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Documentation. Climate change is increasing wind strength and duration, and we are seeing more and more weather extremes.
Changes started with a major drought and extensive wildfires several years ago. More recently it's been atmospheric rivers and funnel clouds that don't touch the ground, so can't realistically be classified as tornadoes. Plus high waves, surf, and king tides. And hail, thunderstorms, and sustained high winds, up to 68 MPH by Ocean Beach.
This suffering pine tree has lost several major branches, and there seems to be more damage with each successive storm. Part of the roots even pulled up from the ground.
The city used to automatically clean up after storms and visitors the mayor encouraged to come here on weekends during the height of Covid. But the city workers soon stopped picking up the trash left behind, so the people who live in this area have to collect and dispose of it - or just ignore it. This area of the city is fast becoming a dumping ground for everything from food to appliances. Sad.
Commissioned to work with SALT Research collections, artist Refik Anadol employed machine learning algorithms to search and sort relations among 1,700,000 documents. Interactions of the multidimensional data found in the archives are, in turn, translated into an immersive media installation. Archive Dreaming, which is presented as part of The Uses of Art: Final Exhibition with the support of the Culture Programme of the European Union, is user-driven; however, when idle, the installation "dreams" of unexpected correlations among documents. The resulting high-dimensional data and interactions are translated into an architectural immersive space.
Shortly after receiving the commission, Anadol was a resident artist for Google's Artists and Machine Intelligence Program where he closely collaborated with Mike Tyka and explored cutting-edge developments in the field of machine intelligence in an environment that brings together artists and engineers. Developed during this residency, his intervention Archive Dreaming transforms the gallery space on floor -1 at SALT Galata into an all-encompassing environment that intertwines history with the contemporary, and challenges immutable concepts of the archive, while destabilizing archive-related questions with machine learning algorithms.
In this project, a temporary immersive architectural space is created as a canvas with light and data applied as materials. This radical effort to deconstruct the framework of an illusory space will transgress the normal boundaries of the viewing experience of a library and the conventional flat cinema projection screen, into a three dimensional kinetic and architectonic space of an archive visualized with machine learning algorithms. By training a neural network with images of 1,700,000 documents at SALT Research the main idea is to create an immersive installation with architectural intelligence to reframe memory, history and culture in museum perception for 21st century through the lens of machine intelligence.
SALT is grateful to Google's Artists and Machine Intelligence program, and Doğuş Technology, ŠKODA, Volkswagen Doğuş Finansman for supporting Archive Dreaming.
Location : SALT Gatala, Istanbul, Turkey
Exhibition Dates : April 20 - June 11
6 Meters Wide Circular Architectural Installation
4 Channel Video, 8 Channel Audio
Custom Software, Media Server, Table for UI Interaction
For more information:
refikanadol.com/works/archive-dreaming/
William Alfred Cocks of Ryton [1892-1971] Collection
Ryton Congregational Church Sunday School outing to an unidentified location [possibly West Wylam, Northumberland] in the countryside. nd [1904]
William A Cocks of 18, St Mary's Terrace, Ryton, was a well known local watch and clock maker and a keen amateur archaeologist and photographer. His father, John Cocks was a Newcastle Bank official who wrote for the Hexham Courant as "Old Cross" for many years, and was closely involved with Ryton Congregational Church. William Cocks was also probably a member of the Church and recorded its activities.
Ref: DX943/2/25
To view the set: www.flickr.com/photos/twm_news/sets/72157627367731665/wit...
(Copyright) We're happy for you to share this digital image within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk.
To purchase a hi-res copy please email archives@twmuseums.org.uk quoting the title and reference number
Every screw, fitting, washer and purchase - sorted, recorded, documented and cross referenced for future generations.
Print and sketch. Available for download at:
www.alfonsobozzelli.com/data/WireframeTemplate.zip
Is like the one in Dan Brown's "Communicating Design: Developing Web Site Documentation for Design and Planning"
Read about my visit to Kwun Tong here:
The previous time I was here for shooting, it was back in November 2011. Decided to come back on this day before this downtown district further moves forward.
One of the first New towns in Hong Kong, Kwun Tong was, and remains, a major light industrial area. Its population has been growing rapidly, and the demand for housing, medical and educational facilities and services has been increasing.
In view of this, a number of community development projects, such as the redevelopment of old housing estates and the construction of major parks, have been implemented in recent years.
The other side of this progress in transition is the diminishing of history, soon most of these old concrete industrial buildings will be bygone. With this in mind, I've decided to once again visit this district to carry on with the documentation of what is going to be history in the coming days.
With this note, I shall start with my Kwun Tong documentation tour!
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Join me on my previous visit to Kwun Tong : 再見裕民坊 Yue Man Square
More Street shots: Urban
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ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2022. Dr. Claudio Parisi Presicce, the Via Dell’ Impero: Exhibit - “1932, the Prehistoric Elephant and the Lost Velia Hill.” The Markets of Trajan & the Museum of the Imperial Fora in Rome (8 April thru 20 May 2022). RARA 2022 (08/04/2022). wp.me/pbMWvy-2Az
Foto: The Markets of Trajan & the Museum of the Imperial Fora in Rome (8 April 2022).
www.flickr.com/photos/imperial_fora_of_rome/51991671340
1). ROMA - Mostra: Dott. Claudio Parisi Presicce, “1932, l’elefante e il colle perduto.” Mercati di Traiano Museo dei Fori Imperiali. (08/04 - 24/05/2022).
Foto: Maria Barosso (1879-1960), Veduta dell’abside della Basilica di Massenzio e del Colosseo durante gli sventramenti della Velia 1932; in: Dr. Raffaella Ciofani / Facebook (07/04/2022).
www.flickr.com/photos/imperial_fora_of_rome/51991172388
Una selezione di circa 100 opere, tra reperti archelogici, progetti grafici, oggetti d’arte e video, alcuni esposti per la prima volta, racconta la storia della perduta Velia e del “suo” elefante.
A 90 anni dalla scoperta, sono stati restaurati i resti fossili di elefante (Elephas antiquus) trovati alla base della collina Velia. L’intervento ha costituito l’occasione per proporre un insieme di opere, che gettano luce su un settore dell’area archeologica centrale interessato negli anni Trenta del Novecento da distruzioni e trasformazioni urbanistiche profonde. Un centinaio di queste opere, tra cui reperti archeologici, progetti grafici e opere d’arte, interamente provenienti dalle collezioni capitoline, alcuni dei quali identificati in occasione di recenti ricerche ed esposti al pubblico per la prima volta, compongono questa mostra.
Foto: Roma, I Fori Imperiali & Via Dell’ Impero (1930-32); in: SIMARTWEB (04/2022).
www.flickr.com/photos/imperial_fora_of_rome/51991671005
Fonte / source:
— Mercati di Traiano Museo dei Fori Imperiali (07/04/2022).
www.mercatiditraiano.it/node/1010561
S.v., Roma - Claudio Parisi Presicce: "1932, l’elefante e il colle perduto." Mercati di Traiano Museo dei Fori Imperiali; in: UTV artivisive / You-Tube (07 April 2022) [1:32].
Roma - Il sovrintendente Claudio Parisi Presicce spiega il ritrovamento nel 1932 dell'elefante (Elephas antiquus) sull'antica collina Velia a Roma, durante il suo sbancamento verso il Colosseo per la costruzione di via dei Fori Imperiali.
Fonte / source:
— UTV artivisive / You-Tube (07 April 2022) [1:32].
www.youtube.com/watch?v=mectu34sY-M
2). ROME - Dr. Claudio Parisi Presicce, The Via Dell’ Impero: Exhibit - “1932, the Prehistoric Elephant and the Lost Velia Hill.” The Markets of Trajan & the Museum of the Imperial Fora in Rome (8 April thru 20 May 2022).
Foto: cla_green, Su Via dei Fori Imperiali; in: Instagram (06/04/2022).
www.flickr.com/photos/imperial_fora_of_rome/51991394239
New Exhibit of Architectural Remains, Archaeological Evidence - Antiquity to the Modern Era & Historical Documentation for the Clearing and Removal of the Velia Hill and the Systemization of the Via Dell’ Impero in the Early 1930s. The Markets of Trajan & the Museum of the Imperial Fora in Rome (8 April thru 20 May 2022).
Foto: Plan 1 - Rome, the Via Dell’ Impero & the Velia Hill (1931-32): General topographical plan of Ancient & Modern Rome; in: Dr. Raffaella Ciofani / Facebook (07/04/2022). With additional photos by M. G. Conde (08/04/2022).
www.flickr.com/photos/imperial_fora_of_rome/51990114002
Rome, the construction of the Via Dell’ Impero / now Via dei Fori Imperiali - In just two years, between 1931 and 1932, a hill was excavated in the heart of Rome, the Velia, which extended between the slopes of the Oppian Hill and the Palatine Hill, separating the area of the Imperial Forums from the Colosseum.
Foto: Dr. Raffaella Ciofani / Facebook (07/04/2022).
www.flickr.com/photos/imperial_fora_of_rome/51990114097
The price paid by the artistic and archaeological heritage, due to this excavation, was very high: the archaeological stratification was affected, which proved to be very rich in evidence from the Roman era. But the most surprising discovery was made on May 20, 1932, when numerous remains of fossil fauna came to light, including the elephant skull and tusk Elephas Palaeoloxodon antiquus, which is the most famous find. The exhibition was directed by Claudio Parisi Presicce, Nicoletta Bernacchio, Isabella Damiani, Stefania Fogagnolo & Massimiliano Munzi, The Markets of Trajan & the Museum of the Imperial Fora in Rome (8 April thru 20 May 2022).
Foto: Plan 2: Rome, the Via Dell’ Impero & the Velia Hill & the Palazzo Rivaldi (1931-32): General topographical plan of Ancient & Modern Rome; in: Dr. Raffaella Ciofani / Facebook (07/04/2022). With additional photos by M. G. Conde (08/04/2022). www.flickr.com/photos/imperial_fora_of_rome/51990114002
The new exhibit - "1932, l’elefante e il colle perduto” = “1932, the Prehistoric Elephant and the Lost Velia Hill,” at the Museum of the Imperial Fora in Rome (8 April thru 20 May 2022), with the aim of the exhibit to present a brief historical overview of the early 1930s Fascist era clearing and removal of the Velia Hill and the systemization of the Via Dell’ Impero & displaying a variety of the archaeological evidence dating from Antiquity to the Modern Era, then, hurriedly recovered during the course of the very rapid & limited excavations.
Foto: MOSTRE – STORIA – Al tempo non si nasconde. 1932 L’ELEFANTE E IL COLLE PERDUTO. A Roma dall’8 Aprile 2022 Mercati di Traiano (07/04/2022). www6367.wordpress.com
www.flickr.com/photos/imperial_fora_of_rome/51990114012
The exhibition also has on display a collection of a variety of historical documentation (= general plans, illustrations, photographs & paintings) from the early 1930s, as Italian archaeologists - Antonio M. Colini, Guglielmo Gatti, Giuseppe Marchetti-Longhi & Antonio Munoz; along with Italian Architects - Italo Gismondi & S. De Angelis & Italian illustrators - Maria Barosso and Odoardo Ferretti, and others, all attempting to record and report as best as possible on what archaeological artifacts and architectural remains that were recovered during the face-paced demolishing & clearing process of the area of the Velia Hill.
Foto: Mimmo Frassineti, Exhibition L’Elefante e il Colle Perduto, Mercati di Traiano. Rome, Italy – 07 Apr 2022; in:
Shutterstock (07/04/2022).
www.flickr.com/photos/imperial_fora_of_rome/51991394414
Fortunately, since early 2021 onwards, a great deal of much of the work of these Italian scholars etc, as mentioned above, their formerly unpublished historical documentation & works from the early 1930s, now on display the current exhibit - “1932, the Prehistoric Elephant and the Lost Velia Hill’ (2022), as well other related historical documentation & works on the 1930s Fascist era systemization of the Via Dell’ Impero,, has been recently converted into new publicly accessible online digital archives by the various Archives and Museums of the City of Rome (2021 onwards), for instant, see:
Foto: Dr. Raffaella Ciofani / Facebook (07/04/2022).
www.flickr.com/photos/imperial_fora_of_rome/51991172373
— ROMA — Maria Barosso (1879-1960), Veduta dell'abside della Basilica di Massenzio e del Colosseo durante gli sventramenti della Velia 1932 sec. XX secondo quarto; in: SIMARTWEB: ROMA CULTURE / SOVRINTENDENZA CAPITOLINA / COMUNE DI ROMA (01/ 2020 [= 04/2022]).
www.simart.comune.roma.it/dettaglio-bene/-427503963
Foto: Maria Barosso (1879-1960), Veduta dell’abside della Basilica di Massenzio e del Colosseo durante gli sventramenti della Velia 1932 sec. XX secondo quarto; in: SIMARTWEB (04/2022).
www.flickr.com/photos/imperial_fora_of_rome/51991110476
Notizie storico-critiche
Tra gli anni Venti e Trenta, Maria Barosso realizza una serie di acquerelli che illustrano i lavori per l'isolamento del Campidoglio, per l'apertura dei Fori Imperiali e della Via del Mare. L'artista si colloca, quindi, accanto alla schiera di disegnatori e fotografi, incaricati dal Governatorato di Roma di documentare l'opera di modernizzazione urbanistica della capitale. Nel disegno Maria viene celebrato il valore estetico dell'operazione di sventramento della Velia, considerata allora indispensabile per ottenere un panorama grandioso come sfondo del Colosseo.
Foto: Roma, I Fori Imperiali & Via Dell’ Impero (1930-32); in: SIMARTWEB (04/2022).
www.flickr.com/photos/imperial_fora_of_rome/51991394189
Riferimenti bibliografici
Ecole romaine 1925-1945, Milano 1997, pp. 136-137 n.37.
The Villa of the mysteries in Pompeii: ancient ritual, modern muse, (a cura di Gazda, Elaine K.), Ann Arbor 2000, pp. 129-137.
Leone, Rossella, Fori Imperiali demolizioni e scavi: fotografie 1924-1940, (Roma sparita e Roma che sparisce: iconografia delle demolizioni nelle raccolte del Museo di Roma), (a cura di Leone, Rossella; Margiotta, Anita), Milano 2007, pp. 26-45.
Fonte / source:
ROMA — Maria Barosso (1879-1960) [04/2022]); in:
Foto: Roma, I Fori Imperiali & Via Dell’ Impero (1930-32); in: SIMARTWEB (04/2022).
www.flickr.com/photos/imperial_fora_of_rome/51990113802
— SIMARTWEB: Presenta una selezione del sistematico lavoro di catalogazione scientifica condotto dalla Sovrintendenza Capitolina ai Beni Culturali. ROMA CULTURE / SOVRINTENDENZA CAPITOLINA / COMUNE DI ROMA www.simart.comune.roma.it/ (early January 2021 onwards).
Foto: Dr. Raffaella Ciofani / Facebook (07/04/2022).
www.flickr.com/photos/imperial_fora_of_rome/51991671290
Fonte / source, foto:
— MOSTRE – STORIA – Al tempo non si nasconde. 1932 L’ELEFANTE E IL COLLE PERDUTO. A Roma dall’8 Aprile 2022 Mercati di Traiano (07/04/2022).
www6367.wordpress.com/2022/04/07/mostre-storia-al-tempo-n...
— Raffaella Ciofani, Giornalista pubblicista e architetto a Rivista: "Eventi Culturali Magazine". Facebook (07/04/2022). www.facebook.com/profile.php?id=100079088525767
— Mimmo Frassineti, Exhibition L'Elefante e il Colle Perduto, Mercati di Traiano. Rome, Italy - 07 Apr 2022; in: Shutterstock (07/04/2022).
www.shutterstock.com/editorial/image-editorial/exhibition...
— cla_green, Su Via dei Fori Imperiali; in: Instagram (06/04/2022).
www.instagram.com/p/CcD4i-BtuYM/
Foto: Dr. Raffaella Ciofani / Facebook (07/04/2022).
www.flickr.com/photos/imperial_fora_of_rome/51991671250
Fonte / source, foto; in:
RARA 2010-2022 romaarcheologiaerestauroarchitettura.wordpress.com/ =
— Plan 1: Rome, the Via Dell' Impero & the Velia Hill (1931-32): General topographical plan of Ancient & Modern Rome; in: Dr. Raffaella Ciofani / Facebook (07/04/2022).
With additional inserted images:
--- ROMA - Armando Bruni, "Resti di elefante preistorico rinvenuti durante i lavori per la costruzione di Via Dell'impero (05/1932); RARA 2010-22 (03/2013).
--- ROMA - “Il Nuovo Volta Di Roma – Quale ampiezza per la Via del Monte? IL GIORNALE D’ITALIA (06/07/1932): 3.
--- ROMA – “I resti di elefante preistorico nello scavo accanto al Colosseo.” IL GIORNALE D’ITALIA (24/05/1932): 3.
--- ROMA - Arch. Italo Gismondi (1941) - I FORI IMPERIALI RICOSTRUZIONE DI I. GISMONDI / AMBIENTAZIONE VOLUMETRICA, FORI IMPERIALI E VELIA (ASSAR P. ALTEMPS, INV. 1955). [published in B/W in the exhibit catalogue]; cited from: F. Fedora (ed.), Ricostruire l' antico prima virtuale Italo Gismondi Un architetto per l' archeologia (1887-1974). Rome (2007), pg. 68 / fig. 3. With the Colored vision of I. Gismondi, "AMBIENTAZIONE VOLUMETRICA, FORI IMPERIALI E VELIA," courtesy of ELECTA UFFICIO NEWS Mostra - Italo Gismondi (04/2007).
--- ROMA - Antonio Munoz & Italo Gismondi, "Ipotesi di sistemazione del muro di contenimento di Villa Rivaldi su progetto di Antonio Muñoz (disegno di S. De Angelis). Museo di Roma, MR-42232" [c. 1930?], in: Pier Federico Caliari (2017), "De prospectiva muniendi" [Italiano | English], p. 88; in: Luca Basso Peressut & Pier Federico Caliari (eds.), Piranesi Prix de Rome Progetti per la nuova Via dei Fori Imperiali. Rome: AIÓN EDIZIONI (2017) [PDF 1-16]. RE.PUBLIC@POLIMI Research Publications at Politecnico di Milano (2017).
--- ROMA - Arch. Italo Gismondi & Domus Praefecti Urbi | Velia: Roma, I Fori Imperiali / Velia / Via dell' Impero (1932): La Domus di età Imperiale ritrovata (e distrutta) sulla Velia durante gli scavi per la realizzazione di Via dell' Impero nel 1932. (Da: Sartorio), in: Archeologia Viva, n. 6, 1986 [2011].
--- ROMA - "Lungo La Via Dell'Impero - La Ricostruzione di un'antica templetto." Il Messaggero (10/11/1932):5. S.v., Maria Barosso, "Avanzi di edicola rinvenuti durante gli scavi per la realizzazione di via dell'Impero." (1932a); in: Museo di Roma - Gabinetto delle Stampe / SMART (04/2021).
Dr. Raffaella Ciofani / Facebook (07/04/2022).
www.flickr.com/photos/imperial_fora_of_rome/51991394474
Fonte / source, foto; in:
RARA 2010-2022 romaarcheologiaerestauroarchitettura.wordpress.com/ =
— Plan 2: Rome, the Via Dell' Impero, the Velia Hill & the Palazzo Rivaldi (1931-32): General topographical plan of Ancient & Modern Rome; in: Dr. Raffaella Ciofani / Facebook (07/04/2022).
With additional inserted images:
--- ROMA – Forse qui la Collezione Torlonia? Il Palazzo Silvestri Rivaldi costituisce un’opportunità irripetibile per l’auspicata realizzazione del nuovo museo. Il Giornale dell’Arte, No. 404 (01/2020).
--- ROMA - Aerial view of the Velia Hill and Palazo Rivaldi (c. 1911); in: Roma - “Confronto tra un’immagine aerea del 1910 circa della zona compresa tra il Colosseo e il Vittoriano; tra le differenze più evidenti si notano il Vittoriano ancora in costruzione, la presenza della Meta Sudans vicino all’Arco di Costantino, e soprattutto gli edifici ancora in piedi, demoliti successivamente per l’apertura di Via dell’Impero (oggi Via dei Fori Imperiali).”
ROMA IERI OGGI REPHOTOGRAPHY (11 June, 2014).
--- ROMA - Attraverso le Cartoline d’Epoca… (Le Cartoline Originali appartengono all’autore degli articoli). Via dell’Impero vista con le cartoline d’epoca, da Maurizio Giorgi & Mauro Pecchioli, TorrinoNews.com - TorrinoNews.it (09/08/2009).
---ROMA - John Henry Packer, The Archaeology of Rome: 2: The Forum Romanum and the via sacra. J. Packer & Company (1876).
--- ROMA - Via dell'Impero, nascita di una strada - Musei Capitolini / Musei in Comune Roma: FLICKR (22 July 2009). www.flickr.com/photos/museiincomuneroma/
--- ROMA - Camilla Capitani, "Santa Maria della Neve al Colosseo. Dal primo insediamento al prospetto settecentesco." Bollettino d'Arte No. 124 (aprile-giugno 2003): 67-90 [in PDF].
--- ROMA - Foto: Donatella al ninfeo di villa Silvestri-Rivaldi; in: LA SAPIENZA / CITERA & IUC-CINA (02/2021) = Progetto Ad Templum Pacis / Progetto integrato di gestione, fruizione e valorizzazione di villa Silvestri-Rivaldi in via del Colosseo a Roma. MIBACT/DGERIC, LA SAPIENZA/CITERA & IUC-CINA (02/2021).
Foto: Antonella Aquiloni, Museo Paleontologico Montevarchi (AR) & Fb (30/10/2021).
www.flickr.com/photos/imperial_fora_of_rome/51986240782
3). ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2022. VIA DELL’ IMPERO e “1932, L’ELEFANTE E IL COLLE PERDUTO”; in: Museo di Fori Imperiali (07/04/2022).” ROMATODAY (07/04/2022). S.v., Vedi anche: Roma e l’era pliocenica e i resti di elefante scoperti sul Campidoglio (fine del XIX secolo?), il Foro Romano ([ = una zanna di un ippopotamo] c. 1900-07?), la Velia (1932) e il Foro di Cesare (1941?). Anche: Antonella Aquiloni, Museo Paleontologico Montevarchi (AR) & Fb (30/10/2021) & Dott.ssa Rossella Rea, La Repubblica (10/10/2009): 1 & 27. wp.me/pbMWvy-2Am
BugGuide states --- Numbers --- enormous group with several hundreds spp. in ~35 genera in our area and ~330 genera worldwide, arranged in 8 tribes
Catchfly Ct, Columbia
Howard County, MD
Quad39076_B7
Determined by V. Belov @ BugGuide
Subfamily Typhlocybinaebugguide.net/node/view/52827
Our school visits are typically meticulously documented in still and video. The walls behind the photographers are in the staff room/multimedia classroom and show schedules and organization structures.
There are six levels of maturity for the DMM. Why? After observing literally thousands of sites, we were able to categorize them by type. Some do bleed over into other levels, but the majority fell into one of the six levels.
The goal of the DMM is to give you the main characteristics of the others levels so that you can observe how other successful organizations are creating more value from their sites. The six levels of the DMM will provide you with a means to assess your current documentation site and to learn how others are taking it to the next level.
One video still from each "Life is Drag" video portrait (performance documentation).
lifeisdrag.com
ARTIST STATEMENT:
I create bodies of work that explore subjects such as gender, artifice, and spectacle. Utilizing processes ranging from directorial to curatorial to anthropological, I showcase exuberantly irrepressible personalities who revel in challenging clichés associated with constructs such "masculinity" and "femininity". A sampling of subjects include Girls Girls Girls (the world's first and only all-female Mötley Crüe tribute band), Tazzie Colomb (the world's longest competing female bodybuilder), and LACTIC Incorporated (an avant-garde clothing brand that takes the detritus of corporate life and reinterprets it into one-of-a-kind structural garments that challenge the polarization of gender).
With this current and ongoing project "Life is Drag", I am documenting the most innovative and singular performers of the currently exploding international alt-drag and neo-burlesque scenes. I am 3 years into this project, and so far have created 250+ portraits. These are created in my studio as well as during residencies - in New York City (The Cell Theater, Bushwig), Pittsburgh (The Kelly Strayhorn Theater, Blue Moon Bar, Bloomfield Garden Club), and New England (3S Artspace).
This project began in early 2019 in my studio in Brooklyn, when I collaborated with a local visual artist by the name of Untitled Queen - a deeply beloved, highly respected, and uniquely visionary performer and conduit within the NYC drag scene who uses drag as a part and extension of her artistic process. I then worked with selected performers from Ohio and Kentucky in conjunction with a mid-career retrospective in my hometown of Cincinnati in the spring of 2019, and in January and February of 2020, I worked with 20+ New England-based drag artists as part of a residency and exhibition at 3S Artspace in Portsmouth, New Hampshire.
From the autumn of 2020 until the summer of 2021, I was an artist in residence at The Cell Theatre in the Chelsea neighborhood of NYC, where I expanded the project in the midst of the pandemic to also include neo-burlesque performers and performance artists whose work deals specifically with gender performativity. Most recently was a residency in my hometown of Cincinnati, Ohio - which included creating video portraits of performers from the drag haus ODD Presents, members of the neo-burlesque troop Smoke & Queers, and other alt-drag and burlesque artists from the tri-state area. This residency also included an exhibition featuring this ever-growing archive, as well as multiple live performance events.
My long-term goal is to continue to do a series of such residencies nationally and internationally, which will allow me to create a comprehensive archive of video portraits of drag, burlesque and performance artists from a wide range of locations, backgrounds, cultures, and ages. Each portrait includes video of the artist performing (lip-synching, singing, telling stories, reciting monologues, dancing, etc.) in addition to interview documentation, and will live online as well as in galleries and unexpected places in between. "Life is Drag" has so far been exhibited at such venues as the the Carnegie Museum of Art and Bunker Projects (PA), Satellite Art Club, Bushwig and The Cell (NYC), 3S Artspace (NH), and the Weston Art Gallery (OH).
I believe this project is innovative and important in that it is treating and respecting "drag" (defined as broadly and inclusively as possible) as a proper art form – recognizing it as an extremely vital and valid style of performance art, and every bit as deserving of the deference reserved for more traditional classical art forms like painting and sculpture. Drag is painting and sculpture and performance all at once - and quite often also activism, education, protest, therapy, resistance, catharsis, comedy, tragedy, enlightenment, inspiration - or some combination of the above - to those who practice it, and also to those who experience it as an observer. This project is about celebrating this experimental and expansive form of art and its wide range of practitioners and manifestations. It is about creating a record - an archive - of these brilliant but ephemeral performances, from dive bars to art galleries, city streets to grand theater stages. It is about trying to properly document and share these wildly diverse acts and profound stories that will surely open minds and capture hearts.
Austrian soldiers provide security after exiting a UH-60 Black Hawk helicopter during exercise Combined Resolve II at the Joint Multinational Readiness Center in Hohenfels, Germany, May 17, 2014. Combined Resolve II is a multinational decisive action training environment exercise occurring at the Joint Multinational Training Command’s Hohenfels and Grafenwoehr Training Areas that involves more than 4,000 participants from 15 partner nations. The intent of the exercise is to train and prepare a U.S. led multinational brigade to interoperate with multiple partner nations and execute unified land operations against a complex threat while improving the combat readiness of all participants. (U.S. Army photo by Spc. Justin De Hoyos/Released)
- Die Institutionen des NS-Terrors -
Auf dem Gelände der „Topographie des Terrors”, neben dem Martin-Gropius-Bau und unweit des Potsdamer Platzes, befanden sich von 1933 bis 1945 die wichtigsten Zentralen des nationalsozialistischen Terrors: das Geheime Staatspolizeiamt mit eigenem „Hausgefängnis”, die Reichsführung-SS, der Sicherheitsdienst (SD) der SS und während des Zweiten Weltkriegs auch das Reichssicherheitshauptamt.
- Baudenkmal Berliner Mauer -
Die Berliner Mauer wurde weltweit zum Symbol der Teilung Deutschlands nach dem Zweiten Weltkrieg und darüber hinaus Symbol des Kalten Krieges zwischen Ost und West.
Der Bau der Mauer begann am 13. August 1961. Mit dieser über 150 km langen Grenzsperranlage riegelte die Regierung der Deutschen Demokratischen Republik (DDR) Ost-Berlin und das übrige Gebiet der DDR hermetisch ab. Zwischen Oktober 1949 und August 1961 waren mehr als 2,7 Millionen Menschen aus der DDR geflohen, mehrheitlich über die Sektorengrenzen zwischen Ost- und West-Berlin. Die Mauer sollte diesen Flüchtlingsstrom unterbinden und jeden unkontrollierten Grenzübergang unmöglich machen.
Die Sperranlage bestand aus mehreren Abschnitten: einer „Vorderlandmauer” und einer „Hinter-landmauer”, einem Grenzstreifen mit Kolonnenweg, Wachtürmen und Sperrbefestigungen. Bis 1989 kamen an der Berliner Mauer mindestens 136 Menschen zu Tode, 98 von ihnen waren Flüchtlinge. Die meisten fielen den Schüssen der DDR-Grenztruppen zum Opfer.
Die Reformpolitik der Sowjetunion, die rasch anwachsende Protestbewegung der DDR-Bevölkerung, aber auch die inzwischen mögliche Flucht tausender DDR-Bürger über das osteuropäische Ausland führten am 9. November 1989 zum friedlichen „Fall” der Mauer. Wenig später wurden die ersten Teile der Mauer niedergerissen. Noch vor der Wiedervereinigung Deutschlands am 3. Oktober 1990 war sie weitgehend aus dem Stadtbild Berlins verschwunden.
Das 200 m lange Reststück der Mauer an der Niederkirchnerstraße – die hier die Grenze zwischen den Bezirken Mitte (Ost-Berlin) und Kreuzberg (West-Berlin) markierte – wurde auf Wunsch der „Topographie des Terrors” mit allen Spuren der Zerstörung aus der Zeit des Mauerfalls erhalten und 1990 unter Denkmalschutz gestellt. Das Mauerfragment ist heute Bestandteil des Dokumentationszentrums Topographie des Terrors. Als eines der wenigen noch erhaltenen Mauerreste in der Stadt ist es auch eine der zentralen Stationen innerhalb des vom Berliner Senat entwickelten „Gesamtkonzepts Berliner Mauer”.
Stiftung Topographie des Terrors
Rechtsfähige Stiftung öffentlichen Rechts
Niederkirchnerstraße 8
10963 Berlin
Telefon: 030-254509-0
Öffnungszeiten
täglich 10 - 20 Uhr
Außenbereiche bis Einbruch der Dunkelheit (spätestens 20 Uhr)
Schließtage
24., 31. Dezember und 1. Januar
Eintritt frei
E-Mail: info@topographie.de
Internet: www.topographie.de
________________________________________________
- The institutions of Nazi terror -
Between 1933 and 1945, the central institutions of Nazi persecution and terror – the Secret State Police Office with its own “house prison,” the leadership of the SS and, during the Second World War, the Reich Security Main Office – were located on the present-day grounds of the “Topography of Terror” that are next to the Martin Gropius Building and close to Potsdamer Platz.
- Berlin Wall Monument -
The Berlin Wall became an international symbol of the division of Germany after the Second World War and also of the Cold War between East and West. Construction of the Berlin Wall began on August 13, 1961. The government of the German Democratic Republic (GDR) built this more than 150-kilometer-long barrier to hermetically seal off East Berlin and the rest of the territory of the GDR. More than 2.7 million people fled the GDR between October 1949 and August 1961, the majority of them across the border separating Berlin’s Eastern and Western sectors. The Wall was designed to halt this stream of refugees and make it impossible to cross the borders unchecked. The installation consisted of several sections: a Vorderlandmauer (front wall) and a Hinterlandmauer (back wall), an inner track with a patrol path, watchtowers, and barrier fortifications. By 1989 at least 136 people had lost their lives at the Wall, 98 of them while trying to flee. Most of them were shot down by GDR guards. Reforms in the Soviet Union, the rapidly growing protest movement in the GDR population, as well as the flight of thousands of GDR citizens via Eastern European countries led to the peaceful “fall” of the Wall on November 9, 1989. Soon afterwards the first sections of the barrier were torn down. Even before the reunification of Germany on October 3, 1990, the Wall had largely disappeared from the Berlin landscape.
At the request of the “Topography of Terror,” the remaining 200 meters of the Wall at Niederkirchnerstraße – which marked the border between the districts of Mitte (East Berlin) and Kreuzberg (West Berlin) – have been preserved with all the traces of the destruction that occurred during the transitional period. This fragment of the Wall, designated a historic monument in 1990, now forms part of the Topography of Terror Documentation Center. As one of the few surviving sectors of the Wall in the city, it is also one of the central sites in the “Overall Concept for the Berlin Wall” developed by the Berlin Senate.
Topography of Terror Foundation
A foundation under public law
Niederkirchnerstraße 8
10963 Berlin
Phone: 0049 30 254509–0
Opening Hours
Daily 10 a.m. – 8 p.m.
The outdoor grounds are accessible until dusk (not later than 8 p.m.)
Closed on Dec 24th, 31st, Jan 1st
Admission free
e-mail: info@topographie.de
Website: www.topographie.de/en/
I am just sitting writing some documentation for our Summa project at work. Somehow it looks infinitely more cool this way than it does in code...
How code is documented in Ubiquity. For more information see Atul's blog post. For the actual documentation, see here.
[This illustration reproduces a diagram that emerged on the white board through the following segment of a 'reclaiming the commons' discussion]
A society is a large, loose group of individuals. A small group is set apart, having made themselves gatekeeper for interactions between the rest of society and the public commons. They use this position to siphon off value from interactions between the people and the commons.
-You work for your boss in return for healthcare, to pay for rent and food.
-Insurance for your car and your apartment.
-You must pay money for water.
-We regulate the air.
-The public streets are closely monitored, and aberrant behavior is quickly targeted.
-You must seek permission to protest in this park. It's all for the public good.
The system inserted between the people and the commons is capitalism.
In this sense, capitalism is the object that is keeping us from defining, as a community, what we think should be in our commons. How can we work to overcome the influence of this system on our lives? By circumventing the hold that capitalism has on our lives. Economies based in barter, trade, gifts, gratitude, esteem, trust. Organizing cooperatively, working together in consensus. Like ants finding our way around an obstacle we must build pathways to each other and the things that we need that do not feed the appetites of the 1%.
The left and right edges of the raft are good and will form a strong but easy to remove bond between the object and the build platform. The section in the middle is squished and will stick securely to the platform when nothing else will.
This image is for the skeinforge configuration tutorial at: wiki.makerbot.com/configuring-skeinforge
This photograph was taken by Nicholson Museum curator William J Woodhouse in Greece between 1890 and 1935.
Can you help us catalogue the Woodhouse photographic archive? Contribute by adding tags and answering the following questions in the comments below:
•What do you see? Write a brief description for this image.
•Where was this photograph taken?
•Can you find the geo co-ordinates (latitude and longitude) of this exact place? Let us know by linking to the google maps or add the co-ordinates in your comment.
•Do you know what year this photograph was taken?
About the archive:
The Nicholson Museum holds over 1800 glass-plate negatives taken by Woodhouse while in Greece in 1890s and early 1900s. A small portion of the archive also includes photographs of his family in the Blue Mountains, NSW, Australia. The collection documents important archaeological sites, significant landscapes of the Greek mainland, contemporary buildings and the people he met along the way. His archive is a rich resource capturing many sites pre-archaeological excavation and before modern industrial development. Some of the photographs were published by Woodhouse in his book 'Aetolia: its geography, topography, and antiquities' published in 1897. His desire to capture Greece on 'film', was simply put in his introduction: "History only attains its full value by borrowing actuality from geography and topography". The archive shows his love not only for the sites but also for the people and spirit of Greece.
About the project:
We are asking you to contribute to our documentation of this collection and assist us with the identification of the hundreds of different monuments and places in Greece. The title of each photograph will include the museum registration number (NM2007.##.##) and may already include a place name where museum staff or Woodhouse himself have titled the image.
All of our flikr contributors will be acknowledged when the collection is published through our online collections at the completion of the project.
My son, the college student, broke two bones in his left leg at the ankle last month and had to have surgery. He emailed his professors to explain that he would be absent for approximately a week and asked one of them if he could take a make-up test for one that he would be missing. The professor wrote back that if he produced "documentation from a doctor" he would be allowed to make up the test. Apparently, crutches and a big old cast aren't proof enough for this guy!
For the Feb. Scavenger Hunt #12 - Documentation.