Gaiety Theatre, Douglas, IoM. The perceived glamour of show business is often confined to the front of house areas - the celebrated 'Corsican Trap', believed to be the only remaining example in the world - takes hard work by over six stagehands to operate. It is not original to the Gaiety, being installed for the theatres' centenary.

Originally opened as the Marina, designed by W J Rennison, in 1893 - it went bankrupt within 6 months, was sold and renamed the Pavilion. This was a large flat floored hall with a single small balcony, used for concerts, music halls, exhibitions, bazaars and, in one summer, roller skating. It was one of a number of such ventures, all competing with each other, and at the very end of the C19th they went into voluntary liquidation and emerged as the Palace and Derby Castle Company who went on to control much of the towns' entertainment. They immediately closed the Pavilion, and commissioned Frank Matcham to build a theatre in its place. Matcham retained much of the Pavilion and, in a remarkably short space of time, inserted the stage and auditorium into the existing building. The Gaiety Theatre and Opera House was opened on 16 July 1900 and was a huge success. However, particularly after WW2, tastes, and the Island's tourism changed, and the theatre fell into a steep decline, coming within a day of demolition in 1970. Thankfully it was saved, bought by the Isle of Man Government, and began a very slow, painstaking restoration, completed for the theatre's centenary.

City of Douglas, Isle of Man, Irish Sea, British Crown Dependency - Gaiety Theatre, Harris Promenade

July 2023

Demonstrators protested across Brazil on Sunday to denounce corruption and a congressional vote perceived as an effort to intimidate judges and prosecutors leading graft probes.

Dressed mostly in the national colors of yellow and green, thousands marched to demand accountability at a time when Latin America's biggest country is reeling from corruption scandals, political gridlock and a prolonged economic recession.In São Paulo, the country's largest city, about 15,000 people, according to state police, marched down the business thoroughfare of Avenida Paulista, unfurling a long banner reading "Corrupt Congress."

Thousands of protesters fanned out on the streets of Brazilian cities on Sunday to voice indignation with political leaders who are trying to stymie anticorruption investigations.

The protesters focused much of their ire on the politicians at the helm of Brazil’s scandal-ridden Congress, including Rodrigo Maia, the speaker of the lower house, and Renan Calheiros, the powerful head of the Senate, after lawmakers gutted an anticorruption bill last week.(Reuters / New York Times)

São Paulo

Avenida Paulista

Brasil

Dezembro,2016

Behold, I will do a new thing; now it shall spring forth; shall ye not know it? I will even make a way in the wilderness, and rivers in the desert. -Isaiah 43:1...http://ibibleverses.christianpost.com/?p=95548

#isaiah #new #perceive

The news media plays such a large part in how we perceive current events, history, and even the future. As soon as I saw what was happening on the TV the morning of 9/11, I popped a tape into the VCR and hit record. I let the tape run for the next six hours.

These stills are from the tape I created that day and represent the way we were all glued to the TV waiting for word on what the hell was going on.

=====

from "The Language of History" by luke kurtis

Learn more about the project: bd-studios.com/portfolio/language-of-history/

Get the book: bd-studios.com/shop/language-of-history/

“Sexual harassment is perceived as “normal” in public spaces, which reflects deeply entrenched patriarchal values and stereotypes in our societies.” Dominika Stojanoska, Head of UN Women Skopje Office

As part of #16Days of Activism Campaign, UN Women joined forces with UN-HABITAT to organize a two-day regional conference on the Right to City for All in Skopje, which focused on the safety of women and girls in public spaces.

Read more: unwo.men/NWr430haDOM

Photo: UN Women/Mirjana Nedeva

www.dvdsetcollection.com/products/Charmed-Seasons-1-8-DVD...

Charmed narrative follows the four Halliwell sisters, Prue, Piper, Phoebe and, later, Paige, the culmination of the long Warren line of powerful, good witches. The sisters, despite being perceived as normal by the non-supernatural community, are known as The Charmed Ones, whose prophesised destiny is to battle against evil beings, such as demons and warlocks, in order to protect innocent lives from being endangered. Each sister possesses unique magical powers that grow and evolve, whilst they also attempt to hold normal working lives in San Francisco. Keeping their paranormal identities separate and secret from their ordinary lives forms part of the series' tension and challenges, with the exposure of magic having far-reaching consequences on relationships and has resulted in a number of police and FBI investigations throughout Charmed .

Shelly Maheshwari Gupta is broadly perceived for her ceaseless support for underprivileged youngsters in Balwadi, Jaypee School and Blind School. The photograph of her encompassed by glad children, taken amid her visit in Balwadi School, indicates appreciation of the youngsters and significance of her central goal. MrsIndia North visited the establishment to give out drawing books, yet her nearness there was about a great deal more than that, since underprivileged kids merit extraordinary consideration.

In this manner, Shelly Maheshwari Gupta devotes her extra time to changing basic signals into organized work. She is related with Rotary International Club, a worldwide system associating individuals with vision and a need to make a move. Clubs far and wide assume liability for their groups and roll out positive improvement: advance peace, battle illnesses, and bolster instruction. It was normal for Shelly Gupta to wind up plainly a piece of this worldwide organization.

Spending time with School children

Shelly Maheshwari Gupta Investing energy with school kids matured 11 and less is a chance to show them about sexual orientation fairness and conceivable outcomes to enable young ladies. At the phase of pubescence little people are starting to shape their perspective of the world and are associated to act in a way that is anticipated from them. It is at this age, when young ladies and young men take in the contrasts amongst them, and unreasonably regularly young ladies discover that they get less consideration then young men. Shelly Maheshwari Gupta is, young ladies with next to zero self-assurance and their wings undercut, will later on accomplish less, have less influence over their lives and won't have the capacity to wind up enabling good examples for their girls. There are solid ladies, who, despite seemingly insurmountable opposition, don't fit in with the desires of the general public. An excessive number of however achieve pubescence persuaded that they don't should be tuned in to.

Mission

Mrs Shelly Maheshwari Gupta's central goal is to shape new eras of young men and young ladies in a way that will empower them to accomplish whatever they need in their lives, and guarantee, that all youngsters get equivalent possibilities.

shelly.in

Demonstrators protested across Brazil on Sunday to denounce corruption and a congressional vote perceived as an effort to intimidate judges and prosecutors leading graft probes.

Dressed mostly in the national colors of yellow and green, thousands marched to demand accountability at a time when Latin America's biggest country is reeling from corruption scandals, political gridlock and a prolonged economic recession.In São Paulo, the country's largest city, about 15,000 people, according to state police, marched down the business thoroughfare of Avenida Paulista, unfurling a long banner reading "Corrupt Congress."

Thousands of protesters fanned out on the streets of Brazilian cities on Sunday to voice indignation with political leaders who are trying to stymie anticorruption investigations.

The protesters focused much of their ire on the politicians at the helm of Brazil’s scandal-ridden Congress, including Rodrigo Maia, the speaker of the lower house, and Renan Calheiros, the powerful head of the Senate, after lawmakers gutted an anticorruption bill last week.(Reuters / New York Times)

São Paulo

Avenida Paulista

Brasil

Dezembro,2016

Everything perceived will pass away like a dream, like an illusion, like a bubble, like a shadow, like a dew, and like a lightning. You should think everything as such. (Buddha)

France

Wow, the normally perceived 'blue-grey-silver' inserts in the yellow field at the front of the cephalothorax are seen here being 'rainbow-like'. One very attractive Maratus !

Perceiving Environment, Shot with a 50mm f1.8 Lens.

D▲RFO.

“For everything in this journey of life we are on, there is a right wing and a left wing: for the wing of love there is anger; for the wing of destiny there is fear; for the wing of pain there is healing; for the wing of hurt there is forgiveness; for the wing of pride there is humility; for the wing of giving there is taking; for the wing of tears there is joy; for the wing of rejection there is acceptance; for the wing of judgment there is grace; for the wing of honor there is shame; for the wing of letting go there is the wing of keeping. We can only fly with two wings and two wings can only stay in the air if there is a balance. Two beautiful wings is perfection. There is a generation of people who idealize perfection as the existence of only one of these wings every time. But I see that a bird with one wing is imperfect. An angel with one wing is imperfect. A butterfly with one wing is dead. So this generation of people strive to always cut off the other wing in the hopes of embodying their ideal of perfection, and in doing so, have created a crippled race.”

- C. JoyBell C. -

www.goodreads.com/quotes/tag/wisdom-quotes

DON'T WE! We perceive intersections as gaps don't we. Say it.

-----------------------

In downtown Hazleton, Pennsylvania, on September 14th, 2020, the intersection of East Broad Street (Pennsylvania Route 93) and Pine Street as viewed from its southwest corner.

-----------------------

Getty Thesaurus of Geographic Names terms:

• Hazleton (7015969)

• Luzerne (county) (1002612)

Art & Architecture Thesaurus terms:

• abandoned buildings (300008055)

• central business districts (300000868)

• commercial buildings (300005147)

• power lines (300008603)

• intersections (300003871)

• restaurants (300005182)

• shop signs (300211862)

• storefronts (300002533)

• streets (300008247)

• streetscapes (300249570)

• traffic signals (300003915)

• urban blight (300163405)

Wikidata items:

• 14 September 2020 (Q57396893)

• Luisa (Q18092018)

• Northeastern Pennsylvania (Q7058048)

• Pennsylvania Route 93 (Q1053425)

• Rust Belt (Q781973)

• Scranton–Wilkes-Barre, PA Metropolitan Statistical Area (Q14220100)

• September 14 (Q2847)

• September 2020 (Q55281173)

• signalized intersection (Q2940218)

• Treaty of Fort Stanwix (Q246501)

• turn on red (Q33815646)

• vacant building (Q56056305)

Library of Congress Subject Headings:

• Buildings—Pennsylvania (sh85017803)

• Street names (sh85128591)

• Streets—Pennsylvania (sh85128654)

Actionable Insights in Global Cloud Storage Market

As per the latest research findings and market analysis conducted by Global Market Estimates, the Cloud Storage Market will perceive a requisite increase of CAGR of 23.2% during the time period of 2020-2026. Cloud storage is the next-generation system that represents data storage in which the data is stored in a relevant assortment. This global market embraces advanced technologies like machine learning, data retrieval, and many others. With implementations on lockdown across the world, various industries have found business continuity to be challenging. The effects of work from a home culture has ensured that data storage, accessibility, and protection must be taken up as a priority by the companies for steady operation during these tough times. The majority of corporations are substituting from physical storage to the cloud. Easy accessibility, high flexibility, cost-curbing services, and time-efficient solutions, secure data protection & recovery are the major drivers of the cloud storage market.

Browse 138 Market Data Tables and 97 Figures spread through 140 Pages on "Cloud Storage Market - Forecasts to 2026" www.globalmarketestimates.com/market-report/cloud-storage...

By Type of Components (Solutions [Object Storage, Block Storage, and File Storage], and Services [Consulting, Integration and Implementation, Training, Support, and Maintenance, and Managed Services]), By Type of organization size (Large Enterprises and SMEs), By Type of Applications ( Primary Storage, Backup and Disaster Recovery, and Archiving), By Type of vertical (Banking, Financial Services, and Insurance [BFSI], IT and ITeS, Telecommunications, Healthcare and Life Sciences, Media and Entertainment, Consumer Goods and Retail, Manufacturing, Government and Public Sector, Energy and Utilities, and Others), By Region (North America, Europe, Asia Pacific, Middle East, and Africa, and Central and South America); End-User Landscape, Vendor Landscape, Company Market Share Analysis & Competitor Analysis

Key Market Insights:

•The cloud storage market will grow exponentially at a CAGR value of 23.2%

•Primary Storage is forecasted to dominate the mobile device management market from 2020 to 2026

•As per the vertical outlook is concerned, the Banking, financial services and insurance segment is witnessed to rise at a vital rise in CAGR% in the cloud storage market.

•Amongst the basis of geographical analysis, North America is expected to have immense growth over the subsequent years.

The key players in the global market are AWS, Google LLC., Microsoft Corporation, IBM Pvt. Ltd., Huawei Technologies Co. Ltd., Alibaba Cloud, Oracle Corporation, Rackspace Technology Inc., HPE Company, Dell Technologies Inc., Dropbox Inc., Box Inc., Tencent Cloud, Fujitsu Ltd., Vmware Inc., NetApp Inc., Hitachi Vantara, Scality, Citrix Systems Inc., UpCloud Ltd., and other companies

Browse the Cloud Storage Market Report www.globalmarketestimates.com/market-report/cloud-storage...

•Type of Components Outlook (Revenue, USD Million, 2020 - 2026)

Solutions

oObject Storage

oBlock Storage

oFile Storage

Services

oConsulting

oIntegration and Implementation

oTraining, Support, and Maintenance

oManaged Services

•Type of Application Outlook (Revenue, USD Million, 2020 - 2026)

Primary Storage

Backup and Disaster Recovery

Archiving

• Type of Organization Size Outlook (Revenue, USD Million, 2020 - 2026)

Large Enterprises

SMEs

•Type of vertical Outlook (Revenue, USD Million, 2020 - 2026)

BFSI

IT and ITeS

Telecommunications

Healthcare and Life Sciences

Media and Entertainment

Consumer Goods and Retail

Manufacturing

Government and Public Sector

Energy and Utilities

Others Verticals

•Regional Outlook (Revenue, USD Million, 2020 - 2026)

North America

oThe U.S.

oCanada

oMexico

Europe

oGermany

oUK

oFrance

oSpain

oItaly

oRest of Europe

Asia Pacific

oChina

oIndia

oJapan

oSouth Korea

oAustralia

oRest of APAC

Central & South America

oBrazil

oArgentina

oChile

oRest of CSA

Middle East & Africa

oSaudi Arabia

oSouth Africa

oUAE

oRest of MEA

Contact: Yash Jain

Email address: sales@globalmarketestimates.com

Phone Number: +16026667238

Website: www.globalmarketestimates.com/

Check our Latest Blogs: www.globalmarketestimates.com/blog-posts.php

Perceive distinctly

Essential properties

Happening unexpectedly

Cliff

My works explore the living state of human beings to the natural environment in their coexistence with each other, namely, the environment from the perspective of human observation and the status of people encompassed by the environment. They influence and depend on each other. The environment is tinted with the thoughts of the human, while humans gain the spirits of nature. They seem to strike a communication that can only be found between human beings.

Specifically, the series I have been working on give an interpretation to such a relationship in three parts,

Read the Universe Through Portrait of Human.

Perceive Humanity Through Painting of Landscape

Objects Delineated in Comparison with Human Ethics

www.anne-artist.com/

ARYEN HOEKSTRA

Untitled (moving objects)

Artlab Gallery

October 8 - October 21, 2021

Walter Benjamin’s 1929 essay Surrealism: The Last Snapshot of the European Intelligentsia suggests that a central feature of Surrealist work was the perceptual experience he named ‘profane illumination.’ Benjamin describes the process by which, sometimes but not always drug induced, a person might be distracted into perceiving the most ordinary, overlooked objects of everyday reality as uncanny, supernatural, and irrational. According to Benjamin, Surrealism’s ability to disorient and estrange through this ‘profane illumination’ made it a potentially revolutionary operation. A few years later in his Artwork essay Benjamin identifies an analogous trait in the work of Dadaist painters and poets, writing that “their poems are 'word salad’ containing obscenities and every imaginable waste product of language. The same is true of their paintings, on which they mounted buttons and tickets. What they intended and achieved was a relentless destruction of the aura of their creations, which they branded as

reproductions with the very means of production.” While the latter essay suggests that it is the reproducibility of buttons and tickets that destroys this aura I prefer to think that Benjamin was simply too sober in his appraisal of these works, leaving himself perceptually untuned to the profane character immanent to their everyday objectness.

The separation of the sacred from the profane is one art’s most strictly maintained divisions, extending even to the architectural standard now ubiquitous in nearly all contemporary art galleries. This is described in detail in Olav Velthius’ Talking Prices, a comparative analysis of the business practices and pricing logic of art dealers in Amsterdam and New York in the early 2000’s.

In some cases, the back is sealed off hermetically, suggesting that the exhibition space is all there is to the gallery. Other gallery owners allow the public at least a partial view of the back space through open doors or glass windows. In small galleries … the back space may be limited to a single room or even a niche of the gallery space, where a small number of artworks are stored and a desk space is located for the owner and her assistant. In the largest New York Galleries … the back of the gallery consists of several corridors and spaces with unique functions. These spaces may include the following: offices for the directors or dealers and, in some cases, their personal assistants; a private viewing room, furnished with comfortable seats, where potential buyers can look in full comfort at a small number of works they are interested in; a stock room, where (part of) the inventory of the gallery is stored — the everyday territory of the art handler, who is responsible for the shipping and installation of artworks. A general office room may have a large table where staff meetings take place, and where deals may be negotiated and arranged between the dealer and a collector, away from the works of art.

Velthius describes this as a Durkhemian separation that functions to remove any trace of commerce (ie. the profane) from the sacred space of the exhibition. The need for this is made clear by the Italian philosopher Giorgio Agamben in his essay In Praise of Profanation, in which he recalls the legal definition of the profane in Ancient Rome.

The Roman jurists knew perfectly well what it meant to "profane." Sacred or religious were the things that in some way belonged to the gods. As such, they were removed from the free use and commerce of men; they could be neither sold nor held in lien, neither given for usufruct nor burdened by servitude. Any act that violated or transgressed this special unavailability, which reserved these things exclusively for the celestial gods (in which case they were properly called "sacred") or for the gods of the underworld (in which case they were simply called "religious"), was sacrilegious. And if "to consecrate" (sacrare) was the term that indicated the removal of things from the sphere of human law, "to profane" meant, conversely, to return them to the free use of men.

And it can be an uncanny and irrational experience to enter that profane space which lies just beyond the walls of the gallery. My own research is particularly interested in the ways that contemporary art objects are traded, the logistics of the art business, the storage and shipping of artworks, their care and

circulation. This often finds me considering artworks in those moments that they are removed from their intended site of operation; out of the white-cube exhibition space and in the storage racks of the gallery’s back room. This is also the space that inverts Benjamin’s misunderstanding of Surrealism as it sees artworks transformed into art objects, which is a true profanation.[1] And it is only as objects that these works may then be handled by gloved technicians, wrapped in cushioning, and readied for transport.

That which has been ritually separated can be returned from the rite to the profane sphere. Thus one of the simplest forms of profanation occurs through contact (contagione) during the same sacrifice that effects and regulates the passage of the victim from the human to the divine sphere. One part of the victim (the entrails, or ex ta: the liver, heart, gallbladder, lungs) is reserved for the gods, while the rest can be consumed by men. The participants in the rite need only touch these organs for them to become profane and edible. There is a profane contagion, a touch that disenchants and returns to use what the sacred had separated and petrified.

Perhaps what is potentially radical about the buttons and tickets Benjamin wrote about in Dadaist works, and in the Readymade more generally, is that they not only point their own mechanical (re)production, but also possess a haptic indexicality that conjures their handling as objects prior to their consecration as artworks.

Untitled (moving objects) (2021) is an installation of provisional sculptures created from 12 moving blankets and a number of objects found in the gallery that have previously had direct contact with artworks. The blankets, wrap and gloves acknowledge the materially fragile nature of the works that have and will enter this exhibition space, their dual existences as both artwork and object, and their always potential profanation.

[1] Everyday objects already exist within profane sphere, so don’t require further intoxication to be perceived as such.

Artlab Gallery

JL Visual Arts Centre

Western University

London, Ontario, Canada

© 2021; Department of Visual Arts; Western University

I vaguely perceived that there was a kilted person behind me so I flicked out the camera and snapped a picture without looking. It came out pretty well.

Demonstrators protested across Brazil on Sunday to denounce corruption and a congressional vote perceived as an effort to intimidate judges and prosecutors leading graft probes.

Dressed mostly in the national colors of yellow and green, thousands marched to demand accountability at a time when Latin America's biggest country is reeling from corruption scandals, political gridlock and a prolonged economic recession.In São Paulo, the country's largest city, about 15,000 people, according to state police, marched down the business thoroughfare of Avenida Paulista, unfurling a long banner reading "Corrupt Congress."

Thousands of protesters fanned out on the streets of Brazilian cities on Sunday to voice indignation with political leaders who are trying to stymie anticorruption investigations.

The protesters focused much of their ire on the politicians at the helm of Brazil’s scandal-ridden Congress, including Rodrigo Maia, the speaker of the lower house, and Renan Calheiros, the powerful head of the Senate, after lawmakers gutted an anticorruption bill last week.(Reuters / New York Times)

São Paulo

Avenida Paulista

Brasil

Dezembro,2016

The European Robin was one of the many species originally described by Linnaeus in his 18th century work, Systema Naturae, under the name of Motacilla rubecula.[2] Its specific epithet rubecula is a diminutive derived from the Latin ruber 'red'.[3] The genus Erithacus was created by French naturalist Georges Cuvier in 1800, giving the bird its current binomial name of E. rubecula.[4]

The distinctive orange breast of both sexes contributed to the European Robin's original name of redbreast (orange as the name of a colour was unknown in English until the sixteenth century, by which time the fruit of that name had been introduced). In the fifteenth century, when it became popular to give human names to familiar species, the bird came to be known as Robin redbreast, which was eventually shortened to Robin.[5] Other older English names for the bird include Ruddock and Robinet. In American literature of the late 19th century, this robin was frequently called the English Robin.[6] The Frisian robyntsje or robynderke is similar to the English name,[7] while Dutch Roodborstje and French Rouge-gorge both refer to the distinctively coloured front.[8]

The Robin belongs to a group of mainly insectivorous birds that have been variously assigned to the thrushes or "flycatchers", depending on how these groups were perceived taxonomically. Eventually, the flycatcher-thrush assemblage was re-analysed and the genus Erithacus assigned to a group of thrush-like true flycatchers, the tribe Saxicolini, that also includes the nightingale and the Old World chats.[9]

Two Eastern Palearctic species are usually placed in the genus Erithacus, the Japanese Robin (E. akahige) and the Ryūkyū Robin (E. komadori), the latter being a restricted-range island species. Biogeography and mtDNA cytochrome b sequence data indicate that these might better be classified with some Far Eastern "nightingales", leaving only the European species in Erithacus.[10]

[edit] Subspecies

Demonstrators protested across Brazil on Sunday to denounce corruption and a congressional vote perceived as an effort to intimidate judges and prosecutors leading graft probes.

Dressed mostly in the national colors of yellow and green, thousands marched to demand accountability at a time when Latin America's biggest country is reeling from corruption scandals, political gridlock and a prolonged economic recession.In São Paulo, the country's largest city, about 15,000 people, according to state police, marched down the business thoroughfare of Avenida Paulista, unfurling a long banner reading "Corrupt Congress."

Thousands of protesters fanned out on the streets of Brazilian cities on Sunday to voice indignation with political leaders who are trying to stymie anticorruption investigations.

The protesters focused much of their ire on the politicians at the helm of Brazil’s scandal-ridden Congress, including Rodrigo Maia, the speaker of the lower house, and Renan Calheiros, the powerful head of the Senate, after lawmakers gutted an anticorruption bill last week.(Reuters / New York Times)

São Paulo

Avenida Paulista

Brasil

Dezembro,2016

Viaduct: The Urban Incubator

Boundaries and borders are perceived as the edges of things; the spatial and temporal negotiation between different groups, places or conditions. These edges manifest themselves in a series of physical ways, consequently appearing as separators of sides, entities and realms. Whilst boundaries are places at which things end, borders present circumstances at which different groups interact.

The suspended viaduct is a common feature in the urban landscape of Zurich, constituting an element of the city’s contemporary vernacular. It is both a physical and metaphorical paradox. It connects districts whilst dissecting others. Its physical and structural presence negotiates space both horizontally and vertically, yet its function is often only explored on its upper plane. How can the severed relationships between fragments of city be re-sewn? How can the concrete delimitations of physical boundaries be transformed into porous membranes facilitating the exchange between different social groups, subcultures and activities?

This thesis is a dialectic examining the ulterior meanings behind preconceived notions on urban infrastructure; a future-active manifesto for the reprogramming and re-interpretation of a societal dogma – that of the metropolitan viaduct – as a social incubator rather than an urban separation.

eugeniocappuccio@hotmail.co.uk

Despite the often perceived hardships faced by the local communities, the bonds of kinship and a belief and respect in the balance of nature remains the key pillars for these resilient peoples.

Seeing their smiles, sensing their hospitable warmth, its hard to believe that their joy is anything but genuine. Life has indeed improved for a lot of these ethnic communities here in Northern Laos, where they are really the "majority". But behind those smiles lies the challenge of further assimilation to the mainstream society and the loss of their traditional way of life in a fast changing world.

I hear a voice from behind me. "Where are you?"

"Now the boy Samuel was ministering to the LORD under Eli. The word of the LORD was rare in those days; visions were not widespread.

At that time Eli, whose eyesight had begun to grow dim so that he could not see, was lying down in his room; the lamp of God had not yet gone out, and Samuel was lying down in the temple of the LORD, where the ark of God was. Then the LORD called, 'Samuel! Samuel! and he said, 'Here I am!' and ran to Eli, and said, 'Here I am, for you called me.' But he said, 'I did not call; lie down again.' So he went and lay down. The LORD called again, 'Samuel!' Samuel got up and went to Eli, and said, 'Here I am, for you called me.' But he said, 'I did not call, my son; lie down again.' Now Samuel did not yet know the LORD, and the word of the LORD had not yet been revealed to him. The LORD called Samuel again, a third time. And he got up and went to Eli, and said, 'Here I am, for you called me.' Then Eli perceived that the LORD was calling the boy. Therefore Eli said to Samuel, 'Go, lie down; and if he calls you, you shall say, ‘Speak, LORD, for your servant is listening.’' So Samuel went and lay down in his place.

Now the LORD came and stood there, calling as before, 'Samuel! Samuel!' And Samuel said, 'Speak, for your servant is listening.' (1 Sam 3:1-10 NRSV)

And then the fun began for Samuel.

Perception is all about how someone perceives something,

like with art, one person could see a battle in a piece of art,

while another could see a sunny meadow.

The artist may have intended you to take something out of it, but the viewer could take away something completely different, and this card is suggesting to the viewers at this show to maybe look at the artwork at a different angle. The alignment in this card is also cool. The word Perception is right between the 2 face’s eyes, the word photography is on the side with the photo, the word digital is on the side with the drawing, and the text

‘Genesee Community College’s first juried student exhibition.’ is between the two faces mouths like they may be speaking it.

Demonstrators protested across Brazil on Sunday to denounce corruption and a congressional vote perceived as an effort to intimidate judges and prosecutors leading graft probes.

Dressed mostly in the national colors of yellow and green, thousands marched to demand accountability at a time when Latin America's biggest country is reeling from corruption scandals, political gridlock and a prolonged economic recession.In São Paulo, the country's largest city, about 15,000 people, according to state police, marched down the business thoroughfare of Avenida Paulista, unfurling a long banner reading "Corrupt Congress."

Thousands of protesters fanned out on the streets of Brazilian cities on Sunday to voice indignation with political leaders who are trying to stymie anticorruption investigations.

The protesters focused much of their ire on the politicians at the helm of Brazil’s scandal-ridden Congress, including Rodrigo Maia, the speaker of the lower house, and Renan Calheiros, the powerful head of the Senate, after lawmakers gutted an anticorruption bill last week.(Reuters / New York Times)

São Paulo

Avenida Paulista

Brasil

Dezembro,2016

ARYEN HOEKSTRA

Untitled (moving objects)

Artlab Gallery

October 8 - October 21, 2021

Walter Benjamin’s 1929 essay Surrealism: The Last Snapshot of the European Intelligentsia suggests that a central feature of Surrealist work was the perceptual experience he named ‘profane illumination.’ Benjamin describes the process by which, sometimes but not always drug induced, a person might be distracted into perceiving the most ordinary, overlooked objects of everyday reality as uncanny, supernatural, and irrational. According to Benjamin, Surrealism’s ability to disorient and estrange through this ‘profane illumination’ made it a potentially revolutionary operation. A few years later in his Artwork essay Benjamin identifies an analogous trait in the work of Dadaist painters and poets, writing that “their poems are 'word salad’ containing obscenities and every imaginable waste product of language. The same is true of their paintings, on which they mounted buttons and tickets. What they intended and achieved was a relentless destruction of the aura of their creations, which they branded as

reproductions with the very means of production.” While the latter essay suggests that it is the reproducibility of buttons and tickets that destroys this aura I prefer to think that Benjamin was simply too sober in his appraisal of these works, leaving himself perceptually untuned to the profane character immanent to their everyday objectness.

The separation of the sacred from the profane is one art’s most strictly maintained divisions, extending even to the architectural standard now ubiquitous in nearly all contemporary art galleries. This is described in detail in Olav Velthius’ Talking Prices, a comparative analysis of the business practices and pricing logic of art dealers in Amsterdam and New York in the early 2000’s.

In some cases, the back is sealed off hermetically, suggesting that the exhibition space is all there is to the gallery. Other gallery owners allow the public at least a partial view of the back space through open doors or glass windows. In small galleries … the back space may be limited to a single room or even a niche of the gallery space, where a small number of artworks are stored and a desk space is located for the owner and her assistant. In the largest New York Galleries … the back of the gallery consists of several corridors and spaces with unique functions. These spaces may include the following: offices for the directors or dealers and, in some cases, their personal assistants; a private viewing room, furnished with comfortable seats, where potential buyers can look in full comfort at a small number of works they are interested in; a stock room, where (part of) the inventory of the gallery is stored — the everyday territory of the art handler, who is responsible for the shipping and installation of artworks. A general office room may have a large table where staff meetings take place, and where deals may be negotiated and arranged between the dealer and a collector, away from the works of art.

Velthius describes this as a Durkhemian separation that functions to remove any trace of commerce (ie. the profane) from the sacred space of the exhibition. The need for this is made clear by the Italian philosopher Giorgio Agamben in his essay In Praise of Profanation, in which he recalls the legal definition of the profane in Ancient Rome.

The Roman jurists knew perfectly well what it meant to "profane." Sacred or religious were the things that in some way belonged to the gods. As such, they were removed from the free use and commerce of men; they could be neither sold nor held in lien, neither given for usufruct nor burdened by servitude. Any act that violated or transgressed this special unavailability, which reserved these things exclusively for the celestial gods (in which case they were properly called "sacred") or for the gods of the underworld (in which case they were simply called "religious"), was sacrilegious. And if "to consecrate" (sacrare) was the term that indicated the removal of things from the sphere of human law, "to profane" meant, conversely, to return them to the free use of men.

And it can be an uncanny and irrational experience to enter that profane space which lies just beyond the walls of the gallery. My own research is particularly interested in the ways that contemporary art objects are traded, the logistics of the art business, the storage and shipping of artworks, their care and

circulation. This often finds me considering artworks in those moments that they are removed from their intended site of operation; out of the white-cube exhibition space and in the storage racks of the gallery’s back room. This is also the space that inverts Benjamin’s misunderstanding of Surrealism as it sees artworks transformed into art objects, which is a true profanation.[1] And it is only as objects that these works may then be handled by gloved technicians, wrapped in cushioning, and readied for transport.

That which has been ritually separated can be returned from the rite to the profane sphere. Thus one of the simplest forms of profanation occurs through contact (contagione) during the same sacrifice that effects and regulates the passage of the victim from the human to the divine sphere. One part of the victim (the entrails, or ex ta: the liver, heart, gallbladder, lungs) is reserved for the gods, while the rest can be consumed by men. The participants in the rite need only touch these organs for them to become profane and edible. There is a profane contagion, a touch that disenchants and returns to use what the sacred had separated and petrified.

Perhaps what is potentially radical about the buttons and tickets Benjamin wrote about in Dadaist works, and in the Readymade more generally, is that they not only point their own mechanical (re)production, but also possess a haptic indexicality that conjures their handling as objects prior to their consecration as artworks.

Untitled (moving objects) (2021) is an installation of provisional sculptures created from 12 moving blankets and a number of objects found in the gallery that have previously had direct contact with artworks. The blankets, wrap and gloves acknowledge the materially fragile nature of the works that have and will enter this exhibition space, their dual existences as both artwork and object, and their always potential profanation.

[1] Everyday objects already exist within profane sphere, so don’t require further intoxication to be perceived as such.

Artlab Gallery

JL Visual Arts Centre

Western University

London, Ontario, Canada

© 2021; Department of Visual Arts; Western University

The #CCLNRB

The CCLNRB is a joint project by Goethe-Institut Nairobi, Motion Bank and NODE Forum for Digital Arts, Frankfurt.

Eight Kenyan and German artists are commissioned to create a project evolving around the them of „Designing Hope“ with their very different artistic means: choreography, the voice, composition, vr-technology or other digital art practices.

#CCLNRB artists are Melisa Allela, Benjamin van Bebber, Amelie Hinrichsen, Leo Hofmann, Alacoque Ntome, Awuor Onyango, Jared Onyango and Else Tunemyr.

The artists are discussing “hope” as a usually positively perceived yet ambiguous concept: Is a state of hope actually encouraging? What is the difference between hope and optimism? Doesn't hope always come with anxiety? And what is the role of technology in the shaping of social imaginaries?

In their interdisciplinary constellation the #CCLNRB members investigated different cultural fields that provide or make use of hope as a means and medium: from pop-music to religion, from commercial advertisement to the promises of technological innovation for development. During the presentation the group will showcase alternative concepts or settings for rethinking the quality of hope, ideas on utopia and dystopia.

In June 2017, the artists will meet for further two weeks to continue the collaboration in Frankfurt, Germany. The final result will be premiered at the German festival NODE17 Forum for Digital Arts in Frankfurt (Main) at Mousonturm and Naxoshalle Given future fundings, we will bring back the final project to Kenya in November 2017 to NFPMA (Nairobi Festival of Performance and Media Arts).

#CCLNRB has also been supported by Technical University of Kenya.

Photos by David Rittershaus

The Ludwig church today is the symbol of the state capital of Saarland and is next to the church of our Lady in Dresden and the Michaelis Church in Hamburg one of the most important baroque churches in Germany. Together with the Ludwig square, the Ludwig church forms a representative, in the composition hardly surpassed ensemble of Baroque buildings north of the Alps. The Ludwig church was commissioned in 1761 by prince Wilhelm Heinrich:

Since it is apparently perceived that the citizenship of Saarbrücken increases daily, so the space in the Lutheran Church is much too small, so I have decided to have built a new church, and and it is my intention such with a capital of thirty thousand guilders in five years to bring about.

This order he gave to the originating from Zerbst in Saxony-Anhalt architect Friedrich Joachim Stengel. On 01 July 1762 finally took place the solemn laying of the cornerstone in Saarbrücken. A first setback suffered the building in 1768, as the patron Prince Wilhelm Heinrich died. Due to the increasingly escalating construction activities he left his son Prince Ludwig an immense mountain of debt, which is why the construction for the first time began to falter. His son Ludwig was it also who gave his name today's Ludwig church and the associated Ludwig square. The building was finally completed in 1775, so that the official consecration on August 25 could be celebrated with a big ceremony. The church in the ground plan forms a Greek cross with axis lengths of 34.2 m and 38.5 m. The Viennese sculptor Francuß Bingh manufactured for the balustrade 28 sand stone figures representing characters from the Old and New Testament.

The west facade of Ludwig church [Image: Wikipedia Userfoto Travel]

However, already a few years after the solemn consecration it came to the first striking changes to the Ludwig church. Prince Ludwig began, i.a., as a result of the French Revolution 1793 to break down anything Baroque and rebuild into Gothic style. By this also the Ludwig Church was affected and he had destroyed the especially for the church cast bells and dismantled many parts of the metal protective equipment, so that the church was subjected to decay.

From 1807 on took place regular maintenance and embellishment work in order to repair the damage suffered in the meantime by the church, which, however, no longer followed the original designs of Stengel. This works finally came to a close in 1887. On October 30 that year, the Ludwig church was reconsecrated in a solemn procession and opened. 1906, the entire building was finally by the provincial conservator of the Rhine Province Prof. Dr. Clemen inspected. This one had the church - unlike its predecessors - restored according to the original idea of Stengel and rebuilt. On 05 November 1911, the already third official consecration of the Ludwig church took place. As Saarbrücken suffered in World War II under a bombardment of the British, the Ludwig church was also not spared and burned out. 1949, the reconstruction was started, but this time they tried to change as little as possible and to focus on the restoration and preservation of the existing building stock.

Die Ludwigskirche bildet heute das Wahrzeichen der Landeshauptstadt des Saarlandes und ist neben der Frauenkirche in Dresden und der Michaeliskirche in Hamburg eine der bedeutendsten barocken Kirchenbauten in Deutschland. Zusammen mit dem Ludwigsplatz bildet die Ludwigskirche ein repräsentatives, in der Komposition kaum übertroffenes Ensemble an barocken Bauten nördlich der Alpen. In Auftrag gegeben wurde die Ludwigskirche 1761 durch Fürst Wilhelm Heinrich:

Nachdem man augenscheinlich merket, daß die Saarbrücker Bürgerschaft täglich zunimmt, also der Platz in der lutherischen Kirche viel zu klein ist, so habe ich resolviert, eine neue Kirche aufbauen zu lassen, und gedencke solche mit einem Capital von dreißig tausend Gulden in fünf Jahren in stand zu bringen.

Diesen Auftrag erteilte er dem aus Zerbst in Sachsen-Anhalt stammenden Baumeister Friedrich Joachim Stengel. Am 01. Juli 1762 erfolgte schließlich die feierliche Grundsteinlegung in Saarbrücken. Einen ersten Rückschlag musste der Bau 1768 hinnehmen, als der Schirmherr Fürst Wilhelm Heinrich starb. Aufgrund der zunehmend ausufernden Bautätigkeiten hinterließ er seinem Sohn Fürst Ludwig einen immensen Schuldenberg, weshalb der Bau erstmal ins Stocken geriet. Sein Sohn Ludwig war es auch, der der heutigen Ludwigskirche und dem dazugehörigen Ludwigsplatz seinen Namen gab. Der Bau wurde schließlich 1775 fertiggestellt, sodass am 25. August die offizielle Weihung mit einer großen Feierlichkeit begangen werden konnte. Die Kirche bildet im Grundriss ein griechisches Kreuz mit Achsenlängen von 34,2 m, bzw. 38,5 m. Der Wiener Bildhauer Francuß Bingh fertigte für die Balustrade 28 sandsteinerne Figuren an, die Gestalten aus dem Alten und dem Neuen Testament darstellen.

Die Westfassade der Ludwigskirche [Bild: Wikipedia-User Fototravel]

Allerdings kam es bereits wenige Jahre nach feierlicher Weihung zu den ersten markanten Veränderungen an der Ludwigskirche. Fürst Ludwig begann u.a. als Folge der Französischen Revolution 1793 alles Barocke abzubrechen und ins Gotische umzubauen. Davon war auch die Ludwigskirche betroffen und er ließ die eigens für die Kirche gegossenen Glocken zerstören und viele Teile der metallenen Schutzausstattung demontieren, sodass die Kirche dem Verfall ausgesetzt wurde.

Ab 1807 fanden, um die mittlerweile erlittenen Schäden der Kirche zu reparieren, regelmäßig Instandsetzungs- und Verschönerungs-Arbeiten statt, die allerdings nicht mehr den Originalentwürfen Stengels folgten. Ihren Abschluss fanden diese Arbeiten 1887. Am 30. Oktober jenes Jahres wurde die Ludwigskirche erneut in einer feierlichen Prozession geweiht und eröffnet. 1906 wurde der gesamte Bau schließlich von dem Provinzialkonservators der Rheinprovinz Prof. Dr. Clemen in Augenschein genommen. Dieser ließ die Kirche - im Gegensatz zu seinen Vorgängern - nach der ursprünglichen Idee Stengels restaurieren und wieder umbauen. Am 05. November 1911 fand die bereits dritte offizielle Weihung der Ludwigskirche statt. Als Saarbrücken im Zweiten Weltkrieg unter einem Bombardement der Briten litt, wurde die Ludwigskirche auch nicht verschont und brannte aus. 1949 begann man mit dem Wiederaufbau, versuchte dieses Mal aber möglichst wenig zu ändern und sich auf die Restaurierung und Konservierung des vorhandenen Baubestands zu konzentrieren.

www.regionalgeschichte.net/saarland/staedte-doerfer/orte-...

Water lilies in my house!!

They perceived the whole fleet moving in order, and saw me pulling at the end

Part I, Chapter 5

View at VeryIllustrated

“Challenges can be perceived as an obstacle or an opportunity”

.

What is your one biggest challenge when it comes to you being ‘as healthy as a horse’? Remember the silly old saying 😜

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Is it?

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🍎 Diet and nutrition? Do you constantly give in to unhealthy cravings and junk food?

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🏃‍♀️ Physical exercise and movement? Do you lack the motivation to workout and build strength in your body?

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😴 Sleep patterns? Do you have unhealthy sleep patterns that leave you feeling exhausted throughout the day?

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🔥 Constant belly battles? Do you struggle with digestive issues and can’t seem to figure out the root issue?

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🙌 Self sabotaging behavior? Do you engage in negative self talk that only blocks you from achieving your goals?

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Awareness is the first step to transformation. Observe your daily habits!

Struggles and challenges are our greatest opportunities for growth.

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The photosphere : it's a star's outer shell from which light is radiated. The term itself is derived from Ancient Greek roots, photos meaning "light" and sphaira meaning "sphere", in reference to the fact that it is a spherical surface that is perceived to emit light. It extends into a star's surface until the plasma becomes opaque, equivalent to an optical depth of approximately 2/3. In other words, a photosphere is the deepest region of a luminous object, usually a star, that is transparent to photons of certain wavelengths.

ARYEN HOEKSTRA

Untitled (moving objects)

Artlab Gallery

October 8 - October 21, 2021

Walter Benjamin’s 1929 essay Surrealism: The Last Snapshot of the European Intelligentsia suggests that a central feature of Surrealist work was the perceptual experience he named ‘profane illumination.’ Benjamin describes the process by which, sometimes but not always drug induced, a person might be distracted into perceiving the most ordinary, overlooked objects of everyday reality as uncanny, supernatural, and irrational. According to Benjamin, Surrealism’s ability to disorient and estrange through this ‘profane illumination’ made it a potentially revolutionary operation. A few years later in his Artwork essay Benjamin identifies an analogous trait in the work of Dadaist painters and poets, writing that “their poems are 'word salad’ containing obscenities and every imaginable waste product of language. The same is true of their paintings, on which they mounted buttons and tickets. What they intended and achieved was a relentless destruction of the aura of their creations, which they branded as

reproductions with the very means of production.” While the latter essay suggests that it is the reproducibility of buttons and tickets that destroys this aura I prefer to think that Benjamin was simply too sober in his appraisal of these works, leaving himself perceptually untuned to the profane character immanent to their everyday objectness.

The separation of the sacred from the profane is one art’s most strictly maintained divisions, extending even to the architectural standard now ubiquitous in nearly all contemporary art galleries. This is described in detail in Olav Velthius’ Talking Prices, a comparative analysis of the business practices and pricing logic of art dealers in Amsterdam and New York in the early 2000’s.

In some cases, the back is sealed off hermetically, suggesting that the exhibition space is all there is to the gallery. Other gallery owners allow the public at least a partial view of the back space through open doors or glass windows. In small galleries … the back space may be limited to a single room or even a niche of the gallery space, where a small number of artworks are stored and a desk space is located for the owner and her assistant. In the largest New York Galleries … the back of the gallery consists of several corridors and spaces with unique functions. These spaces may include the following: offices for the directors or dealers and, in some cases, their personal assistants; a private viewing room, furnished with comfortable seats, where potential buyers can look in full comfort at a small number of works they are interested in; a stock room, where (part of) the inventory of the gallery is stored — the everyday territory of the art handler, who is responsible for the shipping and installation of artworks. A general office room may have a large table where staff meetings take place, and where deals may be negotiated and arranged between the dealer and a collector, away from the works of art.

Velthius describes this as a Durkhemian separation that functions to remove any trace of commerce (ie. the profane) from the sacred space of the exhibition. The need for this is made clear by the Italian philosopher Giorgio Agamben in his essay In Praise of Profanation, in which he recalls the legal definition of the profane in Ancient Rome.

The Roman jurists knew perfectly well what it meant to "profane." Sacred or religious were the things that in some way belonged to the gods. As such, they were removed from the free use and commerce of men; they could be neither sold nor held in lien, neither given for usufruct nor burdened by servitude. Any act that violated or transgressed this special unavailability, which reserved these things exclusively for the celestial gods (in which case they were properly called "sacred") or for the gods of the underworld (in which case they were simply called "religious"), was sacrilegious. And if "to consecrate" (sacrare) was the term that indicated the removal of things from the sphere of human law, "to profane" meant, conversely, to return them to the free use of men.

And it can be an uncanny and irrational experience to enter that profane space which lies just beyond the walls of the gallery. My own research is particularly interested in the ways that contemporary art objects are traded, the logistics of the art business, the storage and shipping of artworks, their care and

circulation. This often finds me considering artworks in those moments that they are removed from their intended site of operation; out of the white-cube exhibition space and in the storage racks of the gallery’s back room. This is also the space that inverts Benjamin’s misunderstanding of Surrealism as it sees artworks transformed into art objects, which is a true profanation.[1] And it is only as objects that these works may then be handled by gloved technicians, wrapped in cushioning, and readied for transport.

That which has been ritually separated can be returned from the rite to the profane sphere. Thus one of the simplest forms of profanation occurs through contact (contagione) during the same sacrifice that effects and regulates the passage of the victim from the human to the divine sphere. One part of the victim (the entrails, or ex ta: the liver, heart, gallbladder, lungs) is reserved for the gods, while the rest can be consumed by men. The participants in the rite need only touch these organs for them to become profane and edible. There is a profane contagion, a touch that disenchants and returns to use what the sacred had separated and petrified.

Perhaps what is potentially radical about the buttons and tickets Benjamin wrote about in Dadaist works, and in the Readymade more generally, is that they not only point their own mechanical (re)production, but also possess a haptic indexicality that conjures their handling as objects prior to their consecration as artworks.

Untitled (moving objects) (2021) is an installation of provisional sculptures created from 12 moving blankets and a number of objects found in the gallery that have previously had direct contact with artworks. The blankets, wrap and gloves acknowledge the materially fragile nature of the works that have and will enter this exhibition space, their dual existences as both artwork and object, and their always potential profanation.

[1] Everyday objects already exist within profane sphere, so don’t require further intoxication to be perceived as such.

Artlab Gallery

JL Visual Arts Centre

Western University

London, Ontario, Canada

© 2021; Department of Visual Arts; Western University

Demonstrators protested across Brazil on Sunday to denounce corruption and a congressional vote perceived as an effort to intimidate judges and prosecutors leading graft probes.

Dressed mostly in the national colors of yellow and green, thousands marched to demand accountability at a time when Latin America's biggest country is reeling from corruption scandals, political gridlock and a prolonged economic recession.In São Paulo, the country's largest city, about 15,000 people, according to state police, marched down the business thoroughfare of Avenida Paulista, unfurling a long banner reading "Corrupt Congress."

Thousands of protesters fanned out on the streets of Brazilian cities on Sunday to voice indignation with political leaders who are trying to stymie anticorruption investigations.

The protesters focused much of their ire on the politicians at the helm of Brazil’s scandal-ridden Congress, including Rodrigo Maia, the speaker of the lower house, and Renan Calheiros, the powerful head of the Senate, after lawmakers gutted an anticorruption bill last week.(Reuters / New York Times)

São Paulo

Avenida Paulista

Brasil

Dezembro,2016

“When I hear people debate the ROI of social media it makes me remember why so many businesses fail. Most businesses are not playing the marathon. They’re playing the sprint. They’re not worried about lifetime value and retention. They’re worried about short-term goals.” – Gary Vaynerchuk

Social media engagement is like exercising, you get out what you put in. We know that eating healthy and exercising are integral parts to living a productive life. We know it is good for us and yet we perceive it to be such hard work that we likely do the bare minimum. We justify to ourselves that we are living healthy because we are doing something even when we are barely doing anything.

The same is true for the way in which we engage our followers online. Exercising, like social media engagement, is about how consistent we are with what we do and how we make every second count. If we put in the hard work now we will reap the benefits down the line. Nothing great in life happens overnight; we have to be willing to consistently work towards the goals that we want to reach.

Growing a brand, whether it be personal or business, is all about the long run. Every positive interaction that we make gets us one step closer to building something that other people are interested in, interested enough that they are willing to share it with their friends. Every post we create, every comment that we share, every direct message that we send, even every like that we click on is part of the branding process.

If we go big and engage immensely one day, and then take multiple weeks off, the effort that we put in will go to waste. The same holds true for exercising in that working out vigorously one day does us no good if we are unable to follow it up. We often get burnt out by not pacing ourselves for the long run. We are only able to see a change in the way we look and our overall health if we are willing to commit to a consistent program.

That consistency needs to bleed over into the way we market ourselves on social media. We can’t become frustrated when we don’t see the views, comments, or followers increase as the days go by. We need to keep our heads down and continue to create high-quality content that engages our customers. Yet at the same time, we need to keep our heads up so that we can learn from those around us.

When we are at the gym it is not only understandable, it also increases our efficiency, when we look at what others are doing and emulate those who are working the hardest and smartest. We need to follow suit of those who are reaping the most benefits so that we too can do the same. We may learn a new technique, a new way to lift, or even a brand new exercise when we learn from those around us.

The best way to learn how to engage on social media is to keep a close eye on those who do so on a continuous basis. The access that we have to our customers through social media is unlike anything we have ever had before but that access is only beneficial to us if we consistently tap into it.

Content is king in that we need to create such great work and share it each and every day so that our customers keep coming back for more. Nothing has changed, content has always been the most important way in which we can create a brand and reach our customers, it is just that now we are able to create it by ourselves and with little to no capital.

There needs to be less preaching about how amazing our product is and more about how amazing this world is. We need to share ideas, help other people spread the word about what they are doing, and provide our followers the type of information that makes them ask who we are and what we are all about. You have an unlimited amount of content within you but only if you aren’t willing to share who you are with the world.

We have the ability to provide our followers with a sneak peek into what we do and into what we are attempting to create for them. Let’s not forget that it is our customer who will be buying our products, why shouldn’t we be giving them what they want? The only way to know what they want is to engage them efficiently by asking about what interests them, create a dialogue, and then start to ask what kind of product they would be willing to buy within your specific industry.

We are able to focus on what drives customers to buy from us when we co-create with them. We need to allow our followers to be the one’s creating our products and then we can just manufacture it for them. Instead of guessing at the solution our customers want and then spending an immense amount of startup capital trying to solve a problem for them, we need to tap into the resource that is them.

Social media engagement really boils down to how much we are willing to help others before we ask for anything in return. The best workout partners are those who spot you before they ask to be spotted and we need to have the same mindset by first helping other brands grow. Our ability to co-brand with other personal brands and businesses allows us to spotlight what someone else is doing, which will inevitably make them want to return the favor.

The world wasn’t made in a day and so too should we realize that a strong brand is not built on social media overnight. Remember that every action that you take gets you one step closer to success. If you haven’t already, start the branding process and do it efficiently. Whatever you want in life depends upon the network that you construct allowing you to tap into the intellectual capital of those around you. There is no better access point that provides us the ability to create something great than through the social media channels we now have access to.

The first step is realizing that it will take many steps to get you to where you want to be, but that doesn’t mean it can’t be fun along the way. Keep your eyes on the prize of building a brand others want to be a part of and all of your hard work will pay off along the road less traveled to success.

(Gary Vee has put in and continues to put in the hard work which allows him to reap the benefits of engaging on social media.)

@GaryVee

@AskGaryVee

#GaryVee

#GaryVaynerchuk

#QuoteOfTheDay

#Entrepreneur

#Entrepreneurship

#Leadership

#BrandYourself

#SocialMediaMarketing

#SocialMediaEngagement

Anton Bruckner Private University (AT)

The "HADS" is a monitoring system design that combines open headphones and speaker arrays to create augmented immersive sound fields. With recently developed digital technologies, it is possible to create and perceive immersive audio experiences where 3D sound fields can be reproduced in several audio systems through binaural and ambisonics techniques. The "HADS" offers the possibility of defining the location relationships between the listener, the sound sources, and the perceived space in multiple ways and layering.

Photo: GOOGLE AR & VR, accessed 16.2.2022, edited by Enrique Mendoza

What I perceived as rising clouds became a nice shot for minimalism.

We were on the top of the hill and suddenly the clouds closed beneath us. The whole jungle was hidden and slowly the clouds rose towards us. The lone tree on the cliff provided to be a good foreground object, and I was able to get a glimpse of the hidden forests beneath during the post processing.

Simp: a man who is perceived as excessively attentive, submissive, or overly accommodating towards someone they are attracted to, often in a way that's seen as excessive or lacking in self-respect.

I watched these two for about 5 minutes as he photographed her, then showed her the photo, she then Instructed him on everything he did wrong, and then made him do it all over again. They repeated this over and over.

Georgios Giannakis, PhD

Professor of Electrical and Computer Engineering at the University of Minnesota

Director of the Digital Technology Center

Monday, Nov. 18, 2019, 3:30 p.m.

Donna E. Shalala Student Center, Senate Room 302

1300 Miller Drive Coral Gables, FL 33146

Abstract

We live in an era of data deluge. Pervasive sensors collect massive amounts of information on every bit of our lives, churning out enormous streams of raw data in various formats. Mining information and learning from unprecedented volumes of data promises to limit the spread of epidemics and diseases, identify trends in financial markets, learn the dynamics of emergent social-computational systems, and also protect critical infrastructure including the smart grid and the Internet’s backbone network. While Big Data can be definitely perceived as a big blessing, big challenges also arise with large-scale datasets. This talk will overview challenges and opportunities emerging in the analytical and algorithmic foundations that are widely referred to as Data Science, and Network Science, the latter for data residing on graphs formed by agents that are interconnected (or networked) either physically or through their interdependencies.

Georgios Giannakis, PhD, received his diploma in Electrical Engineering from the Ntl. Tech. Univ. of Athens, Greece, 1981. From 1982 to 1986 he was with the Univ. of Southern California (USC), where he received his MSc. in Electrical Engineering, 1983, MSc. in Mathematics, 1986, and Ph.D. in Electrical Engr., 1986. He was with the U. of Virginia from 1987 to 1998, and since 1999 he has been a professor with the U. of Minnesota, where he holds a Chair in Wireless Communications, a University of Minnesota McKnight Presidential Chair in ECE, and serves as director of the Digital Technology Center. His general interests span the areas of communications, networking and statistical signal processing – subjects on which he has published more than 450 journal papers, 750 conference papers, 25 book chapters, two edited books and two research monographs (h-index 143). Current research focuses on data science and network science with applications to social, brain, and power networks with renewables. He is the (co-) inventor of 33 patents issued, and the (co-) recipient of 9 best journal paper awards from the IEEE Signal Processing (SP) and Communications Societies. He also received Technical Achievement Awards from the SP Society (2000), from EURASIP (2005), and the inaugural IEEE Fourier Tech. Field Award (2015). He is a Fellow of EURASIP, and has served the IEEE in various posts including that of a Distinguished Lecturer.

Nikon D70s ~ AF-Nikkor 35-70mm f/2.8 D

See where this picture was taken. [?]

We can only perceive an incredibly small part of the electromagnetic spectrum. In effect we are all blind. Leica M3 50mm f2 Summicron lens expired TriX Pan 400 35mm black and white film.

Kile Duggan in 'Bulldozer.' Duggan, a mediocre driver in a poor handling machine, gained a bad reputation when he first burst on the scene due to his perceived aggressive style. The truth was much simpler- the 'Dozer' was a beast to drive, essentially a Kataspyder G75 Bulldozer with a pair of rockets and wings tacked on. It was big, bulky, tough to drive, and dangerous. As such, it came as little surprise when Duggan was banned from IATTAR for two seasons after crushing Graz Grazillani's spine during the Rowaran Cross City Trek.

Looking for the next race, Duggan turned to the highly dangerous Outer World races. Racing in the Outer Worlds was a precarious affair. OWTTER (Outer World Track & Thrust Extreme Racing), a league created to rival the wildly popular IATTAR league, was doomed from the start, primarily due to lack of financial support, but also in large part to the fact neither drivers nor racers lasted long. The allowed weapons and special modifications that separated OWTTER from IATTAR cost it many of the best and bravest drivers, and the poorer Outer World racing teams couldn't continue to rebuild the expensive racers.

The short-lived league was therefore replaced by an ever deadlier handful of races with little to no rules. Drivers, called Outers (an homage to the now defunct league), were often only able to race in the one race each season on their homeworld in shoddy home-built machines. It was into this world that Kile Duggan found himself- a racer with more skills and money than most, and one helluva tough machine. A truly nice guy, he added only the G75's front blade to the 'Bulldozer' which he used as a ramming device. He quickly began winning races and became an Outer World celebrity. After serving his suspension, he returned to IATTAR, now a better driver with a lot better control of his unwieldy craft, and did quite well, and was well-respected by the other drivers. When he retired, he wrote a successful autobiography of his time as an "Outer" called, 'Inside on the Outside.'

Note: The experimental video was automatically generated by AI. Therefore, the pictures do not necessarily match the text.

Dutch cuisine, while often perceived as simple and hearty, boasts a rich history shaped by its agricultural land, dairy farming traditions, and extensive maritime trade. Staples often include potatoes, vegetables, and meat or fish, reflecting a practical approach to cooking. Breakfast and lunch often feature bread with various toppings, from savory cheeses and cured meats to surprisingly sweet options like chocolate sprinkles (hagelslag). The emphasis is on wholesome, filling meals, especially suited to the colder months.

One of the most iconic categories of Dutch food is its diverse array of "stamppot" dishes. These comforting meals consist of mashed potatoes mixed with a variety of vegetables, such as kale (boerenkoolstamppot), carrots and onions (hutspot), or sauerkraut (zuurkoolstamppot). Traditionally served with a smoked sausage (rookworst) and gravy, stamppot provides a hearty and warming experience, embodying the Dutch preference for robust and satisfying fare, particularly popular during winter.

Beyond the main meals, the Netherlands excels in its snack culture, with deep-fried delights being particularly popular. Bitterballen, crispy, bite-sized meatballs with a creamy ragout filling, are a ubiquitous pub snack, typically served with mustard. Kroketten are similar but cylindrical. Another beloved street food is kibbeling, battered and deep-fried pieces of white fish, often cod, served with a mayonnaise-based herb sauce. These savory treats are a testament to the Dutch love for convenient and flavorful bites.

Sweet treats also hold a special place in Dutch culinary traditions. The stroopwafel, a thin waffle cookie with a caramel syrup filling, is perhaps the most famous and universally loved. Best enjoyed warm, often placed over a hot cup of tea or coffee to soften the syrup, it's a delightful combination of crispiness and gooey sweetness. Poffertjes, small, fluffy, yeast-leavened pancakes dusted with powdered sugar and butter, are another popular indulgence, often found at markets and festivals.

Finally, Dutch cuisine offers a unique range of dairy and fish specialties. The country is world-renowned for its cheeses like Gouda and Edam, which are enjoyed in various forms, from breakfast slices to cheese boards. Herring, particularly "Hollandse Nieuwe" (soused herring), is a raw, brined delicacy often eaten whole with chopped onions and pickles, especially in the summer. These dishes highlight the Netherlands' strong connection to its fishing heritage and its thriving dairy industry.

Jellyfish are marine invertebrates belonging to the Scyphozoan class. The body of an adult jellyfish is composed of a bell-shaped, jelly producing substance enclosing its internal structure, from which the creature's tentacles are suspended. Each tentacle is covered with stinging cells (cnidocytes) that can sting or kill other animals: most jellyfish use them to secure prey or as a defense mechanism. Others, such as Rhizostomae, do not have tentacles at all. To compensate for its lack of basic sensory organs and a brain, the jellyfish exploits its nervous system and rhopalia to perceive stimuli, such as light or odor, and orchestrate expedient responses. In its adult form, it is composed of 94–98% water and can be found in every ocean in the world. Most jellyfish are passive drifters that feed on small fish and zooplankton that become caught in their tentacles. Jellyfish have an incomplete digestive system, meaning that the same orifice is used for both food intake and waste expulsion. They are made up of a layer of epidermis, gastrodermis, and a thick layer called mesoglea that produces most of the jelly and separates the epidermis from the gastrodermis.

Their shape is not hydrodynamic, which makes them slow swimmers but this is little hindrance as they feed on plankton, needing only to drift slowly through the water. It is more important for them that their movements create a current where the water (which contains their food) is being forced within reach of their tentacles. They accomplish this by rhythmically opening and closing their bell-like body.

Since jellyfish do not biologically qualify as actual "fish", the term "jellyfish" is considered a misnomer by some, who instead employ the names "jellies" or "sea jellies". The name "jellyfish" is also often used to denote either Hydrozoa or the box jellyfish, Cubozoa. The class name Scyphozoa comes from the Greek word skyphos, denoting a kind of drinking cup and alluding to the cup shape of the animal.

From Wikipedia

Demonstrators protested across Brazil on Sunday to denounce corruption and a congressional vote perceived as an effort to intimidate judges and prosecutors leading graft probes.

Dressed mostly in the national colors of yellow and green, thousands marched to demand accountability at a time when Latin America's biggest country is reeling from corruption scandals, political gridlock and a prolonged economic recession.In São Paulo, the country's largest city, about 15,000 people, according to state police, marched down the business thoroughfare of Avenida Paulista, unfurling a long banner reading "Corrupt Congress."

Thousands of protesters fanned out on the streets of Brazilian cities on Sunday to voice indignation with political leaders who are trying to stymie anticorruption investigations.

The protesters focused much of their ire on the politicians at the helm of Brazil’s scandal-ridden Congress, including Rodrigo Maia, the speaker of the lower house, and Renan Calheiros, the powerful head of the Senate, after lawmakers gutted an anticorruption bill last week.(Reuters / New York Times)

São Paulo

Avenida Paulista

Brasil

Dezembro,2016

Texas-based artist John Bramblitt perceives the world and everything in it through color. Fear, for instance, he says is a “red with a lot of black mixed in. It’s almost like the color of blood and dirt or soil – it’s really deep.” His paintings are stunningly vivid, bursting with color and texture. Ironically, Bramblitt […]

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