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SIX is an experimental electronic, surround sound performance series presented by the BFA in Video and Sound program. This iteration of SIX will feature renowned international sound artist Robert Henke along with several other performers. In lieu of traditional listening orientation, the music and sound is produced in an open, multi-directional format. This allows the performer, sound, environment, and audience to form an exploratory relationship. The audience is encouraged to walk around, lay down (bring a pillow or blanket if you like), and experience the sound from different angles.
Featured Performers
Robert Henke
Marcus Fischer
Strategy + Jetfinger
Solenoid
Dweomer
Mike Jedlicka + wndfrm
Robert Henke is a visiting artist from Europe, and is presenting a lecture on September 24 titled "Sound, Structures and Machines."
The BFA in Video and Sound at PNCA promotes an expansive investigation of video and sound as disciplines both distinct and allied. Cultivating a practice-based media literacy, this program supports the acquisition of critical, aesthetic and technical skills, which are vital to cultural production in today’s media environment.
Please join PNCA for the fifth edition of SIX, an experimental, surround sound performance series.
Artist Info
ROBERT HENKE, born 1969 in Munich, Germany, is a composer, sound designer, software developer, installation artist and audiovisual performer. His art is focused on carefully shaped details and gradual changes of repeating structures in different time scales. His sonic explorations are rooted in academic sound research and computer music as well as in contemporary club culture.
monolake.de/
MARCUS FISCHER is a musician + multimedia artist currently based in Portland, Oregon. He has released two albums on the 12k label along with numerous EPs and collaborations for a variety of other outlets. Field recordings, chance, and DIY instruments, coupled with acoustic instrumentation and visual art, define what has become Marcus’s minimal signature.
mapmap.ch
STRATEGY, otherwise known as multi-instrumentalist and programmer Paul Dickow, wires together programming and performing experience via a hodgepodge of table top electronics, computers and realtime musicianship. A musical explorer, Paul has been a longtime participant in Portland’s underground music community.
community-library.net
ROMEO FAHL ( JETFINGER ) currently lives in Portland, Oregon and has been playing music since the mid-80’s. He has been custom-building a massive modular synthesizer for the last 18 years. SIX has been proving a great outlet to hear and see this beast in all it’s burbling, growling, buzzing, multi-channel glory.
soundcloud.com/jetfinger
SOLENOID is the moniker of David Chandler, who loves synthesizer music and sound design. His unique mix of experimental and dance music has found him performing in festivals in the USA and Europe. He’s had many recordings released on various formats and from various countries over the last 13 years, but his home continues to be Portland.
community-library.net
DWEOMER (Jef Drawbaugh ) is an urban druid of sound. His new work is in sound design and composition for media, leaning heavily on cinematic themes. His live music and recorded soundscapes blossom with connections and juxtapositions between the technical world of electronic instruments and songcraft, rife with the fluid and nebulous areas of the cosmos and emotional response. He discovers patterns and shapes amidst chaotic spaces and lets stories unfold through cosmic voyages.
cascadnacsound.com
MIKE JEDLICKA runs Optic Echo Records and has a weekly show on Portland Radio Authority. He uses a multitude of instruments and electronics to create a wide variety of music, recently focusing on field recording laden acoustic ambient and experimental noise. His last release was a split 12" in 2010 entitled “Tabor / NW Passage”, on Optic Echo Records.
opticecho.com
WNDFRM is Tim Westcott, who has been working with sound as a creative medium since the early 90’s. He treats sound as an architectural element, incorporating manipulated field recordings, minimalistic sine tones, lush atmospheric harmonics, and the occasional dub-wise rhythmic foundation.
nuevaforma.com
September 23, 2012.
Photographs by: Marshall Astor '13.
MONUMENTO A CERVANTES – PLAZA DE ESPAÑA
Autores
COULLAUT VALERA, Lorenzo (ESC)
MARTÍNEZ ZAPATERO, Rafael (ARQ-DIS)
Fecha - 1916
Descripción histórica
El monumento de la plaza de España a Miguel de Cervantes (Alcalá de Henares, 1547 –fecha del bautizo-, Madrid, 1616), con su frente oeste o principal orientado hacia la Cuesta de San Vicente, forma un conjunto con la fuente mural que se adosa a la cara oriental del grupo escultórico; fue fruto de un concurso (cuya idea básica, conmemorar al autor del Quijote, venía fijada por un Real Decreto de 1914) convocado a iniciativa del Ayuntamiento de Madrid y celebrado en el tercer centenario de la muerte del insigne escritor, en 1916, que ganaron los arquitectos Rafael Martínez Zapatero y Pedro Muguruza Otaño y el escultor Lorenzo Coullaut Valera, iniciándose las obras en 1925 y concluyéndose en 1930 (con exclusión de algunos elementos y la posterior adición de otros en las décadas de los cincuenta y sesenta, cuando Federico Coullaut-Varela Mendigutia, hijo de Lorenzo, añade en 1956-1957 las estatuas de Dulcinea del Toboso y Aldonza Lorenzo, y en 1960 los grupos escultóricos de Rinconete y Cortadillo y La Gitanilla). Los autores propiciaron plásticas formales de raíces genuinamente españolas inspiradas en obras del Renacimiento fechadas en los siglos XVI y XVII, especialmente en las platerescas, con evocaciones de Covarrubias, Diego de Siloe, Riaño y otros. En 1998, el Departamento de Conservación de Edificaciones del Ayuntamiento realizó obras de restauración en el monumento debido al deterioro de la piedra de Novelda con que fundamentalmente se construyó el cuerpo central del mismo, completándose con las correspondientes actuaciones de limpieza y consolidación.
Miguel de Cervantes Saavedra nació en Alcalá de Henares en 1547 y murió en Madrid en 1616. Es el escritor español más representativo y universal de todos los tiempos. Vivió en Valladolid, Córdoba, Sevilla y Madrid, donde fue discípulo de López de Hoyos; en 1570 se trasladó a Italia como camarero del cardenal Acquaviva. Al año siguiente combatió en la batalla de Lepanto, donde perdió el brazo izquierdo. En 1575, cuando regresaba a España, la galera fue apresada por los turcos y conducida a Argel donde permaneció prisionero durante cinco años, hasta que fue rescatado por frailes trinitarios. Ya en Madrid, en 1584, contrajo matrimonio con Catalina Salazar y obtuvo el cargo de comisario de provisiones para la Armada Invencible, si bien estuvo preso por irregularidades en las cuentas. Sus últimos años fueron relativamente tranquilos, en los que escribió sus novelas más conocidas. Tras su primera obra La Galatea de 1585, impresa en Alcalá de Henares, el resto de sus obras se editarán por primera vez en Madrid, como las Novelas ejemplares, de 1613; Viaje del Parnaso y la de reconocimiento universal El ingenioso hidalgo D. Quijote de La Mancha, en 1605, la primera edición, y en 1615 la segunda, y finalmente, su obra póstuma de 1617, Los trabajos de Persiles y Segismunda.
Descripción formal
El monumento, resuelto con más austeridad y menos retórica que el descrito en la memoria de la propuesta original y de unos 35 m de altura, consta de un cuerpo central de carácter arquitectónico concebido como un grueso obelisco o gran monolito dispuesto sobre una amplia plataforma y enmarcado en las esquinas por prominentes pilonos de remate piramidal. Coronado por un grupo de cinco figuras alusivas a las diferentes partes del mundo en torno a una gran esfera que lo representa, se decora en los dos laterales con sendas escenas de la obra cervantina, y lleva adosada al frente principal la estatua sedente de Miguel de Cervantes, en tanto que una fuente monumental se adhiere a su cara posterior. Preceden al conjunto el grupo escultórico de Don Quijote y Sancho, en una alegoría de la Literatura, así como dos representaciones posteriores de Dulcinea en ambos flancos. Una serie de plataformas, cuerpos o niveles componen el conjunto: el primero es una terraza o base general de 0,37 m de altura sobre la que se eleva a 2,12 m una segunda base de 20,00 x 21,50 m contenedora de los pedestales de las Dulcineas y del grupo central del Quijote, así como la monumental fuente mural adosada; de esta terraza arranca también el cuerpo principal central, de 27,50 m de altura, auténtico fuste del conjunto erigido sobre una planta cuadrada de 8,50 m de lado, que lleva adosado el basamento de la estatua de Cervantes; finalmente, y sobre la cúspide del fuste, se asienta el grupo de coronación, de unos cinco metros de altura, que serían diez de incluir la Victoria de remate que no se ejecutó. Los materiales empleados fueron la piedra en los paramentos vistos del monumento, con algunos elementos de mármol y bronce, empleándose la piedra blanca de Novelda en todo el conjunto, el granito en algunas molduras, impostados y solera de las plataformas y la piedra azulada de Murcia en los elementos escultóricos, salvo el mármol italiano de la estatua de Cervantes y el bronce del grupo ecuestre del Quijote.
Materiales Pétreo (mármol)
Figura
Configuración
Figura completa y sedente de Miguel de Cervantes, presidiendo el conjunto, colocada a eje del monumento y en posición central, apoyada sobre pedestal y adosada al fuste del monolito en su tercio inferior. El escritor, en representación serena que mira al frente, lleva la vestimenta de la época con la que se le suele representar y sostiene en su mano derecha un ejemplar del Quijote.
Pedestal
Configuración
El pedestal en que se apoya la figura sedente de Cervantes y el elemento que le sirve de asiento, un abstracto sillón de configuración geométrica con su propio basamento mixtilíneo y reposapiés curvo, es una amplia base pétrea adosada al frente delantero del fuste del arquitectónico monolito, de porte contenidamente barroco, con aristas convexas y frente cóncavo que siguen concéntricamente el perímetro exterior del referido asiento. En la parte superior del tambor frontal se encuentra grabada, en representación bicolor –roja y azul- la cruz de Malta.
Materiales Pétreo (caliza de Novelda)
Figuras asociadas - A ambos lados del fuste arquitectónico, en los laterales del conjunto y enmarcados entre los cuatro pilonos que marcan las esquinas, existen dos grupos escultóricos en piedra de Murcia añadidos al monumento en 1960: uno representa una escena de “La Gitanilla”, novela ejemplar publicada en 1613, donde ésta baila, junto a las tres jóvenes gitanas que siempre la acompañan, ante un público callejero y un mancebo enamorado en trance de transformarse en gitano por amor a “Preciosa”; el segundo grupo se inspira en la asimismo novela ejemplar de igual fecha, “Rinconete y Cortadillo”.
La cúspide del monumento o grupo de coronación se compone con varias figuras que representan las cinco partes del mundo sentadas en una plataforma y dispuestas en torno a un globo terráqueo en alusión a la difusión mundial del Quijote. El proyecto original incluía además una Victoria como remate final.
Figuras independientes en el conjunto
Delante de la figura principal de Miguel de Cervantes, sobre el primer nivel del conjunto o plataforma basal de asentamiento del mismo, que avanza sensiblemente en forma de prisma rectangular de desarrollo horizontal respecto al perímetro general, se levanta un grupo de bronce que muestra, según la iconografía más clásica, la tópica representación ecuestre de Don Quijote y Sancho sobre una base propia de escasa altura adaptada al pedestal inferior y constituyéndose en las figuras más prominentes y adelantadas del conjunto monumental. En ambos extremos, flanqueando el monumento y también adelantadas en relación al mismo, pero retrasadas de la línea definida por la pareja quijotesca, se alzan sobre elevados y sencillos pedestales pétreos de forma prismática vertical, las figuras igualmente exentas de dos Dulcineas, la idealizada (la del Toboso) y la real (Aldonza Lorenzo), las dos en piedra de Murcia e incorporadas al conjunto en 1956-1957. Ambas, de unos 2,90 metros de altura, están sentadas, una sobre un escabel y otra sobre grandes cojines o sacos, y disponen asimismo de su propia base dispuesta encima del pedestal.
Monumentos Conmemorativos
MONUMENTAMADRIDPatrimonio Histórico Edificado
www.monumentamadrid.es/AM_Monumentos3/AM_Monumentos3_WEB/...
Geometric Forms, Alexandra Wejchert. Polished stainless steel and consists of six identical elements connected at the centre. Each of the semi-crescent elements is cut from a 6mm flat plate with the edges stiffened by 200 x 100mm plates welded to it. 7.0m x 4.5m - Located in front of the Robert Schuman Building
Flaque du : 11 Mars 2011, 15h20
Pieds : 1 Seul (le droit)
Formes Principales Possibles : Visage de côté avec un gros œil (larme possible) et un pinch // une Silhouette d’un Homme (à l’envers) // Un oiseau qui tombe avec des plumes (juste le haut de la flaque) et une branche ou un serpent
Résidus d’eau : Beaucoup
État Physique : Normal, un peu fatigué
État Mental à la prise de vue : Neutre, un peu préoccupé, mais calme, impression de solitude
État Mental à la fin de la journée : Assez heureux, après une soirée entre amis
Évocation D’un Futur Possible : N/A
Évocation D’un Passé Possible : N/A
Autre : Oiseau : J’ai entendus les premiers corbeaux du printemps le matin suivant
Analyse :
Le visage : il me représente quand même bien … la larme et la barbe
La silhouette : elle est obscure et semble émané du noir… il lui manque une jambe et sa tête est rabaissée
L’oiseau : ressemble étrangement au signe du groupe de musique Insomnium… l’oiseau semble en chute libre, le reste de la flaque tente de le rejoindre … ou est-ce un serpent qui vient pour manger sa victime?
The Secondary school at Buttershaw has had a number of name changes since its opening in 1956.
In 1956 it opened as Buttershaw Secondary School , since then it has been Buttershaw Comprehensive, Buttershaw Upper School and Buttershaw High School. Currently it enjoys the name of Buttershaw Business and Enterprise College.
The original 1956 buildings were extended in the early 1960. Further building work continued during the 70’s 80’ and 90’s.
In 2008 the new building was opened and the old building demolished.
Sometimes, parties start at home, but this party was only for two. Part of my intimate lives project I explored intimacy with friends.
Krujë (definite Albanian form: Kruja) is a town and a municipality in north central Albania. Located between Mount Krujë and the Ishëm River, the city is only 20 km north from the capital of Albania, Tirana. Inhabited by the Illyrian tribe of the Albani, in 1190 Krujë became the capital of the first autonomous Albanian state in the middle ages, the Principality of Arbër. Later it was the capital of the Kingdom of Albania, while in the early 15th century Krujë was conquered by the Ottoman Empire, but then recaptured in 1443 by Skanderbeg, leader of the League of Lezhë, who successfully defended it against three Ottoman sieges until his death in 1468.
flickriver.com/photos/javier1949/popular-interesting/
Edificio Suites Avenue “una fachada gaudiniana ante la Pedrera”
Paseo de Gracia, 83. Barcelona
Arquitecto Toyo Ito 2003-09
El arquitecto japonés Toyo Ito homenajea a Antoni Gaudí en el paseo de Gracia, frente a la Pedrera, proyectando una nueva fachada para un edificio de oficinas reconvertido en apartohotel. A Toyo Ito, el amor por Barcelona le viene de Gaudí y sus diseños orgánicos. De joven estudió la casa Batlló y el parque Güell, en los que se inspiró para algunos de sus proyectos más notables, como la mediateca de Sendai y la tienda Tods en Tokio. "Yo venero a Gaudí y deseaba corresponder a las ondulaciones de la Pedrera, que desde luego no pretendo copiar. Quería reflejar la fluidez y dinamismo de las olas del mar". La nueva fachada esta formada mediante paneles de chapa de hierro de ocho milímetros recortados de forma irregular, que crean el efecto ondulado de las olas, el pretexto marítimo que une a Gaudí e Ito. Una piel ondulada y fluida en plano horizontal, de color nacarado, que refleja diferentes tonalidades de color a lo largo del día. Esta fachada de gran ligereza permite gran transparencia y luminosidad en el interior de las suites además de ofrecer un hermoso panorama escultórico en el Eixample. En el patio de luz se ha colocado un vidrio especial que tiene un leve efecto óptico de oscilación. Un innovador edificio para 42 apartamentos de alto standing con superficies entre los 70 y los 120 m2 dotados de todos los servicios de un hotel de cinco estrellas.
La intervención tuvo bastantes problemas para conseguir la licencia municipal precisamente por su situación y el carácter de homenaje al "maestro", aunque finalmente se reconoce por las autoridades barcelonesas como un edificio importante y singular que refuerza el prestigio de este paseo. "Toyo Ito ha señalado que con este siglo XXI ha empezado "una época de arquitectura más orgánica", y añade "más que una predicción, mi esperanza es que la Arquitectura salga de esa estética cuadriculada y de cubos y evolucione hacia una posición más cercana a la naturaleza", de manera que para él sería un gran honor que este edificio en el paseo de Gracia se convierta "en un símbolo de este siglo que está empezando". "No se trata de imitar la forma de la Naturaleza o las formas orgánicas, sino que debemos tratar de aprender cómo establecemos la relación con la Naturaleza para seguir sobreviviendo".
Bois d'Arcy, le 1er mars 2010 - Christine LAGARDE, ministre de l'Economie, de l'Industrie et de l'Emploi et Christian ESTROSI, ministre chargé de l’Industrie ont inauguré la plate-forme industrielle du courrier de Bois d'Arcy, dotée d'équipements de tri et de distribution les plus modernes d'Europe. "Un jour de célébration" pour Christine LAGARDE qui a rappelé que La Poste est le "service public préféré des Français".
© MINEIE - Ph Ricard
www.economie.gouv.fr/christine-lagarde/ministre-economie-...
Diseño, construcción y documentación colectiva de pequeños elementos de mobiliario open source destinados a equipar Medialab-Prado.
Trabajaremos sobre la conceptualización y el desarrollo de la producción de hardware open source, ¿qué tenemos que resolver para poder considerar un objeto como open-source? ¿Cómo lo diseñamos colectivamente?
Aprenderemos haciendo, con las máquinas disponibles en Medialab (Fresa CNC, Cortadora láser, Impresora 3D) y documentando de forma que estos pequeños muebles sean replicables en otros lugares.
Organizado por Zuloark.
But now thus saith the Lord that created thee, O Jacob, and he that formed thee, O Israel, Fear not: for I have redeemed thee, I have called thee by thy name; thou art mine.
When thou passest through the waters, I will be with thee; and through the rivers, they shall not overflow thee: when thou walkest through the fire, thou shalt not be burned; neither shall the flame kindle upon thee.
For I am the Lord thy God, the Holy One of Israel, thy Saviour: I gave Egypt for thy ransom, Ethiopia and Seba for thee.
Since thou wast precious in my sight, thou hast been honourable, and I have loved thee: therefore will I give men for thee, and people for thy life.
Fear not: for I am with thee: I will bring thy seed from the east, and gather thee from the west;
I will say to the north, Give up; and to the south, Keep not back: bring my sons from far, and my daughters from the ends of the earth;
Even every one that is called by my name: for I have created him for my glory, I have formed him; yea, I have made him.
Bring forth the blind people that have eyes, and the deaf that have ears.
Let all the nations be gathered together, and let the people be assembled: who among them can declare this, and shew us former things? let them bring forth their witnesses, that they may be justified: or let them hear, and say, It is truth.
Ye are my witnesses, saith the Lord, and my servant whom I have chosen: that ye may know and believe me, and understand that I am he: before me there was no God formed, neither shall there be after me.
I, even I, am the Lord; and beside me there is no saviour.
I have declared, and have saved, and I have shewed, when there was no strange god among you: therefore ye are my witnesses, saith the Lord, that I am God.
Yea, before the day was I am he; and there is none that can deliver out of my hand: I will work, and who shall let it?
Thus saith the Lord, your redeemer, the Holy One of Israel; For your sake I have sent to Babylon, and have brought down all their nobles, and the Chaldeans, whose cry is in the ships.
I am the Lord, your Holy One, the creator of Israel, your King.
Thus saith the Lord, which maketh a way in the sea, and a path in the mighty waters;
Which bringeth forth the chariot and horse, the army and the power; they shall lie down together, they shall not rise: they are extinct, they are quenched as tow.
Isaiah 43:1-17 King James Version
Ele, pela forma como descreveu a sua arriscada e grande viagem aos reis de Espanha, poderá e deverá ser considerado o primeiro jornalista do Novo Mundo. É pois também justo relevar esta sua faceta de homem da comunicação que, naqueles tempos, se exercia duma forma muito mais difícil que nos dias de hoje.
Por outra lado, João Rodrigues Cabrilho é dentre todos o herói mais ignorado daquela época áurea dos descobrimentos. Tanto em Portugal como em Espanha, João Rodrigues Cabrilho raramente é mencionado como figura de grande relevo. Em Espanha ainda se compreende porque está científicamente provado que ele era português e em Portugal porque outras figuras notáveis (felizmente são muitos os heróis portugueses de Quinhentos) ocupam o seu lugar. Portanto, há aqui uma obrigação acrescida dos portugueses em geral e dos barrosões em particular de lembrar a memória de João Rodrigues. Valha-nos o facto da comunidade de S. Diego da Califórnia, Estados Unidos da América, todos os anos, em finais de Setembro, comemorar a chegada de Cabrilho à baía desta linda cidade com um programa de âmbito nacional e de grandiosa espectacularidade. Portugal, Espanha, México, para além dos Estados Unidos fazem-se representar nessas comemorações americanas.
A pessoa por nós escolhida para falar sobre o herói das terras de Barroso é o Dr. João Soares Tavares, um investigador com obra de mérito e consagrada. Apesar de beirão, ele vem, mais uma vez, demonstrar com novos dados que João Rodrigues Cabrilho é de Lapela, de Cabril. Aliás, como será do conhecimento geral, hoje por hoje, e ao contrário de há duas ou três décadas atrás, ninguém contesta a naturalidade barrosã de João Rodrigues.
Contamos que na sessão compareçam os montalegrenses e os barrosões em geral para tomarem mais conhecimento da nossa história barrosã. É que lembrar os feitos dos nossos heróis e apontá-los como exemplo aos mais jovens é tarefa obrigatória de todos porque só deste modo se conseguirá uma sociedade mais justa e com mais autoestima.
Carvalho de Moura
Inn Notícias de Barroso, de 27 de Dezembro de 2007. omontalegrense.blogspot.com/2007/12/joo-rodrigues-cabrilh...
The graveyard provides an excellent historical record of the past local inhabitants, many of whom were involved in fishing or other maritime businesses.
3-bay symmetrical Gothic church, situated within graveyard with advanced central, pinnacled, crocketted and balustraded 4-stage entrance clock tower. Coursed and snecked granite rubble with smooth rubble dressings. Base course. Buttresses divide bays. Pinnacles to corners
Pointed segmental-arched openings. Central pointed-arched hoodmoulded entrance doorway (boarded up 2006). Louvred openings to belfry above. Later 19th century single storey hall attached to rear (E). Predominantly 4-pane fixed timber stained glass windows. Grey slates.
A good example of the work of local architect John Smith, East St Clement´s is a striking building with an associated churchyard with a good collection of monuments. The central pinnacled tower is a strong feature and acts as a local landmark. The church is situated close to the Harbour and the onetime fishing community of Footdee.
The church was built to replace an earlier chapel, dating from the 15th century which had been for the use of the local fishermen and their families who lived in the surrounding area. The church was designed by John Smith to be at the heart of an extensive newly designed neighbourhood and was originally meant to be at the North side of a square. The plans for the neighbourhood never materialised and the area around St Clement´s was gradually taken over by industry.
Alexander Spence (1804 - 1890), son of Reverend William Spence of Glenbuchat, graduated MA Marischal College, 1822. He was licensed by the Church of Scotland Presbytery of Aberdeen in 1827, and ordained minister of St Clement's parish church, Footdee, Aberdeen in 1837.
He, along with most of his congregation, joined the Free Church of Scotland in the Disruption of 1843, and remained minister (from 1878, senior minister) of St Clement's Free Church until his death in 1890. He also served as Clerk of Aberdeen Free Church Presbytery. His son, Alexander Easton Spence (b 1860), was ordained to the Free Church of Scotland, Insch, Aberdeenshire, in 1886
.
It is believed that St Clement's church, Footdee, Aberdeen, was built in 1828, although recent archaeological excavations in the area suggest that there was a church on the site, or in its vicinity, since the early middle ages. A new church was built in Prince Regent St., Aberdeen in 1843, for the newly formed St Clement's Free Church Congregation. This was replaced in 1883.
Rome - Forma / La città moderna e il suo passato (2004).
www.electaweb.it/catalogo/scheda/978883703189/it?language...
Abstract
Proposal by Fuksas and Mandrelli to transform Via dei Fori Imperiali,
the street that bisects the archaeological park that encompasses the
Republican and Imperial forums, into a viaduct hovering above the
ruins.
Subject/Artist
Fuksas, Massimiliano, 1944-; Mandrelli, Doriana O; Mussolini, Benito,
1883-1945; Streets -- Alterations and additions -- Italy -- Rome --
Via dei Fori Imperiali; Fascism and architecture -- Italy -- Rome
______________
Al Colosseo e' aperta una mostra, "Forma. La città moderna e il suo passato", al cui termine e' esposto il progetto dell'architetto Fuksas per la sistemazione dell'area archeologica centrale e di via dei Fori Imperiali.
www.architettiroma.it/dettagli.asp?id=5940
www.architettiroma.it/dettagli-p.asp?id=5931
www.kwart.kataweb.it/kwart/ita/recensionidett.jsp?idConte...
** Comments regarding the Fuksas Project in Rome (Aug. 2004), by an Italian archaeologist in Rome affiliated with the Imperial Fora excavations and studies (1989-present). **
In sintesi (forse eccessiva) via dei Fori Imperiali, ormai storicizzata,
resta, pedonalizzata per sei mesi l'anno (l'estate si prevede solo il
passaggio dei mezzi pubblici), ma su una serie di arcate che scavalcano
le aree archeologiche Queste formano dunque un unico spazio, senza
soluzione di continuità, tra Fori Imperiali e il Foro Romano (e oltre,
fino al Colosseo e al Circo Massimo, Delle passerelle, sempre
sopraelevate, tagliano qua e la' l'area dei Fori Imperiali, seguendo
(più o meno) il tracciato delle vie del quartiere alessandrino, quello
buttato giù da Mussolini negli anni '30. Dalle passerelle delle rampe
in corrispondenza delle attuali aree alberate con pini, che vengono
mantenute, scendono nell'area archeologica. Ci sono poi anche delle
piattaforme che si dipartono dalle passerelle, coperte in materiale
trasparente e che possono essere utilizzate come belvedere, come centri
informativi e/o espositivi, ma anche per caffe', librerie, ecc., in
mododa rendere questo percorso aereo anche un posto dove stare, da
raggiungere, e non solo vie di passaggio. Piattaforme e (suppongo)
passerelle poggiano su sostegni sottili. A quanto si dice le opere previste sono comunque reversibili e di costo abbastanza limitato (ovvio, tutto e' relativo).
Si tratta come sottolinea lo stesso architetto non di un progetto
definitivo, per ora, ma di un'idea, di un concetto, sebbene già
tradotto in immagini. E' bene sottolinearlo perche' ci sono, almeno per l'occhio
di chi conosca bene le aree, alcune incongruenze e non sembra calibrata
in funzione quanto meno *anche* dei resti antichi, la posizione di
questi elementi moderni. Ma sono ovviamente tutte cose che si possono
meglio calibrare in un progetto vero e proprio.
La mia impressione sul progetto? non l'ho ancora ben chiara.
Le piattaforme sembrano piccoli grappoli di oblunghe bolle trasparenti,
delle astronavi sospese in aria Le forme sono bellissime, ma
onestamente mi lasciano un po' "stranita" delle astronavi aliene che si
librano sopra l'area archeologica dei Fori, davanti alle colonne del tempio di
Marte Ultore o della Basilica Ulpia. Non so, puo' essere che mi debba
abituare all'idea e che sia un'operazione simile a quella della
piramide nel cortile del Louvre (che a me personalmente piace molto). O forse
effettivamente finiscono per lasciare un segno moderno dove forse
avrebbe senso essere il più possibile sommessi. Insomma se devo fare
una balaustra di protezione, o un elemento a servizio della visita, che
ovviamente sono in parte inevitabili, e' giustissimo dare a questi
oggetti una qualità estetica, anche a contrasto (e forse meglio a
contrasto, per rendere immediatamente evidente che di aggiunte si
tratta). Ma diventa giusto se questa vista distrae il visitatore dalla
percezione delle architetture antiche? (la piramide del Louvre non lo
fa, mi sembra, e lo stesso palazzo del Louvre, nonostante il prestigio
del suo museo, non e' i Fori Imperiali...).
L'idea di cui si propone questa realizzazione non e' sbagliata: sia il
fatto di lasciare la via dei Fori Imperiali su arcate, ma di lasciarla
(e io non la chiuderei al traffico, mi sembra sufficiente e sensato
farlo per la domenica e i di' di festa. Oppure, all'interno di
un'operazione urbanistica (oddio, forse impossibile) che comprenda
viabilità alternative la renderei pedonale tutto l'anno....). Non e'
peraltro un'idea nuovissima, e veniva abbastanza spontanea come
soluzione, essendoci i soldi per farlo e trovando le soluzioni tecniche.
Anche l'idea delle passerelle sopraelevate (reversibili, leggere) non
mi sembra sbagliata. Ottima anche l'idea di tracciare con questo percorso
aereo il tracciato delle strade del quartiere distrutto e riproporre
dunque la stratificazione storica ora scomparsa.
Pero' il percorso e la quantità di queste passerelle forse andrebbe
meglio valutato. Nelle ricostruzioni (proposte rapidamente in
diapositive che scorrevano, e dunque difficilmente percepibili nei
particolari) ne ho colto una che passava tra le colonne del tempio di
Venere Genitrice e le colonne dei portici della piazza del Foro di
Cesare che io onestamente non avrei messo, anche se fosse sulla
linea di una di queste perdute strade (e posto che lo sia: dovrei
controllare, ma non mi pare che i percorsi storici siano rispecchiati con
precisione). E mi chiedo che senso abbia demolire l'esistente via
Alessandrina, per rimpiazzarla con una passerella, varrebbe forse piu'
la pena aprire, come e' stato fatto per alcuni passaggi, tutte le
arcate del muro di recinzione moderno e lasciarla anch'essa su arcate
(ovviamente non ho le competenze per capirne la difficoltà tecnica,
magari non si puo'), con il vantaggio di avere per la funzione che
serve l'elemento originale, la strada, ancora conservatasi pur senza le sue
case intorno, invece che un elemento nuovo che la ricalchi. O forse
sbaglio e forse la strada cosi' mutiliata in effetti non ha senso e
sarebbe meglio un segno moderno, ma più lineare e più leggero che si
limitasse a ricordarne la memoria.
Un'altra idea che condivido e' quella di rendere viva la zona, un punto
di arrivo e non solo di passaggio, aprendovi, caffe', librerie, centri
informativi, gallerie, e via dicendo. Ma magari farlo proprio in mezzo
alle aree archeologiche, ancorche' in posizione sopraelevata, non so,
e' davvero necessario? se uno usasse, che so, zone dei marciapiedi di via
dei Fori dove sono più larghi? chioschi nelle aree alberate che
giustamente si vogliono conservare? E dei belvedere, magari giusto ci
siano (sebbene i Fori, visti dall'alto si possano capire, ma non
percepire e sentire, starci dentro), ma al limite degli allargamenti
delle passerelle, che belvedere lo sarebbero poi le passerelle stesse.
Delle cose dette dall'architetto progettista e dal Soprintendente La
Regina, condivido assolutamente la necessità di porre il problema: gli
scavi delle aree sono stati fatti, ma occorre per renderli davvero
"fruibili" a tutti pensare, con attenzione, ad una loro
sistemazione. La faccenda e' delicata: quali delle testimonianze dei secoli
successivi trovate in gran copia nell'area della piazza del Foro Traiano, ad
esempio, abbiamo diritto di demolire? Possiamo probabilmente farlo con
le cantine delle case cinquecentesche, ma i resti del convento
duecentesco di S.Urbano? il laboratorio del ceramista rinascimentale? e
penso che a nessuno venga in mente di demolire l'unico esempio di una
casa signorile di età carolingia, trovato nell'area del Foro di Nerva.
Siccome tutte queste cose, piu' e meno importanti, una volta demolite
saranno perse per sempre (nonostante tutta la documentazione, ovvio),
credo sia necessario valutare con molta attenzione, lasciarsi anche il
tempo di farlo bene. Ci sono anche legate tutta una serie di faccende
pratiche (tipo il luogo di deposito dei materiali archeologici, o
l'installazione dei servizi tecnologici, dei bagni e di altri servizi
indispensabili in un'area archeologica cosi' vasta (solo sulle
piattaforme sopraelevate? e cosa, bagni chimici? o altrimenti dove
dovrebbero scaricare? E poi, se vogliamo permettere il libero accesso
su tutta l'area, quanti custodi ci serviranno? e come si salvaguardano, in
modo che non vadano perdute per il calpestio, le tracce della
pavimentazione marmorea della piazza del Foro Traiano?
A proposito poi dell'accesso gratuito. Ottima cosa, naturalmente.
Permette ai cittadini di riappropriarsi delle aree, e probabilmente,
anche solo attraverso una percezione non ragionata, di trasmettere il
valore della cultura e della conoscenza del passato.
Pero'.... e qui forse sbaglio, non so: intanto la mancanza di supporti
didattici (che secondo il Soprintendente non servono perche' tanto c'e'
*altrove* una messe enorme di informazioni e chi si vuole informare ha
dunque ampie possibilità di farlo), ma anche l'inevitabile tracciare
percorsi obbligati, chiudendo le aree più delicate (cosi' e' avvenuto
nel Foro Romano: non si entra più nella Basilica Emilia, non si entra
più nella Casa delle Vestali, praticamente si puo' solo seguire la
strada) appiattisce tutti i visitatori su un'unica possibile
frequentazione "di base", generica e impedisce ogni
approfondimento. Ho dei dubbi (e' vero, non sono sicura) che sia davvero meglio per la diffusione della cultura, tendere ad appiattire tutto "verso il basso", verso un utilizzo più diffuso e più in fondo, superficiale, invece di
cercare di portare tutti verso "l'alto".
Ecco, queste sono le mie (prolisse) impressioni.
Voi, che ne pensate?
Guardate che io, personalmente, avrei proprio bisogno di confrontarmi
con qualcuno che magari sia un po' meno legato di me alle aree in
questione, per capire se il fatto di lavorarci non alteri le mie
impressioni......
Wet formed leather mask designed by The Bella Modiste. Lined in a soft suede leather. Not sure if this is finished yet, or if it needs something else.
This was my first go at making a shaped leather mask, so it is'nt perfect, but am very happy with it this far.
The Sky Form of Shaynim only available in Pokemon Platinum and can be captured on the Pokemon Ranger tracks of light(not release yet)
Site from the same site seen in my Latias and Latios pic at the bottom
Microscopic forms of fats etc from A Practical Manual on Blood and Urine and Microscopic Descriptions, Diseases Treatment etc.by John William Griffith.1848.
Published by Lea and Blanchard, Philadelphia. Green cloth boards c400 pages 20cm x 13cm.
At Tate St,Ives, bronze sculpture on a wooden base. With the actual beach and sea beyond through a window.
The caption below it read as follows: Inspired by the local landscape, Hepworth began to sculpt her responses to the natural forms around her. Trevalgan is the name of a hill near her home. There, she wrote, ‘the cliffs divide as they touch the sea facing west. At this point, facing the setting sun across the Atlantic, where sky and sea blend with hills and rocks, the forms seem to enfold the watcher and lift him towards the sky.’ The sculpture is not a literal representation of the divided cliffs, but a personal expression of Hepworth’s physical and spiritual encounter with nature.
Below you can see another shot I took which gives you a very different view of how the sculpture looks.
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375607 arrives at Shepherds Well working 1S27 1145 Faversham to Dover Priory. This unit formed the rear portion of the 1022 from Victoria.
Fig. 1. Häufigste Form des Nordlichts in Deutschland und dem südlichen Skandinavien.
Fig. 2. Nordlicht, beobachtet von Hayes zu Port Foulke in Grönland, 6. Januar 1861.
Fig. 3. Nordlicht, beobachtet von Capron zu Guildford in England, 24. Oktober 1870.
Fig. 4. Nordlicht, beobachtet von Capron auf der Hebrideninsel Skye, 11. September 1874.
Polarlicht (hierzu Tafel "Polarlicht"), eine Lichterscheinung des Himmels, welche sich in ihrer vollsten Pracht in den Polarländern zeigt, aber auch zuweilen in unsern Breiten gesehen wird, wie z. B. in den glanzvollen Erscheinungen des 7. Jan. 1831, 18. Okt. 1836, 24. u. 25. Okt. 1870, 4. Febr. 1872, 2. Okt. 1882 u. a. Je nachdem die Lichterscheinung in den Nordpolar- oder in den Südpolarländern auftritt, pflegt man sie mit dem Namen Nordlicht (Aurora borealis) oder Südlicht (Aurora australis, Australlicht) zu bezeichnen, wofür jetzt der gemeinschaftliche Name P. üblich geworden ist. Die Polarlichter treten, je nach Zeit und Ort, unter sehr verschiedenen Formen auf; am häufigsten (Fig. 1 u. 4 der Tafel) bilden sie einen leuchtenden Bogen am Horizont, dessen unterer Rand schärfer begrenzt zu sein pflegt als der mehr verschwommene obere. Unter dem Lichtbogen sieht der Himmel schwärzer aus als gewöhnlich, wie eine dunkle Wolke oder Nebelwand in der Gestalt eines kreisförmigen, vom Horizont begrenzten Segments. Der höchste Punkt des Lichtbogens liegt ziemlich nahe in der Richtung, nach welcher die Kompaßnadel hinweist, also im magnetischen Meridian. Der Polarlichtbogen ist häufig aus einzelnen Strahlen zusammengesetzt, welche von seinem untern Rand nach oben hin gerichtet und von verschiedener Länge sind und oft über den ganzen Bogen hinzuwandern scheinen. Der Polarlichtbogen steht nicht selten ziemlich hoch am Himmel, und seine Erhebung ist über dem Horizont von dem Standort des Beobachters abhängig. Manchmal zeigen sich gleichzeitig mehrere Polarlichtbogen übereinander, welche ihre Form und Stellung am Himmelsgewölbe ziemlich rasch ändern. Zuweilen ist das P. auch ohne Zusammenhang über einen größern Teil des Himmels zerstreut. Diese Art der Polarlichter und nicht minder das Licht der Polarlichtbogen zeigt häufig eine stark flackernde oder flammende Bewegung, indem verschieden gefärbte Strahlen bald hier, bald dort am Himmel aufleuchten. Zuweilen erscheinen diese Strahlen wie ein vom Wind bewegtes leuchtendes Band oder eine Lichtwelle (Fig. 2), zuweilen erfüllt sich der ganze Himmel oder wenigstens ein Teil desselben mit solchen flammenden Polarlichtstrahlen, welche in einem Punkte des Himmelsgewölbes zusammenzulaufen scheinen, der nach neuern Untersuchungen in der Richtung der magnetischen Inklinations-(Neigungs-) Nadel liegt, da, wo das obere Ende derselben hinweist. Dieser Punkt heißt die Krone des Polarlichts. Man kann daher der Hauptsache nach fünf verschiedene Formen beim P. unterscheiden, je nachdem dasselbe 1) als heller Bogen 2) in Form eines wogenden Bandes, 3) als Strahlen, 4) als Krone erscheint oder 5) als heller Schein über den Himmel verbreitet ist. Die Farbe des Polarlichts ist gewöhnlich weißlich oder gelblich; es gibt aber auch rote Polarlichter, die sehr glänzend werden können, wie z. B. das vom 24. u. 25. Okt. 1870 (Fig. 3). Weyprecht, der sich auf der österreichisch-ungarischen arktischen Expedition zwei Jahre lang (1872-74) unter dem Gürtel größter Häufigkeit der Nordlichter befand, teilt über die Farben des Polarlichts mit, daß ihre Reihenfolge die einzige gesetzmäßige Eigenschaft der Polarlichter war, von welcher niemals eine Ausnahme beobachtet wurde. Nach seiner Beschreibung ist die normale Farbe weiß mit leichter grünlicher Betonung, bei trübem Wetter schmutzig gelb. Bei größerer Intensität des Polarlichts tritt Grün und Rot auf, und zwar bildet bei der häufigsten Form, dem breiten Lichtband, das Rot den untern Saum, dem dann das viel breitere Weiß der Mitte und dann das Grün des obern Saums in ungefähr gleicher Breite wie das untere Rot folgt. Violett tritt häufig bei den nur geringe Lichtintensität besitzenden Erscheinungen auf, welche formlosen, schwach leuchtenden Nebeln gleichen. Das Spektrum des leuchtenden Bogens des Polarlichts besteht nach Angström aus einer einzigen, dem P. charakteristischen hellen Linie zwischen den Fraunhoferschen Linien D und E. Außerdem beobachtete Angström noch drei schwache Streifen nach der Fraunhoferschen Linie F zu. Bei dem prachtvollen P. vom 25. Okt. 1870 beobachtete Zöllner außer der charakteristischen Linie zwischen D und E eine rote Linie, doch erschien diese nur an solchen Stellen des Himmels, die auch dem unbewaffneten Auge stark gerötet erschienen. Im blauen Teil des Spektrums traten nur zuweilen bandartige Streifen auf. Die Linien im Spektrum des Polarlichts stimmen nicht mit dem Spektrum eines verdünnten Gases in den Geißlerschen Röhren überein, während sich nach Angström die charakteristische Polarlichtlinie im Spektrum des Zodiakallichts (s. d.) wiederfindet. Ist das P. überhaupt elektrischer Natur wie die Lichtentwickelung der verdünnten Gase in den Geißlerschen Röhren, so muß es einer so niedrigen Temperatur angehören, wie sie bei diesen nicht gut hergestellt werden kann. Über die Höhe der Polarlichter sind die Ansichten der Naturforscher sehr geteilt. Nach Plücker fängt das elektrische Licht im luftverdünnten Raum an zu verschwinden bei einem Druck von 0,3 mm und ist bei 0,1 mm Druck vollständig fort. Daraus würde folgen, daß das P. bis 9 Meilen hoch sein könnte. Nach Waltenhofen tritt das elektrische Licht noch bei 20,000maliger Verdünnung der Luft auf und könnte deshalb das P. weit über 10 Meilen oberhalb der Erde vorhanden sein. Eine direkte Messung der Höhe des Polarlichts ist in der Art ausgeführt, daß man an verschiedenen Punkten der Erdoberfläche, die womöglich auf demselben Meridian lagen, die Erhebung einzelner charakteristischer Stellen des Polarlichts, wie unteres oder oberes Ende eines bestimmten Lichtstrahls etc., über den Horizont beobachtete und aus der so gefundenen Parallaxe seine Höhe berechnete. Auf diese Weise wurde aus den Beobachtungen über das P. vom 25. Okt. 1870 von Heis in Münster und Flögel in Schleswig abgeleitet, daß die Basis der Strahlen 20-35 Meilen und die Spitzen derselben 70, wahrscheinlich bis über 100 Meilen hoch waren. Zu ähnlichen Resultaten kamen auch Galle und Reimann in Breslau. Nach andern Beobachtungen tritt das P. auch in den untern Luftschichten auf, und namentlich ist dieses in den Polargegenden der Fall, wo z. B. Lemström u. a. das P. unterhalb von Berggipfeln und Wolken sowie von Nebeln und leuchtenden Wolken ausgehend beobachtet haben und es deshalb weniger als 4000 Fuß hoch gewesen sein muß. Aber auch im hohen Norden tritt das P. in größerer Höhe auf, wie z. B. in Wester-Norrland am 19. Febr. 1876 ein prachtvolles P. mit der Corona borealis nach 11 Uhr abends oberhalb der Cirruswolken, also in sehr großer Höhe, gesehen wurde. Daß das P. einen Einfluß auf den Zustand der untern Luftschichten ausübt, geht daraus hervor, daß der Himmel beim Auftreten eines starken Polarlichts, zumal wenn die Krone sich zeigt, in ungewöhnlich schneller Wechselfolge sich bewölkt und wieder aufklärt. Das Verhalten des Polarlichts zu den großen Bewegungen der Atmosphäre, zu den Winden, den Temperatur- und Luftdruckerscheinungen ist noch nicht genauer untersucht und noch nicht genügend festgestellt.
Bei starken Polarlichtern wollen einzelne Beobachter bisweilen ein eigentümliches knisterndes Geräusch, wie das Rascheln eines Seidenstoffs, gehört haben, während von andern die Existenz eines Geräusches ausdrücklich geleugnet wird. In neuester Zeit ist darauf hingewiesen, daß die Entdeckungen von Bleuler und Lehmann in Zürich über "zwangsmäßige Lichtempfindungen durch Schall und verwandte Erscheinungen" (Leipz. 1881) zur Erklärung des von einzelnen Beobachtern gehörten Geräusches dienen können. In ähnlicher Weise, wie solche Photismen oder Farbenvorstellungen durch Schall entstehen, werden nämlich auch bei gewissen Personen zwangsmäßige Schallempfindungen, Phonismen, durch Licht hervorgerufen, und da gleichzeitig mit jedem Aufflackern des Polarlichts ein Ton gehört werden soll, so deutet diese Gleichzeitigkeit ebenso wie die Beschränkung der Empfindung auf gewisse Personen darauf hin, daß die Schallempfindungen als Phonismen aufzufassen sind. Manche Polarlichter werden nur auf verhältnismäßig kleinen Strecken beobachtet, während andre eine außerordentlich große Verbreitung haben. So war z. B. das schöne P. vom 7. Jun. 1831 im ganzen nördlichen und mittlern Europa sowie auch am Eriesee in Nordamerika sichtbar. In diesem Fall können nicht überall dieselben leuchtenden Strahlen gesehen sein, sondern am Eriesee wird man einen andern Teil des Phänomens wahrgenommen haben als in Europa. Wahrscheinlich hatte sich damals ein großer Strahlenkamm gebildet, welcher, ungefähr der Richtung eines magnetischen Parallelkreises folgend, vom Eriesee über den Atlantischen Ozean bis nach Norwegen und Schweden reichte. Eine bedeutsame Thatsache ist es, daß die Polarlichter am Nord- und Südpol sehr oft gleichzeitig erscheinen. Aus den vergleichenden Zusammenstellungen der Polarlichtserscheinungen durch Fritz und Loomis ergibt sich, daß das P. im allgemeinen zwar in den nördlichen Ländern der kalten und nördlichen gemäßigten Zone am häufigsten vorkommt, seltener in der südlichen oder wärmern gemäßigten Zone (von 45°-23½° nördl. Br.) und noch seltener in den tropischen Gegenden; aber keineswegs sind die Zonen gleich großer Häufigkeit der Nordlichter parallel dem Äquator, und noch viel weniger findet die größte Häufigkeit in der größern Nähe des geographischen Nordpols statt. Vielmehr liegen die Orte, wo man das P. am häufigsten und in seiner intensivsten Entfaltung sieht, in einer Zone von ovaler Form, welche sich von der Barrowspitze in Nordamerika über den Großen Bärensee nach der Hudsonbai hinzieht, diese unter 60° nördl. Br. schneidet und dann über Labrador, südlich vom Kap Farewell zwischen Island und den Färöern in die Nähe des Nordkaps nach dem Nördlichen Eismeer geht. Nach den weiter zu Gebote stehenden Beobachtungen soll die Linie um Nowaja Semlja und um das Kap Tscheljuskin gehen, sich im östlichen Sibirien der Küste nähern und von da zur Barrowspitze zurückkehren. Nördlich und südlich von dieser Zone nimmt die Häufigkeit und Intensität des Polarlichts ab, und zwar nach N. zu in stärkerm Grad als nach S. (s. Isochasmen). Südlich von dieser Zone sieht man das P. in der Regel im Norden (daher der Name Nordlicht); aber nördlich von ihr erscheint das P. gewöhnlich am südlichen Teil des Himmels. Innerhalb der jährlichen Periode ist das P. zur Zeit der Äquinoktien (s. d.) am häufigsten und zur Zeit der Solstitien (s. d.) am seltensten. Außerdem hat das P. eine Periode von ca. 11 Jahren, in welcher seine Häufigkeit gleichzeitig mit der Häufigkeit der Sonnenflecke zu- und abnimmt, so daß P.- und Sonnenflecken-Maxima und -Minima gleichzeitig eintreffen. Dabei drückt sich der periodische Wechsel in den Nordlichtern viel energischer aus als in den Sonnenflecken. Neben dieser einjährigen Periode zeigt sich noch eine Periode von 55½ Jahren und wahrscheinlich eine noch größere von 222 Jahren, die man in den Nordlichtsverzeichnungen verfolgen kann (vgl. H. Fritz, Verzeichnis beobachteter Polarlichter, Wien 1873, und Loomis in Sillimans "American Journal"). Die bisher vorliegenden Beobachtungen der Südlichter (1841-48 zu Hobarttown u. 1857-62 zu Melbourne) sprechen dafür, daß bei ihnen dieselbe Periodizität vorhanden ist wie bei den Nordlichtern.
Die Beziehungen, welche zwischen dem P. und dem Erdmagnetismus bestehen, zeigen sich zunächst darin, daß während eines Polarlichts die Deklinationsnadel sehr starke und unregelmäßig Schwankungen zeigt, weshalb A. v. Humboldt die Nordlichter sehr bezeichnend magnetische Gewitter genannt hat. Diese magnetischen Störungen treten an den verschiedenen Orten gleichzeitig auf, wie die Polarlichter selbst, und sind um so stärker, je intensiver und je weiter verbreitet am Himmel das P. ist; sie zeigen sich auch an Orten, wo das P. selbst nicht sichtbar ist, so daß man aus einer solchen unruhigen Bewegung der Magnetnadel mit Sicherheit auf ein in entfernten Gegenden sichtbares P. schließen kann. Am unzweifelhaftesten aber ergibt sich die Beziehung des Polarlichts zum Erdmagnetismus aus der Bildung der Polarlichtkrone an dem Punkte des Himmels, nach welchem die magnetische Inklinations- (Neigungs-) Nadel hinweist. Der gewöhnliche Polarlichtbogen rührt nach der Ansicht Nordenskjölds von einem leuchtenden Ring her, der um den magnetischen Pol in beträchtlicher Höhe über der Erde schwebt, und welcher von einem zweiten größern konzentrisch umgeben ist, von dem die großen und prächtigen Polarlichter ausgehen. Je nach der Stellung des Beobachters zu diesen leuchtenden Ringen wird das P. eine verschiedene Form annehmen. An einem Punkte der Erdoberfläche, der weit südlich liegt, wird nur der äußere Ring sichtbar sein, von dem das prachtvolle Draperienlicht mit lebhaften Strahlen ausgeht. Befindet sich der Beobachter weiter nördlich, so wird der Polarlichtbogen die gewöhnliche Erscheinung sein, bei welcher man unter dem hellen Bogen den dunkeln Himmel oder das sogen. dunkle Segment erblickt. Unter den leuchtenden Ringen werden die meisten für den Beobachter sichtbaren Strahlen die Richtung der magnetischen Kraft am Beobachtungsort haben, d. h. einander parallel sein, und werden deshalb nach den Gesetzen der Perspektive in einem Punkte des Himmelsgewölbes zusammenzulaufen scheinen und die Polarlichtkrone an dem Punkte des Himmels bilden, nach welchem die magnetische Inklinationsnadel gerichtet ist. Ein Beobachter im Norden des Polarlichtrings sieht das P. selten, und da nach innen fast gar keine Strahlen ausgesendet werden, wird es hier meist nur als lichter Nebel am Horizont beobachtet werden. Nachdem schon früher die Ansicht ausgesprochen war, daß das P. elektrischer Natur sei, ging de la Rive davon aus, daß das Meerwasser beständig mit positiver Elektrizität geladen sei, daß diese positive Elektrizität durch die aufsteigenden Dämpfe in die höhern Schichten der Atmosphäre getragen und durch den obern Passat (s. d.) den Polen zugeführt werde, so daß sie eine positiv elektrische Hülle für die Erde bildet, welche selbst mit negativer Elektrizität geladen bleibt. Da sowohl die Erde als auch die verdünnte Luft in den höhern Regionen der Atmosphäre gute Leiter sind, so werden sich die verschiedenen Elektrizitäten besonders da verdichten, wo die positive Luftschicht und die negative Erde einander am nächsten sind, d. h. in der Nähe der Pole. Ein Ausgleich der entgegengesetzten Elektrizitäten wird wegen der schlechten Leistungsfähigkeit der untern Luftschichten, durch welche sie erfolgen muß, nur allmählich in successiven, mehr oder weniger kontinuierlichen Entladungen von veränderlicher Intensität stattfinden, und während einer solchen Entladung wird die negative Elektrizität auf der Erde vom Äquator nach den Polen und die positive umgekehrt von den Polen nach dem Äquator strömen. Durch diese Ströme wird die Deklinationsnadel nach W. abgelenkt und ein Strom in den Telegraphendrähten hervorgerufen, der sich in der That auch als eine Störung kenntlich macht. 1878 hat Edlund in Stockholm die Erklärung der Polarlichter sowie die Erklärung aller elektrischen Erscheinungen im Luftkreis auf die von Faraday entdeckte sogen. unipolare Induktion und zwar in folgender (auf die Erde angewandter) Weise reduziert. Läßt man einen Magnet (Erde) mit einer gut leitenden Umhüllung (Erdkruste) rotieren, und verbindet man dabei einen dem Pol benachbarten Punkt dieser Umhüllung (also in der Polarzone) durch einen Leiter (Atmosphäre) mit einem andern Punkte der Umhüllung in der Nähe der Mitte zwischen beiden Polen (in der Äquatorialzone), so entsteht während der Rotation ein elektrischer Strom zwischen den beiden Zonen, dessen Richtung und Intensität von Richtung und Geschwindigkeit der Rotation abhängen. Da nun die Atmosphäre in ihren untern Schichten im allgemeinen ein schlechter, in ihren obern aber ein guter Leiter ist, welcher den elektrischen Kreislauf zwischen der Äquatorialzone und den beiden Polarzonen schließt, so ist nun der elektrische Stromverlauf auf der Erde folgender. In allen Zonen zwischen dem Äquator und den beiden Polarzonen findet ein Aufsteigen der positiven Elektrizität statt, welches am Äquator am stärksten ist, aber immer schwächer wird, je mehr man sich den Polen nähert, und in deren Nähe ganz aufhört. Die in die Höhe getriebenen Mengen von positiver Elektrizität sind noch einer Tangentialkraft unterworfen, welche am Äquator und an den Polen gleich Null ist und zwischen beiden ihren größten Wert erreicht. Auf der nördlichen Halbkugel ist die Tangentialkraft nach Norden, auf der südlichen Halbkugel nach Süden gerichtet, und deshalb wird die in die Höhe gestiegene positive Elektrizität in den obern Luftschichten nach den Polen zu abfließen. Die geringe Leitungsfähigkeit der Luft setzt der Ausgleichung dieser positiven Elektrizität mit der durch Influenz auf der Erdoberfläche hervorgerufenen negativen Elektrizität einen Widerstand entgegen, so daß die Ausgleichung nur dann erfolgen kann, wenn eine gewisse elektrische Spannung erreicht ist, und zwar entweder durch Entladungsschläge, d. h. Gewitter, oder durch kontinuierliche Ströme, d. h. Polarlichter. Das Erglühen der Luft durch die elektrischen Rückströmungen aus den höhern Luftschichten nach der Erdoberfläche erfolgt nach dieser Theorie (analog wie in den Geißlerschen Röhren) in der Regel nur in den höhern dünnern Luftschichten, während der Durchgang durch die untern Schichten im allgemeinen lichtlos stattzufinden scheint. 1885 hat Unterweger das P. durch die Bewegung des Sonnensystems im Weltraum zu erklären versucht, indem durch Kompressen des Weltäthers an der Stirnseite der Weltkörper und durch Verdünnung desselben an der Rückenseite Differenzen der elektrischen Spannung in den Atmosphären entstehen, welche die uns wahrnehmbaren elektrischen Erscheinungen, zu denen auch das P. gehört, hervorrufen. 1882 ist es Lemström aus Helsingfors gelungen, durch geeignete elektrische Armierung von Berggipfeln Lichtsäulen bis zu ansehnlicher Höhe über diesen Gipfeln hervorzurufen, welche sowohl ihrem äußern Anschein nach als auch in Bezug auf die charakteristischen Eigenschaften mit den Polarlichtern übereinstimmten. Diese Versuche wurden im nördlichen Finnland auf zwei Bergen von 800 und 1100 m Höhe ausgeführt und bestanden darin, daß die betreffenden Hochflächen mit einem Netz von Kupferdrähten, die mit nach oben gerichteten Spitzen versehen und gegen den Erdboden isoliert waren, überzogen wurden. Das Drahtnetz wurde durch einen gegen die Erde isolierten Draht am Fuß des Bergs mittels einer Zinkplatte mit einer tiefern, Wasser führenden Erdschicht verbunden. Sobald die Verbindung hergestellt war, wurden unaufhörlich elektrische Ströme von schwankender Intensität in der Drahtleitung beobachtet, der positive Strom war von der Atmosphäre nach der Erde zu gerichtet. Gleichzeitig erhob sich über den Spitzen des Drahtnetzes ein gelblichweißes Leuchten, welches die charakteristische Polarlichtlinie im Spektroskop zeigte, und über einer der beiden Bergspitzen wurde sogar ein Polarlichtstrahl von 120 m Länge beobachtet. Vgl. Capron, Aurorae, their characters and spectra (Lond. 1879); Fritz, Das P. (Leipz. 1881).
Exposition
Du 14/06/2017 au 10/09/2017
L’exposition Le Rêve des formes, présentée à l’occasion du vingtième anniversaire du Fresnoy – Studio national des arts contemporains, est conçue comme un paysage imaginaire, un jardin monstrueux où se cultivent des formes périssables et des surfaces en germination, des organismes protubérants et de plates silhouettes.
Les artistes et chercheurs rassemblés dans Le Rêve des formes témoignent de leur rencontre avec de nouvelles possibilités de représentation, issues de découvertes scientifiques et techniques récentes, qui bouleversent notre façon de voir et de montrer. En renouvelant grâce à cela le champ du perceptible – nanotechnologies, imagerie de synthèse, scan 3D, stéréolithographie… –, ces nouvelles visualisations nous laissent présumer de géométries encore inconnues.
Des images, des transcriptions, des modélisations, des formes spéculatives produites par les inventeurs et savants des sciences prospectives, issues des mathématiques, de la physique, de la biologie, de l’optique ou de la chimie par exemple, rejoignent ou inspirent des œuvres qui résultent des greffes opérées entre art et science, entre spéculation et invention, par une vingtaine d’artistes contemporains.
Avec : Francis Alÿs, Hicham Berrada & Sylvain Courrech du Pont & Simon de Dreuille, Michel Blazy, Juliette Bonneviot, Dora Budor, Damien Cadio, Julian Charrière, Sylvie Chartrand, Clément Cogitore, Hugo Deverchère, Bertrand Dezoteux, Mimosa Echard, Alain Fleischer, Fabien Giraud & Raphaël Siboni, Bruno Gironcoli, Spiros Hadjidjanos, Patrick Jouin, Ryoichi Kurokawa, Annick Lesne & Julien Mozziconacci, Adrien Missika, Jean-Luc Moulène, Marie-Jeanne Musiol, Katja Novitskova, Jonathan Pêpe & Thibaut Rostagnat & David Chavalarias, Olivier Perriquet & Jean-Paul Delahaye, Arnaud Petit, Jean-François Peyret & Alain Prochiantz, Gaëtan Robillard, Gwendal Sartre, SMITH & Antonin-Tri Hoang, Anicka Yi
Today is the day we're supposed to post our hollow form rings, according to the guidelines of the second ring challenge:
*Make a Hollow Form Ring
*The ring should have at least one gemstone in a setting of your choice.
*Post the photos of your Ring (in the Jefferson and Ring-a-Day group pools) on May 16th (not earlier)
You're free to interpret this in your own way, as long as it is a hollow form ring.
My first though was to make a tulip ring, as I was -and still am- obssessed with tulips :-)
I had a few more ideas but I decided to go with the first one. I'm also posting some process pics . Fortunately, making it didn't involve any serious accidents but it took a lot of time to fabricate.
When I finished it, I wasn't entirely happy with it, it reminded me more of fire flames, not a tulip. I wore it a few times, some people said it was tulip, some others though they were flames. Anyway, last night I was asked by someone to reserve it for her and I couldn't be happier. Luckily, it fits her and I won't have to make it again in her size :-)
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
Mark got his start in comedy after he dropped out of university and moved West to Calgary where met up with Bruce McCulloch. They formed an improv troupe called 'The Audience' and in 1983, made their way to Toronto along with Dave Foley, Kevin McDonald and eventually, Scott Thompson. One name change later and 'The Kids in the Hall' were born. In 1988, Lorne Michaels of Saturday Night Live put them on television and man, did they ever push the envelope. Perhaps you remember Mark as the 'Chicken Lady'? By the mid 90's, the 'Kids' split up and Mark joined the cast of 'SNL,' for three seasons. He's since gone on to star in films and on Broadway while writing and starring in the critically acclaimed Canadian series 'Slings and Arrows'. Mark also worked on the well received but short lived nAmerican series 'Studio 60 on the Sunset Strip.' This past spring, he reunited with the 'Kids' for a North American tour and recently, he got a star on Canada's Walk of Fame. Now, he's producing a half-hour comedy series called 'Less Than Kind.'
Watch his interview with George here - www.cbc.ca/thehour/videos.html?id=880086884
La Moldavie, en forme longue République de Moldavie (en roumain : Moldova et Republica Moldova), ou République de Moldova, est un pays d'Europe orientale situé entre la Roumanie et l'Ukraine, englobant des parties des régions historiques de Bessarabie, et de Podolie méridionale (dite Transnistrie en roumain). La Moldavie est membre-signataire de l'Accord de libre-échange centre-européen et du GUAM (Organisation pour la démocratie et le développement).
Historiquement, le nom de Moldavie vient de l'ancien allemand Mulde qui signifie « creux poussiéreux », « carrière », « mine », et qui a successivement désigné une cité minière (en roumain Baia, qui signifie aussi « carrière », « mine »), la rivière Moldova passant à côté, et pour finir une principauté née dans cette région. Ce nom désigne le territoire de l'ancienne Principauté de Moldavie (1359-1859) aujourd'hui partagé entre
la région de Moldavie en Roumanie (soit 8 départements) à l'ouest du Prout,
la République de Moldavie à l'est du Prout, successeur de la République socialiste soviétique de Moldavie,
et l'Ukraine soit l'oblast de Tchernivtsi (ou Cernăuți en roumain), et la partie de l'oblast d'Odessa située à l'ouest du Nistru ou Dniestr (Bugeac).
Ces trois derniers territoires ont été créés par Staline à la suite de l'annexion soviétique de juin 1940, permise par le Pacte germano-soviétique de 1939. L'adjectif géographique Moldaves se réfère à tout ce qui concerne le territoire historique de la Moldavie.