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On Tuesday, March 7, 2017, at 7:30 p.m. the House Committee on Veterans’ Affairs, chaired by Rep. Phil Roe, M.D., held a hearing entitled, “Shaping the Future: Consolidating and Improving VA Community Care.” This hearing examined the Department of Veterans Affairs’ Choice Program and the future of VA community care programs, authorities and budget impact. The Honorable John McCain, U.S. Senator (R-Ariz) testified on Panel 1. VA Secretary David J Shulin M.D.; Baligh Yehia MD Deputy Under Secretary for Health for Community Care-VHA; Michael J. Missal, Inspector General U.S. Department of Veterans Affairs and Randy Williamson- Director, Health Care, Government Accountability Office testified on Panel 2.
(VA photo/ Robert Turtil)
A cultural event entitled “ASEAN @ 50 – Intellectual Property, Innovation and Development” featuring innovations from the bloc’s ten member countries and musical and dance performances was held on the sidelines of the Assemblies of WIPO Member States, which met from October 2-11, 2017. WIPO co-organized the event with the Association of South East Asian Nations (ASEAN) to mark the Organization’s 50th anniversary.
Copyright: WIPO. Photo: Violaine Martin. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
Wonderful vintage cookbook by James Beard entitled Beard on Food.
Copyright 19674 by James Beard. Published by Alfred Knopf. Stated First Edition.
From the dust jacket cover:
Here is James Beard at his best: relaxed, savoring food memories of the past, ranging over Earthy Subjects, indulging in Whims of Taste, aroused to new Inspirations and Improvisations, pondering over the peculiarities of the American palate, sharing his latest gastronomic adventures—people, places, travel—and always coming up with the perfect recipe to cap the occasion. Here, in a rich plum pudding of a book, is Beard's own selection of his famous columns—columns that have been devoured for the past four years by those fortunate enough to have them in their local papers (dozens of them, from Hartford to Memphis to Tacoma). Here, in short, is Beard on Food!
Over 200 recipes, 316 pages with index.
Very good condition. Clean with no writing or soiling within. Dust jacket shows edge wear along with bumping to corners and spine ends.
Great vintage cookbook!
*FOR A LIMITED TIME—Purchase ANY 2 cookbooks and receive FREE SHIPPING! Use coupon code COOKBOOK at check-out. Please let me know of any questions. (Offer valid only within the US.)*
Museum de Fundatie Zwolle NL presents an exhibition entitled Giacometti-Chadwick, Facing Fear, to run from 22 September 2018 to 6 January 2019. The sculptures of Alberto Giacometti (1901-1966) and Lynn Chadwick (1914-2003) are manifestations of the sense of fear and disillusionment that pervaded Europe during the Cold War period. Their work bids a final farewell to pre-war romanticism and aestheticism, and lands with both feet in the raw reality of the post-war world. While Giacometti reduced the human form to its bare essentials, Chadwick created powerful archetypal images of both people and animals. The exhibition includes more than 150 works. Never before has the work of Giacometti and Chadwick been so explicitly brought together.
Their paths first crossed in 1956, when Chadwick became the youngest person ever to win the Grand Prix for Sculpture at the Venice Biennale. With only six years’ experience as a sculptor, the British artist snatched the prize from Giacometti, the hot favourite, who was thirteen years older and already a major name in Paris. Giacometti would go on to win the prize in 1962, but which of the two men was awarded it in 1956 is less significant than the fact that these two particular sculptors were the front-runners at that time. Each of them was expressing, in his own individual way, the sense of deep-seated angst that overshadowed day-to-day life in Europe in the fifties and sixties: the fear of a global nuclear disaster that would wipe out human civilisation.
Alberto Giacometti is among the most significant figures in the whole field of modern European sculpture. A member of a notable family of Swiss artists, he moved to Paris in 1922 and would remain there for the rest of his life, working as a sculptor, painter and graphic artist. After training with Émile-Antoine Bourdelle, he discovered modernism and so-called ‘primitive’ ethnographic art of Africa and Oceania. In response to these influences, his work became more abstract. In the early thirties, his Surrealist sculptures expressing subconscious emotions created a furore. From 1935, however, personal psychological tensions triggered a crisis in his life and work that led to a return to the human figure. Initially, his portraits and figures became both increasingly tiny and more and more attenuated. This thinness was to remain the most distinctive feature of Giacometti’s art. After the Second World War, he began to create the elongated, emaciated figures that would bring him worldwide fame. In all their attenuation, they reduce humanity to its very essence and appear both vulnerable and enigmatic.
In the early fifties, up-and-coming artist Lynn Chadwick managed to dislodge Henry Moore and Barbara Hepworth from their dominant position in the field of British sculpture. Born in London, Chadwick had started his career as a technical draughtsman and exhibition stand designer. He took an equally constructional approach to his sculpture: rather than model his human and animal figures in clay or wax, he constructed them by welding steel rods together to create an armature and then filling in the gaps with a kind of cement. The angularity of the work being produced by him and other young British artists was described in 1952 as ‘the geometry of fear’, a reference to the constant dread of nuclear annihilation. Chadwick’s apocalyptic Dancers and stoical Watchers gave powerful expression to this sense of angst. From the early seventies, he broadened his repertoire to include subjects that seem to restore the sovereignty of the human spirit. Sculptures like Cloaked Figure and Sitting Couple no longer look threatening, but emanate a sense of composure and invulnerability.
Giacometti’s pre-war work influenced Chadwick’s development and the two men were keenly aware of each other’s presence. In addition to the vast differences, there are also many similarities between their oeuvres. Giacometti-Chadwick, Facing Fear is the product of close cooperation with the Fondation Marguerite et Aimé Maeght in Saint-Paul-de-Vence and the Chadwick Estate and Blain|Southern gallery in London.
Since entitling this I have seen that it is most likely going to be taken literally. The storm to which I was alluding, is the struggle to preserve the environment in the face of the demand for energy and minerals.
An exhibition on contemporary design in Slovenia entitled "Silent Revolutions" was held at WIPO from October 7 to 26, 2015. The exhibition was inaugurated during the WIPO Assemblies, held in Geneva from October 5 to 14, 2015.
WIPO co-organized the exhibition with the Permanent Mission of the Republic of Slovenia to the UN Office in Geneva, the Slovenian IP Office (SIPO), and the Slovenian Museum of Architecture and Design.
In this photo: Ondu Cameras by Elvis Halilović (2013).
Copyright: WIPO. Photo: Violaine Martin. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
Safe and Fair programme, through a partnership with World Vision Foundation of Thailand, trained women migrant construction workers on a site in Pathum Thani province to help them understand labour rights and their entitlements.
6 February 2023. © ILO/Pichit Phromkade.
More information about Safe and Fair programme:
www.ilo.org/asia/projects/WCMS_632458/lang--en/index.htm.
This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License. To view a copy of this license, visit creativecommons.org/licenses/by-nc-nd/3.0/igo/deed.en_US.
This piece is entitled "self portrait of ones entire life". I executed this piece with the a theory I developed that is called Dimensionalism . This theory has its inspiration form my experiences with pre-seizure events for I have epilepsy. In this state I become detached from reality and see time in a different construct,that of a hyper intensity. A hyper awareness of a moment and everything that constructs it from sounds,thoughts,things tactile . While in these pre seizure states, some instances time is slowed down/speed up or frozen. While in other instances I am forced away form all comprehension of what is in my present environment and reality takes on a totally foreign existence where all has to be re learned.
For the viewers of my piece all of life is in dimensions and how one moves through these dimensions of either large dimensional constructs such as ones life or to the minute dimensional construct of a simple word. Thus giving the viewer this new perspective of time and space. The suspended animation of the piece is only dynamic as the viewer views the piece from the narrower sides form either end where a visible play of time sequencing exists and ones eye is drawn into the piece...
A perspective of a Dimesionalist where one has a view of a moment with a gods eye/time traveler or a pure energy source . From looking at a simple word to a memory one has. All is captured in dimensions. There are other branches of my theory that further portray my experiences. Demensionalising and facitile dimensionalism. These ideas also play with the constructs of how one sees time/moment.I hope to execute these ideas in the future...........
All these ideas/theories have a direct correlation with present day society...from the over abundance of information that is transferred by different technologies to the ways these technologies directly affect our existence and how it adds other dimensions of time to our lives.
I will be placing more info online in the future. and creating a temp website that fully explains all the details and shows examples of these theories as well as go into more details..
If you are interested in more info please feel free to contact ...efj@sbcglobal.net
Best best
Efj.
There are other branches of my theory that further portray my experiences. Demensionalising and facitile dimensionalism. These ideas also play with the constructs of how one sees time but deals more with dynamic movement .I hope to execute these ideas in the future...........
All these ideas/theories have a direct correlation with present day society...from the over abundance of information that is transferred by different technologies to the ways these technologies directly affect our existence and how it adds other dimensions of time to our lives.
I will be placing more info online in the future. and creating a temp website that fully explains all the details and shows examples of these theories as well as go into more details..
If you are interested in more info please feel free to contact ...efj@sbcglobal.net
Best best
Efj.
Museum de Fundatie Zwolle NL presents an exhibition entitled Giacometti-Chadwick, Facing Fear, to run from 22 September 2018 to 6 January 2019. The sculptures of Alberto Giacometti (1901-1966) and Lynn Chadwick (1914-2003) are manifestations of the sense of fear and disillusionment that pervaded Europe during the Cold War period. Their work bids a final farewell to pre-war romanticism and aestheticism, and lands with both feet in the raw reality of the post-war world. While Giacometti reduced the human form to its bare essentials, Chadwick created powerful archetypal images of both people and animals. The exhibition includes more than 150 works. Never before has the work of Giacometti and Chadwick been so explicitly brought together.
Their paths first crossed in 1956, when Chadwick became the youngest person ever to win the Grand Prix for Sculpture at the Venice Biennale. With only six years’ experience as a sculptor, the British artist snatched the prize from Giacometti, the hot favourite, who was thirteen years older and already a major name in Paris. Giacometti would go on to win the prize in 1962, but which of the two men was awarded it in 1956 is less significant than the fact that these two particular sculptors were the front-runners at that time. Each of them was expressing, in his own individual way, the sense of deep-seated angst that overshadowed day-to-day life in Europe in the fifties and sixties: the fear of a global nuclear disaster that would wipe out human civilisation.
Alberto Giacometti is among the most significant figures in the whole field of modern European sculpture. A member of a notable family of Swiss artists, he moved to Paris in 1922 and would remain there for the rest of his life, working as a sculptor, painter and graphic artist. After training with Émile-Antoine Bourdelle, he discovered modernism and so-called ‘primitive’ ethnographic art of Africa and Oceania. In response to these influences, his work became more abstract. In the early thirties, his Surrealist sculptures expressing subconscious emotions created a furore. From 1935, however, personal psychological tensions triggered a crisis in his life and work that led to a return to the human figure. Initially, his portraits and figures became both increasingly tiny and more and more attenuated. This thinness was to remain the most distinctive feature of Giacometti’s art. After the Second World War, he began to create the elongated, emaciated figures that would bring him worldwide fame. In all their attenuation, they reduce humanity to its very essence and appear both vulnerable and enigmatic.
In the early fifties, up-and-coming artist Lynn Chadwick managed to dislodge Henry Moore and Barbara Hepworth from their dominant position in the field of British sculpture. Born in London, Chadwick had started his career as a technical draughtsman and exhibition stand designer. He took an equally constructional approach to his sculpture: rather than model his human and animal figures in clay or wax, he constructed them by welding steel rods together to create an armature and then filling in the gaps with a kind of cement. The angularity of the work being produced by him and other young British artists was described in 1952 as ‘the geometry of fear’, a reference to the constant dread of nuclear annihilation. Chadwick’s apocalyptic Dancers and stoical Watchers gave powerful expression to this sense of angst. From the early seventies, he broadened his repertoire to include subjects that seem to restore the sovereignty of the human spirit. Sculptures like Cloaked Figure and Sitting Couple no longer look threatening, but emanate a sense of composure and invulnerability.
Giacometti’s pre-war work influenced Chadwick’s development and the two men were keenly aware of each other’s presence. In addition to the vast differences, there are also many similarities between their oeuvres. Giacometti-Chadwick, Facing Fear is the product of close cooperation with the Fondation Marguerite et Aimé Maeght in Saint-Paul-de-Vence and the Chadwick Estate and Blain|Southern gallery in London.
This piece is entitled "self portrait of ones entire life". I executed this piece with the a theory I developed that is called Dimensionalism . This theory has its inspiration form my experiences with pre-seizure events for I have epilepsy. In this state I become detached from reality and see time in a different construct,that of a hyper intensity. A hyper awareness of a moment and everything that constructs it from sounds,thoughts,things tactile . While in these pre seizure states, some instances time is slowed down/speed up or frozen. While in other instances I am forced away form all comprehension of what is in my present environment and reality takes on a totally foreign existence where all has to be re learned.
For the viewers of my piece all of life is in dimensions and how one moves through these dimensions of either large dimensional constructs such as ones life or to the minute dimensional construct of a simple word. Thus giving the viewer this new perspective of time and space. The suspended animation of the piece is only dynamic as the viewer views the piece from the narrower sides form either end where a visible play of time sequencing exists and ones eye is drawn into the piece...
A perspective of a Dimesionalist where one has a view of a moment with a gods eye/time traveler or a pure energy source . From looking at a simple word to a memory one has. All is captured in dimensions. There are other branches of my theory that further portray my experiences. Demensionalising and facitile dimensionalism. These ideas also play with the constructs of how one sees time/moment.I hope to execute these ideas in the future...........
All these ideas/theories have a direct correlation with present day society...from the over abundance of information that is transferred by different technologies to the ways these technologies directly affect our existence and how it adds other dimensions of time to our lives.
I will be placing more info online in the future. and creating a temp website that fully explains all the details and shows examples of these theories as well as go into more details..
If you are interested in more info please feel free to contact ...efj@sbcglobal.net
Best best
Efj.
There are other branches of my theory that further portray my experiences. Demensionalising and facitile dimensionalism. These ideas also play with the constructs of how one sees time but deals more with dynamic movement .I hope to execute these ideas in the future...........
All these ideas/theories have a direct correlation with present day society...from the over abundance of information that is transferred by different technologies to the ways these technologies directly affect our existence and how it adds other dimensions of time to our lives.
I will be placing more info online in the future. and creating a temp website that fully explains all the details and shows examples of these theories as well as go into more details..
If you are interested in more info please feel free to contact ...efj@sbcglobal.net
Best best
Efj.
In a piece entitled Buddenbrooks 1913 – 2009, I utilised the ability to illustrate time
in video. Partly a performance piece, Thomas Mann sits perfectly still and awaits
his photograph being taken. The flash goes down and periodically nothing is visible,
then the lights come back on. However, still Thomas Mann sits there, continuously
waiting, as if frozen in a moment or time. The looped video portrays the fragility of
memory and the inability to validate what a pictured somebody pictured was
actually like. Furthermore, it speaks also about how one single instance in time can
travel. This piece was a milestone for my practice, as it began to display an
important theme in my work - the importance of the work is not to simply transcribe
past events, but to accentuate the overt nature of the mechanisms used to capture
the moments. Though seemingly contradictory, I am interested in the potential of
contriving early photographic methods with the use of digital technology. Doing
this allows me to appreciate the processes used and as a result further embeds
Thomas Mann into the practice.
New Deal mural entitled "Tung Oil Industry" painted in 1939 by Xavier Gonzales. It hangs in the original PO building which is now part of the "Southern Hotel". The mural hangs in a hotel suite now.
Kimberly Max, a photographer recently graduated from Pratt (2004), has just completed her first full-length project, entitled Bubby’s House. The Yiddish-inflected title speaks to the intimacy with which the artist regards her subject, in this case, the home of her grandparents, in Bloomfield Hills, Michigan. It is place and not time, though, that attracted the lens of Ms. Max. Living in Brooklyn for the past three years, Ms. Max has faced the reality of living away from her Michigan home, and family. She has combated this in various ways, none so effectively than in her recent project.
On the surface, Bubby’s House is a documentary project. Invited by her aunt to document her grandfather’s house, Ms. Max seized upon the opportunity to capture an architectural and aesthetic treasure. Her grandparent’s house was decorated in the early 1970’s and has seen almost no renovation since that time. The house has, in fact, been preserved, and exudes a kitsch-ness that is not so often seen in contemporary life.
But again, the documentary aspect in a purely surface matter, because when one looks deeper into the project, we see the cross-section of time and place, of artist and subject even. The photographs were taken in 2003, yet they capture a house that, structurally and aesthetically, is frozen in 1971, before the artist was even born.
At first glance, the images look artificial, contrived, dollhousey. One asks if what they are looking at actually exists. This speaks to the wonderful manner in which Ms. Max dissected her subject. Through her lens, each room lives and breathes within its own borders, disconnected from other rooms of the house. Each room is its own character, another family member, maybe?
This project, though seemingly a simple documentary of a visually stimulating environment, is much more. It is a project about family, about time, and about place. Our family’s change, and yet they remain whole. Patriarchs die, leaving a family to memorialize him. Everything outside this house has changed; inside, little, including taste, has evolved. What must have been the cream of interior decorating in the early 1970’s has become a time capsule of an outdated aesthetic age. This is why we do not believe the photographs are real. We assume they are the product of fabrication.
And the house is a conglomeration of fabricated elements. The range of material to be found on display in Ms. Max’s work is vast; we find shag carpeting, that pinnacle of 70’s chic, we find glass, wood, marble, linen wallpaper, Formica, plastic chairs, vinyl, fur pillows granite, and veined Italian marble. Ms. Max captures these materials appropriately in her series. Each room, each photo, contains a treasure trove of forgotten interior design secrets.
Coupled with these purely formal elements, Ms. Max’s abilities with a camera shine. Her choice of angles is exquisite. She controls each scene in such a way, that behind the formal elements of beds, and desks, and fireplaces, there is something lurking within this antiseptic environment. Behind the straight lines of the mirror, we assume the softer curvilinear shapes of people. It is people, after all, that are the subject of these images. Where people live, to be exact. What kind of environment people create for themselves. And yet it is people that are mysteriously absent. The only family members we see are those trapped in other photos, in family albums put on display, like those in the Den.
This project is all about people. It is about the artist’s family. It is about how and where these people have lived for the past thirty years. It is about the next generation coming of age, outside of this home, where taste have changed, where lives have changed, where a granddaughter grows up, and finishes a project her grandfather started a long time ago.
Museum de Fundatie Zwolle NL presents an exhibition entitled Giacometti-Chadwick, Facing Fear, to run from 22 September 2018 to 6 January 2019. The sculptures of Alberto Giacometti (1901-1966) and Lynn Chadwick (1914-2003) are manifestations of the sense of fear and disillusionment that pervaded Europe during the Cold War period. Their work bids a final farewell to pre-war romanticism and aestheticism, and lands with both feet in the raw reality of the post-war world. While Giacometti reduced the human form to its bare essentials, Chadwick created powerful archetypal images of both people and animals. The exhibition includes more than 150 works. Never before has the work of Giacometti and Chadwick been so explicitly brought together.
Their paths first crossed in 1956, when Chadwick became the youngest person ever to win the Grand Prix for Sculpture at the Venice Biennale. With only six years’ experience as a sculptor, the British artist snatched the prize from Giacometti, the hot favourite, who was thirteen years older and already a major name in Paris. Giacometti would go on to win the prize in 1962, but which of the two men was awarded it in 1956 is less significant than the fact that these two particular sculptors were the front-runners at that time. Each of them was expressing, in his own individual way, the sense of deep-seated angst that overshadowed day-to-day life in Europe in the fifties and sixties: the fear of a global nuclear disaster that would wipe out human civilisation.
Alberto Giacometti is among the most significant figures in the whole field of modern European sculpture. A member of a notable family of Swiss artists, he moved to Paris in 1922 and would remain there for the rest of his life, working as a sculptor, painter and graphic artist. After training with Émile-Antoine Bourdelle, he discovered modernism and so-called ‘primitive’ ethnographic art of Africa and Oceania. In response to these influences, his work became more abstract. In the early thirties, his Surrealist sculptures expressing subconscious emotions created a furore. From 1935, however, personal psychological tensions triggered a crisis in his life and work that led to a return to the human figure. Initially, his portraits and figures became both increasingly tiny and more and more attenuated. This thinness was to remain the most distinctive feature of Giacometti’s art. After the Second World War, he began to create the elongated, emaciated figures that would bring him worldwide fame. In all their attenuation, they reduce humanity to its very essence and appear both vulnerable and enigmatic.
In the early fifties, up-and-coming artist Lynn Chadwick managed to dislodge Henry Moore and Barbara Hepworth from their dominant position in the field of British sculpture. Born in London, Chadwick had started his career as a technical draughtsman and exhibition stand designer. He took an equally constructional approach to his sculpture: rather than model his human and animal figures in clay or wax, he constructed them by welding steel rods together to create an armature and then filling in the gaps with a kind of cement. The angularity of the work being produced by him and other young British artists was described in 1952 as ‘the geometry of fear’, a reference to the constant dread of nuclear annihilation. Chadwick’s apocalyptic Dancers and stoical Watchers gave powerful expression to this sense of angst. From the early seventies, he broadened his repertoire to include subjects that seem to restore the sovereignty of the human spirit. Sculptures like Cloaked Figure and Sitting Couple no longer look threatening, but emanate a sense of composure and invulnerability.
Giacometti’s pre-war work influenced Chadwick’s development and the two men were keenly aware of each other’s presence. In addition to the vast differences, there are also many similarities between their oeuvres. Giacometti-Chadwick, Facing Fear is the product of close cooperation with the Fondation Marguerite et Aimé Maeght in Saint-Paul-de-Vence and the Chadwick Estate and Blain|Southern gallery in London.
A new book, entitled "Richard Dawkins: How a Scientist Changed the Way We Think," presents a series of essays from a wide range of academic (& non-academic) disciplines & interlocutors on Richard Dawkins's seminal text, "The Selfish Gene," and its impact on contemporary society. Contributors to the book are mostly biologists but include the novelist Phillip Pullman, author of "His Dark Materials," and the bishop of Oxford, Richard Harries.
Those who know me are aware of my antipathy for superstition (e.g., particularly what Gore Vidal terms the Sky God religions) & its nefarious influence in the world of empiricism, reason, science, & public policy (namely, the world in which we live). For me, Richard Dawkins is a true hero, intellectual & otherwise (he regularly receives death threats from fanatics of various religions).
Dr. Dawkins is, as the novelist Phillip Pullman so cogently observed, "a ferocious and implacable opponent of those who water the dark roots of superstition."
Photo credit: Hazel Potier/Camera Press/Retna
This chap was one of many, many old-school wrestling fans attending 'Wrestlemania 24' in Orlando who really didn't like wrestler, John Cena.
I have no idea what they planned to do with these signs which had been signed by fans with a similar opinion of Cena but they were going around asking people to sign them anyway.
I have no beef with Cena (these days) in fact I quite like his current storyline with the evil Nexus (who's own T-Shirt sales were so appalingly low lately.....hmmmm) but since he was wrestling two of my favourite WWE wrestlers of all time 'Triple H' and Randy Orton and had beaten my other favourite wrestler, Shawn Michaels, at my first Wrestlemania in Detroit the previous year, I had no choice but to sign the sign.
If you zoom in and look in the 'A' in 'Cena' you can see my name.....sorry John :(
POST PROCESSING - I used the lens correction tool to give this one a 'wide-angle' feel before desaturating the background 50%, adding a slight vignette and running it the main-guy through Topaz Adjust to make him pop - an act i'm sure John Cena would like to do to his head if he ever caught up with him.
Click here to see the old unaltered version of this classic :-
Stained glass memorial window entitled Faith, Hope and Charity by Wilhelmina Geddes, part of the An Tur Gloine (Tower of Glass) studio in Dublin. The window was erected in 1913 by Martin Luther Wallace in memory of his father Martin Wallace (1825-1910), one of the founders of the church, and his mother Jane Guy Wallace (1830-1908).
Faith is represented in the Faith light by St Paul on the left and Job on the right. Across the light is a quote from Proverbs, Chapter 18, verse 10: "The name of the Lord is a strong tower, the righteous runneth into it and is safe".
Hope is represented in the Hope light by the Penitent Thief on the left and the Wise Men on the right. Across the light is a quote from 1st Corinthians, Chapter 5, verse 1: "We know that if our earthly house of this tabernacle were dissolved, we have a building of God, an house not made with hands, eternal in the heavens".
In the Charity huitfoil, charity is represented by the Good Samaritan on the left and the Virtuous Woman on the right.
A part of my childhood revisited in Canterbury yesterday, as in the Beaney Museum, there is a room dedicated to the work of Oliver Postgate and is animation production company, Smallfilms, which was based in Blean.
These are the figures for Pogle's Wood, my favourite show before I started school.
---------------------------------------------
Pogles' Wood (in its first series it was entitled The Pogles) is an animated British children's television show produced by Smallfilms between 1965 and 1967, first broadcast by the BBC between 1965 and 1968 (but repeated regularly until the early 1970s).[1]
The original six episode series, The Pogles, was broadcast from 29 July 1965, within the children's magazine programme Clapperboard. The 26-episode sequel, Pogles Wood, was shown as part of the Watch with Mother strand, whose target audience was pre-school children (meaning, in the 1960s, children under 5 years of age): a somewhat younger audience than that for Clapperboard.[2]
The 32 episodes were filmed using stop-frame animation, in Peter Firmin's barn (not in a BBC television studio). All were made in black-and-white. The episodes were narrated by Oliver Postgate, who introduced the story (typically beginning each episode with the show's catchphrase, Now where shall we find the Pogles?) and also voiced several of the characters.
The Pogles were tiny magical beings who lived in a hollow tree in a wood. The four principals were Mr and Mrs Pogle, their adopted son Pippin, and a squirrel-like creature named Tog, who was Pippin's playmate.
en.wikipedia.org/wiki/Pogles%27_Wood
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Smallfilms is a British television production company that made animated TV programmes for children from 1959 until the 1980s.[1] In 2014 the company began operating again, producing a new series of its most famous show, The Clangers,[2] however it became dormant again in 2017, It was originally a partnership between Oliver Postgate (who wrote the scripts, animated the characters, and voiced many of the characters) and Peter Firmin (who made the models of the characters and drew the artwork). Several very popular series of short films were made using stop-motion animation, including Clangers, Noggin the Nog and Ivor the Engine. Another Smallfilms production, Bagpuss, came top of a BBC poll to find the favourite British children's programme of the 20th century.
Official launching of a photo book entitled “Ending malnutrition in Ethiopia - A SUCCESS STORY” which illustrates Ethiopia’s success story in ending malnutrition, through the voices, stories and images of Ethiopians, Hawassa, 25 April 2018
entitled "mrs. robinson", released 7/15
From the 1967 classic movie, The Graduate. "Mrs. Robinson, you're tryin to seduce me." RIP Anne Bancroft.
Buy it here:
www.orangemoonapparel.com/store/oma.cgi/oma.orangemoonapp...
This photograph was taken by Turners, entitled 'Harrop Brothers Fashion Parade at Station Hotel'.
The Harrop brothers established the yarn company Sirdar, and here you can see some of their knitted designs being modelled in a fashion parade at the Royal Station Hotel in Newcastle.
Date: 11.10.1960
Turners was established in Newcastle upon Tyne in the early 1900s. It was originally a chemists shop but in 1938 become a photographic dealer. Turners went on to become a prominent photographic and video production company in the North East of England. They had 3 shops in Newcastle city centre, in Pink Lane, Blackett Street and Eldon Square. Turners' photographic business closed in the 1990s.
Ref: DT.TUR-2-25202-H
(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.
This piece is entitled "self portrait of ones entire life". I executed this piece with the a theory I developed that is called Dimensionalism . This theory has its inspiration form my experiences with pre-seizure events for I have epilepsy. In this state I become detached from reality and see time in a different construct,that of a hyper intensity. A hyper awareness of a moment and everything that constructs it from sounds,thoughts,things tactile . While in these pre seizure states, some instances time is slowed down/speed up or frozen. While in other instances I am forced away form all comprehension of what is in my present environment and reality takes on a totally foreign existence where all has to be re learned.
For the viewers of my piece all of life is in dimensions and how one moves through these dimensions of either large dimensional constructs such as ones life or to the minute dimensional construct of a simple word. Thus giving the viewer this new perspective of time and space. The suspended animation of the piece is only dynamic as the viewer views the piece from the narrower sides form either end where a visible play of time sequencing exists and ones eye is drawn into the piece...
A perspective of a Dimesionalist where one has a view of a moment with a gods eye/time traveler or a pure energy source . From looking at a simple word to a memory one has. All is captured in dimensions. There are other branches of my theory that further portray my experiences. Demensionalising and facitile dimensionalism. These ideas also play with the constructs of how one sees time/moment.I hope to execute these ideas in the future...........
All these ideas/theories have a direct correlation with present day society...from the over abundance of information that is transferred by different technologies to the ways these technologies directly affect our existence and how it adds other dimensions of time to our lives.
I will be placing more info online in the future. and creating a temp website that fully explains all the details and shows examples of these theories as well as go into more details..
If you are interested in more info please feel free to contact ...efj@sbcglobal.net
Best best
Efj.
All these ideas/theories have a direct correlation with present day society...from the over abundance of information that is transferred by different technologies to the ways these technologies directly affect our existence and how it adds other dimensions of time to our lives.
I will be placing more info online in the future. and creating a temp website that fully explains all the details and shows examples of these theories as well as go into more details..
If you are interested in more info please feel free to contact ...efj@sbcglobal.net
Best best
Efj.
This piece is entitled "self portrait of ones entire life". I executed this piece with the a theory I developed that is called Dimensionalism . This theory has its inspiration form my experiences with pre-seizure events for I have epilepsy. In this state I become detached from reality and see time in a different construct,that of a hyper intensity. A hyper awareness of a moment and everything that constructs it from sounds,thoughts,things tactile . While in these pre seizure states, some instances time is slowed down/speed up or frozen. While in other instances I am forced away form all comprehension of what is in my present environment and reality takes on a totally foreign existence where all has to be re learned.
For the viewers of my piece all of life is in dimensions and how one moves through these dimensions of either large dimensional constructs such as ones life or to the minute dimensional construct of a simple word. Thus giving the viewer this new perspective of time and space. The suspended animation of the piece is only dynamic as the viewer views the piece from the narrower sides form either end where a visible play of time sequencing exists and ones eye is drawn into the piece...
A perspective of a Dimesionalist where one has a view of a moment with a gods eye/time traveler or a pure energy source . From looking at a simple word to a memory one has. All is captured in dimensions. There are other branches of my theory that further portray my experiences. Demensionalising and facitile dimensionalism. These ideas also play with the constructs of how one sees time/moment.I hope to execute these ideas in the future...........
All these ideas/theories have a direct correlation with present day society...from the over abundance of information that is transferred by different technologies to the ways these technologies directly affect our existence and how it adds other dimensions of time to our lives.
I will be placing more info online in the future. and creating a temp website that fully explains all the details and shows examples of these theories as well as go into more details..
If you are interested in more info please feel free to contact ...efj@sbcglobal.net
Best best
Efj.
All these ideas/theories have a direct correlation with present day society...from the over abundance of information that is transferred by different technologies to the ways these technologies directly affect our existence and how it adds other dimensions of time to our lives.
I will be placing more info online in the future. and creating a temp website that fully explains all the details and shows examples of these theories as well as go into more details..
If you are interested in more info please feel free to contact ...efj@sbcglobal.net
Best best
Efj.
neolithic-like pottery
The prehistoric pottery in Romania fascinates by its diversity, quality and exquisite sense of beauty. A number of European Neolithic cultures are known all over the world for their extremely valuable pottery production. Each of these cultures can be distinguished according to their specific forms and decors. From the archaeological perspective, pottery is considered to be a “vectorial / leading fossil” helping to identify the human communities that occupied a certain area during a certain past period of time.
The project
The ongoing project entitled “Replica” intends to recreate, in an experimental manner, the clay “adventure” from its starting point as a geologic sediment to its final phase, when it becomes a finite art object. While achieving this complex process, we have minutely tried to rediscover and at the same time apply the prehistoric pottery and statue carving techniques.
The beginning
Basket working was considered to be the first handcrafted recipients. Later on these baskets were covered with clay. This is one of the hypotheses regarding the starting point of pottery making. It is believed that ceramic recipients appeared as a result of some chance basket burning. These recipients had a major peculiarity – water could be boiled into them. Gradually, people ceased using the wickerwork support and started using long clay bands to build the recipient. These bands went upwards, from the basis to the recipient aperture.
The clay
The first step taken in realising the recipient you are holding in this very moment was to discover a resource of high quality raw material. Thus, the clay we have used was found in the proximity of ancient pottery centres situated in the southern regions of Romania. It has been used for centuries in pottery production. The clay needs to be exposed to at least one winter frost in order to acquire the necessary plastic qualities; only afterwards water is added and it gets sufficiently well homogenized to obtain the consistency to mould the recipient.
The technique
The process we use to build the recipients tries to reproduce as close as possible the Neolithic one, called en colombin. The construction of such a recipient starts form the basis, superposing clay bands which are consequently homogenized, from both the interior and exterior, by means of a bone or wooden spatula. Building bigger dimension recipients raises some problems - in this case the technical procedure requires higher attention as well as a longer time for its construction. This technique resembles the one that swallows use to build their nests – while the basis of the recipient begins to dry, the upper part is maintained wet so that the building process could be continued. The recipients’ decoration with incisions or excisions is realised before they are completely dried. After the completion of these first stages, the recipients are stored in a shadowy place since a rapid dehydration could deform or even crack them.
The pigments
Before being burnt, the recipients are painted with mineral pigments, resistant to high temperatures of over 700° Celsius. The pigments’ extraction is realised in a quite resembling manner to the one practiced in prehistory. The red pigment is obtained from sediment containing a high concentration of iron oxide. The white is obtained from a special type of clay brought from an area rich in kaolin deposits, situated in the proximity of Medgidia town. The black colour is obtained by grinding the slag resulted from iron burning.
The kiln
The recipients are burnt in a kiln built after the Neolithic model – it is a bicameral clay kiln in which a high quality oxidising burning can be realised. The recipients are carefully placed into the kiln in a well established order so that the hot air can circulate, realising thus a complete burning. They are positioned in circles; the widest circle comes first. On the pile top, a lid of broken recipients is made.
The burning
At the beginning, the fire is made with soft wood such as poplar, lime tree or willow wood cut in small pieces – 30 cm at most. They have a lesser caloric power and are used for the gradual kiln heating. At this stage, the wood is set at the kiln aperture, as far as possible from the recipients because a high temperature without a preliminary gradual heating would crack them. This stage can last up to three hours. At this point, wood with a higher caloric power such as poplar, lime tree or willow wood is introduced. The best wood that can be used in pottery burning is the fir wood. The wood pieces should be 80 cm long and cut thinly. The burning can last up to twelve hours.
The culture of Cucuteni is known to have appeared around 5000 years ago in the eastern part of Romania, more precisely in the Central and Western parts of a region called Moldavia. It started its existence during the last phase of a Precucutenian culture and undertook some influences from Gumelnita and Petresti cultures. It belongs to the great painted ceramics complex known by the name of Ariuşd – Cucuteni – Tripolie. Further phases – A, A-B, B and C have been stratigraphically and typologically identified to have existed during its long-lasting life of more than 700 years (around 3500 BC – 2900 BC).
Working the land was considered to be the basic occupation of these communities, but they were animal breeders as well. They took great interest in breeding taurines. Haunting was of a secondary importance to them.
Among the countless and outstanding artistic manifestations belonging to the Neo- eneolithic epoch 5000 years ago, and which appeared in both Romania and the rest of Europe, Cucuteni culture stands as the symbol of one of the greatest achievements of the prehistoric man’s genius. As compared to the contemporary cultures, Cucuteni is undoubtly the most impressive of them. The artistic value of its painted pottery is genuine and surpasses the most exquisite manifestations belonging to most of the European cultures of that epoch.
wwwdumitruflorin.eu
Soprano Viorica Cortez is one of 160 Romanian Women whose critical biographies are included in a new Anthology available as an E-Book entitled:
Countess Anna de Noailles' critical biography is accompanied by Quotations, Iconography and a substantial bibliography which are presented in a new Anthology entitled;
"Blouse Roumaine - the Unsung Voices of Romanian Women"
Presented and Selected by Constantin ROMAN
Anthology E-BOOK (11BM)
DISTRIBUTION: Online with credit card
COST: $ 54.99, £34.99 (ca Euros 35.50)
LINK: www.blouseroumaine.com/orderthebook_p1.html
CONTENTS:
2,250,000 words,
over 1,000 pages,
ca 160 illustrations in text
160 critical biographies,
58 social categories/professions,
600 quotations (mostly translated into English for the first time),
circa 3,000 bibliographical references (including URLs and credits)
6 Indexes (alphabetical, by profession, timeline, quotation Index, place
index and name index)
AUTHOR: Constantin Roman is a Scholar with a Doctorate from Cambridge and a Member of the Society of Authors (London). He is an International Adviser, Guest Speaker, Professor Honoris Causa and Commander of the Order of Merit.
INDEX BY PROSFESSION: 58 CATEGORIES by Call, Profession or Social Status
Academics (22), Actresses (9), Anti-Communist Fighters (14), Architects/Interior Designers (2), Art Critics (9), Artist Book Binders (1), Ballerinas (6), Charity Workers/Benefactors (20), Communist Public Figures (2), Courtesans (3), Designers (2), Diplomats (4), Essayists (11), Ethnographers (6), Exiles & First-generation Romanians born abroad (87), Explorers (1), Feminists (12), Folk Singers (1), Gymnasts, Dressage Riders (2), Historians (5), Honorary Romanian Women (15), Illustrators (3), Journalists (13), Lawyers (4), Librarians (3), Linguists (2), Literary Critics (1), Media (15), Medical Doctors/Nurses (5), Memoir Writers (16), Missionaries and Nuns (4), Mountainéers (2), Museographers (1), Musical Instruments Makers (1), Novelists (24), Opera Singers (16), Painters (14), Peasant Farmers (6), Philosophers and Philosophy Graduates (4), Pianists (6), Pilots (4), Playwrights (5), Poets (29), Political Prisoners (30), Politicians (5), Revolutionaries (2), Royals and Aristocrats (34), Scientists (8), Sculptors (4), Slave (1), Socialites/Hostesses (20), Spouses/Relations of Public Figures (51), Spies (2), Tapestry Weavers (4), Translators (25), Unknown Illustrious (6), Violinists (4), Workers (3)
NOTE:
Most of the above 160 Romanian women, in the best tradition of versatility, are true polymaths and therefore nearly each one of them falls in more than just one category, often three or more. This explains why adding the numbers of the 57 individual categories bears no relation to the actual total of the above 160 women included in Blouse Roumaine.
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LIST OF 160 CRITICAL BIOGRAPHIES (each supported by Quotations and Bibliography)
AA *Gabriela Adamesteanu *Florenta Albu *Nina Arbore *Elena Arnàutoiu *Ioana Raluca Voicu-Arnàutoiu, *Laurentia Arnàutoiu *Mariea Plop - Arnàutoiu *Ana Aslan *Lady Elizabeth Asquith Bibescu
BB *Lauren Bacall *Lady Florence Baker *Zoe Bàlàceanu *Ecaterina Bàlàcioiu-Lovinescu *Victorine de Bellio *Pss. Marta Bibescu *Adriana Bittel *Maria Prodan Bjørnson *Ana Blandiana *Yvonne Blondel *Lola Bobescu *Smaranda Bràescu *Elena Bràtianu *Élise Bràtianu *Ioana Bràtianu *Elena Bràtianu- Racottà *Letitzia Bucur
CC *Anne-Marie Callimachi *Georgeta Cancicov *Madeleine Cancicov *Pss. Alexandra Cantacuzino *Pss.Maria Cantacuzino (Madame Puvis de Chavannes) *Pss. Maruca Cantacuzino-Enesco* Pss. Catherine Caradja *Elena Caragiani-Stoenescu *Marta Caraion-Blanc, *Nina Cassian, *Otilia Cazimir *Elena Ceausescu *Maria Cebotari *Ioana Celibidache *Hélène Chrissoveloni (Mme Paul Morand)*Alice Cocea *Irina Codreanu *Lizica Codreanu *Alina Cojocaru *Nadia Comàneci *Denisa Comànescu *Lena Constante *Silvia Constantinescu *Doina Cornea *Hortense Cornu *Viorica Cortez*Otilia Cosmutzà *Sandra Cotovu *Ileana Cotrubas *Carmen-Daniela Cràsnaru *Mioara Cremene *Florica Cristoforeanu *Pss. Elena Cuza
DD *Hariclea Darclée *Cella Delavrancea *Alina Diaconú *Varinca Diaconú *Anca Diamandy *Marie Ana Dràgescu *Rodica Dràghincescu *Bucura Dumbravà *Natalia Dumitrescu
EE *Micaela Eleutheriade *Queen Elisabeth of Romania (‘Carmen Sylva’) *Alexandra Enescu *Mica Ertegün
FF *Lizi Florescu, *Maria Forescu *Nicoleta Franck *Aurora Fúlgida
GG *Angela Gheorghiu *Pss Grigore Ghica *Pss. Georges Ghika (Liane de Pougy) *Veturia Goga *Maria Golescu *Nadia Gray *Olga Greceanu *Pss. Helen of Greece *Nicole Valéry-Grossu *Carmen Groza
HH *Virginia Andreescu Haret *Clara Haskil *Lucia Hossu-Longin
II *Pss. Ileana of Romania *Ana Ipàtescu *Marie-France Ionesco *Dora d’Istria *Rodica Iulian
JJ *Doina Jela *Lucretia Jurj
KK *Mite Kremnitz
LL *Marie-Jeanne Lecca *Madeleine Lipatti *Monica Lovinescu *Elena Lupescu
MM *Maria Mailat *Ileana Màlàncioiu *Ionela Manolesco *Lilly Marcou *Silvia Marcovici *Queen Marie of Romania *Ioana A. Marin *Ioana Meitani *Gabriela Melinescu *Veronica Micle *Nelly Miricioiu *Herta Müller *Alina Mungiu-Pippidi *Agnes Kelly Murgoci
NN *Mabel Nandris *Anita Nandris-Cudla *Lucia Negoità *Mariana Nicolesco *Countess Anna de Noailles *Ana Novac
OO *Helen O’Brien *Oana Orlea
PP *Hortensia Papadat-Bengescu *Milita Pàtrascu *Ana Pauker *Marta Petreu *Cornelia Pillat *Magdalena Popa *Elvira Popescu
RR *Ruxandra Racovitzà *Elisabeta Rizea *Eugenia Roman *Stella Roman *Queen Ana de România, *Pss. Margarita de România *Maria Rosetti *Elisabeth Roudinesco
SS *Annie Samuelli *Sylvia Sidney *Henriette-Yvonne Stahl *Countess Leopold Starszensky *Elena Stefoi *Pss. Marina Stirbey *Sanda Stolojan *Cecilia Cutzescu-Storck
TT *Maria Tànase *Aretia Tàtàrescu *Monica Theodorescu *Elena Theodorini
UU *Viorica Ursuleac
VV *Elena Vàcàrescu *Leontina Vàduva *Ana Velescu *Marioara Ventura *Anca Visdei *Wanda Sachelarie Vladimirescu *Alice Steriade Voinescu
WW *Sabina Wurmbrand
ZZ *Virginia Zeani
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Roumanian, mezzo-soprano, french by naturalisation, she studied at the Bucarest Conservatory where, besides her vocal training, she also studied the piano, harmony and counterpoint. She was awarded the Kathleen Ferrier Prize and the gold medal in the International Georges Enesco Competion. Important roles were soon given to her and above all she is one of the greatest interpreters of Carmen. Her repertoire allows her to sing in Russian, from Glinka to Stravinsky, in German from Bach to Schönberg, in Italian from Monteverdi to Menotti, in French from Rameau to Ravel. She has appeared at the most prestigious opera houses : the Paris Opera, the Metropolitan in N.Y, the Scala in Milan, Covent Garden in London, the Vienna Opera, the Rome Opera and the Verona arenas.
Mezzo soprano roumaine naturalisée française. Elle a fait ses études au Conservatoire de Bucarest, outre sa formation au chant, elle étudie le piano, l'harmonie, le contrepoint. Elle obtient le Prix Kathleen Ferrier et la médaille d'or au Concours International Georges Enesco. Bientôt les grands rôles du répertoire lui sont confiés et surtout, elle est une des plus grandes interprètes de Carmen. Son répertoire lui permet de chanter en russe, de Glinka à Stravinsky, en allemand de Bach à Schönberg, en italien de Monteverdi à Menotti, en Français de Rameau à Ravel. Elle est engagée par les plus grandes scènes : l'Opéra de Paris, le Metropolitan de New York, Scala de Milan, Coven Garden à Londres, l'Opéra de Vienne, de Rome, les Chorégies de Vérone...
2nd WWI Photograph/Post Card of H Roberts, Lance Corporal, Royal Artillery, Bexhill on Sea, Sussex. A group photograph H Roberts seated first on the left. Entitled Days of the Great War. Photograph by George Chapman 63 Station Road, Bexhill–on-Sea
The European Defence Agency’s Annual Conference 2019 entitled 'Taking European Defence Cooperation to the Next Level - Prospects for the decade ahead’ took place in Brussels on 28 November.
For more information on the conference, visit www.eda.europa.eu/info-hub/press-centre/latest-news/2019/....
New Deal mural entitled "Air Mail" painted by Edwin Boyd Johnson in 1937. During renovation of the post office into the town library between 1969-71, the fresco was thought destroyed. In 2008, it was discovered above a dropped ceiling with a large hole cut in it for a heating duct. The hole basically took out the torso of the guy. Parma Conservation restored the fresco and recreated the center part of the mural between 2009-2010. It currently resides in the Melrose Park library (old post office).
Desktop Wallpaper 1920x1080, an artwork entitled Memoire d' Horizon by Jean Pierre Rives at SXS 2006
The Regional Chamber's, Women's Business Council, hosted a program entitled, Bridging the Gap Between Corporate Culture and Retention, Wednesday, February 13, 2013.
This piece is entitled "self portrait of ones entire life". I executed this piece with the a theory I developed that is called Dimensionalism . This theory has its inspiration form my experiences with pre-seizure events for I have epilepsy. In this state I become detached from reality and see time in a different construct,that of a hyper intensity. A hyper awareness of a moment and everything that constructs it from sounds,thoughts,things tactile . While in these pre seizure states, some instances time is slowed down/speed up or frozen. While in other instances I am forced away form all comprehension of what is in my present environment and reality takes on a totally foreign existence where all has to be re learned.
For the viewers of my piece all of life is in dimensions and how one moves through these dimensions of either large dimensional constructs such as ones life or to the minute dimensional construct of a simple word. Thus giving the viewer this new perspective of time and space. The suspended animation of the piece is only dynamic as the viewer views the piece from the narrower sides form either end where a visible play of time sequencing exists and ones eye is drawn into the piece...
A perspective of a Dimesionalist where one has a view of a moment with a gods eye/time traveler or a pure energy source . From looking at a simple word to a memory one has. All is captured in dimensions. There are other branches of my theory that further portray my experiences. Demensionalising and facitile dimensionalism. These ideas also play with the constructs of how one sees time/moment.I hope to execute these ideas in the future...........
All these ideas/theories have a direct correlation with present day society...from the over abundance of information that is transferred by different technologies to the ways these technologies directly affect our existence and how it adds other dimensions of time to our lives.
I will be placing more info online in the future. and creating a temp website that fully explains all the details and shows examples of these theories as well as go into more details..
If you are interested in more info please feel free to contact ...efj@sbcglobal.net
Best best
Efj.
All these ideas/theories have a direct correlation with present day society...from the over abundance of information that is transferred by different technologies to the ways these technologies directly affect our existence and how it adds other dimensions of time to our lives.
I will be placing more info online in the future. and creating a temp website that fully explains all the details and shows examples of these theories as well as go into more details..
If you are interested in more info please feel free to contact ...efj@sbcglobal.net
Best best
Efj.
This piece is entitled "self portrait of ones entire life". I executed this piece with the a theory I developed that is called Dimensionalism . This theory has its inspiration form my experiences with pre-seizure events for I have epilepsy. In this state I become detached from reality and see time in a different construct,that of a hyper intensity. A hyper awareness of a moment and everything that constructs it from sounds,thoughts,things tactile . While in these pre seizure states, some instances time is slowed down/speed up or frozen. While in other instances I am forced away form all comprehension of what is in my present environment and reality takes on a totally foreign existence where all has to be re learned.
For the viewers of my piece all of life is in dimensions and how one moves through these dimensions of either large dimensional constructs such as ones life or to the minute dimensional construct of a simple word. Thus giving the viewer this new perspective of time and space. The suspended animation of the piece is only dynamic as the viewer views the piece from the narrower sides form either end where a visible play of time sequencing exists and ones eye is drawn into the piece...
A perspective of a Dimesionalist where one has a view of a moment with a gods eye/time traveler or a pure energy source . From looking at a simple word to a memory one has. All is captured in dimensions. There are other branches of my theory that further portray my experiences. Demensionalising and facitile dimensionalism. These ideas also play with the constructs of how one sees time/moment.I hope to execute these ideas in the future...........
All these ideas/theories have a direct correlation with present day society...from the over abundance of information that is transferred by different technologies to the ways these technologies directly affect our existence and how it adds other dimensions of time to our lives.
I will be placing more info online in the future. and creating a temp website that fully explains all the details and shows examples of these theories as well as go into more details..
If you are interested in more info please feel free to contact ...efj@sbcglobal.net
Best best
Efj.
There are other branches of my theory that further portray my experiences. Demensionalising and facitile dimensionalism. These ideas also play with the constructs of how one sees time but deals more with dynamic movement .I hope to execute these ideas in the future...........
All these ideas/theories have a direct correlation with present day society...from the over abundance of information that is transferred by different technologies to the ways these technologies directly affect our existence and how it adds other dimensions of time to our lives.
I will be placing more info online in the future. and creating a temp website that fully explains all the details and shows examples of these theories as well as go into more details..
If you are interested in more info please feel free to contact ...efj@sbcglobal.net
Best best
Efj.
An article entitled "Sea lions at Victoria's Race Rocks injured by debris, boats" just ran in Victoria's Times Colonist that quoted me. See it here: www.timescolonist.com/technology/lions+Victoria+Race+Rock...
Anna Hall, a marine zoologist also quoted in the article suggests showing graphic images to children to warn them of the dangers posed to sea lions. This series is a response to that suggestion and not biased propaganda as I have been accused of.
This image summarizes the article's headline. Two California sea lions, one with some marine junk entangled around its neck (a death sentence), and another whose front flipper has been nearly severed by a boat's propeller (it is currently wasting away from not being able to hunt for food).
An update from a NOAA research biologist and a veterinarian who specializes in marine mammals: Both experts agree the wound has been present for so long that the original source of the trauma is impossible to say with scientific certainty. Possible causes include orca bite, entanglement, and boat strike.
Die Werke von Willem de Rooij kreisen um Fragen nach Repräsentation und Bedeutung. Seit den frühen 1990er-Jahren arbeitet der niederländische Künstler in unterschiedlichen Medien wie Installation, Fotografie und Film. Für seine Ausstellung „Entitled“ im MMK 2 des MMK Museum für Moderne Kunst Frankfurt am Main hat er Werke und Werkgruppen aus frühen Schaffensphasen bis zur Gegenwart erstmals zu einer neuen, den gesamten Museumsraum umfassenden Installation vereint.
„Willem de Rooij ist mit wichtigen Werken aus seiner Kooperation mit Jeroen de Rijke in der Sammlung des MMK vertreten. Wir freuen uns, mit dieser Ausstellung das Œuvre von de Rooij noch intensiver und umfassender beleuchten zu können“, sagt Prof. Dr. Susanne Gaensheimer, Direktorin des MMK.
De Rooij studierte an der Gerrit Rietveld Akademie und an der Rijksakademie in Amsterdam. Seit 2006 lehrt er als Professor für Bildende Künste an der Städelschule in Frankfurt am Main. Von 1995 bis 2006 arbeitete er zusammen mit Jeroen de Rijke (1970–2006).
Bei dieser Ausstellung stehen sowohl die einzelnen Arbeiten des Künstlers im Mittelpunkt als auch ihre Anordnung in einer umfassenden Installation, die speziell für die Räume des
MMK 2 entwickelt wurde. „In der Anordnung der Werke zu einer Gesamtinstallation sieht Willem de Rooij einen wichtigen Teil seiner Arbeit als Künstler. Der Raum – ob privat, öffentlich, institutionell oder sozial – ist dabei zentral. Der Raum zwischen den einzelnen Werken und die Aussichten auf den städtischen Umraum schaffen eine Beziehung zwischen dem Werk und dem Betrachter, zwischen dem Museum und der Stadt.“, sagt Klaus Görner, Kurator der Ausstellung.
Durch die bewusste Einbindung von Zwischenräumen und Fensteröffnungen stellt die Installation im MMK 2 Verbindungen zwischen dem Innenraum und der äußeren Umgebung her. Die Präsentation ist dabei nicht als Parcours oder Abfolge aufgebaut, sondern als ein Gefüge verschiedener Zonen, die sich gegenseitig durchdringen und über Blickachsen miteinander verknüpft sind. Dadurch deckt die Installation Referenzen innerhalb de Rooijs Œuvre auf.
Pressemitteilung MMK
Inaugurated on October 18, 2000, this monument entitled "Women are Persons!" is a tribute to Nellie McClung, Irene Parlby, Emily Murphy, Louise McKinney and Henrietta Muir Edwards. Known as the Famous Five, these women won the "Persons" Case, a 1929 court ruling which legally declared women as persons under the British North America Act and made them eligible for appointment to the Canadian Senate
The larger-than-life sculptures by Edmonton artist Barbara Paterson were donated to the Government of Canada by the Famous 5 Foundation. They show the five women celebrating their important legal victory in characteristic poses. An empty chair adds an interactive feature to the monument that invites passers-by to join the group. The newspaper with the headline "Women are Persons" that Nellie McClung is holding reflects some of the actual headlines of newspapers of the day.
Nellie L. McClung (1873-1951), novelist, journalist, suffragette and temperance worker. She was a member of the Alberta legislature, the only woman on the Dominion War Council, and the first woman on the CBC Board of Governors.
Irene Parlby (1868-1965), suffragette and politician. She was elected president of the women's branch of the United Farmers of Alberta in 1916 and became a member of the Alberta legislature in 1921. She was still a member of Parliament at the time of the Persons Case.
Emily G. Murphy (1868-1933), instigator of the Persons Case, writer, and first woman magistrate in the British Empire. She pioneered married women's rights, was National President of the Canadian Women's Press Club 1913-1920, vice-president of the National Council of Women and first president of the Federated Women's Institutes of Canada.
Henrietta Muir Edwards, (1849-1931), journalist, suffragist and organizer, fought for equal rights for wives, mothers' allowances and women's rights. She started the Working Girls' Association in Montréal in 1875, a forerunner of the YWCA. Later, while living in Alberta, she compiled two works on Alberta and federal laws affecting women and children.
Louise McKinney (1868-1931), politician and temperance campaigner. She was president of the Dominion Women's Christian Union and elected to the Alberta legislature in 1917 as representative of the non-partisan league.
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Inauguré le 18 octobre 2000, ce monument intitulé «Les femmes sont des personnes!» rend hommage à Nellie McClung, Irene Parlby, Emily Murphy, Louise McKinney et Henrietta Muir Edwards. Ces cinq femmes, mieux connues sous le nom des « Cinq femmes célèbres », ont gagné l'affaire « personnes », un jugement de 1929 qui reconnaissait l'existence des femmes en tant que personnes selon l'Acte de l'Amérique du Nord britannique et les rendait admissibles à être nommées au Sénat du Canada
Les sculptures plus grandes que nature, oeuvre de l'artiste Barbara Paterson, d'Edmonton, ont été offertes au Gouvernement du Canada par la fondation Famous 5. Elles représentent les cinq femmes célébrant leur victoire juridique historique dans des poses caractéristiques. Une chaise vide fait partie de l'oeuvre et constitue un élément interactif qui invite les passants à se joindre au groupe. Le titre «Les femmes sont des personnes», sur le journal qu'arbore Nellie McClung, représente bien le type de manchettes qu'on pouvait lire à l'époque.
QUI SONT LES CINQ FEMMES CÉLÈBRES (de gauche à droite sur la photo, source :Archives nationales du Canada) :
Nellie L. McClung (1873-1951), romancière, journaliste, suffragette et militante au sein du mouvement de tempérance. Députée à l'Assemblée législative de l'Alberta, elle fut la seule femme à siéger au Dominion War Council et la première femme à faire partie du Conseil des gouverneurs de la Canadian Broadcasting Corporation.
Irene Parlby (1868-1965), suffragette et femme politique. Elle fut élue en 1916 présidente de la section féminine de la United Farmers of Alberta et, en 1921, députée à l'Assemblée législative de l'Alberta. Elle siégeait encore au Parlement au moment de l'affaire « personnes ».
Emily G. Murphy (1868-1933), instigatrice de l'affaire « personnes », écrivaine et première femme à siéger comme juge municipale dans l'Empire britannique. Elle a revendiqué les droits des femmes mariées, a été présidente nationale du Canadian Women's Press Club de 1913 à 1920, vice-présidente du National Council of Women et première présidente de la Federated Women's Institutes of Canada.
Henrietta Muir Edwards, (1849-1931), journaliste, suffragette et organisatrice, lutta pour l'égalité des droits des femmes et des épouses, et pour les allocations familiales. En 1875, à Montréal, elle fonda la Working Girls' Association, qui deviendrait un jour la Young Women's Christian Association (YWCA). Plus tard, lorsqu'elle habitait l'Alberta, elle compila deux recueils de lois provinciales et fédérales concernant les femmes et les enfants.
Louise McKinney (1868-1931), femme politique et militante de la tempérance. Elle présida la Dominion Women's Christian Union et fut élue à l'Assemblée législative de l'Alberta en 1917 comme représentante de la ligue non partisane.
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Entitled “Golden Rule,” the work was presented to the UN in 1985 as a gift on behalf of the United States by then First Lady Nancy Reagan. The half-ton mosaic depicts people of different nationalities standing together with the words “Do unto others as you would have them do unto you” inscribed on the surface.
Photo: Thomas Ohlsson Photography
www.thomasohlsson.com | 500px | Facebook | Flickr | Instagram
Entitled "America's Heartland Remembers" this memorial was designed/organized by Kirkwood resident Rick Randall. It totals 2996 American flags to honor each victim of the September 11 attacks.
Armory Center for the Arts is pleased to present an exhibition entitled Music for Hoarders, a video projection and installation by Los Angeles-based artist Dawn Kasper that documents a live "visual poem performance action" of the same name. Music for Hoarders, organized by Armory curator Irene Tsatsos, will be on display from February 12 – May 13, 2012 in the Armory’s Pasadena Art Alliance Gallery. A public opening reception will take place on Saturday, February 11 from 7-9pm in conjunction with Armory’s opening of simultaneous solo exhibitions by Richard Jackson, Nicolas Grider, and Jocelyn Foye. The exhibitions by Kasper, Grider, and Foye coincide with the Armory’s lead exhibition, Richard Jackson’s Accidents in Abstract Painting, the Armory, creating an opportunity for visitors to reflect on the shared conceptual and/or formal considerations between and among the works.
Originally performed in 2010 at Honor Fraser Gallery in Culver City, California, the performance Music for Hoarders featured a unique musical score designed specifically for the gallery environment. The structure of their composition was determined according to a performer’s spontaneous interactions with a large and unwieldy set of found everyday objects that had been stacked in the middle of the space. Musicians employed an aleatoric technique; they played whenever an object was touched, each musician assigned a sound to that object, each sound was performed during the duration of the object's use, and the sound assisted in informing the performer’s movements during the duration of the performance. The improvised musical interpretations of everyday objects compounded throughout the performance; the resulting full, layered sound, “hoarded” in the gallery, was meant to invoke the idea and physical sense of the hoarding of human emotions. The Armory will present documentation of this performance in a single-channel video installation with chairs and a new painting directly on the wall.
About the Artist
The work of Los Angeles-based performance artist Dawn Kasper addresses a deep fascination with the subjects of vulnerability, desire, process, and the construction and location of meaning. She critiques the corporate aspects of our culture by examining emotions – such as fear, panic, hate, envy, lust – through which advertisers, news media, and other commercial entities, manipulate us, and in doing so strives to create a place of shared camaraderie. Kasper often performs in a premeditated yet spontaneous manner, generally using props, slapstick comedy, and monologue to ask fundamental questions such as What is existence? or What is a physical object?. She then attempts to answer these life questions, and more, while inhabiting different characters and personas, each differentiated through costume and costume changes, with all shifts taking place before the audience.
The environments in which Kasper performs, created through the use of props, musical instruments, and diverse personae, provide what she calls an “open-air laboratory (of thought),” creating a theatrical space while also doubling as a platform for living sculpture. “Everything is in play,” she says, “and everything is mobile.” Kasper often repeats actions and gestures in her performances, invoking a feeling of ritual or ritualistic behavior. Kasper’s performances are often extremely physical – her various characters often construct a sculpture or installation, marking her study into being and process, and serving as an illustration of her findings.
Dawn Kasper has performed and exhibited internationally at galleries and institutions including the Migros Museum Für Genenwartskunst in Zurich and LISTE Basel, both in Switzerland; Art Basel Art Positions and David Castillo Gallery, both in Miami; Newman Popiashvili Gallery, Leo Koenig Inc., Projekte, and Art in General, all in New York; Copy Gallery, Philadelphia; and Anna Helwing Gallery, Circus Gallery, J. Paul Getty Museum, Los Angeles County Museum of Art, Los Angeles Contemporary Exhibitions, Hammer Museum, and Museum of Contemporary Art, all in Los Angeles. Kasper is one of the acting co-directors of the performance and experimental art venue Human Resources in Los Angeles.
From my set entitled “Helianthus”
www.flickr.com/photos/21861018@N00/sets/72157607217812103/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Helianthus
The Helianthus L. genus comprises 67 species and several subspecies in the Asteraceae family, all of which are native to North America, with some species (particularly Helianthus annuus (sunflower) and Helianthus tuberosus (Jerusalem artichoke) cultivated in Europe and other parts of the world as food crops and ornamental plants.
These are usually tall, annual or perennial plants, growing to a height of 50-390 cm. The rough and hairy stem is branched in the upper part. The petiolate leaves are dentate and often sticky. The lower leaves are opposite, ovate or often heart-shaped. The upper leaves are alternate and narrower.
They bear several to many wide, terminal capitula (flower heads), with bright yellow ray florets at the outside and maroon disc florets inside. These flower heads follow the direction of the sun, going from east to west during the day.
Helianthus species are used as food plants by the larvae of some Lepidoptera species (see list of Lepidoptera that feed on Helianthus).
A Churchman's Cigarettes card, one of a series entitled "Sports & Games in Many Lands". By my childhood in the 1950s/60s cigarette cards had disappeared, or at least I cannot remember any being issued then. We collected Brooke Bond and Hornimans tea cards, impatiently slitting the outer wrapper of the 1/4 pound block to get at the card and often cutting right through, spilling tea, bringing down parental wrath.
William Churchman founded in 1790 in Ipswich, a small pipe tobacco works. In 1888 William Alfred and Arthur Charles Churchman, grandsons of the founder, succeeded their father, Henry, in the business. It was from them that the Company derived its title. At that time output was mainly shag, snuff and tobacco. In in 1901 the American manufacturer Duke & Sons announced they were prepared to spend six million pounds on an aggressive campaign to acquire British and European tobacco firms. To meet this threat, in 1901 W. D. and H. O. Wills, John Player and Sons (Player's), Lambert and Butler, Hignett Brothers (with their associated firms) and Stephen Mitchell and Son, with six other firms, joined forces to found the Imperial Tobacco Co; Churchmans joined in 1902. In May 1992, in order to streamline operations, the parent company moved all production to Bristol, and Churchmans closed the Ipswich factory with the loss of over four hundred jobs.
From a collection of documents amassed by my late brother. These concerned chiefly the pursuit, and buying and selling of, debts by the Newport draper R Gordon Oliver.
From my set entitled “Euonymous”
www.flickr.com/photos/21861018@N00/sets/72157607217700893/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Spindle_(shrub)
The spindles, genus Euonymus, comprise about 170-180 species of deciduous and evergreen shrubs and small trees. They live mostly in East Asia, including the Himalayas,[1] and they also have a distribution in Europe, Asia, Australasia, North America and Madagascar.
Mature Spindle fruit, after splitting open to reveal the seeds
The flowers are situated in small groups, inconspicuous and of green or yellow shades.[1] The leaves are opposite (rarely alternate) and simple ovoid, typically 2-15 cm long, and usually with a finely serrated margin.
The fruit is a pink-red four- or five- valved pod-like berry, which splits open to reveal the fleshy-coated orange seeds. The seeds are eaten by frugivorous birds, which digest the fleshy seed coat and disperse the seeds in their droppings. All parts of the plants are poisonous to humans if eaten.The wood was traditionally used for the making of spindles for spinning wool; this use is the origin of the English name of the shrubs.
Spindles are popular garden shrubs, grown for their foliage, the deciduous species often exhibiting very bright red fall colours, and also for the decorative berries
This sculpture is entitled The Water of Life and was designed for the cloister garth in association with the 900th Anniversary celebrations of the foundation of the Benedictine Abbey of St Werburgh in 1092. It depicts the encounter between Jesus and the Woman of Samaria, showing their shared bowl overflowing with water. The theme of water also suggests a link to how the Benedictine monks water supply was at the centre of the cloister garden. The sculpture was cast in bronze by Chris Butler of Castle Fine Arts in Oswystry and funded by Capital Bank. It was dedicated by the Dean of Chester Cathedral, Dr. Stephen Smalley, on 8th May 1994.
ArtHatch presents two distinctive new exhibits entitled "Labours of the Months" by Tim Vermeulen and "Vignettes" by Ivan Unwin. These two extraordinary artists will display inspired works that provoke surreal visions and complex imagination, by captivating the viewer with their profound intellect. Drawing inspiration from the popular Medieval and Renaissance theme of "Labours of the Months", Tim Vermeulen takes the traditional labours as a springboard for investigating a contemporary world of contradictions, polarities, and paradox. Vermeulen says, "My work is part of a process of wrestling for self-discovery through autobiographical narratives, in many cases involving self-portraiture." Using the human form, patterns that echo M.C. Escher, and a touch of political theory, Ivan Unwin has created a masterpiece with his new series of paintings. With a broad artistic background in the British Art Scene, this now Canadian artist is successfully exploring his talents as a traditional visual artist. The Opening Reception will be held on Saturday, November 12, 2011 from 6-10pm with Live Music, complimentary Stone Brewery Beer for guests 21 of age or older. ArtHatch is a 7000 square foot building which houses the front gallery: exhibitions changing monthly, "The Alley," featuring new and previous works from over 75 artists, the teen room featuring artwork by 6 local teens, 14 artist studios, ranging in size from 150 to 800 square feet, featuring the work of over 28 local artists, and "The Lounge", containing 8 walls featuring local artists. The front gallery features contemporary and cutting edge artwork.
Canon EOS R6 Mark II, Canon EF 8-15mm f/4L fisheye USM, processed in Lightroom.
This painting by Mihály Munkácsy is entitled Apotheosis of the Renaissance. See en.wikipedia.org/wiki/Paintings_in_the_staircase_of_the_K...
de.wikipedia.org/wiki/Bilder_im_Stiegenhaus_des_Kunsthist...(Wien)
This photograph was taken soon after the museum opened for the day. Later on, there would have been many more people around.
Wikipedia (edited): "The Kunsthistorisches Museum is an art museum in Vienna, Austria. Housed in its festive palatial building, it is crowned with an octagonal dome. It is the largest art museum in the country and one of the most important museums worldwide.
The Naturhistorisches Museum has a similar design and is directly across Maria-Theresien-Platz; the two buildings were constructed between 1871 and 1891 according to plans by Gottfried Semper and Baron Karl von Hasenauer. The emperor commissioned the two Ringstraße museums to create a suitable home for the Habsburgs' formidable art collection and to make it accessible to the general public. The buildings are rectangular, with symmetrical Renaissance Revival façades of sandstone lined with large arched windows on the main levels and topped with an octagonal dome 60m high. The interiors of the museums are lavishly decorated with marble, stucco ornamentation, gold-leaf, and murals. The grand stairway features paintings by Gustav Klimt, Ernst Klimt, Franz Matsch, Hans Makart and Mihály Munkácsy.
Das Kunsthistorische Museum wurde am 17. Oktober 1891 von Kaiser Franz Joseph I. offiziell eröffnet und beispielsweise im Jahr 2018 von ca. 1,75 Millionen Menschen besucht."
de.wikipedia.org/wiki/Kunsthistorisches_Museum_Wien
Wrongly entitled on the box as "Geburt Mariae" [Birth of Mary], actually "Heimsuchung Mariae" or "Visitation of the Virgin Mary".
Schmidt Fine Art puzzle No. 625 2608, a vintage puzzle but still sealed and in excellent condition.
1000 pieces, complete.
50 x 75 cm.
Art Institute of Chicago, Grant Park, Chicago, IL
Frank Memkus (1884–1965)
Whirligig Entitled "America"
1938/42
Wisconsin
Wood and metal
"Made by Lithuanian immigrant Frank Memkus, America is a whirligig, a playful object designed to spin in a strong breeze. Whirligigs have been used from America's colonial beginnings as lively entertainments, scarecrows, or weather vanes. They became more complex, in terms of structure of meaning, during the 19th century. This early-20th-century example is both whimsical and utilitarian, made to honor this country in a gesture of pride and patriotism." (exhibit text)