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salade composée tomate oeuf jambon melon paté tête blinis+tranche chèvre +tomate cerise et Quiche chaude
Street art around Melbourne, Australia.
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©2008 Fantommst
15th October 2015 at Horseshoe, London EC1.
Islington Folk Club, www.islingtonfolkclub.co.uk/ifc.html.
Country: Australia. Style: Contemporary & Traditional Irish & other Folk.
Lineup: Jackie Luke (v/hammered dulcimer), Greg Wilson (harp/concertina/button accordion/v), Rita Woolhouse (cello/v).
Springtide started out as a duo in 1992,adding a cellist in recent years. They played a lot of Irish tunes, including several composed by Turlough O'Carolan (they had just appeared at the O'Carolan Harp, Cultural & Heritage Festival in Co. Meath), with others from the north of England, Cornwall, Australia and Greece, as well as plenty of their own compositions. Jackie Luke attended the club in 1980s when living in London, and was briefly part of a band with club MC Bernard Puckett.
More information: www.springtidemusic.com/, www.facebook.com/springtide100.
Le gypse est une espèce minérale composée de sulfate dihydraté de calcium de formule CaSO4·2H2O. Le mot gypse désigne ainsi à la fois une espèce chimique et une roche.
Le gypse est le minerai qui permet de fabriquer le plâtre.
Le neutre gréco-latin gypsum, emprunté au grec γύψος (gypsos), désigne la pierre à plâtre, le gypse, le plâtre, mais aussi la statue et le portrait en plâtre dès l'époque de Juvénal.
Une fausse étymologie hellénique prétend décomposer le grec gupsos en gê (la terre) et ipson (brûler). Ce serait ainsi la « (pierre, élément terrestre) qui est grillée au feu ». Mais la racine du mot est probablement sémitique car la connaissance du gypse et l'art d'en obtenir des plâtres de diverses qualités est attestée en Égypte antique. Des plâtres mélangés avec du sable fin constituent la base du mortier employé pour la construction des pyramides et des tombeaux.
L'ancien français du début du xiiie siècle connaît les termes gip, gif ou gist qui désignent autant le gypse que le plâtre5. Pour distinguer le gypse ou le plâtre durci de la poudre fine, il est parfois précisé mort et vif. Le latin médiéval a influencé la graphie gips, attestée en 1464 avant la réécriture humaniste qui a donné gypse en français6. L'anglais a gardé l'écriture savante gréco-latine gypsum. En allemand, der Gips ou le dialecte alsacien Gips entretiennent la même confusion que l'ancien français ou l'anglais entre plâtre (forme cuite réhumididiée ou non) et le minéral ou la roche initiale.
L'hémihydrate, le dihydrate, l'anhydrite sont des espèces chimiques du sulfate de calcium qui ont été dénommées par des chimistes français œuvrant à la compréhension chimique du plâtre de Paris à la fin du xviiie siècle. (Wikipedia)
circa 1988
General view of the keyboard area of the composing room during the Hastech period. Just to the left of Michael is a 4-sight previewing screen that each terminal had access to.
Michael Fletcher
Ken Fielding (I think)
John Rawlings
Terry Campbell
Eddie Coates, overseer
Malcolm Robertshaw (production manager)
Terry Waterhouse
Keith Holdsworth
all images in this collection have been donated by former Courier staff
Links: 1970s-1980s / Hx Courier pics / Collections
Lines, lines everywhere. On a side note, Syracuse is deserted. I have only gone on Saturdays and then only to the business district or downtown area, or whatever it's called. Each time I think that there is something seriously wrong because there are just no people. Anywhere. At all. It is kind of what I think an epidemic would look like...
I composed the photo this way because I wanted to street to be in the center of the photo and have the lights shine in the back. I think the most interesting this about the photo is the way how the lights add to the street. The emotion that i want to convey in this photo is loneliness because its a street at 1130 and noone is on it. I took this on a low fstop and shutter speed because i wanted as much DOF as i can get and make sure the photo is bright enough.
Saturday 15th February 2014 - Monday 17th February 2014
Calouste Gulbenkian Foundation, Lisbon, Portugal
Workshop for young composers focusing on vocal and orchestral writing oriented by the composer Magnus Lindberg.
Phase 1 (15/17 Feb 2014): Theoretical sessions during 3 days in which Magnus Lindberg involved participants with a discussion on the composition practice of our days (including singing) and giving the guidelines for new projects – the participants will present those new projects on the second phase of the workshop.
© Marcia Lessa
My oldest and our crazy dog, who by the way, is almost never composed! : )
I'm getting my submission in early because I am off to San Francisco with my hubby and another couple later in the week! : )
There is rigidity in how you move your body through various poses while practicing yoga. And through that strict way of moving the body, I chose my measurements. With the principle of rigidity, I chose to create a methodology for the figure to revolve around an axis to reinforce the idea of rotational movement around a point.
With the repetitive base design, and the rotational movement of it, I was inspired by the work of Étienne-Jules Marey who recorded several phases of movement on one photographic surface. The Fragmentation of the projection drawing, which I created by variation in line weights, was to emphasize specific moments in each sequence, through the passing of time.
The transition from the projection drawing the selection of ten lines that I used for the bases of my three dimensional sculpture was following the idea of my scaled projection drawing. The 10 lines chosen, if placed together create the complete cycle of the stretching body. Therefore it composes the original wire design from the first stage. It is also important to point out that these ten lines continue to revolve around a set axis, and in the three dimensional sculpture you can see this rotational movement around a point.
When translating my sculpture design back to a two dimensional drawing, my goal was to once again emphasize the fragmentation of specific movements due to line weight, but also point out way the drawing is drawn in relation to a single axis.
The Postcard
A postally unused postcard with a divided back.
Most rice varieties are composed of roughly 20% rice hull or husk, 11% bran layers, and 69% starchy endosperm, also referred to as the total milled rice.
Milling is a crucial step in producing rice. The basic objective of milling is to remove the husk and the bran layers, and produce an edible, white rice kernel that is free of impurities.
How Japan Took Control of Korea
Erin Blakemore has written the following for history.com in 2018, and updated it in 2023:
In 1910, Korea was annexed by the Empire of Japan after years of war, intimidation and political machinations; the country would be considered a part of Japan until 1945. In order to establish control over its new protectorate, the Empire of Japan waged an all-out war on Korean culture.
Schools and universities forbade speaking Korean, and emphasized manual labor and loyalty to the Emperor. Public places adopted Japanese, too, and an edict to make films in Japanese soon followed.
Topographical and other postcards of Korea were published with descriptions in Japanese text.
It also became a crime to teach history from non-approved texts, and authorities burned over 200,000 Korean historical documents, essentially wiping out the historical memory of Korea.
During the occupation, Japan took over Korea’s labor and land. Nearly 100,000 Japanese families settled in Korea with the land they had been given; they chopped down trees by the million and planted non-native species, transforming a familiar landscape into something many Koreans didn’t recognize.
Nearly 725,000 Korean workers were made to work in Japan and its other colonies, and as World War II loomed, Japan forced hundreds of thousands of Korean women into life as “comfort women”—sexual slaves who served in military brothels.
Korea’s people weren’t the only thing that was plundered during Japan’s colonization—its cultural symbols were considered fair game, too. One of the most powerful symbols of Korean sovereignty and independence was its royal palace, Gyeongbokgung, which was built in Seoul in 1395 by the mighty Joseon dynasty.
Soon after assuming power, the Japanese colonial government tore down over a third of the complex’s historic buildings, and the remaining structures were turned into tourist attractions for Japanese visitors.
As historian Heejung Kang notes, the imperial government also attempted to preserve treasures of Korean art history and culture—but then used them to uphold imperial Japan’s image of itself as a civilizing and modern force.
This view of Korea as backward and primitive compared to Japan made it into textbooks, museums and even Koreans’ own perceptions of themselves.
The occupation government also worked to assimilate Koreans with the help of language, religion and education. Shinto shrines originally intended for Japanese families became places of forced worship.
Historian Donald N. Clark explains:
"The colonial government made Koreans
worship the gods of imperial Japan,
including dead emperors and the spirits
of war heroes who had helped them
conquer Korea earlier in the century.”
This forced worship was viewed as an act of cultural genocide by many Koreans, but for the colonists, it was seen as evidence that Koreans and Japanese were a single, unified people.
Though some families got around the Shinto edict by simply visiting the shrines and not praying there, others grudgingly adopted the new religious practices out of fear.
By the end of its occupation of Korea, Japan had even waged war on people’s family names. At first, the colonial government made it illegal for people to adopt Japanese-style names, ostensibly to prevent confusion in family registries.
But in 1939, the government made changing names an official policy. Under the law, Korean families were “graciously allowed” to choose Japanese surnames.
At least 84 percent of all Koreans took on the names since people who lacked Japanese names were not recognized by the colonial bureaucracy, and were shut out of everything from mail delivery to ration cards. Historian Hildi Kang writes:
“The whole point was for the government
to be able to say that the people had
changed their names ‘voluntarily.’”
The Plundering of Korea by Japan
(a) Historic Korean Artifacts
Koreans accuse the Japanese of plundering hundreds of thousands of ancient Korean artifacts, mostly during their 36-year occupation of the peninsula. Most Japanese consider the issue a dead one, resolved by the 1965 Japan-Korea Treaty, which led to the return of some 1,400 items.
However the treaty was not definitive, as it neglected artifacts in Japanese private collections, as well as those originating in North Korea.
The size of the haul is astounding. Eighty percent of all Korean Buddhist paintings are believed to be in Japan. And, says Seoul art historian Kwon Cheeyun:
"35,000 Korean art objects and
30,000 rare books have been
confirmed to be there, too."
However that is only the tip of the iceberg: vastly more is believed to be hidden away in private collections.
Determining legal ownership is far more difficult than with the art looted by the Nazis. Toshiyuki Kono, a law professor at Kyushu University. states:
"It's almost impossible to trace the
provenance of centuries-old artifacts."
Besides, the Japanese annexation was internationally recognized in 1910, meaning that relocating Korean artifacts within "Japanese territory" was lawful at the time.
To Korea's annoyance, Japan holds many items of particular value. More than 1,000 bronze, gold and celadon pieces owned by the late businessman Takenosuke Ogura now make up the core of the Tokyo National Museum's Korean section.
A lot of precious Korean artifacts are now owned by private Japanese citizens or organizations, which means that the Japanese government can’t just acquire them and hand them back to Korea. So, unless the Korean government offers to actually spend millions of dollars to buy back the artifacts, it is unlikely they will ever be returned.
As well as removing cultural artifacts to Japan, the Japanese also burned countless Korean government buildings and palaces.
(b) Natural Resources
The Japanese also removed vast amounts of Korea's natural resources, including lumber, rice, coal, iron ore and many other minerals.
The land itself was also appropriated by the Japanese; by 1910 an estimated 8% of all arable land in Korea had come under Japanese control. This ratio increased steadily, and by 1932, the ratio of Japanese land ownership had grown to 53%.
Japanese landlords included both individuals and corporations. Many former Korean landowners became tenant farmers, having lost their entitlements almost overnight because they could not pay for the land reclamation and irrigation improvements forced upon them. As often occurred in Japan itself, tenants had to pay over half their crop in rent.
I can't say I've ever written a song before and I don't know if you could actually consider a song but a geocaching puzzle I was making needed me to write some music. My cache has now been hidden for just about a month and a grand total of 2 people have figured out the puzzle and found the box... I think I did quite well at confusing most of the world!
"Composing with Patterns": Music at Mid-Century
Tuesday, July 10, at 7:30 pm
5th Ave at 89th St, New York, NY
Photo: Enid Alvarez
This site-specific performance in the museum's rotunda invited guests to listen to experimental 1950s music by composers such as Earle Brown, John Cage, Giacinto Scelsi, and Karlheinz Stockhausen while viewing works by Louise Bourgeois, Alexander Calder, Jackson Pollock, Antoni Tàpies, and more in Art of Another Kind.
To watch a video about the performance with musical director Christopher McIntyre and composer R. Luke DuBois, visit http://www.guggenheim.org/patterns
Composée de bronze et d'une roche volcanique résistant aux intempéries et aux polluants environnementaux, l'œuvre comprend une grande figure féminine assise qui tient des rameaux d'olivier dans une main et une flamme dorée dans l'autre et six sièges, disposés sur un cercle de 5 mètres 40 de diamètre, venant d'Afrique de l'Ouest, d'Amérique centrale, de France, de Chine et d'Europe. L'un d'eux est aussi un siège antique symbolisant l'origine des JO. Au centre du cercle figurent les anneaux olympiques incrustés dans le sol.