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Michigan School for the Blind
Listed 7/26/2018
Lansing, Michigan
Reference number: 100002714
The Michigan School for the Blind Campus was listed in the National Register of Historic Places on July 26, 2018. It is located in Lansing, Michigan, west of downtown, on several parcels of land that total some forty-five acres. There are six buildings that remain from the time the school was closed in 1995. These include the early twentieth century Neoclassical Revival Main Administration (1916, 1918, and 1924) and High School (1912) buildings, the Colonial Revival superintendent’s residence (1914), and the Modern Movement library, elementary school, and gymnasium buildings (1960s). There are also two historic pump house buildings also on the site (1920s.) The campus includes a “quad” green space, various plantings, and mature trees, with concrete walkways connecting the buildings, and the decaying remains of a running track. The Administration and High School buildings are vacant and in poor condition, yet retain a great deal of historic integrity. The library, elementary school, and gymnasium retain a high degree of historic fabric and continue in use. The library houses the Neighborhood Empowerment Center, a nonprofit collective; the elementary school and gymnasium are used by the Mid-Michigan Leadership Academy, a charter elementary school. The Superintendent’s house is well-maintained, exhibits a high degree of historic integrity, and is currently vacant and for sale.
The Michigan School for the Blind represents a dedicated attempt by the State of Michigan to effectively educate the blind population in a segregated educational setting to better accommodate their need for training and instruction. The philosophy of a specific educational setting for the blind reflects the broad pattern statewide and nationally in the late nineteenth to late twentieth century prior to the change in education practices of the late twentieth century when the blind population was incorporated into mainstream educational systems. The Michigan School for the Blind campus is also significant for its early and midtwentieth century examples of school architecture in the Neoclassical Revival, Colonial Revival, and Modern Movement styles. The early twentieth century architecture reflects the popular revival style of educational institutions of that period and the design of buildings sited around a quad reflects the typical design of educational campuses popular at that time. The second major period of construction and growth of the campus is exemplified by the popular clean-lined Modern Movement school designs of the 1960s with adaptable and light-filled interiors. The Period of Significance begins with the date of construction of the oldest existing building in 1912 and ends in 1966, when the last existing structure was completed.
National Register of Historic Places Homepage
Lately we've been doing some two part shoots - the first part in a nicely shaded area at the Star River Walk Park before hitting the Boise River when the light is just right.
Brittney, the Queen of Freckles, is the model here. Brittney is such a delight to shoot with. She is just coming back from a short hiatus as a photographer and she told me she needed some photo therapy. Sounds good to me.
We shot on a lovely, hot evening in early August 2023. Almost everyone that walked by during our shoot complimented Brittney on her looks and smile. I agree.
For a professional Wedding photographer in Edinburgh book Lee Live: Photographer - visit: www.ourdreamphotography.com
For more technicians related job responsibilities visit: www.jobresponsibilities.org/technician-job-responsibiliti...
Roger Thurow, Senior Fellow for Global Agriculture and Food Policy at The Chicago Council on Global Affair; Kathy Spahn, President and Chief Executive Officer, Helen Keller International; Shawn Baker, Director of Nutrition, Bill and Melinda Gates Foundation; Tjada D’Oyen Mckenna, Deputy Coordinator for Development for Feed the Future, USAID; Maria Semedo, Deputy Director General, FAO; and Doug Brown, Director, Agriculture and Food Security at World Vision International.
The World Bank and CIF Administrative Unit Team visited Niger from April 20th to May 5th 2015 to conduct the mid-term review of the Community Action Project for Climate Resilience (CAPCR). This mission included field visits in two regions (Tahoua and Maradi). These field visits demonstrated project achievement and results on the ground and provided real time feedback from beneficiaries.
Photo Credit: CIF/Emmanuel Kouassi
The Striker For Canon C100-C300-C500 is a step up from the Target Shooter. It is designed for lightweight, run’n’gun shooting stabilization. It is super light and easy to handle. The Striker rig features the Gorilla Baseplate which attaches to your camera using 3/8” 16 and ¼” 20 screws. It is compatible with the C300/100/500, Scarlet and Epic cameras. The Gorilla Baseplate also features a set of 15mm lightweight threaded holes in the front of the baseplate. This allows users to mount a follow focus, lens support or other accessories in front of the camera. The rod to lens height is not standard, so it is not compatible with a matte box unless you have a height adjustable matte box*.
The Gorilla Baseplate has a 15mm hole in the bottom which allows you to attach the main vertical rod for the Striker Rig. The rig can be freed from the Gorilla Baseplate by flipping the red lever. A tripod plate can be installed on the Gorilla Baseplate for quickly moving from handheld to tripod. The C300 Striker Rig includes the Zacuto Gunstock, just like the C300 Target Shooter and expands upon that by adding a Zgrip handgrip. The handgrip gives you an extra point of contact. Simply brace the Gunstock against your shoulder, hold one hand on the handle and the other on your lens and you are ready to shoot! This kit has minimal set up time and is very light and easy to use. This rig works best when using the eyepiece on the C300 camera.
For more information on the Primate's visit to the Iglesia Episcopal de Cuba, you can read the trip blog Nurturing Partnership: the Primate in Cuba at notes.anglican.ca/cuba. Photo by Ali Symons / General Synod Communications
Funeral for Our Future - Service conducted by Stop Adani Melbourne and friends, officiated by Uniting Church Minister Rev Alex Sangster, Processional march by Riff Raff Marching Band, Songs lead by the Climate Choir, Eulogy for the Reef by Alan Cuthbertson from Stop Adani Melbourne, Eulogy for Nature by Joseph Birckhead and Audrey Cooke, Euologu for Children's Future by teenager Marco Bellemo, Call to Action by Rev Alex Sangster and Marco Bellemo.
A very moving two hour ceremony that started and finished in Federation Square in the Melbourne DBD on Saturday 1st December. It comes after Adani announced they would be proceeding with the Carmichael coal mine in the Galilee basin, such announcement coming in the middle of an extreme heatwave and catastrophic fires across Queensland.
A processional march ocurred across Flinders street,past the iconic clocks of Flinders street station and back to Federation Square.
The Funeral for our Future comes a day after several thousands students marched in Melbourne in a climate strike calling for Stop Adani, 100% renewables by 2030, and leadership by our politicians at state and Federal levels.
The events comes on the eve of the United Nations climate Change conference in Katowice, Poland, #COP24, due to start on December 2, 2018, which has the task of adopting the rulebook for the Paris Agreement that was passed at COP21 in Paris in 2015, that set the goals of limiting temperatures to well below 2C and strive for 1.5C by 2050.
Well it seems to be ok for the moment.
It's amazing to watch movies on it, it's really clear and because it's in a corner the walls/ceiling around it light up for some reason when the room is dark, which makes it look like it's one of the expensive Phillips Aurea TV's.
I had the builders fit power/aerial/scart and hdmi cables from the ground to mid way up the wall behind the plasterboard when the house was being built as it doesn't cost anything when a house is being built. This makes the TV appear as if it's floating which I think looks quite cool... until it falls down.
It's actually really big (look at the dvd player on top of the table for scale), but the room's so large it looks tiny from this view. I watched Shrek 3, which was great, and Transformers, which was so bad it looked like Jerry Bruckheimer had directed it.
I may be selling my 2010 XF-S soon. It will be a sad day when it goes, but it will be 8 years old in September, so I'm looking for something about 3 years old to replace it. It will either be a newer Jag or maybe even an Audi A7 Quattro.
Metempsychosis
From Wikipedia, the free encyclopedia
This article is about the Greek concept of the transmigration of the soul. For the general concept, see Reincarnation.
A section of Metempsychosis (1923) by Yokoyama Taikan; a drop of water from the vapours in the sky transforms into a mountain stream, which flows into a great river and on into the sea, whence rises a dragon (pictured) that turns back to vapour; National Museum of Modern Art, Tokyo (Important Cultural Property)[1]
Metempsychosis (Greek: μετεμψύχωσις) is a philosophical term in the Greek language referring to transmigration of the soul, especially its reincarnation after death. Generally, the term is only used within the context of ancient Greek philosophy, but has also been used by modern philosophers such as Arthur Schopenhauer[2] and Kurt Gödel;[3] otherwise, the term "transmigration" is more appropriate. The word plays a prominent role in James Joyce's Ulysses and is also associated with Nietzsche.[4] Another term sometimes used synonymously is palingenesis.
Contents [hide]
1Europe before the pre-Socratic philosophers
2In Greek philosophy
3In literature after the classical era
4See also
5References
6External links
Europe before the pre-Socratic philosophers[edit]
It is unclear how the doctrine of metempsychosis arose in Greece. It is easiest to assume that earlier ideas which had never been extinguished were utilized for religious and philosophic purposes. The Orphic religion, which held it, first appeared in Thrace upon the semi-barbarous north-eastern frontier. Orpheus, its legendary founder, is said to have taught that soul and body are united by a compact unequally binding on either; the soul is divine, immortal and aspires to freedom, while the body holds it in fetters as a prisoner. Death dissolves this compact, but only to re-imprison the liberated soul after a short time: for the wheel of birth revolves inexorably. Thus the soul continues its journey, alternating between a separate unrestrained existence and fresh reincarnation, round the wide circle of necessity, as the companion of many bodies of men and animals." To these unfortunate prisoners Orpheus proclaims the message of liberation, that they stand in need of the grace of redeeming gods and of Dionysus in particular, and calls them to turn to God by ascetic piety of life and self-purification: the purer their lives the higher will be their next reincarnation, until the soul has completed the spiral ascent of destiny to live for ever as God from whom it comes. Such was the teaching of Orphism which appeared in Greece about the 6th century BC, organized itself into private and public mysteries at Eleusis and elsewhere, and produced a copious literature.[5][6][7]
In Greek philosophy[edit]
The earliest Greek thinker with whom metempsychosis is connected is Pherecydes of Syros;[8] but Pythagoras, who is said to have been his pupil, is its first famous philosophic exponent. Pythagoras is not believed to have invented the doctrine or to have imported it from Egypt. Instead he made his reputation by bringing the Orphic doctrine from North-Eastern Hellas to Magna Graecia, and creating societies for its diffusion.
The real weight and importance of metempsychosis in Western tradition is due to its adoption by Plato.[citation needed] In the eschatological myth which closes the Republic he tells the myth how Er, the son of Armenius, miraculously returned to life on the twelfth day after death and recounted the secrets of the other world. After death, he said, he went with others to the place of Judgment and saw the souls returning from heaven, and proceeded with them to a place where they chose new lives, human and animal. He saw the soul of Orpheus changing into a swan, Thamyras becoming a nightingale, musical birds choosing to be men, the soul of Atalanta choosing the honours of an athlete. Men were seen passing into animals and wild and tame animals changing into each other. After their choice the souls drank of Lethe and then shot away like stars to their birth. There are myths and theories to the same effect in other dialogues, the Phaedrus, Meno, Phaedo, Timaeus and Laws.[citation needed] In Plato's view the number of souls was fixed; birth therefore is never the creation of a soul, but only a transmigration from one body to another.[9] Plato's acceptance of the doctrine is characteristic of his sympathy with popular beliefs and desire to incorporate them in a purified form into his system.[citation needed] The extent of Plato's belief in metempsychosis has been debated by some scholars in modern times. Marsilio Ficino (Platonic Theology 17.3–4), for one, argued that Plato's references to metempsychosis were intended allegorically.
In later Greek literature the doctrine appears from time to time; it is mentioned in a fragment of Menander (the Inspired Woman) and satirized by Lucian (Gallus 18 seq.). In Roman literature it is found as early as Ennius,[10] who in his Calabrian home must have been familiar with the Greek teachings which had descended to his times from the cities of Magna Graecia. In a lost passage of his Annals, a Roman history in verse, Ennius told how he had seen Homer in a dream, who had assured him that the same soul which had animated both the poets had once belonged to a peacock. Persius in one of his satires (vi. 9) laughs at Ennius for this: it is referred to also by Lucretius (i. 124) and by Horace (Epist. II. i. 52). Virgil works the idea into his account of the Underworld in the sixth book of the Aeneid (vv. 724 sqq.). It persists in antiquity down to the latest classic thinkers, Plotinus and the other Neoplatonists.
In literature after the classical era[edit]
"Metempsychosis" is the title of a longer work by the metaphysical poet John Donne, written in 1601.[11] The poem, also known as the Infinitati Sacrum,[12] consists of two parts, the "Epistle" and "The Progress of the Soule". In the first line of the latter part, Donne writes that he "sing[s] of the progresse of a deathlesse soule".[12]
Metempsychosis is a prominent theme in Edgar Allan Poe's 1832 short story "Metzengerstein".[13] Poe returns to metempsychosis again in "Morella" (1835)[14] and "The Oval Portrait" (1842).[15]
Metempsychosis is referred to prominently in the concluding paragraph of Chapter 98, "Stowing Down and Clearing Up", of Herman Melville's Moby-Dick.
Herbert Giles uses the term metempsychosis in his translation of the butterfly dream from the Zhuangzi (Chinese: 《莊子》).[16] The use of this term is contested by Hans Georg Möller, though, who claims that a better translation is “the changing of things”.[17]
Metempsychosis is a recurring theme in James Joyce's modernist novel Ulysses (1922).[18] In Joycean fashion, the word famously appears in Leopold Bloom's inner monologue, recalling how his wife, Molly Bloom, apparently mispronounced it earlier that day as "met him pike hoses."[19]
In Thomas Pynchon's 1963 premiere novel V., metempsychosis is mentioned in reference to the book "The Search for Bridey Murphy" by Morey Bernstein, and also later in chapter eight.
Metempsychosis is referenced in Don DeLillo's 1982 novel The Names.
In David Foster Wallace's 1996 novel Infinite Jest, the name of the character Madame Psychosis is a pun that alludes to metempsychosis.
Guy de Maupassant's story "Le docteur Héraclius Gloss" (1875) is a fable about metempsychosis.
In Marcel Proust's famous first paragraph from In Search of Lost Time, the narrator compares his separation from the subject of a book to the process of metempsychosis.
See also[edit]
Yazidis
Zalmoxis
Ya’furiyya Shia
Gilgul
Saṃsāra Métempsycose : migration des âmes après la mort vers un nouveau corps.
References[edit]
Jump up ^ "Masterpieces". National Museum of Modern Art, Tokyo. Retrieved 13 February 2016.
Jump up ^ Schopenhauer, A: "Parerga und Paralipomena" (Eduard Grisebach edition), On Religion, Section 177
Jump up ^ Gödel Exhibition: Gödel's Century
Jump up ^ Nietzsche and the Doctrine of Metempsychosis, in J. Urpeth & J. Lippitt, Nietzsche and the Divine, Manchester: Clinamen, 2000
Jump up ^ Linforth, Ivan M. (1941) The Arts of Orpheus Arno Press, New York, OCLC 514515
Jump up ^ Long, Herbert S. (1948) A Study of the doctrine of metempsychosis in Greece, from Pythagoras to Plato (Long's 1942 PhD dissertation) Princeton, New Jersey, OCLC 1472399
Jump up ^ Long, Herbert S. (16 February 1948) "Plato's Doctrine of Metempsychosis and Its Source" The Classical Weekly 41(10): pp. 149—155
Jump up ^ Schibli, S., Hermann, Pherekydes of Syros, p. 104, Oxford Univ. Press 2001
Jump up ^ "That is the conclusion, I said; and if a true conclusion, then the souls must always be the same, for if none be destroyed they will not diminish in number." Republic X, 611. The Republic of Plato By Plato, Benjamin Jowett Edition: 3 Published by Clarendon press, 1888.
Jump up ^ Poesch, Jessie (1962) "Ennius and Basinio of Parma" Journal of the Warburg and Courtauld Institutes 25(1/2): pp. 116—118, page 117, FN15
Jump up ^ Collins, Siobhán (2005) "Bodily Formations and Reading Strategies in John Donne's Metempsychosis" Critical Studies 26: pp. 191—208, page 191
^ Jump up to: a b full text of Metempsychosis or Infinitati Sacrum from Luminarium Editions
Jump up ^ Bonaparte, Marie (1949) The life and works of Edgar Allan Poe: a psycho-analytic interpretation Imago, London, page 273, OCLC 1398764
Jump up ^ Roderick, Phillip L. (2006) The Fall of the House of Poe: And Other Essays iUniverse, New York, page 22, ISBN 0-595-39567-8
Jump up ^ Quinn, Patrick F. (1971) The French face of Edgar Poe (2nd edition) Southern Illinois University Press, Carbondale, Illinois, page 272, ISBN 0-8093-0500-3
Jump up ^ Giles, Herbert (1889). Chuang Tzŭ: Mystic, Moralist, and Social Reformer. B. Quaritch.
Jump up ^ Möller, Hans Georg (2011). Daoism Explained: From the Dream of the Butterfly to the Fishnet Allegory. Open Court. p. 48. ISBN 978-0-8126-9750-6.
Jump up ^ List of occurrences of Metempsychosis in Ulysses
Jump up ^ Cf. Joyce, Ulysses, §8 Lestrygonians
External links[edit]
The Columbia Encyclopedia: Transmigration of souls or Metempsychosis
The Catholic Encyclopedia: Metempsychosis
Jewish view of reincarnation
Did Plato Believe in Reincarnation?
Photo shoot for Grafea, the maker of the best camera bag I've ever had for my rangefinder kit. Check out their entire line of leather bags, briefcases, purses and duffels at grafea.co.uk
You can read my review of the Grafea PHOTO Camera Bag on J B Hildebrand Photography
1 year and 5 days old, Emma finally agrees to sleep in her stroller - she actually fell asleep in the car, but allowed me to move her and slept while Mikey played.
Hiroshige The Rocket. Late for Guy Fawkes but hey....makes a change from all those landscapes of his. A prolific artist with over 8000 works to his name I don't think I've seen one yet that I don't like. One sometimes sees what seems (to me) to be the self same view but titled Firework at Ryogoku.
He was born in 1797 and died in 1858.
For a self-portrait group I'm in. I thought I'd give it a go even though I'm not a big fan of self-portraits, especially given the face I have to work with. But hey, at least the computer is pretty to look at. :^)
Doncaster Station East Coast Train Line 43299 The British Rail Class 43 (HST) is the TOPS classification used for the InterCity 125 High Speed Train power cars, built by BREL from 1975 to 1982 43299 in East Coast Silver Livery. en.wikipedia.org/wiki/British_Rail_Class_43_%28HST%29
For more photos from #EF25, check out all my Eurofurence 2019 galleries!
If you’d like to use a photo you’re in, feel free to do so (credit is appreciated but not required!) and if you know someone in one of the photos, please feel free to share it with them.
I’m @khakidoggy on Twitter and Telegram, and khakidoggy@me.com by email.
For more furcon photography, check out my other galleries!
As always, share and enjoy!
– Alex “Khaki” Vance
Selfie for JKPP
www.flickr.com/groups/portraitparty/
juliakaysportraitparty.blogspot.com/
The sketchSteven discussion thread is here:
www.flickr.com/groups/portraitparty/discuss/7215762735628...
Historic Environment Record for H BUILDING, Malvern, UK
The building, having military purposes and designated locally as H building, sits on a former Government Research site in Malvern, Worcestershire at Grid Ref SO 786 447. This site was the home of the Telecommunications Research Establishment (TRE) from 1946. It has been owned by QinetiQ since 2001 and is in the process (October 2017 to February 2018) of being sold for redevelopment.
This unique building has at its heart a ‘Rotor’ bunker with attached buildings to house radar screens and operators as well as plant such as emergency generators. Twenty nine Rotor operational underground bunkers were built in great urgency around Britain to modernise the national air defence network, following the Soviet nuclear test in 1949. Two factors make H building’s construction and purpose unique; this prototype is the only Rotor bunker built above ground and it was the home to National Air Defence government research for 30 years.This example of a ROTOR bunker is unique instead of being buried, it was built above ground to save time and expense, as it was not required to be below ground for its research purpose.
H Building was the prototype version of the Rotor project R4 Sector Operations Centre air defence bunkers. Construction began in August 1952 with great urgency - work went on 24 hours a day under arc lights. The main bunker is constructed from cross bonded engineering bricks to
form walls more than 2 feet thick in a rectangle approximately 65ft x 50ft. The two internal floors are suspended from the ceiling. The original surrounding buildings comprise, two radar control and operator rooms, offices and machine plant.
The building was in generally good order and complete. The internal layout of the bunker remains as originally designed. The internal surfaces and services have been maintained and modernised over the 55 years since its construction (Figure 3). The first floor has been closed over.
There are some later external building additions around the periphery to provide additional accommodation.
In parts of the building the suspended floor remains, with 1950s vintage fittings beneath such as patch panels and ventilation ducts.
The building has been empty since the Defence Science & Technology Laboratories [Dstl] moved out in October 2008
As lead for radar research, RRE was responsible for the design of both the replacement radars for the Chain Home radars and the command and control systems for UK National Air Defence.
Project Rotor was based around the Type 80 radar and Type 13 height finder. The first prototype type 80 was built at Malvern in 1953 code named Green Garlic. Live radar feeds against aircraft sorties, were fed into the building to carry out trials of new methods plotting and reporting air activity
A major upgrade of the UK radar network was planned in the late 1950s – Project ‘Linesman’ (military) / ‘Mediator’ (civil) – based around Type 84 / 85 primary radars and the HF200 height finder. A prototype type 85 radar (Blue Yeoman) was built adjacent to H Building in 1959. live radar returns were piped into H Building.
Subsequently a scheme to combine the military and civil radar networks was proposed. The building supported the research for the fully computerised air defence scheme known as Linesman, developed in the 1960s, and a more integrated and flexible system (United Kingdom Air Defence Ground Environment or UKADGE) in the 1970s.
The building was then used for various research purposes until the government relinquished the main site to QinetiQ in 2001. Government scientists continued to use the building until 2008. Throughout its life access was strictly controlled by a dedicated pass sytem.
Notable civil spin-offs from the research in this building include the invention of touch screens and the whole UK Civil Air Traffic Control system which set the standard for Europe.
Chronology
1952 - Construction work is begun. The layout of the bunker area duplicates the underground version built at RAF Bawburgh.
1953 - Construction work is largely completed.
1954 - The building is equipped and ready for experiments.
1956-1958 - Addition of 2nd storey to offices
1957-1960 - Experiments of automatic tracking, novel plot projection systems and data management and communications systems tested.
1960-1970 - Project Linesman mediator experiments carried out including a novel display technique known as a Touch screen ( A World First)
TOUCHSCREEN
A team led by Eric Johnson in H building at Malvern. RRE Tech Note 721 states: This device, the Touch Sensitive Electronic Data Display, or more shortly the ‘Touch Display’, appears to have the potential to provide a very efficient coupling between man and machine. (E A Johnson 1966). See also patent GB 1172222.
Information From Hugh Williams/mraths
1980-1990 - During this period experiments are moved to another building and H building is underused.
1990-1993 - The building was re-purposed and the bunker (room H57) had the first floor closed over to add extra floor area.
2008- The bunker was used until late 2008 for classified research / Joint intelligence centre
2019 - Visual Recording of the buildings interior by MRATHS. Be means of a LIDAR scan and photographs being taken. The exterior was mapped with a drone to allow a 3D Image of the building to be created via Photogrammetry. This was created in Autodesk Photo Recap.
2020 - Building demolished as part of the redevelopment of the site.
Information sourced from MRATHS
Link(s) to video portrait:
lifeisdrag.com/view/5670697/2/7984621?autoPlay=1
vimeo.com/rampleman/xana-whoria-exit-music-for-a-film
As an actor, Maggie has tread the boards in improvised, devised, and scripted plays at The Rendezvous, Theatre Off Jackson, and The Triple Door to name a few. She is proud to have been part of the Gregory Award-winning ensemble of Deers at Annex Theatre. Her skills as a clown, sketch, and physical comedian have enabled her to create memorable characters and ambient performances, including the beloved Pizza Mermaid, who brings saucy joy to children and adults alike. Her one-woman show, 3 Raccoons in a G-String, was made on a dare.
In addition to acting, Maggie is also a renowned burlesque, cabaret artist, and go go dancer who was famously kicked off a Jet Blue flight because of her shorts. She has performed at numerous festivals throughout the US and Canada, and holds the title of “Dirty, Dirty Stripper” from the Seattle Burlesque Games, where she also was crowned co-Mayor of Seattle Burlesque in 2017.
Unafraid of audience interaction, Maggie’s sex work experience colors her approach to performance art, where she specializes in rituals and fetish performance. She has written extensively about her experiences as a sex worker for Tits & Sass, and is a script consultant for intimacy and sensitivity. Maggie has produced cabaret shows, fundraisers, and curated entertainment for parties and events. She is the co-founder of The Last Chance Dancers, an all nude punk rock revue set to vinyl records in Brooklyn.
Before the pandemic she was bi-coastal but now she is pretty much New York's problem.
More about these images:
This digital album contains images from my 2022-23 "Life is Drag" residency at The Cell in Chelsea, NYC. It includes video stills pulled from the 100+ video portraits created (performances documented), behind the scenes production shots taken during my 6 months at The Cell, and documentation of the two panels I produced and spoke with as a part of this residency -- at Symphony Space (in conjunction with the Municipal Art Society of New York), and at The Cell (in conjunction with Franklin Furnace and CADAF). More info below:
I create bodies of work that explore gender, artifice, and spectacle. Utilizing directorial, curatorial, and anthropological processes, I showcase exuberantly irrepressible personalities who revel in challenging clichés and taboos to rethink and reimagine the gender construct. A sampling of subjects include Girls Girls Girls - the world's first and only all-female Mötley Crüe tribute band, and Tazzie Colomb - the world's longest competing professional female bodybuilder and powerlifter. Since 2019, I have been working exclusively on "Life is Drag" - the largest living digital archive of drag in the United States.
Drag is a poetic synthesis of painting, sculpture, sound and performance. It is also an amalgam of self-discovery, transformation, permission, actualization, revolution, utopia, community, catharsis, and ultimately - radical self-expression. Drag is ART - and life IS drag. And "Life is Drag" has become my (Rachel Rampleman) life's work. I am a one-person production team - handling all research, curation, communication, lighting, shooting, editing, interviewing, archive building, residency outreach, and more. With "Life is Drag", I document the most innovative and singular performers - selected from a wide range of locations, backgrounds, cultures, and ages - who are currently exploding onto the national drag scene. This ever-evolving archive includes documentation of performances and interviews, and over the course of the last several years I have created 350+ video portraits, showcasing 200+ LGBTQIA performers - collaborating with them in my studio, as well as during residencies in New York City, Pittsburgh, Cincinnati, and New England (so far).
These documented performances and interviews are added to my online archive at lifeisdrag.com, as well as projected or featured as site-specific multi-channel installations at “brick and mortar” venues ranging from spaces like Wave Pool, a non-profit gallery in my hometown of Cincinnati, to the Carnegie Museum of Art in Pittsburgh. I have also produced live events and hosted panel discussions in partnership with organizations such as Symphony Space, Franklin Furnace, and The Municipal Art Society of New York -- about the importance of documenting this important but ephemeral art form, as well as about the current drag bans in the United States and New York’s radical resistance to these worsening restrictions.
Please consider supporting this project, and thank you for checking it out!
Project website:
My artist website:
Supporting institutions:
The Cell
Images:
www.flickr.com/photos/megalomediac/albums/72157718509246159/
Symphony Space & Municipal Art Society of New York
www.symphonyspace.org/programs/life-is-drag
Images:
www.flickr.com/photos/megalomediac/albums/72177720309589466
Franklin Furnace &
CADAF
Images:
www.flickr.com/photos/megalomediac/albums/72177720310312123
Wave Pool
www.wavepoolgallery.org/exhibitions-archive#/life-is-drag
Images:
www.flickr.com/photos/megalomediac/albums/72177720299700834
Bunker Projects & Bloomfield Garden Club
www.flickr.com/photos/megalomediac/albums/72157719733828390/
3S Artspace
Images:
www.flickr.com/photos/megalomediac/albums/72157714709930241/
Atoms for Peace @ Coachella 2010
Photos by Lauren Trzaska
Venuszine.com review: www.venuszine.com/articles/music/live_reviews/6887/Coache...
For my friend Rachel's wedding. I hand-lettered the typography.
All of those little white cards will be glued on the folded tent cards, and I think they'll look really nice.
For Interrail, Beyond Borders Media traveled around Europe to portrait other travelers and to find out their motives to travel. Every picture in this series is accompanied with a quote of what they told us.
Client: Interrail
Beyond Borders Media © 2014
Beyond Borders is a one-stop shop for video, photography and webdesign. Experience creativity at its best. www.beyondbordersmedia.com
(left to right) Maria Sanchez , Veronika Nuñez, Alberto Romero, Nelda Reyes, and Vicente Guzman Orozco in Milagro's production of DANCE FOR A DOLLAR, a Dance / Theatre World Premiere created by Mariana Carreño King and Daniel Jáquez. May 2 - 25, 2013. For info/tickets: 503-236-7253 or www.milagro.org. Photo by Russell J. Young