14)

–8. music at the heart of thinking, no. 27 (p.241, with quote by Nichol from

––a. Prologue: 1335 Comox Avenue, line 41)

–9. music at the heart of thinking, no. 28 (p.241, with quotes from

––a. Margaret Avison, A Letter from Margaret Avison (to Nichol)

––b. bpNichol, "the circle", line 12

––c. ____ "always", lines 18-2o)

–1o. music at the heart of thinking, no. 29 (pp.241-242, with quotes by Nichol from

––a. "such", lines 37-38

––b. "the sun", line 2o)

–11. music at the heart of thinking, no. 30 (p.242, with quotes by Nichol from

––a. "if to explain", lines 4-5

––b. . And ., lines 13-14, 32-33, 38-42

––c. "covered with patches cut from its own cloth", source unID'd)

lxxxv) bpNichol: Some Notes on Myth, by David Donnell (pp.242-245; prose in 12 numbered parts:

–1. "I THOUGHT OF BARRIE AS A SOUND POET AT FIRST. I HEARD HIM READ AT A" (p.243; with quote by Nichol from

––a. the martyrology book 5:chain 1, lines 1-9)

–2. "But it was only some time later that I started reading a number of the" (p.243)

–3. "Maybe it's tempting to think of the longer text poems or The Martyrology" (p.244)

–4. "Barrie has a very compelling voice. Physically, sort of country, but with a" (p.244)

–5. "The completeness of a complex transition slowly becomes a frame" (p.244)

–6. "This concern with consciousness is a concern with how we become what" (p.244)

–7. "Barrie talks about the world constantly by putting himself at the centre of" (p.244)

–8. "The body (Organ Music), which is the body of us all, is always his first" (p.244)

–9. "Barrie has a remarkable ability for utilizing small-town histories as exam-" (p.244)

–1o. (p.245; in 3 lettered parts:

––a. "Barrie's myth isn't anecdotal, but it subsumes anecdote."

––b. "One difference between The Martyrology and Olson's The Maximus"

––c. "A lot of he individual concentrations in the longer text poems or the")

–11. "A lot of the Toronto or New York writers I've been reading lately seem to" (p.245)

–12. "The most important single thing about a text is the frame. The frame is" (p.245))

lxxxvi) bpNichol as John of Patmos, Paul Duton as Michael the Archangel, in R.Murray Schafer's Apocalypsis, London, Ontario, 1980, by Margaret Coole (p.246; photograph, group portrait)

lxxxvii) Could've Been, by Sharon Thesen (pp.247-248; poetry)

lxxxviii) Nichol (second from right) with friends in the mid-60s, when he administered psychological tests and 'felt people weren't getting their money's worth unless I wore a jacket and tie.', by --?-- (p.248; photograph with quote by Nichol in caption (source unID'd))

ixc) Notes toward a beepliography, by jwcurry (pp.249-27o; in 2 parts:

–1. Notes toward a beepliography (pp.249-27o; list with quote by Nichol:

––a. "love (ie "...dove / above", in full unlineated in text))

–2. NOTE (p.27o; prose))

xc) "H", by --?-- (p.271; photograph, portrait of Nichol)

xci) [untitled photograph], by Michael Ondaatje (rear cover; photograph, reduced larger crop of front cover portrait with graphic (by --?--) of Milt The Morph superimposed)

___________________________

• also includes:

– 2 peripherally-related photographs of Plunkett, Saskatchewan (p.144)

– Joe Rosenblatt's Poems – Nocturnes, with no discernible Nichol-specificity (p.188)

– Louis Dudek's Poetry, likewise with no discernible Nichol-specificity (p.189)

Annona squamosa is a small, well-branched tree or shrub from the family Annonaceae that bears edible fruits called sugar-apples. It tolerates a tropical lowland climate better than its relatives Annona reticulata and Annona cherimola (whose fruits often share the same name) helping make it the most widely cultivated of these species.

DESCRIPTION

Annona squamosa is a small, semi-(or late) deciduous, much branched shrub or small tree 3 metres to 8 metres tall very similar to soursop (Annona muricata) with a broad, open crown or irregularly spreading branches and a short trunk short, not buttressed at base. The fruit of A. squamosa (sugar-apple) has delicious whitish pulp, and is popular in tropical markets.Stems and leaves

Branches with light brown bark and visible leaf scars; inner bark light yellow and slightly bitter; twigs become brown with light brown dots (lenticels - small, oval, rounded spots upon the stem or branch of a plant, from which the underlying tissues may protrude or roots may issue).

Thin, simple, alternate leaves occur singly, 5 centimetres to 17 centimetres long and 2 centimetres to 6 centimetres wide; rounded at the base and pointed at the tip (oblong-lanceolate). Pale green on both surfaces and mostly hairless with slight hairs on the underside when young. The sides sometimes are slightly unequal and the leaf edges are without teeth, inconspicuously hairy when young.

Leaf stalks are 0.4 centimetres to 2.2 centimetres long, green, sparsely pubescent

FLOWERS

Solitary or in short lateral clusters of 2-4 about 2.5 centimetres long, greenish-yellow flowers on a hairy, slender 2 centimetres long stalk Three green outer petals, purplish at the base, oblong, 1.6 centimetres to 2.5 centimetres long, and 0.6 centimetres to 0.75 centimetres wide, three inner petals reduced to minute scales or absent Very numerous stamens; crowded, white, less than 1.6 centimetres long; ovary light green. Styles white, crowded on the raised axis. Each pistil forms a separate tubercle (small rounded wartlike protuberance), mostly 1.3 centimetres to 1.9 centimetres long and 0.6 centimetres to 1.3 centimetres wide which matures into the aggregate fruit.

Flowering occurs in spring-early summer and flowers are pollinated by nitidulid beetles.

FRUITS AND REPRODUCTION

Aggregate and soft fruits form from the numerous and loosely united pistils of a flower which become enlarged and mature into fruits which are distinct from fruits of other species of genus (and more like a giant raspberry instead).

The round or heart-shaped greenish yellow, ripened aggregate fruit is pendulous on a thickened stalk; 5 centimetres to 10 centimetres in diameter with many round protuberances and covered with a powdery bloom. Fruits are formed of loosely cohering or almost free carpels (the ripened pistels).

The pulp is white tinged yellow, edible and sweetly aromatic. Each carpel containing an oblong, shiny and smooth, dark brown to black, 1.3 centimetres to 1.6 centimetres long seed.

DISTRIBUTION

Annona squamosa is native to the tropical Americas and West Indies, but the exact origin is unknown. It is now the most widely cultivated of all the species of Annona, being grown for its fruit throughout the tropics and warmer subtropics, such as Indonesia, Thailand, and Taiwan; it was introduced to southern Asia before 1590. It is naturalized as far north as southern Florida in the United States and as south as Bahia in Brazil, and is an invasive species in some areas.

NATIVE

NEOTOPIC

- Caribbean: Antigua and Barbuda, Bahamas, Barbados, Cuba, Dominica, Dominican Republic, Grenada, Guadeloupe, Haiti, Jamaica, Martinique, Montserrat, Netherlands Antilles, Puerto Rico, St Kitts and Nevis, St Lucia, St Vincent and the Grenadines, Surinam, Trinidad and Tobago, Virgin Islands.

- Central America: El Salvador Guatemala

- Northern South America: Suriname, French Guyana, Guyana, Venezuela

- Western South America: Bolivia, Colombia, Ecuador, Peru

- Southern South America: Argentina, Brazil, Chile, Paraguay, Uruguay

CURRENT (naturalized and native)

NEOTOPIC

- Caribbean: Antigua and Barbuda, Bahamas, Barbados, Cuba, Dominica, Dominican Republic, Florida, Grenada, Guadeloupe, Haiti, Jamaica, Martinique, Montserrat, Netherlands Antilles, Puerto Rico, St Kitts and Nevis, St Lucia, St Vincent and the Grenadines, Surinam, Trinidad and Tobago, Virgin Islands.

- Pacific: Samoa, Tonga

- Central America: Belize, Costa Rica, El Salvador, Guatemala, Honduras, Mexico, Nicaragua, Panama

- Northern South America: French Guyana, Guyana, Venezuela

- Western South America: Bolivia, Colombia, Ecuador, Peru

- Southern South America: Argentina, Brazil, Chile, Paraguay, Uruguay

- Afrotropic: Sudan, Tanzania, Uganda, Zanzibar

- Australasia: Australia, Fiji, New Zealand, Papua New Guinea, Solomon Islands

- Indomalaya: Bangladesh, Cambodia, China, India, Indonesia, Laos, Malaysia, Nepal, Pakistan, Philippines, Sri Lanka, Thailand, Vietnam

- Palearctic: Cyprus, Greece, MaltaAzores (Pico Island), Portugal

CLIMATE AND CULTIVATION

Like most species of Annona, it requires a tropical or subtropical climate with summer temperatures from 25 °C to 41 °C, and mean winter temperatures above 15 °C. It is sensitive to cold and frost, being defoliated below 10 °C and killed by temperatures of a couple of degrees below freezing. It is only moderately drought-tolerant, requiring at least 700 mm of annual rainfall, and will not produce fruit well during droughts.

It will grow from sea level to 2,000 metres and does well in hot dry climates, differing in its tolerance of lowland tropics from many of the other fruit bearers in the Annona family.

It is quite a prolific bearer, and it will produce fruit in as little as two to three years. A five-year-old tree can produce as many as 50 sugar apples. Poor fruit production has been reported in Florida because there are few natural pollinators (honeybees have a difficult time penetrating the tightly closed female flowers); however, hand pollination with a natural fiber brush is effective in increasing yield. Natural pollinators include beetles (coleoptera) of the families Nitidulidae, Staphylinidae, Chrysomelidae, Curculionidae and Scarabeidae.

In the Philippines, the fruit is commonly eaten by the Philippine fruit bat (kabag or kabog), which then spreads the seeds from island to island.

It is a host plant for larvae of the butterfly Graphium agamemnon (tailed jay).

USES

Heat-extracted oil from the seeds has been employed against agricultural pests. High concentrations are potent for 2 days and weaken steadily, all activity being lost after 8 days. See also Annonin.

In Mexico, the leaves are rubbed on floors and put in hens' nests to repel lice.

For uses of the fruit, see sugar-apple.

CHEMICAL CONSTITUENTS

The diterpenoid alkaloid atisine is the most abundant alkaloid in the root. Other constituents of Annona squamosa include oxophoebine, reticuline, atidine, histisine, hetisine, hetidine, heterophyllisine, heterophylline, heterlophylline, isoatisine, dihydroatisine, hetisinone benzoyl heteratisine and citronella oil.

Bayer AG has patented the extraction process and molecular identity of the annonaceous acetogenin annonin, as well as its use as a biopesticide. Other bioactive acetogenins have been isolated from the seeds, bark, and leaves of Annona squamosa.

WIKIPEDIA

The New York Times Magazine

January 12, 2005

Lox, Stock and Barrel

By Jason Epstein

When I walk the mile or so from my apartment in SoHo to Russ & Daughters on East Houston Street near Orchard, on Manhattan's suddenly stylish Lower East Side, I experience that enlargement of the soul felt by ancient worshipers as they blissfully approached the temples of their gods. Russ & Daughters is not a mere seller of ''appetizers,'' as Joel Russ's sign has proclaimed ever since he founded his business in 1914. It is New York's most hallowed shrine to the miracle of caviar, smoked salmon, ethereal herring and silken chopped liver. It is the mother church of those latter-day temples – Zabar's, Barney Greengrass and Murray's Sturgeon Shop – that dot the Upper West Side and serve the great-grandchildren of Joel Russ's original customers. But I live downtown, so it is here, at 179 East Houston Street, amid the lively new residents of the reborn Lower East Side, that I await my turn as white-coated servers at the counter ceremoniously slice sides of buttery smoked wild salmon; pack containers with herring in mustard dill sauce or wine sauce or the sauce made of sour cream and buttermilk; and parcel out by the costly ounce gleaming Russian osetra of incomparable quality. Though these quintessential New York hors d'oeuvres are now served in gleaming new high-rises, Russ & Daughters has hardly changed at all. The neighborhood is younger and trendier now, with galleries and designer fashions, first-rate restaurants and a vivid nightlife along its once-mean streets.

But Russ & Daughters (Mr. Russ had no sons) is still the long, narrow shop of spotless white tile and gleaming glass, its shelves filled with jars of olives, tins of sardines and salmon and its displays of whitefish, black cod, smoked sturgeon, herring and salmon much as Joel Russ left them when his ghost ascended from the Lower East Side to the empyrean of appetizers 41 years ago. ''I don't have to sell herring,'' Mark Russ Federman, the son of Russ's third daughter and the current proprietor, said as we stood surrounded by a throng of Friday-morning customers, ''but it's in my blood.''

The Lower East Side real estate boom has made this beaming Paganini of appetizers financially independent, but the herring trade is his addiction, one for which downtown New Yorkers like myself should be grateful. For without Mark, his wife, Maria, and their daughter Niki and her cousin Josh, who represent the fourth Russ generation, there would probably be no Russ & Daughters, and therefore scarcely a fresh Baltic herring or slice of smoked wild Pacific salmon to be found in the city of New York. If herring had not invaded Mark Federman's bloodstream, a vital fragment of the city's character would have been lost forever.

Except for the new herring caught in late spring in Holland and eaten raw (and whose arrival at Russ & Daughters is anticipated with the drama that was once devoted to the new Beaujolais), herring is seldom eaten in its natural state and is usually brined. In England it is kippered by removing it from the brine and cold-smoking it at temperatures high enough to impart flavor but not to cook the fish. Schmaltz (i.e., fat) herring, which Russ sold from a pushcart to his fellow immigrants 90 years ago and which Mark now imports from Iceland, is eaten directly from the brine. It is as astringent as a mouthful of sea salt and, in my opinion, best served to seals and Vikings. It is not suitable for pickling, which weakens its texture. For pickling, Russ & Daughters uses firm herring, imported in brine from Canada, which is soaked to remove most of the salt, then cured in diluted vinegar, sugar and pickling spices before being bathed in wine or the classic mixture of sour cream and buttermilk, and then topped with rings of marinated sweet onion.

Joel Russ added these versions of Danish originals to his repertory after the Second World War, when he sensed a new sophistication among his second-generation customers and augmented his salt herring with the smoked and pickled fish that are now among the glories of New York's ethnic culinaria. Salmon is also either pickled or simply brined as lox -- the Yiddish pronunciation of the German lachs, Danish laks and Swedish lax. But most often, and most deliciously, salmon is taken from the brine and cold-smoked. Then it is called, by New Yorkers at least, Nova Scotia, a term denoting not necessarily its origin but the manner of its preparation. Norwegian, Irish and Scottish smoked salmon are brined and smoked in the countries of their origins, but the salmon sold as Nova Scotia in New York is made in Brooklyn, where Mark, with his third-generation eye, selects specimens for his shop.

Fifty years ago, most salmon was caught in the wild, but today nearly all, whether fresh, pickled or smoked, is farm-raised in huge aquatic pens anchored off the coasts of North America, Norway, Ireland and Scotland. But Russ & Daughters usually has on hand true wild salmon, caught in either the Pacific or the Baltic and smoked in either Brooklyn or Denmark. This wild smoked salmon is leaner, firmer and more delicately textured than its farm-raised cousins and only slightly more expensive. Tribes cohere by allegiance to sacred texts, rituals and formulas; by distinctive clothing, gestures and incantations and, of course, by their traditional foods. For Jews, there are the Ten Commandments, the Pentateuch, the dim memories of the old country. And there is chopped liver, as sacred to Jews as cod is to Bostonians. But chopped liver, like so many aspects of ethnic life, has been Americanized, often with bizarre results; with, for example, walnuts, pecans, red lentils or canned white beans in place of chicken livers for vegetarians, or with beef or calves' liver; with mayonnaise instead of chicken fat; or with soy sauce, pumpernickel and canned peas, or with sherry or cognac or peanut butter. Or it is blended until smooth in a food processor. The version sold by Russ & Daughters is uncompromisingly orthodox: a true classic, simple and pure. But if you are not likely to find such chopped liver or wild salmon in your own neighborhood, do not despair. Russ & Daughters will ship anywhere in the United States, so that New York hors d'oeuvres platters of chopped liver, herring, smoked salmon, smoked sturgeon and black cod can be assembled in all 50 states.

For those of you who don't have the patience to wait for a delivery, here are recipes for three Russ & Daughters' classics, so you can get started right away.

Built in 1914, this Gothic Revival-style church houses the congregation of the Perryville Presbyterian Church, established in 1828, and once housed in an older structure on the site that was utilized as a hospital after the Battle of Perryville during the US Civil War, which led to extensive damage of the interior of the previous church, for which the church was paid reparations in the early 20th Century, helping fund the construction of the present building. The red brick church features a hipped roof with decorative exposed rafter ends, gables on the north and south facades with decorative extruded brickwork at the top of the gable, gothic arched leaded glass windows flanked by pilasters, buttresses, and pinnacles, a wall dormer on the east facade, limestone trim, gothic arched double doors, a square bell tower with buttresses and a crenellated parapet, an enclosed porte cohere on the south facade, a largely blank west facade, and a rough-hewn stone base. The church is a contributing structure in the Perryville Historic District, listed on the National Register of Historic Places in 1973.

VIOLATOR

Sat 24 October | 9pm | COVENT GARDEN

Terror-Cotta proudly presents ‘Violator’, an atmospheric and assured debut by Filipino blogger and critic Dodo Dayao.

An unnerving and highly original Lynchian nightmare, part experimental surrealist collage, part unsettling supernatural drama in the vein of Kiyoshi Kurosawa’s Pulse, Violator sidesteps the trends and cliches of the horror genre to deliver a hard-to classify cult oddity taking inspiration from such varied sources as John Carpenter’s Assault on Precinct 13, doomsday cults, and the videogame Silent Hill.

The film begins as a storm approaches Manila with a series of apparently disparate vignettes covering suicide, gangsters, and ghosts, all shot in a murky, minimal cinematic style and intercut with grainy found-footage of a mysterious rapture cult. These strands and themes begin to cohere as the film settles down in the second half set in a dank and gloomy police station, where a sinister teenage boy is being held who may be possessed by the devil. As the storm intensifies, the tension ratchets up and the cops are forced to confront the evil in their midst and in themselves.

Casting some of the Philippines’ best known actors against type, and making creative use of a limited budget with some atmospheric production design and strong performances, Violator scooped the best picture prize at the Cinema One Originals festival in the Philippines and marks the arrival of a major new talent in Filipino cinema.

Terror-Cotta started life as an Asian horror marathon all-nighter as part of the Terracotta Far East Film Festival, and has since branched out into its own distribution label specialising in bringing original and obscure Asian horror movies to a larger audience, championing new and unsung talent from across Asia and flying the flag for all things macabre, grotesque and nightmarish.

With thanks to Terracotta Distribution for programming input and for putting together the Terror Cotta night.

Built in 1886, this Classical Revival-style house was originally built in the Queen Anne style and designed by Augustus Gauger for William Constans, a brewery supply merchant and owner of the firm of Constans and Schmidt, and his wife, Bertha Franckenberg Constans. The house was heavily renovated with Classical Revival elements in the 1920s, and saw further renovations in 1969. The house features a red brick exterior with limestone trim, a bracketed cornice, rusticated stone base, broken pediment over the porch, doric and ionic columns and pilasters, a matching carriage house, and a porte cohere on the side. The house is a contributing structure in the Historic Hill District, listed on the National Register of Historic Places in 1976.

Built in 1886, this Classical Revival-style house was originally built in the Queen Anne style and designed by Augustus Gauger for William Constans, a brewery supply merchant and owner of the firm of Constans and Schmidt, and his wife, Bertha Franckenberg Constans. The house was heavily renovated with Classical Revival elements in the 1920s, and saw further renovations in 1969. The house features a red brick exterior with limestone trim, a bracketed cornice, rusticated stone base, broken pediment over the porch, doric and ionic columns and pilasters, a matching carriage house, and a porte cohere on the side. The house is a contributing structure in the Historic Hill District, listed on the National Register of Historic Places in 1976.

Annona squamosa is a small, well-branched tree or shrub from the family Annonaceae that bears edible fruits called sugar-apples. It tolerates a tropical lowland climate better than its relatives Annona reticulata and Annona cherimola (whose fruits often share the same name) helping make it the most widely cultivated of these species.

DESCRIPTION

Annona squamosa is a small, semi-(or late) deciduous, much branched shrub or small tree 3 metres to 8 metres tall very similar to soursop (Annona muricata) with a broad, open crown or irregularly spreading branches and a short trunk short, not buttressed at base. The fruit of A. squamosa (sugar-apple) has delicious whitish pulp, and is popular in tropical markets.Stems and leaves

Branches with light brown bark and visible leaf scars; inner bark light yellow and slightly bitter; twigs become brown with light brown dots (lenticels - small, oval, rounded spots upon the stem or branch of a plant, from which the underlying tissues may protrude or roots may issue).

Thin, simple, alternate leaves occur singly, 5 centimetres to 17 centimetres long and 2 centimetres to 6 centimetres wide; rounded at the base and pointed at the tip (oblong-lanceolate). Pale green on both surfaces and mostly hairless with slight hairs on the underside when young. The sides sometimes are slightly unequal and the leaf edges are without teeth, inconspicuously hairy when young.

Leaf stalks are 0.4 centimetres to 2.2 centimetres long, green, sparsely pubescent

FLOWERS

Solitary or in short lateral clusters of 2-4 about 2.5 centimetres long, greenish-yellow flowers on a hairy, slender 2 centimetres long stalk Three green outer petals, purplish at the base, oblong, 1.6 centimetres to 2.5 centimetres long, and 0.6 centimetres to 0.75 centimetres wide, three inner petals reduced to minute scales or absent Very numerous stamens; crowded, white, less than 1.6 centimetres long; ovary light green. Styles white, crowded on the raised axis. Each pistil forms a separate tubercle (small rounded wartlike protuberance), mostly 1.3 centimetres to 1.9 centimetres long and 0.6 centimetres to 1.3 centimetres wide which matures into the aggregate fruit.

Flowering occurs in spring-early summer and flowers are pollinated by nitidulid beetles.

FRUITS AND REPRODUCTION

Aggregate and soft fruits form from the numerous and loosely united pistils of a flower which become enlarged and mature into fruits which are distinct from fruits of other species of genus (and more like a giant raspberry instead).

The round or heart-shaped greenish yellow, ripened aggregate fruit is pendulous on a thickened stalk; 5 centimetres to 10 centimetres in diameter with many round protuberances and covered with a powdery bloom. Fruits are formed of loosely cohering or almost free carpels (the ripened pistels).

The pulp is white tinged yellow, edible and sweetly aromatic. Each carpel containing an oblong, shiny and smooth, dark brown to black, 1.3 centimetres to 1.6 centimetres long seed.

DISTRIBUTION

Annona squamosa is native to the tropical Americas and West Indies, but the exact origin is unknown. It is now the most widely cultivated of all the species of Annona, being grown for its fruit throughout the tropics and warmer subtropics, such as Indonesia, Thailand, and Taiwan; it was introduced to southern Asia before 1590. It is naturalized as far north as southern Florida in the United States and as south as Bahia in Brazil, and is an invasive species in some areas.

NATIVE

NEOTOPIC

- Caribbean: Antigua and Barbuda, Bahamas, Barbados, Cuba, Dominica, Dominican Republic, Grenada, Guadeloupe, Haiti, Jamaica, Martinique, Montserrat, Netherlands Antilles, Puerto Rico, St Kitts and Nevis, St Lucia, St Vincent and the Grenadines, Surinam, Trinidad and Tobago, Virgin Islands.

- Central America: El Salvador Guatemala

- Northern South America: Suriname, French Guyana, Guyana, Venezuela

- Western South America: Bolivia, Colombia, Ecuador, Peru

- Southern South America: Argentina, Brazil, Chile, Paraguay, Uruguay

CURRENT (naturalized and native)

NEOTOPIC

- Caribbean: Antigua and Barbuda, Bahamas, Barbados, Cuba, Dominica, Dominican Republic, Florida, Grenada, Guadeloupe, Haiti, Jamaica, Martinique, Montserrat, Netherlands Antilles, Puerto Rico, St Kitts and Nevis, St Lucia, St Vincent and the Grenadines, Surinam, Trinidad and Tobago, Virgin Islands.

- Pacific: Samoa, Tonga

- Central America: Belize, Costa Rica, El Salvador, Guatemala, Honduras, Mexico, Nicaragua, Panama

- Northern South America: French Guyana, Guyana, Venezuela

- Western South America: Bolivia, Colombia, Ecuador, Peru

- Southern South America: Argentina, Brazil, Chile, Paraguay, Uruguay

- Afrotropic: Sudan, Tanzania, Uganda, Zanzibar

- Australasia: Australia, Fiji, New Zealand, Papua New Guinea, Solomon Islands

- Indomalaya: Bangladesh, Cambodia, China, India, Indonesia, Laos, Malaysia, Nepal, Pakistan, Philippines, Sri Lanka, Thailand, Vietnam

- Palearctic: Cyprus, Greece, MaltaAzores (Pico Island), Portugal

CLIMATE AND CULTIVATION

Like most species of Annona, it requires a tropical or subtropical climate with summer temperatures from 25 °C to 41 °C, and mean winter temperatures above 15 °C. It is sensitive to cold and frost, being defoliated below 10 °C and killed by temperatures of a couple of degrees below freezing. It is only moderately drought-tolerant, requiring at least 700 mm of annual rainfall, and will not produce fruit well during droughts.

It will grow from sea level to 2,000 metres and does well in hot dry climates, differing in its tolerance of lowland tropics from many of the other fruit bearers in the Annona family.

It is quite a prolific bearer, and it will produce fruit in as little as two to three years. A five-year-old tree can produce as many as 50 sugar apples. Poor fruit production has been reported in Florida because there are few natural pollinators (honeybees have a difficult time penetrating the tightly closed female flowers); however, hand pollination with a natural fiber brush is effective in increasing yield. Natural pollinators include beetles (coleoptera) of the families Nitidulidae, Staphylinidae, Chrysomelidae, Curculionidae and Scarabeidae.

In the Philippines, the fruit is commonly eaten by the Philippine fruit bat (kabag or kabog), which then spreads the seeds from island to island.

It is a host plant for larvae of the butterfly Graphium agamemnon (tailed jay).

USES

Heat-extracted oil from the seeds has been employed against agricultural pests. High concentrations are potent for 2 days and weaken steadily, all activity being lost after 8 days. See also Annonin.

In Mexico, the leaves are rubbed on floors and put in hens' nests to repel lice.

For uses of the fruit, see sugar-apple.

CHEMICAL CONSTITUENTS

The diterpenoid alkaloid atisine is the most abundant alkaloid in the root. Other constituents of Annona squamosa include oxophoebine, reticuline, atidine, histisine, hetisine, hetidine, heterophyllisine, heterophylline, heterlophylline, isoatisine, dihydroatisine, hetisinone benzoyl heteratisine and citronella oil.

Bayer AG has patented the extraction process and molecular identity of the annonaceous acetogenin annonin, as well as its use as a biopesticide. Other bioactive acetogenins have been isolated from the seeds, bark, and leaves of Annona squamosa.

WIKIPEDIA

Golf Club Rd, Ipoh.

The eastern suburbs of Ipoh bounded by Tambun Road and Gopeng Road accommodated the leafy suburbs developped during the boom years for Ipoh in the 1920s and 1930s. Many salubrious bungalows and residences popped up along with social diversions such as the Perak Turf Club (1926), the Ipoh Golf Club (1932) and St Andrew's Church (1929). Life for the residents was comfortable with large houses, set amongst large gardens, with space for amahs' quarters. The houses were in a variety of styles from earlier Straits Ecletic to Anglo-Malay bungalows (as is thie case here) to Home Counties 'stockbroker belt' architecture of the 1930s. The original residents would have been expatriate mining staff or those employed in government administration or the service industries in Ipoh. It is unlikely that this house would have been originally a Chinese residence as it is not ostentatious enough to suggest a towkay's home.

The architectural style is here is a typical Anglo-Malay bungalow, found throughout the Straits Settlements and the FMS. It combines Eurpean architectural idiom (particularly Palladian elements) with Chinese and Malay styles with adaptations to the tropical climate for ventilation and protection from sun and rain; louvred French windows, high ceiling interiors, clerestorey windows, porte-cohere and the use of air-wells and vents in the roof.

This is now the Ipoh International School kindergarten, part of the group Tenby Schools.

Family: Phyllanthaceae

Local name: Amla, goose berry, Usiri

Distribution: Distributed in the tropical parts of India, Cultivated for fruits and it is also found in wild in forests. It is photographed in Eastren ghats of Andhra pradesh India.

Description: It is a deciduous tree. The branches resembles a compound leaf. Before the on set of flowering the tree completely sheds off the leaves. Flowers unisexual, arise in clusters in the axils of leaves.

Flowers 3-5mm across, greenish yellow in axillary fasicles, male and female mixed. Tepals 6, oblong, disk in male minute, in female cupular. Stamens 3, connate into a column, the anthers cohering by the connective, cells distinct. Ovary 3 celled, ovules 2 in each cell, styles connate at the base and stigmas recurved and bifid. Drupes 2-3cm across, depressed globose, fleshy, pale green with 6 faint lines The amla tree flowers in the month of March and profusely for a shorter period. The fruits matures after 8-9 months in the month of December.

raindrops cohering into concave lenses magnifying the osmotic pattern of a hygrophobic leaf upon which they are adhering

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cohere: 1. be united; form a whole: he made the series of fictions cohere into convincing sequence. 2. (of an argument or theory) be logically consistent. This view does not cohere with their other beliefs

cohesion: (physics) the sticking together of particles of the same substance ORIGIN: mid 17th century - on the pattern of adhesion

adhesion: (physics) the sticking together of particles of the different substances

A view from the side of what looks to be a neolithic monolith incorporated into an apex capstone of a medieval bridge. At least three typical canals (rigols) can be seen drawing ritual 'waters' off the stone. The bridge was too high for me to to climb onto the wall for a detailed composite shot and I was traveling light so no boom tripod - apologies... See that the size of the stone might cohere with the dimensions of local dolmen corridors, with one idea being that it was the first capstone of a corridor removed and kept by local people for simple reasons. Similarities and differences might be made with the rocher de Concoules, the table of the dolmen de la Creu de la Llosa and the table of the dolmen de Coste-Rouge - amongst others.

AJM 03.07.17

VIOLATOR

Sat 24 October | 9pm | COVENT GARDEN

Terror-Cotta proudly presents ‘Violator’, an atmospheric and assured debut by Filipino blogger and critic Dodo Dayao.

An unnerving and highly original Lynchian nightmare, part experimental surrealist collage, part unsettling supernatural drama in the vein of Kiyoshi Kurosawa’s Pulse, Violator sidesteps the trends and cliches of the horror genre to deliver a hard-to classify cult oddity taking inspiration from such varied sources as John Carpenter’s Assault on Precinct 13, doomsday cults, and the videogame Silent Hill.

The film begins as a storm approaches Manila with a series of apparently disparate vignettes covering suicide, gangsters, and ghosts, all shot in a murky, minimal cinematic style and intercut with grainy found-footage of a mysterious rapture cult. These strands and themes begin to cohere as the film settles down in the second half set in a dank and gloomy police station, where a sinister teenage boy is being held who may be possessed by the devil. As the storm intensifies, the tension ratchets up and the cops are forced to confront the evil in their midst and in themselves.

Casting some of the Philippines’ best known actors against type, and making creative use of a limited budget with some atmospheric production design and strong performances, Violator scooped the best picture prize at the Cinema One Originals festival in the Philippines and marks the arrival of a major new talent in Filipino cinema.

Terror-Cotta started life as an Asian horror marathon all-nighter as part of the Terracotta Far East Film Festival, and has since branched out into its own distribution label specialising in bringing original and obscure Asian horror movies to a larger audience, championing new and unsung talent from across Asia and flying the flag for all things macabre, grotesque and nightmarish.

With thanks to Terracotta Distribution for programming input and for putting together the Terror Cotta night.

بنای تاریخی گنبد سلطانیه با ارتفاع 48/5 متر و قطر دهانه‌ی داخلی 25/5 متر به دستور سلطان محمد خدابنده (اولجایتو) از سال 703 تا 713 هجری قمری، داخل ارگ سلطنتی ساخته شده، که ارگ مذکور نیز با پلان مربع به ابعاد 296×314 متر، دارای 16 برج و دو دروازه‌ی شمالی و جنوبی، با استفاده از سنگ‌های آهکی سبز رنگ ساخته شده است. گنبد سلطانیه از نظر ارتفاع پس از کلیسای سانتاماریا دلفیوره‌ی فلورانس در ایتالیا (86 متر) و مسجد ایاصوفیه‌ی استامبول در ترکیه (56 متر) سومین گنبد مرتفع جهان می‌باشد. این بنای هشت ضلعی، با الهام از مقبره‌ی سلطان سنجر در مرو ساخته شده است. عمده‌ترین مصالح به‌کاررفته در سازه‌ی این بنا، آجر می‌باشد. ابداع گنبد دو پوسته‌ی پیوسته برای اولین بار در تاریخ معماری جهان در این بنا صورت‌گرفته و پوسته‌ی بیرونی گنبد با کاشی‌های فیروزه‌ای پوشیده شده است. تزیینات به‌کاررفته در این بنای تاریخی مشتمل بر انواع کاشی‌کاری، نقاشی روی گچ، آجرکاری مشبک، مقرنس‌کاری گچی و آجری و گچ‌بری بر روی پارچه، کتیبه‌هایی با مضمون آیات قرآن و احادیث می‌باشد. گنبد سلطانیه یکی از مهم‌ترین نمونه‌های معماری ایلخانی می‌باشدکه تأثیر به‌سزایی در معماری بناهای تاریخی جهان گذاشته‌است و می‌توان نمونه‌ی بارز این تأثیر را در معماری کلیسای سانتاماریا دلفیوره (مریم مقدس) در فلورانس دید. گنبد سلطانیه در سال 1384 به‌عنوان هفتمین اثر ملی ایران در فهرست میراث جهانی یونسکو به ثبت رسیده است

منبع: بروشور بنا

Historical monument of the Soltaniyeh (soltäniyeh) Dome built with the height of 48.5 meters and the diameter of the dome is about 25.5 meters by order of Sultan Mohammad e Khodabandeh (soltän mohammad-e-khodäbandeh, =Uljayto) constructed from 1303 to 1313 A.D., on the inside of the royal citadel. the above mentioned citadel by square plan to the dimensions 296 x 314 meters has 16 ramparts and 2 northern and southern gates. It made made use of green lime stones. It was currently ranks third after Italy's Santa Maria church in Florence and Turkey's Hagia Sofia mosque in Istanbul. This buildings an octagonal that it has been inspired of Sultan Sanjar (soltän sanjar) tomb in Marv. The most construction material is brick. Innovation cohered double shell structure, the first time in the world's architecture history in the Soltaniyeh dome. It covered in turquoise blue faience and all kinds of tile setting, tile work, painting on chalk, brick work, stalactite work and plaster work used separately and in simultaneously in the building. The most important and the most beautiful building in Soltaniyeh is the sample of Ilkhanid architecture which evidently impacts on lots of other historical construction architecture of Iran. The Soltaniyeh dome was registered in The World Heritage List in UNESCO as Iranian 7th. property.

Reference: Monument's Brochure

In 1899, Tesla decided to move and began research in Colorado Springs, Colorado, where he would have room for his high-voltage, high-frequency experiments. Upon his arrival he told reporters that he was conducting wireless telegraphy experiments transmitting signals from Pikes Peak to Paris. Tesla's diary contains explanations of his experiments concerning the ionosphere and the ground's telluric currents via transverse waves and longitudinal waves. [12] At his lab, Tesla proved that the earth was a conductor, and he produced artificial lightning (with discharges consisting of millions of volts, and up to 135 feet long). [13]. Tesla also investigated atmospheric electricity, observing lightning signals via his receivers. Reproductions of Tesla's receivers and coherer circuits show an unpredicted level of complexity (e.g., distributed high-Q helical resonators, radio frequency feedback, crude heterodyne effects, and regeneration techniques). [14] Tesla stated that he observed stationary waves during this time. [15] In the Colorado Springs lab, he "recorded" signals of what he believed were extraterrestrial radio signals, though these announcements and his data were rejected by the scientific community. He noted measurements of repetitive signals from his receiver which are substantially different from the signals he had noted from storms and earth noise. Specifically, he later recalled that the signals appeared in groups of one, two, three, and four clicks together. Tesla spent the latter part of his life trying to signal Mars. In 1996 Corum and Corum published an analysis of Jovian plasma torus signals which indicate that there was a correspondence between the setting of Mars at Colorado Springs, and the cessation of signals from Jupiter in the summer of 1899 when Tesla was there. [16][17]

Tesla left Colorado Springs on January 7, 1900. The lab was torn down and its contents sold to pay debts. The Colorado experiments prepared Tesla for his next project, the establishment of a wireless power transmission facility that would be known as Wardenclyffe. Tesla was granted U.S. Patent 685012 for the means for increasing the intensity of electrical oscillations. The United States Patent Office classification system currently assigns this patent to the primary Class 178/43 ("telegraphy/space induction"), although the other applicable classes include 505/825 ("low temperature superconductivity-related apparatus").

「晃│影－史帝夫 ‧ 麥柯里個展」

’S WANDERFUL│Making Pictures－Steve McCurry Solo Exhibition

2018/02/24-2018/05/06

臺北當代藝術館 MOCA Taipei

策展人：陳昌仁／Leo Chanjen Chen

攝影在數位年代的普及已經凌駕電影之上，儼然成為最重要的藝術了。如何學習影像思考、判斷與操作愈形重要。華語世界首度舉辦麥柯里個人攝影展因而有著雙重意義：一方面讓臺灣與全球攝影藝術語境對話接軌；另一方面重新定位麥柯里攝影與當代藝術的關係。展覽名稱「晃影 ─’S Wanderful | Making Pictures」以麥氏漫遊世界拍照為意象，強調他喜歡東晃西晃，即興捕捉人性的深層意義。英文標題結合好奇漫遊(wander)與驚異奇觀(wonder) – 亦即無奇不遊(no wander no wonder)，並隱含百老匯蓋希文的(Gershwin)名曲「’S Wonderful」來指涉攝影中的音樂性。

麥柯里攝影感動人心，成名作《阿富汗少女》召喚人們加入義工去幫助難民，影響深遠。好照片除了過目難忘，賦與生命軌跡以形象之外，並形塑記憶結構，經典作品甚至能以影像表達歷史縱深與當代關連。麥氏跨越許多文化與世代，從攝影記者到以影像說故事，從膠片到數位，不變的是他對人性本質行為之捕捉與呈現。他說肖相：「要有情感，要說出其人特質，要不同而難忘，更要表現出人性的共相」。不啻是美學判斷(sensus communis)哲學家康德的代言攝影師。麥氏人物攝影銳利地凝視著你，彷彿來自亙古宇宙角落的眼神(sub specie aeternitatis)， 並充盈著巴特(Barthes)強調的刺點(Punctum)，亦即感受每張照片無法控制的關鍵。弗立得(Fried)攝影新論融合影像的劇場性(Theatricality)與自足性(Absorption)，將無意識的情感刺點與有意識的表演安排結合並置，而麥氏攝影已先行多年了。

本展以影像之取像(making picture)，成像(rendering image)及in/印象(innervating impression) 三階段為軸，設計包含12件裝置藝術的展覽空間，探求、解答並提出更多攝影藝術與哲學問題。例如：攝影的本質是什麼？攝影藝術史的理論與實踐進程對當代創作的啓發為何？攝影藝術如何能提昇全民美感教育並培養創造力？期待「晃影」觀展後能顯其所以然，提高視覺思考及美感判斷力,那麼我們對影像藝術創新的展望就不僅始於漫遊。電影「迷魂記/Vertigo」中詹姆斯史都華搭訕金露華，約她一起漫無目的地晃晃，金回答：「一個人會去漫遊晃晃，兩個人一起就會去某個地方了(One wanders, two are always going somewhere) 。」 有麥柯里同行，我們會比較有方向感要往哪裡晃去晃來。

’S WANDERFUL│MAKING PICTURES ─ Steve McCurry Solo Exhibition

Curator: Leo Chanjen Chen

About the Exhibition

The ubiquity and democratization of photography in digital era has elevated its position above cinema, making it “the most important art”, which is why it is increasingly imperative to learn how to think, analyze, and make images to communicate. Hence the significances of the first Steve McCurry solo photography exhibition in Chinese-speaking worlds are two-fold: on the one hand, the McCurry at MOCA, Taipei exhibition connects and engages Taiwan to the discourses of global photography art, on the other hand, the exhibition intervenes, reconsiders and repositions the relationship between McCurry’s photography and contemporary art. Title of the exhibition, ’S Wanderful | Making Pictures, refers to McCurry’s photo journeys around the world, highlighting his fondness for wandering and the profound meanings behind his serendipitous capturing of humanity. The title coinage combines “wander” and “wonder”, suggesting a notion of “no wander no wonder”, while also alludes to the musicality embodied in photography by referencing classic Broadway song, “’S Wonderful”, composed by George Gershwin.

McCurry’s photography touches hearts and moves people, his iconic Afghan Girl has inspired people to volunteer and join refugee relief forces, and its impacts are far-reaching and continue to resonate. Memorable photographs impress upon you with indelible imprints of beauty, visualize human experiences by giving life forms, and structuring memories; some iconic works even convey layers of historical depths and contemporary connectedness. McCurry traverses space and time as he transcends different cultures and generations, from a photojournalist to an artist telling stories through images, from the medium of film to the digital. What remains unchanged is how he captures and makes visible human nature and behaviors in poesis. McCurry believes that a portrait should have emotions, tell of the person’s notable features, it must be different, unique and unforgettable, and yet, above all, it must also showcase the universality of humanity. In that regard, McCurry’s photographic aesthetics not only embody philosopher Kant’s aesthetic judgment - sensus communis, the individual sensibility that communicates with all mankind, but also makes him a Kantian photographer par excellence. McCurry’s portraits gaze sharply at you, with looks that seem to come from corners of the universe, transport you through perspectives of eternity - sub specie aeternitatis. Full of Barthesian punctum, the points that trigger involuntary reaction in experiencing each photograph.

McCurry’s photography has been exemplifying for decades what art critic Michael Fried tried to theorize, to integrate the absorption and theatricality in photography that juxtapose and combine unconscious emotional pathos with conscious performative ethos.

This exhibition consists of three cohering themes about photography: “Making picture”, “Rendering image”, and “Innervating impression”. Twelve installation artworks extend the exhibition space to explore, answer, and challenge issues of photography, art and philosophy, including: What is the essence and sine qua non of photography? What inspires contemporary art that transpires theories and practices in the art history of photography? How would the art of photography elevate aesthetic education and foster creativity? It is our aspiration that McCurry’s pictures in ’S Wanderful | Making Pictures, would make some of the answers and more of the questions apparent while nudging in visual thinking and aesthetic judgment as habit. Through the process of making photography art, our prospectus for visual art will expand beyond the initiating wander. In the movie Vertigo, James Stewart asks Kim Novak to wander together. Novak replies: “One wanders, two are always going somewhere.” Accompanied by McCurry, we would have a better sense of direction for where to wander.

Saint Edward, Hawling, Gloucestershire. Set only a few yards from Hawling Manor, this pretty little church was entirely rebuilt in 1764, with the exception of the exquisite little Perpendicular tower, which is like a miniature treasure trove of delightful features. Some later restoration appears evident, but done with a light touch, leaving a very 18th century feel to it all.

The closeness of the manor helps this feeling, the north wing, visible in the photo, also dating from the 18thC, although the core of the house is Elizabethan. The pretty shrub borders help to give a coherance to the group, in this rather isolated little Cotswold hamlet.

Mamiya C2, f2.8/80mm Sekors, X2 Yellow filter. Foma 400@800. Caffenol C + Iodized salt: Washing soda (50% water)20g, Ascorbic acid powder 6g, Coffee granules20g Iodized Sea salt 6g, water to 500mL 18mins @21C. Scanned @1200dpi on an Epson V500.

Many things cohere in this capital of tolerance

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Some providers will let you run their service over the public internet leveraging Cable and DSL modems. Other providers such as Cohere require that you use point to point private line internet circuits so that QoS (Quality of Service) can be guaranteed.

Most VoIP services will provide you with basic features such as voice mail, call waiting, caller ID and 3 way calling. If you are looking for more advanced features such as call center support, integration with email, unified communications and voicemail-to-text, you will have to pay a premium. Providers that advertise low per user costs strip away basic features so that they can layer them on later (and make up the difference).

Spellbinding achievement. In childhood life coheres in sensory abstraction and by social events, things are inchoate, time is seasonal. The grandiosity of orchestrating what seemed like hundreds of actors into a documentary-like depiction of a farming village had me marveling endlessly. Unforgettable experience.

Rene Magritte (1898 - 1967)

Graphite

In 1934 Magritte wrote to Andre Breton about his paintings which were solutions to problems. His current concern wasw '[how] to discover what is in a tree that belongs to it specifically but which would run counter to our concept of a tree'. He found it in a poem by Baudelaire, La geante, stating 'the tree...became a large leaf the stem of which was the trunk directly planted on the ground.'

Magritte's imagery is based on th enotion of 'elective affinities' where the conjunction of seemingly disparate elements can reveal hidden associations.

Herbert Read, the leading critic and supporter of avant-garde art of the period, who owned this drawing, wrote of Magritte's ability to 'assert the self-sufficiency of the poetic idea'. Commenting on the tree's 'transition from leaves to bricks, both countless, cohering but detachable, tree-wall, wall-tree', he concludes 'the picture itself is producing a synthesis; its imaginative logic has resulted in a poem'.

The drawing remained in Read's family after his death in 1968.

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Cohere has two levels of users that have different feature service packs (have a look at Cohere’s feature guide for a full list of available features) that meet the needs of any user. Features can typically be activated and deactivated in real time using your personal web portal.

These variables in pricing could end up being costly for your small or large business. These are among quite a few different things that affect the end pricing when purchasing VoIP services.

Carnival Within. An Exhibition Made in America

The initial impetus for this exhibition was the question if visual art as a medium of critical analysis can reflect the American situation, in larger historical terms, or in a more narrow sense, as a response to the last decade or in respect to imminent changes. While the exhibition is hardly about the enormous political and cultural transformation that has taken place in America during the past year, culminating in Barack Obama’s election for the next presidency, it is greatly inspired by that decisive shift.

Carnival Within will take as its theme the belief in transformation—the very motto that helped Obama win the election: “Change. The change we need. Change we can believe in.” At pivotal moments throughout its complex history, and against many odds, America has shown its capability to evolve and transform itself, never so much as right now, when what often seemed unlikely, even outrageously so, has come to pass: the election of the country’s first African-American president, with his promise of sweeping ideational, ethical, and generational change. At the heart of the American aptitude for regeneration and renewal is an against-the-odds belief that a seemingly intractable norm can be waylaid and suspended, that grievous errors can be rectified, and that wondrous new potentials are possible.

In a culture whose underpinning themes, values, and ideas can still be traced to the religious utopianism of the radical Puritans who fled Europe to settle in what is now Massachusetts in 1620, it is worth recalling that an abiding interest in transformation has also often taken raucous carnivalesque forms. The first great showman in America, P. T. Barnum, was in fact a contemporary of the first great theorist of radical art-making in the country, the spiritually inclined poet/philosopher Ralph Waldo Emerson (who was an extreme yet direct heir of Puritan thought and theology). Emerson had a profound impact, affecting writers in his immediate circle like Henry David Thoreau (author of Walden) and poet Walt Whitman, as well as the Hudson River School romantic painters and various painters of the American West, but his influence continued many years later and is still apparent now. Barnum’s influence has been equally durable and profound, and can be discerned in 19th-century road shows and freak shows, George Washington Gale Ferris, Jr. (who invented a famous wheel), Coney Island, Hollywood and the big screen, Wild West City in New Jersey, Holy Land Experience in Florida, Disney extravaganzas, Las Vegas at night rising out of the desert, and countless small-town amusement parks. Given this Barnumesque influence in American culture, it may also be possible to speak of an advanced carnival art operating now, in different media and manners. That is exactly what Carnival Within focuses on: an exhibition of American carnivalesque art at a time of profound transformation and catharsis. Excess, exaggeration, hyperbole, exuberance, and parody are intrinsic to this carnival art, which also scrambles distinctions between high and low, sacred and profane, thoughtfulness and ridiculousness.

The exhibition will bring together recent works of art made in America which allude to carnivalesque realities: sculptures, installations, paintings, photographs and videos which access, but also seriously transform, carnivalesque showmanship, excess, and spectacle. Within that context the art works touch upon issues of utopianism, faith, racial, gender, and environmental concerns, consumerism, and violence, among many others. Throughout the exhibition, the ordinary and mundane are transformed into something spectacular and promising, and things of wonder emerge from contexts which might otherwise seem familiar and banal. The exhibition will include the following artists: Janine Antoni, Joe Amrhein, Tracey Baran, Sanford Biggers, Laura Bruce, Chamecki-Lerner (Rosane Chamecki, Phil Harder, Andrea Lerner), Anne Chu, Spencer Finch, David Herbert, Joan Jonas, Nina Katchadourian, Karyn Olivier, Joyce Pensato, William Pope.L, Nadine Robinson, and Lawrence Weiner. Moreover, while the works will be broadly diverse, spanning different media and strategies, they will cohere as riveting individual approaches to centrally carnivalesque impulses.

When it comes to these carnivalesque impulses it is also worth recalling the Russian critic Mikhail Bakhtin, and especially his ideas on the carnival and carnivalization. In Bakhtin’s terms, the “carnivalized moment” or the “carnivalized situation” are those moments when the normal rules, values, hierarchies, and modes of apprehension are temporarily suspended in favor of a new freedom, which can be simultaneously ungainly and exhilarating, bewildering and liberating. These carnivalized moments do not seek to transcend normal life; they do not try to substitute a keen new consciousness for an enervated one. Instead, both mundane and carnivalized life exist together, and people move between the two, entering the carnivalized situation in order to be tested and transformed, and then returning to normal life—perhaps shaken, perhaps deepened—with some wisdom gained. An eccentric carnival impulse will be apparent in every work on display in this exhibition—involving free-spirited play and buffoonery, which, in Bakhtin’s terms, “combines the sacred with the profane, the lofty with the low, the great with the insignificant, the wise with the stupid.”

The exhibition is supported by the Hauptstadtkulturfonds

www.discover-us.org/discover_en/ausstellung.php

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-[Nalogg Weapons Design]

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1) Name: Nalogg Heavy Maser

Order Code: NHM001

Recommended mount type: L sized Mech Single Hand

Notes: Like most of our vacuum arms, the heavy maser is built specifically for space battles. Its range is extremely long, and it features an intelligent targeting scope.

Price: $20,000.00

2) Name: Nalogg Heavy Laser

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Notes: A bit of something old, and a bit of something new: old laser technology, with new power sources and heat-sink materials. Whereas this weapon would be highly inefficient in atmospheric conditions, it shines in the vacuum. A "clip" of pre-charged power cells give this weapon astounding longevity.

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Notes: SVG stands for Specialized Vacuum Gauss. We have reduced the kickback of this weapon to that of a feather touch, you'll swear that the round didn't just exit at 700 meters/sec. This is achieved by a combination of cushioned gauss accelerators and computer-controlled weight shifting of the gun itself. But be warned, the barrel of the gun is fragile in heavier gravitational forces, and must be mounted before entering such fields.

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Notes: Now we're getting serious. Don't ask how we did it, but the researchers at Nalogg weapons design have come up with an amazing breakthrough. Then we asked what the technology could do for our weapons design. Without giving away too much of the technology, we created emitters for two types of beams, specially phased and charged. By themselves, either beam couldn't hurt a fly. However when the beams were crossed, a small area at their nexus created a zone in which solid matter no longer shares electrons. In layman’s terms, it disrupts and de-coheres molecules. The energy cost of creating such an effect is high, but the weapon makes use of the molecular disruption, feeding power back into the weapon to create a small surplus of power. In effect there is more of a power drain in starting the beams than after a few seconds of use. The angle of incidence between the two beams is slightly adjusted electronically to "move" the focal point along a path set by the pilot. (Often pre-set "stabs" or "slices")

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Notes: The two protrusions that resemble beetle horns are actually devices that work like an inversion of the Gemini beams. Rather than causing solid matter to "de-cohere", the horns create a small area near the muzzle where matter which usually disperses even in vacuum (such as super-hot ionized gasses) stay together in a coherent "glob". We mix in some ferrous particles so the "glob" can be magnetically accelerated into the target, and voilla: a weapon that can fire bolts of plasma! Note: this weapon is recommended for close to medium range, as the coherency of the shot is reduced after ejection.

Price: $25,000.00

6) Name: Nalogg Shuriken

Order Code: SHU001

Recommended mount type: L sized mech Dual Hands

Notes: This weapon uses ammo consisting of incredibly thin, incredibly resilient nano-structured disks. The weapon charges and spins the disks magnetically and launches them. Up to twenty disks can be charged and spun, then fired in rapid succession.

Price: $20,000.00

Carnival Within. An Exhibition Made in America

The initial impetus for this exhibition was the question if visual art as a medium of critical analysis can reflect the American situation, in larger historical terms, or in a more narrow sense, as a response to the last decade or in respect to imminent changes. While the exhibition is hardly about the enormous political and cultural transformation that has taken place in America during the past year, culminating in Barack Obama’s election for the next presidency, it is greatly inspired by that decisive shift.

Carnival Within will take as its theme the belief in transformation—the very motto that helped Obama win the election: “Change. The change we need. Change we can believe in.” At pivotal moments throughout its complex history, and against many odds, America has shown its capability to evolve and transform itself, never so much as right now, when what often seemed unlikely, even outrageously so, has come to pass: the election of the country’s first African-American president, with his promise of sweeping ideational, ethical, and generational change. At the heart of the American aptitude for regeneration and renewal is an against-the-odds belief that a seemingly intractable norm can be waylaid and suspended, that grievous errors can be rectified, and that wondrous new potentials are possible.

In a culture whose underpinning themes, values, and ideas can still be traced to the religious utopianism of the radical Puritans who fled Europe to settle in what is now Massachusetts in 1620, it is worth recalling that an abiding interest in transformation has also often taken raucous carnivalesque forms. The first great showman in America, P. T. Barnum, was in fact a contemporary of the first great theorist of radical art-making in the country, the spiritually inclined poet/philosopher Ralph Waldo Emerson (who was an extreme yet direct heir of Puritan thought and theology). Emerson had a profound impact, affecting writers in his immediate circle like Henry David Thoreau (author of Walden) and poet Walt Whitman, as well as the Hudson River School romantic painters and various painters of the American West, but his influence continued many years later and is still apparent now. Barnum’s influence has been equally durable and profound, and can be discerned in 19th-century road shows and freak shows, George Washington Gale Ferris, Jr. (who invented a famous wheel), Coney Island, Hollywood and the big screen, Wild West City in New Jersey, Holy Land Experience in Florida, Disney extravaganzas, Las Vegas at night rising out of the desert, and countless small-town amusement parks. Given this Barnumesque influence in American culture, it may also be possible to speak of an advanced carnival art operating now, in different media and manners. That is exactly what Carnival Within focuses on: an exhibition of American carnivalesque art at a time of profound transformation and catharsis. Excess, exaggeration, hyperbole, exuberance, and parody are intrinsic to this carnival art, which also scrambles distinctions between high and low, sacred and profane, thoughtfulness and ridiculousness.

The exhibition will bring together recent works of art made in America which allude to carnivalesque realities: sculptures, installations, paintings, photographs and videos which access, but also seriously transform, carnivalesque showmanship, excess, and spectacle. Within that context the art works touch upon issues of utopianism, faith, racial, gender, and environmental concerns, consumerism, and violence, among many others. Throughout the exhibition, the ordinary and mundane are transformed into something spectacular and promising, and things of wonder emerge from contexts which might otherwise seem familiar and banal. The exhibition will include the following artists: Janine Antoni, Joe Amrhein, Tracey Baran, Sanford Biggers, Laura Bruce, Chamecki-Lerner (Rosane Chamecki, Phil Harder, Andrea Lerner), Anne Chu, Spencer Finch, David Herbert, Joan Jonas, Nina Katchadourian, Karyn Olivier, Joyce Pensato, William Pope.L, Nadine Robinson, and Lawrence Weiner. Moreover, while the works will be broadly diverse, spanning different media and strategies, they will cohere as riveting individual approaches to centrally carnivalesque impulses.

When it comes to these carnivalesque impulses it is also worth recalling the Russian critic Mikhail Bakhtin, and especially his ideas on the carnival and carnivalization. In Bakhtin’s terms, the “carnivalized moment” or the “carnivalized situation” are those moments when the normal rules, values, hierarchies, and modes of apprehension are temporarily suspended in favor of a new freedom, which can be simultaneously ungainly and exhilarating, bewildering and liberating. These carnivalized moments do not seek to transcend normal life; they do not try to substitute a keen new consciousness for an enervated one. Instead, both mundane and carnivalized life exist together, and people move between the two, entering the carnivalized situation in order to be tested and transformed, and then returning to normal life—perhaps shaken, perhaps deepened—with some wisdom gained. An eccentric carnival impulse will be apparent in every work on display in this exhibition—involving free-spirited play and buffoonery, which, in Bakhtin’s terms, “combines the sacred with the profane, the lofty with the low, the great with the insignificant, the wise with the stupid.”

The exhibition is supported by the Hauptstadtkulturfonds

www.discover-us.org/discover_en/ausstellung.php

「晃│影－史帝夫 ‧ 麥柯里個展」

’S WANDERFUL│Making Pictures－Steve McCurry Solo Exhibition

2018/02/24-2018/05/06

臺北當代藝術館 MOCA Taipei

策展人：陳昌仁／Leo Chanjen Chen

攝影在數位年代的普及已經凌駕電影之上，儼然成為最重要的藝術了。如何學習影像思考、判斷與操作愈形重要。華語世界首度舉辦麥柯里個人攝影展因而有著雙重意義：一方面讓臺灣與全球攝影藝術語境對話接軌；另一方面重新定位麥柯里攝影與當代藝術的關係。展覽名稱「晃影 ─’S Wanderful | Making Pictures」以麥氏漫遊世界拍照為意象，強調他喜歡東晃西晃，即興捕捉人性的深層意義。英文標題結合好奇漫遊(wander)與驚異奇觀(wonder) – 亦即無奇不遊(no wander no wonder)，並隱含百老匯蓋希文的(Gershwin)名曲「’S Wonderful」來指涉攝影中的音樂性。

麥柯里攝影感動人心，成名作《阿富汗少女》召喚人們加入義工去幫助難民，影響深遠。好照片除了過目難忘，賦與生命軌跡以形象之外，並形塑記憶結構，經典作品甚至能以影像表達歷史縱深與當代關連。麥氏跨越許多文化與世代，從攝影記者到以影像說故事，從膠片到數位，不變的是他對人性本質行為之捕捉與呈現。他說肖相：「要有情感，要說出其人特質，要不同而難忘，更要表現出人性的共相」。不啻是美學判斷(sensus communis)哲學家康德的代言攝影師。麥氏人物攝影銳利地凝視著你，彷彿來自亙古宇宙角落的眼神(sub specie aeternitatis)， 並充盈著巴特(Barthes)強調的刺點(Punctum)，亦即感受每張照片無法控制的關鍵。弗立得(Fried)攝影新論融合影像的劇場性(Theatricality)與自足性(Absorption)，將無意識的情感刺點與有意識的表演安排結合並置，而麥氏攝影已先行多年了。

本展以影像之取像(making picture)，成像(rendering image)及in/印象(innervating impression) 三階段為軸，設計包含12件裝置藝術的展覽空間，探求、解答並提出更多攝影藝術與哲學問題。例如：攝影的本質是什麼？攝影藝術史的理論與實踐進程對當代創作的啓發為何？攝影藝術如何能提昇全民美感教育並培養創造力？期待「晃影」觀展後能顯其所以然，提高視覺思考及美感判斷力,那麼我們對影像藝術創新的展望就不僅始於漫遊。電影「迷魂記/Vertigo」中詹姆斯史都華搭訕金露華，約她一起漫無目的地晃晃，金回答：「一個人會去漫遊晃晃，兩個人一起就會去某個地方了(One wanders, two are always going somewhere) 。」 有麥柯里同行，我們會比較有方向感要往哪裡晃去晃來。

’S WANDERFUL│MAKING PICTURES ─ Steve McCurry Solo Exhibition

Curator: Leo Chanjen Chen

About the Exhibition

The ubiquity and democratization of photography in digital era has elevated its position above cinema, making it “the most important art”, which is why it is increasingly imperative to learn how to think, analyze, and make images to communicate. Hence the significances of the first Steve McCurry solo photography exhibition in Chinese-speaking worlds are two-fold: on the one hand, the McCurry at MOCA, Taipei exhibition connects and engages Taiwan to the discourses of global photography art, on the other hand, the exhibition intervenes, reconsiders and repositions the relationship between McCurry’s photography and contemporary art. Title of the exhibition, ’S Wanderful | Making Pictures, refers to McCurry’s photo journeys around the world, highlighting his fondness for wandering and the profound meanings behind his serendipitous capturing of humanity. The title coinage combines “wander” and “wonder”, suggesting a notion of “no wander no wonder”, while also alludes to the musicality embodied in photography by referencing classic Broadway song, “’S Wonderful”, composed by George Gershwin.

McCurry’s photography touches hearts and moves people, his iconic Afghan Girl has inspired people to volunteer and join refugee relief forces, and its impacts are far-reaching and continue to resonate. Memorable photographs impress upon you with indelible imprints of beauty, visualize human experiences by giving life forms, and structuring memories; some iconic works even convey layers of historical depths and contemporary connectedness. McCurry traverses space and time as he transcends different cultures and generations, from a photojournalist to an artist telling stories through images, from the medium of film to the digital. What remains unchanged is how he captures and makes visible human nature and behaviors in poesis. McCurry believes that a portrait should have emotions, tell of the person’s notable features, it must be different, unique and unforgettable, and yet, above all, it must also showcase the universality of humanity. In that regard, McCurry’s photographic aesthetics not only embody philosopher Kant’s aesthetic judgment - sensus communis, the individual sensibility that communicates with all mankind, but also makes him a Kantian photographer par excellence. McCurry’s portraits gaze sharply at you, with looks that seem to come from corners of the universe, transport you through perspectives of eternity - sub specie aeternitatis. Full of Barthesian punctum, the points that trigger involuntary reaction in experiencing each photograph.

McCurry’s photography has been exemplifying for decades what art critic Michael Fried tried to theorize, to integrate the absorption and theatricality in photography that juxtapose and combine unconscious emotional pathos with conscious performative ethos.

This exhibition consists of three cohering themes about photography: “Making picture”, “Rendering image”, and “Innervating impression”. Twelve installation artworks extend the exhibition space to explore, answer, and challenge issues of photography, art and philosophy, including: What is the essence and sine qua non of photography? What inspires contemporary art that transpires theories and practices in the art history of photography? How would the art of photography elevate aesthetic education and foster creativity? It is our aspiration that McCurry’s pictures in ’S Wanderful | Making Pictures, would make some of the answers and more of the questions apparent while nudging in visual thinking and aesthetic judgment as habit. Through the process of making photography art, our prospectus for visual art will expand beyond the initiating wander. In the movie Vertigo, James Stewart asks Kim Novak to wander together. Novak replies: “One wanders, two are always going somewhere.” Accompanied by McCurry, we would have a better sense of direction for where to wander.

Editorial Reviews

Amazon.com's Best of 2001

"A city is a plane of tarmac with some red hot spots of intensity," Rem Koolhaas, the pathbreaking architect and author of such semiotically seminal books as Delirious New York and the more recent S, M, L, XL, remarked in 1969. More than 30 years later, there are more of those hot spots around the world than ever, and they're getting hotter every day. Globalization, standardization, and the high-speed innovations of our current information age are transforming urban centers from London to Los Angeles to Lagos, and more places are becoming more urban, and at a faster pace, than ever before.

Mutations is an eye-popping atlas-cum-analysis of this new urbanization, and much of it is composed of essays and meditations (from a variety of contributors) on the 21st-century international City (often un-)Beautiful. Most of them are written in language that will be familiar to readers of Koolhaas's past books: in other words, dense, abstract, and chock-full of references to Foucault, Deleuze, and Guattari. If you like that sort of deconstructivist yammering, great; if not, the major small-type essays are best sampled (or, better, skimmed) one at a time, interspersed with the many other more accessible elements of the book that truly do add up to a vivid and fascinating mosaic of postmodern urbanism.

From Koolhaas and Harvard Design School's Project on the City come two engrossing and wholly straightforward explorations: one of the Pearl River Delta, which China has designated as a zone of unrestricted capitalist experimentation, and whose five major urban centers have consequently exploded overnight in all sorts of instructive and often frightening ways; and another of the chaotic, congested and Blade Runneresque megalopolis of Lagos, Nigeria, whose patterns of growth, housing, and commerce defy all conventional wisdom on how cities should develop. There's also a bounty of excellent (and often astonishing) statistics on all aspects of urban growth; a "snapshots" section of phenomena from cities all over the globe; a completely spot-on (and unintentionally funny) analysis of the evolution of shopping as the last truly unifying urban public activity (and the subject of Koolhaas's next full-scale book); and a trenchant look at Kosovo as ground zero in the first major war of the Internet age. (It should be noted that there's a separate section on the U.S., which with all its soulless, tacky consumerist excess gets the drubbing it usually can expect from the European intelligentsia, although the irony here is that more and more of newly urban Europe is starting to look like newly urban America.)

The exhibit-quality photography throughout is great, and, as you could expect from this unofficial successor to S, M, L, XL, the design is satisfyingly outré, right down to its post-Warholian plastic yellow easy-wipe cover with glued-on mousepad. But for all of Mutations's rich trove of facts and insights, and the impression that its high-tech design gives of an ironic embrace of the new urbanization, its deeper tone is one of disappointment and loss. The spirit of Jane Jacobs resides here, with all its yearning for the quirky, quaint beauty of human-scaled townhouses and shops, sidewalks and byways, and for the precorporatized glamour of grand old towns like New York, London, Paris, and Shanghai, before such metallic nouveau hubs as Atlanta and Kuala Lumpur were ever on the world-commerce map. Mutations was written and compiled largely by architects, after all, who hate ugliness as much as the next guy, whatever they may claim otherwise; its precisely for that reason that this densely absorbing new compendium betrays its wistfulness as often as it promotes its own air of cool, ethnographic bemusement. --Timothy Murphy

From Library Journal

This time working with a host of collaborators, architect Koolhaas, whose S, M, L, XL was that rare thing, a crossover architecture best seller, has returned with another bricklike tome. Mutations was developed in connection with Harvard Design School's Project on the City, an ongoing graduate-level analysis of "issues related to the urban condition." Year-long investigations have tackled such subjects as the impact of shopping on the city; Lagos, a massive, sprawling West African city that is highly functional despite a lack of infrastructure; and systematizing the structures and relationships in the prototypical Roman city. Results from these projects are gathered here along with a couple photo essays and short profiles of specific places from Pristina to Benelux. Interspersed throughout are a multitude of statistics about the current state and future of the city, presented in a captivating, highly graphical format. The whole does not cohere, and the reader will quickly turn to whatever is of greatest personal interest. But at the end of the day, the various views do coalesce into a portrait of powerful forces of our making but beyond our control: the modern city. As a result, this book is highly recommended for general cultural studies collections as well as all architecture/urban planning collections. Eric Bryant, "Library Journal"

Copyright 2001 Reed Business Information, Inc.

Built circa 1902, this Second Renaissance Revival-style house stands on Summit Avenue in Saint Paul’s Cathedral Hill neighborhood. The house features a hipped roof with broad overhanging eaves with decorative exposed rafter ends, corbeling below the third floor windows, limestone banding and trim, a side porte cohere, and a porch with a decorative cornice, columns, and brackets. The house is a contributing structure in the Historic Hill District, listed on the National Register of Historic Places in 1976.

From Wikipedia, the free encyclopedia

The Eucharist (play /ˈjuːkərɪst/), also called Holy Communion, the Sacrament of the Altar, the Blessed Sacrament, the Lord's Supper, and other names, is a Christian sacrament or ordinance. It is celebrated in accordance with Jesus' instruction at the Last Supper as recorded in several books of the New Testament, that his followers do in remembrance of Him as when he gave his disciples bread, saying, "This is my body", and gave them the cup, saying, "This is my blood".[2][3]

There are different interpretations of the significance of the Eucharist, but according to the Encyclopedia Britannica "there is more of a consensus among Christians about the meaning of the Eucharist than would appear from the confessional debates over the sacramental presence, the effects of the Eucharist, and the proper auspices under which it may be celebrated."[2]

The phrase "the Eucharist" may refer not only to the rite but also to the consecrated bread (leavened or unleavened) and wine or, unfermented grape juice (in some Protestant denominations), used in the rite,[4] and, in this sense, communicants may speak of "receiving the Eucharist", as well as "celebrating the Eucharist".

Catholic

The Catholic Church teaches that when the bread and wine are consecrated in the Eucharist, they cease to be bread and wine, and become, respectively, the body and blood of Christ, each of which is accompanied by the other and by Christ's soul and divinity. The empirical appearance and physical properties are not changed, but for Catholics, the reality is. The consecration of the bread (known as the host) and wine represents the separation of Jesus' body from his blood at Calvary. However, since he has risen, the Church teaches that his body and blood can no longer be truly separated. Where one is, the other must be. Therefore, although the priest (or minister) says, "The body of Christ", when administering the host, and, "The blood of Christ", when presenting the chalice, the communicant who receives either one receives Christ, whole and entire.

The Catholic Church sees as the main basis for this belief the words of Jesus himself at his Last Supper: the Synoptic Gospels (Matthew 26:26-28; Mark 14:22-24; Luke 22:19-20) and Saint Paul's 1 Corinthians 11:23-25 recount that in that context Jesus said of what to all appearances were bread and wine: "This is my body … this is my blood." The Roman Catholic understanding of these words, from the Patristic authors onward, has emphasized their roots in the covenantal history of the Old Testament. The interpretation of Christ's words against this Old Testament background coheres with and supports belief in the Real Presence.[28] In 1551 the Council of Trent definitively declared: "Because Christ our Redeemer said that it was truly his body that he was offering under the species of bread, it has always been the conviction of the Church of God, and this holy Council now declares again, that by the consecration of the bread and wine there takes place a change of the whole substance of the bread into the substance of the body of Christ our Lord and of the whole substance of the wine into the substance of his blood. This change the holy Catholic Church has fittingly and properly called transubstantiation." [29][30] The Fourth Council of the Lateran in 1215 had spoken of "Jesus Christ, whose body and blood are truly contained in the sacrament of the altar under the forms of bread and wine; the bread being changed (transsubstantiatis) by divine power into the body, and the wine into the blood."[31] The attempt by some twentieth-century Catholic theologians to present the Eucharistic change as an alteration of significance (transignification rather than transubstantiation) was rejected by Pope Paul VI in his 1965 encyclical letter Mysterium fidei In his 1968 Credo of the People of God, he reiterated that any theological explanation of the doctrine must hold to the twofold claim that, after the consecration, 1) Christ's body and blood are really present; and 2) bread and wine are really absent; and this presence and absence is real and not merely something in the mind of the believer.

On entering a church, Roman Catholics genuflect to the consecrated host in the tabernacle that holds the consecrated host, in order to acknowledge respectfully the presence of Jesus in the Blessed Sacrament, a presence to which a red votive candle or sanctuary lamp kept burning close to such a tabernacle draws attention.

The Equivalence of Self and Universe. Folio 6 from the Siddha Siddahanta Paddhati. âThe Muslim Artistâ (Bulaki), 1824 (Samvat 1881) Opaque watercolour and gold on paper; 122 x 46 cm. Mehrangarh Museum Trust, RJS 2378. Numbered 6 on recto. Sri siddha siddhanta paddhati of 1824 Entered in the dholiya storeroom. âWithin this body exist Mount Meru, the seven continents, alkes, oceans, mountains, plains, and the protectors of these plans. All beings embodied in the three worldsâ¦exist in the body together with all their activities. He who knows all this is a yogin. There is no doubt about this.â In the penultimate year of the twelve-year course of hatha yoga, a yogin becomes a siddha, a perfected being who achieves an equivalence of self and universe. With his eyes crossed in yogic meditation, this siddha experiences the bliss of enlightenment. His bodyâs expansive and fleshy contours incorporate a vast cosmos, numerous deities, and all manner of creation. Following the text of the Siddha Siddhanta Paddhati, the artist maps the universeâs fourteen principal worlds along the yogiâs limbs in a vertical hierarchy. Four heavens (including the siddha heaven) are located along his chest and head; three middle worlds are situated at his lower torso; and seven underworlds nestle within his feet and amid the folds of his orange dhoti. Seven additional worlds are placed along his shoulders. Semi-divine snake gods and parti-colour demons nestle in the crooks of his elbows. His thighs support all the worldâs forest, and his ribs, shoulders, and head bear the worldâs great mountains. The Nath siddha appears huge in contrast to the minutely rendered interior worlds-gleaming fortress-cities presided over by deities. Even his face becomes enormous: in a dramatic (and witty) inversion of scale, the sun and moon (the ha and tha of hatha yoga) become the Nathâs cheeks, the clouds his beard, and the mountains his ear hair. Representing the yogic insight is a paradoxical task. Nath doctrine maintains that the equivalence of self with universe is beyond the comprehension of ordinary individuals. Ultimate reality can be perceived only through the insight gained by the physical and mental transformations wrought by yogic practice. Indeed, the paintingâs multiple representational systems deny the beholder complete and simultaneous vision. White palace cities, with perspectival walls that create the paintingâs only areas of tangible depth, offer a transcendent vision of the worlds. But these birdâs-eye views, once grasped, are negated by the paintingâs emphatic planarity. The surfaceâs gleam, which was created by rubbing the verso of the painting with a stone to fuse the pigments, emphasizes the flatness of the paper support. Flatly painted deities, humans, and demons, rendered in crystalline detail, seamlessly cohere with the burnished surface. In turn, the yogiâs pearls rendered in high relief call into question the materiality of the deities tucked between its double strand. The image oscillates between surface and depth, between materiality and illusion. By allowing only fleeting apprehension, the painting situates the viewer as a an imperfect witness to the omniscience of yogic insight, but invokes the perfected yoginâs profound comprehension of the simultaneous coexistence of the Absolute and its myriad of emanations.

Carnival Within. An Exhibition Made in America

The initial impetus for this exhibition was the question if visual art as a medium of critical analysis can reflect the American situation, in larger historical terms, or in a more narrow sense, as a response to the last decade or in respect to imminent changes. While the exhibition is hardly about the enormous political and cultural transformation that has taken place in America during the past year, culminating in Barack Obama’s election for the next presidency, it is greatly inspired by that decisive shift.

Carnival Within will take as its theme the belief in transformation—the very motto that helped Obama win the election: “Change. The change we need. Change we can believe in.” At pivotal moments throughout its complex history, and against many odds, America has shown its capability to evolve and transform itself, never so much as right now, when what often seemed unlikely, even outrageously so, has come to pass: the election of the country’s first African-American president, with his promise of sweeping ideational, ethical, and generational change. At the heart of the American aptitude for regeneration and renewal is an against-the-odds belief that a seemingly intractable norm can be waylaid and suspended, that grievous errors can be rectified, and that wondrous new potentials are possible.

In a culture whose underpinning themes, values, and ideas can still be traced to the religious utopianism of the radical Puritans who fled Europe to settle in what is now Massachusetts in 1620, it is worth recalling that an abiding interest in transformation has also often taken raucous carnivalesque forms. The first great showman in America, P. T. Barnum, was in fact a contemporary of the first great theorist of radical art-making in the country, the spiritually inclined poet/philosopher Ralph Waldo Emerson (who was an extreme yet direct heir of Puritan thought and theology). Emerson had a profound impact, affecting writers in his immediate circle like Henry David Thoreau (author of Walden) and poet Walt Whitman, as well as the Hudson River School romantic painters and various painters of the American West, but his influence continued many years later and is still apparent now. Barnum’s influence has been equally durable and profound, and can be discerned in 19th-century road shows and freak shows, George Washington Gale Ferris, Jr. (who invented a famous wheel), Coney Island, Hollywood and the big screen, Wild West City in New Jersey, Holy Land Experience in Florida, Disney extravaganzas, Las Vegas at night rising out of the desert, and countless small-town amusement parks. Given this Barnumesque influence in American culture, it may also be possible to speak of an advanced carnival art operating now, in different media and manners. That is exactly what Carnival Within focuses on: an exhibition of American carnivalesque art at a time of profound transformation and catharsis. Excess, exaggeration, hyperbole, exuberance, and parody are intrinsic to this carnival art, which also scrambles distinctions between high and low, sacred and profane, thoughtfulness and ridiculousness.

The exhibition will bring together recent works of art made in America which allude to carnivalesque realities: sculptures, installations, paintings, photographs and videos which access, but also seriously transform, carnivalesque showmanship, excess, and spectacle. Within that context the art works touch upon issues of utopianism, faith, racial, gender, and environmental concerns, consumerism, and violence, among many others. Throughout the exhibition, the ordinary and mundane are transformed into something spectacular and promising, and things of wonder emerge from contexts which might otherwise seem familiar and banal. The exhibition will include the following artists: Janine Antoni, Joe Amrhein, Tracey Baran, Sanford Biggers, Laura Bruce, Chamecki-Lerner (Rosane Chamecki, Phil Harder, Andrea Lerner), Anne Chu, Spencer Finch, David Herbert, Joan Jonas, Nina Katchadourian, Karyn Olivier, Joyce Pensato, William Pope.L, Nadine Robinson, and Lawrence Weiner. Moreover, while the works will be broadly diverse, spanning different media and strategies, they will cohere as riveting individual approaches to centrally carnivalesque impulses.

When it comes to these carnivalesque impulses it is also worth recalling the Russian critic Mikhail Bakhtin, and especially his ideas on the carnival and carnivalization. In Bakhtin’s terms, the “carnivalized moment” or the “carnivalized situation” are those moments when the normal rules, values, hierarchies, and modes of apprehension are temporarily suspended in favor of a new freedom, which can be simultaneously ungainly and exhilarating, bewildering and liberating. These carnivalized moments do not seek to transcend normal life; they do not try to substitute a keen new consciousness for an enervated one. Instead, both mundane and carnivalized life exist together, and people move between the two, entering the carnivalized situation in order to be tested and transformed, and then returning to normal life—perhaps shaken, perhaps deepened—with some wisdom gained. An eccentric carnival impulse will be apparent in every work on display in this exhibition—involving free-spirited play and buffoonery, which, in Bakhtin’s terms, “combines the sacred with the profane, the lofty with the low, the great with the insignificant, the wise with the stupid.”

The exhibition is supported by the Hauptstadtkulturfonds

www.discover-us.org/discover_en/ausstellung.php

Carnival Within. An Exhibition Made in America

The initial impetus for this exhibition was the question if visual art as a medium of critical analysis can reflect the American situation, in larger historical terms, or in a more narrow sense, as a response to the last decade or in respect to imminent changes. While the exhibition is hardly about the enormous political and cultural transformation that has taken place in America during the past year, culminating in Barack Obama’s election for the next presidency, it is greatly inspired by that decisive shift.

Carnival Within will take as its theme the belief in transformation—the very motto that helped Obama win the election: “Change. The change we need. Change we can believe in.” At pivotal moments throughout its complex history, and against many odds, America has shown its capability to evolve and transform itself, never so much as right now, when what often seemed unlikely, even outrageously so, has come to pass: the election of the country’s first African-American president, with his promise of sweeping ideational, ethical, and generational change. At the heart of the American aptitude for regeneration and renewal is an against-the-odds belief that a seemingly intractable norm can be waylaid and suspended, that grievous errors can be rectified, and that wondrous new potentials are possible.

In a culture whose underpinning themes, values, and ideas can still be traced to the religious utopianism of the radical Puritans who fled Europe to settle in what is now Massachusetts in 1620, it is worth recalling that an abiding interest in transformation has also often taken raucous carnivalesque forms. The first great showman in America, P. T. Barnum, was in fact a contemporary of the first great theorist of radical art-making in the country, the spiritually inclined poet/philosopher Ralph Waldo Emerson (who was an extreme yet direct heir of Puritan thought and theology). Emerson had a profound impact, affecting writers in his immediate circle like Henry David Thoreau (author of Walden) and poet Walt Whitman, as well as the Hudson River School romantic painters and various painters of the American West, but his influence continued many years later and is still apparent now. Barnum’s influence has been equally durable and profound, and can be discerned in 19th-century road shows and freak shows, George Washington Gale Ferris, Jr. (who invented a famous wheel), Coney Island, Hollywood and the big screen, Wild West City in New Jersey, Holy Land Experience in Florida, Disney extravaganzas, Las Vegas at night rising out of the desert, and countless small-town amusement parks. Given this Barnumesque influence in American culture, it may also be possible to speak of an advanced carnival art operating now, in different media and manners. That is exactly what Carnival Within focuses on: an exhibition of American carnivalesque art at a time of profound transformation and catharsis. Excess, exaggeration, hyperbole, exuberance, and parody are intrinsic to this carnival art, which also scrambles distinctions between high and low, sacred and profane, thoughtfulness and ridiculousness.

The exhibition will bring together recent works of art made in America which allude to carnivalesque realities: sculptures, installations, paintings, photographs and videos which access, but also seriously transform, carnivalesque showmanship, excess, and spectacle. Within that context the art works touch upon issues of utopianism, faith, racial, gender, and environmental concerns, consumerism, and violence, among many others. Throughout the exhibition, the ordinary and mundane are transformed into something spectacular and promising, and things of wonder emerge from contexts which might otherwise seem familiar and banal. The exhibition will include the following artists: Janine Antoni, Joe Amrhein, Tracey Baran, Sanford Biggers, Laura Bruce, Chamecki-Lerner (Rosane Chamecki, Phil Harder, Andrea Lerner), Anne Chu, Spencer Finch, David Herbert, Joan Jonas, Nina Katchadourian, Karyn Olivier, Joyce Pensato, William Pope.L, Nadine Robinson, and Lawrence Weiner. Moreover, while the works will be broadly diverse, spanning different media and strategies, they will cohere as riveting individual approaches to centrally carnivalesque impulses.

When it comes to these carnivalesque impulses it is also worth recalling the Russian critic Mikhail Bakhtin, and especially his ideas on the carnival and carnivalization. In Bakhtin’s terms, the “carnivalized moment” or the “carnivalized situation” are those moments when the normal rules, values, hierarchies, and modes of apprehension are temporarily suspended in favor of a new freedom, which can be simultaneously ungainly and exhilarating, bewildering and liberating. These carnivalized moments do not seek to transcend normal life; they do not try to substitute a keen new consciousness for an enervated one. Instead, both mundane and carnivalized life exist together, and people move between the two, entering the carnivalized situation in order to be tested and transformed, and then returning to normal life—perhaps shaken, perhaps deepened—with some wisdom gained. An eccentric carnival impulse will be apparent in every work on display in this exhibition—involving free-spirited play and buffoonery, which, in Bakhtin’s terms, “combines the sacred with the profane, the lofty with the low, the great with the insignificant, the wise with the stupid.”

The exhibition is supported by the Hauptstadtkulturfonds

www.discover-us.org/discover_en/ausstellung.php

This photo was taken looking northward along Balnellen Road and the east side of the remains of Kindrochit Castle.

Not only did the waters of the Clunie, hurrying through its gorge to the west, enhance the castle's defences, they also provided an excellent opportunity for a mill. A mill lade was cut from a point some 500ft upstream of the castle, from where it passed around the east side of the castle, through the area of land that now lies between Balnellen Road and the A93 (away to the right of this shot). The mill stood a little to the north of the present bridge over the river (just beyond the distant cottage with the 2 dormer windows). The mill lade of course, also helped enhance the eastern defences of the castle.

There is evidence that the original bridge across the Water of Clunie, was a little to the south of the present bridge, and appears to have entered directly into the castle precinct.

Signs beside the castle ruins state that there are two quite different periods of construction evident at Kindrochit - a later castle built within an earlier one if you like. The source quoted for much of the sign-writer's information, is a report on his 1925 excavations, by Dr W. Douglas Simpson. While archaeological opinions may have changed in the intervening years, it is notable that this report (which I have) does not agree with what the sign-writers wrote, despite being quoted by them! Two sections of Douglas Simpson's report read as follows:

"The masonry of the castle is exceedingly stout. A heartening of stones of all sizes, grouted in run lime, is cased by large undressed "heathens" or surface boulders, some of which are 2 feet or more in diameter. In some places the fallen masonry lies in great masses, in which stone and lime cohere as firmly as ever. The style of the work is typical of the fourteenth and fifteenth century castles in Aberdeenshire, marked by the very free use of mortar in filling the interstices between the large irregular stones. Small flat pinnings inserted horizontally, which are so characteristic a feature in sixteenth-century work, are here totally absent."

"The uniform thickness and construction of the walls suggest strongly that the whole of the remains now existing belong to one period and straightforward effort of building." He goes on later to say "The plan rather suggests the type of castle erected after the War of Independence, when square tower-houses with appended courtyards came into vogue. At the same time, the simplicity of the structure, the great thickness of its walls, and above all the style of masonry, indicate a date comparatively early within this period. Generally, the castle recalls the greater-strongholds of the fourteenth-century, such as Threave, Dundonald, or Torthorwald. With such conclusions the ascertained history of the castle fully agrees."

Another recipe from Cooks Illustrated.

This is a deceptively simple recipe - a basic pie dough with sliced tomatoes, layered with a cheddar cheese, mayonnaise and cornstarch filling, with a light sprinkling of chopped scallions.

The recipe got pretty self-conscious about the pie-dough, but aside from baking the pie on the very bottom rack of the oven, there was nothing particularly tricky about it.

The finicky bit of this recipe is prepping the tomatoes. Even though the recipe didn't call for it, I blanched and peeled them before slicing them. The instructions were pretty explicit about salting and drying the tomato slices as much as possible, which makes a lot of sense. If the tomatoes are too wet, the filling of the pie will never cohere (Is that a word? Is it the actual word I want here?)

Also, this dish is designed to be eaten at room temperature. We were a little dubious about that at first, but we are total believers now. This is really, REALLY good!

We'll cook this at least one more time this summer.

Yay, summer!

Link to recipe: www.cookscountry.com/pwlogin.asp?did=5603&area=recipe...

Luckily we here in Singapore don't live in the dystopian world of Clint Eastwood's "Dirty Harry," in which he must wage a one-man war against punks--sort of, but more like evil-doers since the notion of "punk" hadn't fully cohered (and here I refer you to Sharm for her views on how The Ramones, not the Sex Pistols, created punk), and an apathetic bureaucracy insistent upon mollycoddling criminals with their so called "rights" not to be "tortured" and other weaksauce stuff like that. Wait, what was I talking about? Oh yeah, with the organization this "Lucky" brand cabinet brings to your life, you'll never need to consult your inner feelings of luck when you wonder "did he fire six shots, or only five?"

The 1901 Lizard (Cornwall) wireless telegraph station, restored by the National Trust.

The equipment on the bench, left to right, is a box with terminals (use unknown), the coherer receiver detector (demodulator), Morse inker, clock showing GMT, six Leyden jars (capacitors) and above them the aerial transformer ('jigger' in Marconi-speak), morse key, and the induction coil and spark gap.

The station operated from 1901 to 1913. ~

Seattle, WA - Capitol Hill

Volunteer Park

thesunbreak.com/2010/04/22/glimpses-inside-the-water-tower-1

Photocoyote's lovely photo of the descent inside the Volunteer Park water tower puts me to mind of Rilke:

"Be, in this night of extravagances,/magics at the crossroads of your senses,/the sense they oddly all cohere.

"And when the world no longer knows/you, to the still earth say: I flow./To the rushing water speak: I'm here."

—Sonnets to Orpheus II, #29 (translated by H. Landman)

Hutton Ln, Penang.

Whilst the bulk of Penang's trade was carried out by Chinese entrepreneurs, Penang also attracted Muslim traders either from South India (known at the time as Klings; a term which is considered derogatory), local Malays or Muslim mixed-heritage Malays known as Jawi Peranakans. One such trader was Mohamed Ariff bin Tanjoodin

Like their Chinese towkay counterparts, when successful the Jawi Peranakan traders were just as keen to show off their wealth by living in attractive residences in the style favoured by their Baba Nonya counterparts. This home is adjacent to the home of another prominent Malay trader, MZ Merican, a son-in-law of Mohamed Ariff - see my photo at www.flickr.com/photos/23268776@N03/6302538096 .

The architectural style is typical of the residences found in Penang and throughout the Straits Settlements. It combines Eurpean architectural idiom (particularly Palladian elements) with Chinese and Malay styles with adaptations to the tropical climate for ventilation and protection from sun and rain; louvred French windows, high ceiling interiors, clerestorey windows, porte-cohere and the use of air-wells or internal courts. At the turn of the 20th century, the Peranakan Chinese (or Staits Chinese) community were the elite stratum of society in Penang; Educated, English-speaking and highly westernised. The facade of these residences often carried highly detailed ornamentation to convey the wealth of the occupant. The fusion of architectural styles created the local architectural style named "Straits Eclectic" which can be found in Penang, Malacca and Singapore and throughout the Malay Peninsula.

It is now a budget hotel.

Sterculia quadrifida

Family:Malvaceae

Common name:Orange Fruited Sterculia; Kuman; Kurrajong; Kurrajong, Orange Fruited; Kurrajong, Smooth-seeded; Kurrajong, Red Fruited; Orange Fruited Kurrajong; Peanut Tree; Red Fruited Kurrajong; Scarlet-fruited Kurrajong; Small-flowered Kurrajong; Smooth-seeded Kurrajong; White Crowsfoot; Native Peanut; Koralba

Perfumed flowers in racemes, green, bell-shaped . Separate male and female flowers on same plant. Hairy, inner surface may be bald, lobes short,apices cohering. Anther number variable.

Occurs in WA, NT, CYP, NEQ and southwards to north-eastern New South Wales.

Littoral and riverine rainforest

IDENTIFYING AUSTRALIAN RAINFOREST PLANTS,TREES & FUNGI - Flick Group --> DATABASE INDEX

Rencontre finale avec les 3 chorales dirigées par Muriel BURST

Organo (Organiste) : Michel CHANARD

COMPLESSO VOCALE COHERE de Monza -

Direttore Pier Giuseppe BRAMBILLA

GEMISCHETER CHOR PETERSHAUSEN de Petershausen ( Germania), Direttore Roman Z. NOVAK

Le MADRIGAL de NÎMES de Nîmes (Francia) créé et Direttore par Muriel BURST.

Chiesa San Martino Vescovo à BELLUSCO (Italie) dimanche 30 octobre 2016 -

Last week, Thayer Career Services hosted 14 undergraduate and graduate students on the 10th Annual Boston Career Trek, visiting biomed/biotech companies (Cohere Health, Ginkgo Bioworks, Clarion Healthcare, Nanopath, Broad Institute) for networking, career opportunities, and to meet Thayer alums!

Fy: Asclepiadaceae

Local name:(Telugu): Nugusughandhapala.

Distribution: Limited to Peninsular India.

Rare on hedges in hill side forest; Twining perennial herbs, leaves elliptic/ovate, softly pubescent, velvetty tomentose beneath, flowers dark pinkish-purple, 0.5 cm-1cm across in axiary fascicles. Calyx 5 partite, corolla rotate, deeply 5 fid with fleshy lobes, corona scales5, alternate with them, stamens 5, inserted at the base of the corolla tube, anthers small, cohering at the apex, ending in inflexed appendages, Ovary of 2 many ovuled carpels, styles distinct, style apex 5 lobed, flat on top. Fruit a pair of two divaricate follicular mericarps.

John Ruskin

Ruskin's views on art, wrote Kenneth Clark, "cannot be made to form a logical system, and perhaps owe to this fact a part of their value." Certain principles, however, remain consistent throughout his work and have been summarized in Clark's own words as the following:

That art is not a matter of taste, but involves the whole man. Whether in making or perceiving a work of art, we bring to bear on it feeling, intellect, morals, knowledge, memory, and every other human capacity, all focused in a flash on a single point. Aesthetic man is a concept as false and dehumanizing as economic man.

That even the most superior mind and the most powerful imagination must found itself on facts, which must be recognized for what they are. The imagination will often reshape them in a way which the prosaic mind cannot understand; but this recreation will be based on facts, not on formulas or illusions.

That these facts must be perceived by the senses, or felt; not learnt.

That the greatest artists and schools of art have believed it their duty to impart vital truths, not only about the facts of vision, but about religion and the conduct of life.

That beauty of form is revealed in organisms which have developed perfectly according to their laws of growth, and so give, in his own words, 'the appearance of felicitous fulfilment of function.'

That this fulfilment of function depends on all parts of an organism cohering and cooperating. This was what he called the 'Law of Help,' one of Ruskin's fundamental beliefs, extending from nature and art to society.

That good art is done with enjoyment. The artist must feel that, within certain reasonable limits, he is free, that he is wanted by society, and that the ideas he is asked to express are true and important.

That great art is the expression of epochs where people are united by a common faith and a common purpose, accept their laws, believe in their leaders, and take a serious view of human destiny."

Accession Number: 1957.73

Display Artist: Nishimura Shigenaga

Display Title: The Chinese general Guan Yu on horseback

Translation(s): Guan Yu

Creation Date: 1740-1750

Medium: Woodblock

Height: 11 11/16 in.

Width: 5 5/8 in.

Display Dimensions: 11 11/16 in. x 5 5/8 in. (29.69 cm x 14.29 cm)

Publisher: Nishimura Shigenaga

Credit Line: Bequest of Mrs. Cora Timken Burnett

Label Copy: "Number 165, Harmsworth catalog.Guan Yu, who died in 220, became deified as a god of righteousness in China following his martyrdom, after loyally defending his emperor to the death. His cult spread to Japan, where his legend cohered well with samurai warrior ideals. In a popular iconic image he rides his horse named Red Hare and holds his spear called the Green Dragon Crescent Blade.White-on-black prints were intended to look like ink rubbings taken from an ancient Chinese stone carving."

Collection: The San Diego Museum of Art

Built in 1924, this Mission Revival-style house stands along Epworth Avenue in Cincinnati’s Westwood neighborhood. The stucco-clad house features a red tile bonnet and hipped roof, small second story section with a large roof deck, decorative large brackets and exposed rafters at the eaves, a porch with arched openings and integrated porte cohere and pergola, decorative gateposts out at the street flanking the driveway, a matching garage in the rear, casement and double-hung windows, and a chimney with a decorative gabled roof. The house is one of the best examples of the Spanish-inspired Mission Revival style in Cincinnati.

Ruskin's views on art, wrote Kenneth Clark, "cannot be made to form a logical system, and perhaps owe to this fact a part of their value." Certain principles, however, remain consistent throughout his work and have been summarized in Clark's own words as the following:

That art is not a matter of taste, but involves the whole man. Whether in making or perceiving a work of art, we bring to bear on it feeling, intellect, morals, knowledge, memory, and every other human capacity, all focused in a flash on a single point. Aesthetic man is a concept as false and dehumanizing as economic man.

That even the most superior mind and the most powerful imagination must found itself on facts, which must be recognized for what they are. The imagination will often reshape them in a way which the prosaic mind cannot understand; but this recreation will be based on facts, not on formulas or illusions.

That these facts must be perceived by the senses, or felt; not learnt.

That the greatest artists and schools of art have believed it their duty to impart vital truths, not only about the facts of vision, but about religion and the conduct of life.

That beauty of form is revealed in organisms which have developed perfectly according to their laws of growth, and so give, in his own words, 'the appearance of felicitous fulfilment of function.'

That this fulfilment of function depends on all parts of an organism cohering and cooperating. This was what he called the 'Law of Help,' one of Ruskin's fundamental beliefs, extending from nature and art to society.

That good art is done with enjoyment. The artist must feel that, within certain reasonable limits, he is free, that he is wanted by society, and that the ideas he is asked to express are true and important.

That great art is the expression of epochs where people are united by a common faith and a common purpose, accept their laws, believe in their leaders, and take a serious view of human destiny."

Climate-KIC start-ups Cohere, ViriCiti and Crystal Shower have picked up prizes at a pitching event in San Francisco on 9 September 2014.

The event saw some of Europe’s brightest cleantech entrepreneurs pitch their businesses to a judging panel of local innovation experts at an evening hosted by the Consulate General of the Netherlands in San Francisco’s financial district.

Judges Shana Rappaport, Doug Davenport and Lafe Vittitoe – representing the VERGE Greenbiz Group, Prospect Silicon Valley and the Silicon Valley Bank respectively – awarded prizes to smart vehicle charging start-up Cohere, and to ViriCiti, which has developed an optimisation system for electric city buses.

Start-up Cystal Shower wooed the crowd on the 31st floor of One Montgomery Tower and picked up the Audience Award with a pitch about its self-recycling shower – which drastically cuts costs while delivering three times more water than a traditional shower.

The start-ups that participated in the event are touring the USA until 18 September as part of Climate-KIC’s US Start-up Tour 2014 and have all developed and commercialised technologies that help consumers, businesses and governments mitigate and adapt to the consequences of climate change.

www.climate-kic.org/news/3-climate-kic-start-ups-win-priz...

From left to right:

1. Votive altar set up in honour of Q. Voltius Natalis by a group of friends

ILAlg 2, 3613

edh.ub.uni-heidelberg.de/edh/inschrift/HD020424

Q(uinto) Voltio / Q(uinti) fil(io) Quir(ina) / Natali aed(ili) / quaestori / amici aere / conlato / merenti / posuerunt / d(ecreto) d(ecurionum)

2. Votive altar set up by Lucius Pescennius Sedatus in honour of his friend Quintus Voltius Maximus

ILAlg 2, 3615

edh.ub.uni-heidelberg.de/edh/inschrift/HD020439

Q(uinto) Voltio / Q(uinti) fil(io) Quir(ina) / Maximo / L(ucius) Pescennius / Sedatus / amico merenti / sua pec(unia) pos(uit) / d(ecreto) d(ecurionum)

3. Dedication to the Genius Populus by Q. Leptius Musteolus

ILAlg II.1, 3575

edh.ub.uni-heidelberg.de/edh/inschrift/HD020442

Genio populi / sacrum / [e]x testamento / Q(uinti) Lepti Musteoli / [---] Iulius Nampulus / M(arcus) Iulius Rogatianus / C(aius) Iulius Vitalis / [f]ratres et coheredes / et heredes Iuli / Maximi cohere/[di]s eorum super HS III mi[l(ia)] / nummum qu(a)e testamen/to fieri decrevit additis / HS num(m)is I(mille) posuerunt / idemque dedicaverunt // [L]ocus datus / Kal(endis) Mai(i)s / Mes(s)alla et Sabino / co(n)s(ulibus) / dicata isd(em) / Idibus Mai(i)s