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KuNsTrAtTe - Berliner Tragikomödie II
There´s a world i´m trying to remember, for a feeling I´m about to have
Performative Intervention im öffentlichen Raum Berlin 2016
Nagl ~ Wintersberger
The nationwide pediatric therapy and autism services company Bilinguals Inc. / Achieve Beyond providing early intervention health care services to a bilingual child in New York City. If your child or a child you know needs pediatric therapy or autism services nationwide please visit www.achievebeyondusa.com
photo by Nadia Troff
The SX-70 is a folding single lens reflex Land Camera first produced by the Polaroid Corporation in 1972. It was the first instant SLR in history, and the first camera to use Polaroid's new integral print film, which developed automatically without the need for intervention from the photographer.
The SX-70 has a folding body design, a 4-element 116mm f/8 glass lens, and an automatic exposure system. The camera allows manual focus as close as 10.4 inches (26.4cm), and has a shutter speed range from 1/175s to more than 10 seconds. This makes the camera incredibly versatile, and it can be used in pretty much any situation, from portraits to long exposure photographs.
This type of SX-70 is the "SONAR Onestep". Quite literally it is one of the best model of SX-70 cameras available.
The main feature of this amazing model is its AUTOMATIC FOCUSING system. When the shutter button is pressed halfway, a series of ultrasonic chirps is emitted from an electrostatic transducer located under a gold plate above the lens. These chirps travel to the subject and bounce back to the camera’s receiver, alerting the camera to the subject’s distance, and the lens is turned via a motor to focus accordingly.
Don't think for a second that this automatic focusing is gimmicky! Simply put, its one of the most accurate automatic focusing systems ever made, and will outperform most new digital SLRs. It can focus from infinity down to 26cm in under 1 second!
Of course, you can over-ride the auto-focus and focus manually with the touch of a button if you want to.
The SONAR SX-70 models also features a tripod socket as well as a neck strap, to make the camera more portable to carry around. Most standard SX-70 models did not have these features.
This particular model is the rare "Sears Special" version. The Sears Special was a effectively an SX-70 Sonar branded for sale at "Sears" stores (a chain of retail stores in the USA). It differed from standard models in its color scheme, which featured a mix of both black and chrome look panels and brown leatherette.
The Sears Special was originally covered in a cheap "porvair" vinyl leatherette. This was removed and the camera was reskinned with genuine brown cowhide.
Thousands rally on Trafalgar Square against UK intervention in Syria - London 31.08.2013
Following a march past Parliament and Downing Street, thousands of Stop the War Coalition anti-war activists rallied on Trafalgar Square to hear various speeches demanding there be no UK military intervention whatsoever in the current Syrian crisis.
All photos © 2013 Pete Riches
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Soldiers with the Lebanese Armed Forces salute Brig. Gen. Ronald Baczkowski, the deputy commanding general of U.S. Marine Corps Forces Central Command, as he departs the LAF Fouad Shehab Staff and Command College following a visit to the country, April 22. In an effort to enhance the LAF unit’s internal training capabilities, U.S. Marines assigned to Fleet Anti-Terrorism Security Team, U.S. Central Command, conducted a subject-matter-expert exchange on urban warfare tactics and combat marksmanship skills. (Official U.S. Marine Corps photo)
Interventions and innovation can lower the price of individual foods, but healthy eating depends on access to a mix of foods from diverse sources. How has the overall cost of meeting dietary needs changed over time worldwide, and in Africa and South Asia specifically? What determines the cost of a healthy diet? And how does affordability affect dietary intake and health status in different locales?
To answer these questions, Changing Access to Nutritious Diets in Africa and South Asia (CANDASA) has been using new food price indexes that account for food substitutions to meet nutritional needs to evaluate food systems all over the world, including in Ethiopia, Ghana, India, Malawi, and Tanzania.
This seminar will present the outcomes of CANDASA’s work to date, with a panel discussion featuring field researchers from each country to discuss the local and global implications of their results.
Research by Tufts and IFPRI on this topic is supported by UKAid and the Bill & Melinda Gates Foundation.
Speakers
Anna Herforth, Independent Consultant
William A. Masters, Professor, Tufts University
Discussant
Derek Headey, Senior Research Fellow, IFPRI
Panelists
Fantu Nisrane Bachewe, Research Coordinator, IFPRI
Yan Bai, PhD Candidate, Tufts University
Stevier Kaiyatsa, Economist, Ministry of Finance, Planning & Development, Malawi
Fulgence Mishili, Senior Lecturer, Sokoine University of Agriculture, Tanzania
Kalyani Raghunathan, Research Fellow, IFPRI
Daniel Sarpong, Associate Professor and Dean, School of Agriculture, University of Ghana
Kate Schneider, PhD Candidate, Tufts University
Moderator
Rajul Pandya-Lorch, Director of Communications and Public Affairs & Chief of Staff in the Director General's Office, IFPRI
Dora García’s contribution consisted in pointing out the wealth of information and the activities programmed by the Freudian Field Library, founded in 1977 by Argentinean Oscar Masotta (1930–1979), considering the site as a knot which ties together art, psychoanalysis and literature. A display of publications drew from the library shelves and three conversations activated the space over three consecutive days. The first talk, a ‘solo’ by García, focussed on the library’s holdings of literary fiction. The second, a conversation, involved several psychoanalysts who discussed the founding of the library and its ongoing role in Barcelona, and the final event was a talk around the figures of James Joyce and Jacques Lacan. The events were live-streamed on Periscope and the video and audio files can be accessed via the video and audio icons of each talk in the sidebar on this page.
Thursday 1 October, 19h:
Talk by Dora García on the library holdings of literary fiction. Introduction by Emilio Faire and Mariana Cánepa Luna. Biblioteca del Campo Freudiano de Barcelona (Library of the Freudian Field).
Video: www.lttds.org/assets/DoraGarcia-1oct2015-video.mp4
Audio: www.lttds.org/assets/DoraGarcia-1oct2015-audio.mp3
Friday 2 October, 19h:
Conversation moderated by Dora García with Montserrat Rodríguez, Estela Paskvan, Nora Catelli, Enric Berenguer, Miquel Bassols and Norberto Ferrer, on the origins of the Biblioteca del Campo Freudiano de Barcelona, its founder Óscar Masotta and the Barcelona of 1977. Introduced by Lidia Ramírez.
Video: www.lttds.org/assets/DoraGarcia-2oct2015-video.mp4
Audio: www.lttds.org/assets/DoraGarcia-2oct2015-audio.mp3
Saturday 3 October, 10h:
Conversation between Dora García, Xavier Esqué and Patrick Bohan at the Biblioteca del Campo Freudiano de Barcelona around James Joyce and Jacques Lacan. Introduced by Rosa Godínez.
Video: www.lttds.org/assets/DoraGarcia-3oct-video.mp4
Audio: www.lttds.org/assets/DoraGarcia-3oct2015-audio.mp3
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‘Composiciones’ is a a programme of five interventions specially commissioned for the first Barcelona Gallery Weekend, 1–4 October 2015. The programme complimented the existing calendar of exhibitions by presenting the work of artists active in the Barcelona art scene whose interventions responded to singular locations – public and private sites significant for their architecture, activity or their history.
‘Composiciones’ unfolded through temporary interventions at different speeds and rhythms and one-off events outside of Barcelona's contemporary art circuit – including a private psychoanalytic library, a former ceramics factory and a botanical collection. Pinpointing some lesser-known aspects of the city's cultural history and municipal life, ‘Composiciones’ offered moments of interruption, intimacy and immersion throughout the weekend.
Projects by David Bestué (at the Factory complex Cosme Toda, L'Hospitalet); Dora García (at the Biblioteca del Campo Freudiano); Jordi Mitjà (at the Museu Geològic del Seminari de Barcelona); Rasmus Nilausen in collaboration with Pere Llobera (at the gardens of La Central bookstore, Raval); and Daniel Steegmann Magrané (at the Umbracle, Parc de la Ciutadella).
Curated by Latitudes | www.lttds.org
Photo: Roberto Ruiz / Courtesy: Barcelona Gallery Weekend.
Info: www.lttds.org/projects/composiciones/
Social media documentation: storify.com/lttds/composiciones-compositions-artists-comm...
Deputy President Cyril Ramaphosa briefs business leaders about government interventions to turn-around Eskom at the Union Buildings, Pretoria. (Photo: DoC)
pareeven is attempting to control her wild swings with his own stick. it didn't work. despite repeatedly stopping her frantic swinging and pointing her in the right direction, she kept turning around and going directly for these poor girls. eventually she was disqualified. and she was pissed. highest of comedy.
The Galleria Vittorio Emanuele II (Italian: [ɡalleˈriːa vitˈtɔːrjo emanuˈɛːle seˈkondo]; Lombard: Galeria Vittori Emanuel) is Italy's oldest active shopping gallery and a major landmark of Milan. Housed within a four-story double arcade in the centre of town, the Galleria is named after Victor Emmanuel II, the first king of the Kingdom of Italy. It was designed in 1861 and built by architect Giuseppe Mengoni between 1865 and 1877.
The structure consists of two glass-vaulted arcades intersecting in an octagon covering the street connecting Piazza del Duomo to Piazza della Scala. The street is covered by an arching glass and cast iron roof, a popular design for 19th-century arcades, such as the Burlington Arcade in London, which was the prototype for larger glazed shopping arcades, beginning with the Saint-Hubert Gallery in Brussels (opened in 1847), the Passazh in St Petersburg (opened in 1848), the Galleria Umberto I in Naples (opened in 1890), and the Budapest Galleria.
The central octagonal space is topped with a glass dome. The Milanese Galleria was larger in scale than its predecessors and was an important step in the evolution of the modern glazed and enclosed shopping mall, of which it was the direct progenitor. It has inspired the use of the term galleria for many other shopping arcades and malls.
On the ground of the central octagonal, there are four mosaics portraying the coat of arms of the three capitals of the Kingdom of Italy (Turin, Florence and Rome) plus Milan's. Tradition says that if a person spins around three times with a heel on the testicles of the bull from Turin coat of arms this will bring good luck. This practice causes damage to the mosaic: a hole developed on the place of the bull's genitals.
The Galleria connects two of Milan's most famous landmarks: The Duomo and the Teatro Alla Scala, but the Galleria is a landmark in its own right.
The Milan gallery and its roof have been acknowledged as an important reference on 19th-century iron-and-glass architecture by Pevsner and Hitchcock. As one can still observe today, the roof consists of four barrel vaults (approximately 14.5 m in width and 8.5 m in height) that are crowned with a huge dome (around 37.5 m as internal diameter and 17.10 m in height). Jorini pointed out the accomplishments of this dome with special regard to the large dimensions. Each of the roof parts is topped with a lantern.
According to Geist, the Milan gallery and the roof were unprecedented in dimensions by previously built shopping arcades. Another difference with already existing passages, was the monumental character of the roof at Milan. Jodice, for example, appreciated the monumental spatial effect of the dome. In comparison to earlier emblematic arcades, such as Galerie d'Orléans (1828–1829) and Galeries Royales Saint-Hubert (1845–1847), the Milan arcade was also special because of the large spans of the vaults and the ethereal effect of the entire glass canopy. The construction of the whole Gallery was the result of international collaboration. This especially concerned the roof: the ironwork was produced, transported and installed by the French Atelier Henry Joret. The glass plates were made of flat ribbed glass by Saint-Gobain. The construction technology of the roof employs primary wrought-iron arches in order to support the glazing. By contrast, arcades that were built earlier were smaller and had simpler roofs: the same components were used for both load bearing and glazing purposes. In addition, the roof at Milan was equipped with invisible reinforcements in the supporting walls. This complicated roof is discussed as the unity of four systems that were skillfully combined through characteristic construction details. This construction technology was creative for avoiding visible tie-rods in the spans of the vaults and the dome, for a special effect of the glass plates and for the glazing bars.
The historical roof was heavily damaged during the aerial bombings of World War II. Before that the roof had undergone multiple maintenance interventions. Serious problems in the roof were reported in the 1970s, and some of them were solved in the 1980s. The roof that we see today has gone through different historic modifications and represents complicated conservation issues. In 2015, in preparation for Expo Milano 2015, the facades, statues, and mosaics underwent detailed cleaning and repair, using a giant moving crane scaffolding system.
Over the past 10 years alone, U.S military interventions in the region have led to billions being spent away from domestic priorities, to high civilian death tolls, burgeoning refugee populations and destabilized, less democratic nations.
Any attack on Syria is illegal under international law without approval of the U.N. Security Council. The White House is insisting on carrying out an attack without endorsement from the British Govt. or the Arab League and has said it will seek Congressional Approval but is willing to go ahead without it. The possibilities of alienating allies and igniting a regional war are alarming.
RANIA MASRI is a human rights advocate, environmental scientist and professor at the University of Balamand. She has served as coordinator of the Iraq Action Coalition, on the board of Peace Action, as the Arab Women's Solidarity Association's representative to the U.N. and as the director of the Southern Peace Research and Education Center at the Institute for Southern Studies in North Carolina.
BASSAM HADDAD is Director of the Middle East Studies Program and author of Business Networks in Syria: The Political Economy of Authoritarian Resilience (Stanford University Press, 2011). He is the Founding Editor of the Arab Studies Journal, co-producer/director of the documentary film, About Baghdad, Director of Arabs and Terrorism, Co-Founder/Editor of Jadaliyya Ezine, Executive Director of the Arab Studies Institute and Founding Editor of Tadween Publishing.
"There are few things more bizarre than watching people advocate that another country be bombed even while acknowledging that it will achieve no good outcomes other than safeguarding the "credibility" of those doing the bombing.”
- Glenn Greenwald, Sep 1, The Guardian
Sponsored by the Washington Peace Center.