View allAll Photos Tagged Perceives
Paul Jaboulet Aine - www.jaboulet.com
Jaboulet is perceived (in price also) to make some of the world's greatest wines with Hermitage La Chapelle being its most famous wine. Jaboulet was for many years run by Gérard Jaboulet who passed away in 1997 and the firm was inherited by Philippe Jaboulet, with the wines being made by Jacques Jaboulet. In 2006 it was sold to Compagnie Financière Frey who is also the owner of Chateau La Lagune and near majority owner of Champagne Billecart Salmon.
The Jaboulets produce wine from 26 different appellations in the Rhone. Hermitage La Chapelle is named after the small hermit's Chapel built in 1235 on the Hermitage hill, the wine regularly rivals Bordeaux 1st Growths for its incredible array of flavours - fruity and enticing when young but acquiring complex leathery and gamey overtones with age.
Jbaoulet's 45-hectare Domaine de Thalabert vineyard in Crozes Hermitage produces very high quality wines which are seen to be superior to most growers` Hermitages.
Paul Jaboulet Aine - 1990 Crozes Hermitage Thalabert
13.0%. 100% Syrah. Spice, leather, dark berries, white peppery nose. Light to medium-bodied, a youthful body of violets, light raspberries and cherry flavors with a medium to long finish. Best from 2010+ (Gary)
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
Here's a closeup of the 'nameplate' of the fallen headstone.
I'm regarding this as a different Noticing, as it's the aspect of the contrast between what the headstone says and its neglect that I'm Noticing here. (The prior one is a case of Noticing "Oh look, it fell over".)
Herman H. Culverhouse was a member of Woodmen of the World, Camp #497. The details that I've left out of this photo make his membership clear. Although you can tell that the headstone is in the form of a carved stone tree trunk :)
It struck me as poignant to read "His record is on high and in the memory of those who loved him best" on a fallen tombstone. Since he's been dead nearly 90 years, I guess those who loved him best are also long gone. I know if I loved someone I'd have his headstone put right back up, pronto ...
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EDIT:
Hopefully this won't confuse people to death. I've reached March 2 in my catching up on my 365 photographs, and have decided this one makes a dandy "365". I figured it would be even worse if I were to try to do "current day" and "catch up from when I was out of town" at the same time ....
So. 61/365. 2 March 2010.
[for March's theme of "The Spectrum We Perceive", Week 1 of the month is "Monochromatic". So a monochromatic headstone shot fits in nicely.]
"Every beauty which is seen here by persons of perception resembles more than anything else that celestial source from which we all are come."
Michelangelo
At Papago park in Phoenix, AZ took picture of the sun as it was rising....got the effect like there are three suns one brighter than the other.
You need to understand what is love before you can know how to love your wife and not be bitter against her. Love is the ability to perceive what will not hurt another person and avoid it.
When you perceive what will hurt and still go ahead and embark on it, it means you hate, you do not believe in your spouse. You are making expression that means your spouse is not a part of your system, you are not accepting him or her into your world.
When you make such expression to someone, you are giving the person the mandate to treat you the same. If the person does not retaliate because of the word, then he or she has activated the law of vengeance which says; vengeance belongs to God, and that makes it more dangerous for you because you are being handed over to God.
Love is the ability to see your woman as yourself
True love does not discriminate, it takes everybody as being the same, it depicts what Jesus did on the cross. The blood is for everybody, not only the Israelites – for whosoever. God loves everybody the same, he puts us on the platform, the same grace is extended to everybody.
You lie if you say you love God whom you do not see, but you cannot love your wife whom you see. Jesus said; by this shall all men know that ye are my disciples if ye love one another.
What does it mean to love one another?
- It means to take another person as yourself, whatever you won’t do to yourself, do not do to another person.
- It means to sacrifice for another.
www.turnmentojesus.com/how-to-love-your-wife-and-not-be-b...
Bull Moose, with the very beginnings of annual antler regrowth .. I always perceive these little studs as being a bit odd looking , kind of Frankensteinian
(a new word?)
Being at school and maintaining a normal sleep schedule is essentially a hopeless endeavor. Tackling work until 1 AM (an early hour to finish by some standards) while trying to balance exercise with classes, friends, hobbies, eating and everything else in life isn't the easiest of tasks. After some practice though, it does becomes routine as you proceed through the motions, not really perceiving how abnormal some of your days are.
I've found this to be nice occasionally, since the patterns become easier to manage and more practical; it's just muscle memory. But analyzing a routine like that, what's creative about muscle memory? It initially takes skill to attain that level of repetition, but now, halfway through the semester, the days blur together and you have a hard time discerning between one group project and the other four you're involved in. Everything's fairly monotone and you're just doing it to get it done. The end of the semesters is practically here anyway.
When I personally reach that state, I know something needs to be changed. I try as best as I can to split up those mundane weeks by getting out of the city, exploring, adventuring, and pursuing my passions, but inevitably I do get caught in the cycle. I've found for myself at least, the best way to reset and obtain a full mental check-in, is to escape to the beauty of the world around me - to remind myself that there's a hell of a lot more to life than textbooks, lectures, and the 1 million plus pixels on my computer screen. I've found in the last 21 years that the knowledge I've gained from observing nature resonates much stronger with my than the tradition constructs of our modern day educational system. This isn't to say I don't learn anything from school, because I do, but the topics and values I've discovered and held most dear to my person are the ones I've found on my own, not in a 300 seat classroom. I'm not speaking for everyone here at all, everyone has their own paths through life; this one just happens to be mine.
What I've realized is that taking the time to slow down and observe makes all the difference in how I perceive the world around me. Digressing from the patterns of every day life to explore the true diversity it encompasses makes me realize things I otherwise wouldn't. This semester, I've helped film a feature length movie for a senior project one of my friends at school is completing. Though it's taken up the majority of my weekends when I would normally be out biking or doing other things, it's hasn't come without gain. I've learned incredible new film techniques, taught others how they work, and maybe most importantly, taught myself new things along the way.
A specific aspect of this project that's been nice is having to get up at unusually early hours I normally wouldn't see on the weekends... unless it's ski season of course. Waking up before the sun (and enjoying it) is an interesting thing most people probably don't get to experience that often, especially in college. Last weekend, with a lot to shoot during the day, we were ready to go and leave campus by 6:30 AM. This gave me ample time to see the sun rise over Camel's Hump from the top of campus. I see sunsets mostly every day, but during school when I often don't get to bed until after midnight, getting up that early for sunrise isn't practical. The sight I saw this past Saturday morning was mesmerizing; absolutely out of this world. The colors, textures, everything, were just unearthly.
It made me realize that as much as I do try to get out there, out of my normal patterns, I still don't as much as I'd like to. We only have a brief time on this earth to fully try and experience all the amazing things it has to offer. We won't get around to everything, that's for certain, but if we can make the most of what we can get to, that's what counts. It's incredible how one sight, one event, can change how we perceive everything else. This specific sunrise wasn't necessarily "the most life-changing thing I've ever seen", but it was enough to show me that there's no reason to miss out on any future ones that might be.
At the Jay Estate in Rye, we try to make history, which is often perceived as old and dusty, something fresh and relevant. To do this we rely heavily on our partnerships with area schools, other non-profits and corporate grantors like Rye's own Con Edison, all of whom have the vision to think outside the box and outside the classroom. Together, we've created new hands-on opportunities to train the "Founders" of tomorrow and promote civic engagement in a multitude of fields.
Well you can't get much more hands-on than archaeology which is a critical component of environmental review at any landmark site, including our own. So this past month, six Rye Country Day High School volunteers really lived their school's motto of "Not for Self but For Service" and put themselves through a rigorous dirt-under-your-fingernails field experience! Not only did they help uncover and identify cultural resources for JHC but they also helped create a template for mini-archaeology camps that will be offered to younger kids in Westchester later this summer.
In their report to their advisor they explained, "For our senior term project, we elected to help with an archaeological dig at the Jay Heritage Center, assisting Dr. Eugene Boesch in searching for artifacts that might reveal more about John Jay's 1745 colonial farmhouse - the home where he grew up as a child in Rye. Following criteria set by the Department of the Interior, we dug, screened, measured and catalogued 18th century square nails and iridescent glass, an assortment of glazed pottery and creamware, a clay tobacco pipe bowl marked TD and a pipe stem, and pieces of animal bones. But our most exciting find was probably a prehistoric tool or scraper revealing the presence of earlier First Nations encampments on the site. We learned that archaeology is a necessary part of environmental review since our cultural resources are fragile and not renewable. "
While most adults might stereotype kids this age as being glued to the screens on their I-phones, these girls worked diligently and thoughtfully mastering large wooden screens to sift shovelfuls of earth for artifacts. The prize? Holding a prehistoric stone blade in their hands, one they dug up themselves after 3 patient, buggy days in the hot sun. As one girl admitted, it had that "Wow, Indiana Jones" excitement to it but it also made them appreciate that other people "breathed" here.
At the end of the week, the girls cleaned, labeled and photographed their finds. Several asked if they could come back as counselors for the mini-archaeology camp, hoping to witness the same excitement on the faces of a dozen 10 year old summer campers when they make their own awesome discoveries.
It is close partnerships with area schools and corporate grantors like Con Edison that make programs of civic engagement like this possible. Students leave our site with visual and tactile impressions more indelible than looking at any image in a textbook or Smart board. As a result, they are the ones digging even deeper for greater, more visible returns on their hard work when they come back to volunteer again.
Jay Heritage Center
210 Boston Post Road
Rye, NY 10580
(914) 698-9275
Email: jayheritagecenter@gmail.com
Follow and like us on:
Instagram @jayheritagecenter
Twitter @jayheritage
Facebook www.facebook.com/jayheritagecenter
Pinterest www.pinterest.com/jaycenter
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
Celebration, the way we perceive.
#fire #instagood #igers #night #dark #warm #mumbai #holi #india #repost #celebration #featuremeinstagood #festival #heat #summer #march
53 Likes on Instagram
Although non verbal communication is generally perceived as the use of subtle body language, the use of our hands or the use of facial expressions, the tone of our voices when communicating can also be classed as non verbal communication.
An article written by Blake quoted the following on communication, "93% of all daily communication is nonverbal". This theory is further supported by “Mehrabian’s (1967) communications model”, which takes the analysis a step further, as follows:
7% of communication is in the words that are spoken;
38% is paralinguistic i.e. the way that the words are said; &
55% pertains to feelings and attitudes that is in facial expression.
However, the overriding factor is that the majority of communication is done so without speech. This helps to explain why animation can communicate so well without the use of narrative.
An article from “Skills You Need” states that the use of non verbal communication enhances verbal communication by reinforcing verbal comments, displaying emotion and providing feedback. In animation the use of non verbal communication is very important which is why as an animator, acquiring the skill and having the ability to communicate your story through the use of body language is an important factor. Having this skill allows you to communicate the personality and emotion of characters without having to use a characterised voice.
Reference List / Bibliography
*1 Blake [no date]
www.nonverbalgroup.com/2011/08/how-much-of-communication-...
Nonverbalgroup.com
New York
*2 Mehrabian, Albert; Wiener, Morton (1967). "Decoding of Inconsistent Communications". Journal of Personality and Social Psychology.
*3 Skills You Need [no date]
www.skillsyouneed.com/general/communication-skills.html
YouTube Link:
Pareidolia: the tendency to perceive a specific, often meaningful image in a random or ambiguous visual pattern. Some noisy construction work was keeping the birds away, so I watched the clouds for about an hour yesterday. This is one of the things I saw in them.
Immunoglobulin E (IgE) is the antibody produced by the immune system in response to a perceived threat. It’s normally present in the blood in very small amounts. IgE antibodies are found in lungs, skin & mucous membranes also.
When our body overreact to allergens, higher amounts of IgE are produced in the body, causing allergic reactions. IgE levels can be high when the body is fighting off an infection from a parasite or with some immune system conditions. IgE is also involved in allergic inflammation, especially in early-phase response, but it can be involved in the late-phase of allergic responses also.
The range of IgE can range from 150 to 1,000 UI/ml; but the usually accepted upper limit is between 40 and 140 UI/ml (LEIT METHOD). An increased total IgE level indicates that you have one or more allergies as such. Allergen-specific IgE levels will increase after an exposure & remains for some time.
When your body is dehydrated, there will be more histamine production & you will exhibit allergic symptoms. So, drink plenty of water to prevent the higher histamine production.
Any food can cause an allergic reaction, but 90% of food allergies in children are caused by milk, eggs, peanuts, tree nuts, soy, fish, shellfish & wheat. Allergic manifestations can be eczema, sneezing, itching, running nose etc. The signs and symptoms of IgE mediated food allergy usually occur within minutes of ingestion & include hives, redness of the skin, vomiting & in more severe reactions, anaphylaxis.
Meet the Dreamer, my new interactive art project, which I have just started to prototype. This illuminated sculpture aims to make us more aware of the characters who live inside our heads, and how our emotions influence the way we perceive the world around us.
The Dreamer’s head lights up with rear-projected videos of some of the characters who influence us, along with memories and feelings that fill in our minds, day and night. To show what the Dreamer is thinking, our first prototypes display images of people and nature, sparking different moods, each represented by a different colored light, such as: red for anger, orange for fear, yellow for happiness, green for surprise, blue for sadness, purple for love, for example.
You will be able to change the Dreamer’s worldview by pressing buttons that make him/her more happy or sad, angry or kind, fearful or curious (like social media emoticons). In response, the Dreamer’s head will light up with different colors and facial expressions, as these emotions are activated in his/her mind.
This kinetic sculpture can give us a glimpse at what goes on inside our heads, as images of our lives pass by, fleeting like clouds in the sky, colored by our moods. The Dreamer’s quiet face keeps transforming, responding to new images and emotions with images and sounds of its own.
As times goes by, we see the interplay of the forces that drive us: anger can turn into love, sadness into joy, fear into curiosity. And changing our emotions can transform how we view the world. We hope this experience can help us replace our destructive emotions with a more positive outlook.
The Dreamer is being developed at Tam Makers, our makerspace in Mill Valley, where we are building our first prototypes. This interactive art project will be presented in different ways:
• as part of the Time Machine we’re building at Pataphysical Studios
• as a stand-alone exhibit in art shows and galleries
• in large street performances during public events
• in short videos on the web
We’re still experimenting with different ways to create The Dreamer. The current plan is to vacuum form a mannequin head (for the prototype), then a clay sculpture of the preferred shape (for the final product), using translucent white plastic, flattened a bit at the mouth, eyes and forehead, so that we can rear-project a variety of faces onto the heads from inside.
See more photos of our first prototypes in this Dreamer album: www.flickr.com/photos/fabola/albums/72157674887503188
Learn more on our project page: fabriceflorin.com/2018/10/25/dreamer
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
U.S. Representative O. C. Fisher (Ovie Clark), a conservative Democrat from Texas, is shown in a photograph circa 1965.
He was a crusader against perceived communist threats in the U.S., had an anti-labor reputation, and was an unequivocal white supremacist.
He gained some prominence in Washington, D.C. in 1948 with his assistance to House Labor Subcommittee Chair Clare Hoffman’s attempt to break the predominantly African American United Cafeteria and Restaurant Workers Local 471 strike against Government Services Inc., the premier operator of federal cafeterias in the city.
In a 1967 Congressional debate, he said:
“American is plagued today with insurrections, murder, arson, looting and violence on a scale that might be expected to occur in darkest Africa. …The simple undeniable fact is that the White House and the Congress through three or four administrations must bear a major portion of the blame for the demonstrations and riots, which have rocked this nation.
“Congress enacted a major civil rights bill on May 6, 1960. The measure was ballyhooed at the time as the ultimate answer to what the politicians claimed was American’s long neglected obligation to the Negro race. What happened? Instead of satisfying Negroes it served to whet their appetites.”
“This business of passing special laws for Negroes—grand and glorious laws—amid drum beats and false utopian promises of the new life is nothing short of a cruel hoax.”
For more information and related images, see www.flickr.com/gp/washington_area_spark/Wq3JgY
For a deep dive into the 1948 cafeteria workers strike, see washingtonspark.wordpress.com/2018/01/02/against-the-cold...
The photographer is unknown. The image is courtesy of the Congressional Pictorial Directory.
via
Knowing about Fire Sprinkler Mechanism
Fire sprinklers are perceived as fancy devices that exist in almost all commercial spaces. These ideas are generally inspired by television, where a tiny fire or smoke triggers fire sprinklers into action. There is a popular misconception that any fire triggers fire sprinklers. Though both the terms sound very related, there is a mechanism that connects them. If the fire sprinklers would operate on a small fire, then even a cigarette could hold the potential to trigger the. This would waste gallons of water and instill fear in the minds of people as the sprinkler would start working very often. To avoid such instances, the manufacturers have devised fail-safe mechanisms for these fire sprinklers.
If you ask how to do fire sprinklers work, you are probably looking for answers that will make your life better. You are inevitably concerned with what might happen if you leave a fire unattended, but you cannot only look away and expect a fire to burn itself out in reality. When something is flammable, much damage can occur if the fire spreads too quickly. That is why it is essential to have a fire sprinkler system in place.
People tend to believe that fire sprinklers are best suited for commercial spaces, which again falls in the category of misconceptions. Out homes are equally vulnerable to catching fire, which makes fire sprinklers a mandatory component for any infrastructure.
When people inquire about how fire sprinklers work, they have many questions about what precisely a fire sprinkler system does. Fire sprinklers, or water sprinklers, are quite simple devices. They simply water a small area. It is the water that causes the sprinkler to spray out streams of water.
How Does a Fire Sprinkler Work?
The fire sprinkler system consists of a network of pipes that run inside the ceiling of the building. These pipes contain water at a high pressure, which immediately releases when the sprinkler turns on. A specially designed heat-sensitive plug is fitted in the water sprinkler, which activates with a rise in temperature. These plugs are generally of two types: an alloy that melts at a specific temperature or a glass bulb filled with glycerin-based liquid that expands and shatters with heat. Either way, the sprinkler’s opening allows the water to come out a specific temperature and bring down the heat in the surrounding.
Now, can these sprinklers be activated from the smoke of a burning toast or burning a piece of paper? No. These sprinklers are designed to operate at high temperatures. Glass bulbs for these sprinklers are available with different temperature ratings, generally more than 130⁰F. The color of the liquid inside these bulbs indicates the temperature rating of the lamp. The selection of these bulbs depends on the installation area and the probabilities of fire causalities in that area.
If you’re wondering how fire sprinklers work, it’s best to start by understanding how fire spreads. Fires are different from other fires in many ways. For example, when a light bulb burns out, the flame begins to smolder and cannot consume oxygen. Fire sprinklers work to accomplish this. These devices use water to dampen the flame before it can spread too quickly.
A fire sprinkler system usually consists of a tank that holds water, a sensor that activates the water, and the sprinkler head that sprays the water. There are two common types of fire sprinkler systems. One kind, known as the primary type, only has a nozzle and the tank. The other kind, commonly referred to as the dual-discharge type, uses a tank and two different nozzle heads.
How do fire sprinklers work in a basic sense? Water flows into the tank, which holds the water (usually a combination of groundwater and underground storage tank water). The water in the tank evaporates, leaving behind condensation, which helps create the moisture that the sprinkler head is made up of.
The water in the tank moves up the hose, goes through the sprinkler head, and into the air, causing the water to be sprayed out at the next fire location. There are many different fire sprinklers, such as horizontal nozzle sprinklers, vertical nozzle sprinklers, counterflow spray sprinklers, and cross-flow sprinklers.
The way fire sprinklers work, however, is not merely to evaporate water. They also use thermodynamics to keep flames from expanding to the point that they could cause significant damage.
If you’ve ever noticed that the fires you find on the news often show up in vacant houses, you may wonder how fire sprinklers work there. The problem is that there is not enough water pressure in a home to burn the fire out. This is where the use of thermodynamics comes in.
Fire sprinklers have two major parts. The first part is the tank, which is the part that holds the water and makes it evaporate, while the sprinkler head is the part that makes the water move around and spray it out.
In homes, most likely, the water supply comes from underground tanks. These tanks contain a large volume of water, and fire sprinklers need this water to work correctly.
In older homes, the water from the tanks is contaminated with fungi, mold, and bacteria that cause high humidity levels and can cause the fire to spread rapidly. In these cases, installing new tanks is one way to solve the problem.
What Is the Potential Impact and Benefit?
While fire sprinklers’ primary purpose is to douse the fire, they also serve as a medium to save on water and money. Principally, the fire sprinkler system is designed to activate one sprinkler head at a time. This one-by-one operation methodology saves a lot of water. Moreover, the water used by fire sprinklers in extinguishing the fire is way less than what is used by a fire hose. Sprinklers are gaining preference over other methods for even water distribution in their surroundings, which proves to be a highly effective method. Sprinklers are automated and require no assistance for operation. The entire framework of water pipelines is attached to a readily available, 24 hours operational water supply. The continuous water supply to fire sprinklers again acts in their favor, making them an ideal and fast rescue plan for any infrastructure.
Climate-Based Methodology for Fire Sprinklers
Talking of the pipeline system of fire sprinklers, these sprinklers have a different operation mechanism in colder regions. A constant supply to the pipelines can end into the water freezing in them in frigid climates. This would ultimately rupture the pipes, causing more hazards than it can save. To avoid such situations, these pipelines are filled with compressed air rather than water. When the sprinkler heads activate in these systems, the gas leaks from the pipe, creating a pressure drop. This pressure allows the water to run through the pipes into the sprinklers heads to douse off the fire. Such systems are more often installed in unoccupied and unheated infrastructures as the temperature can steadily drop in the water pipes.
Major Considerations
To accommodate modern needs, these fire sprinklers have been evolved in time in terms of design and material. Special coatings of Teflon, polyester, and other materials are made on the sprinkler heads to protect them from corrosion and increase their life.
Sprinkler systems are advised to be installed during any building construction to avoid unnecessary expenses on installing it after the space is operational. Besides money, an extended installation can cost you time and inconvenience. Spending on fire sprinklers can save you from the losses that can occur during fire accidents. Sprinklers are worthwhile investments as they can help you in finding an excellent insurance plan for your building. The insurers have different ideas for fire extinguisher-equipped spaces, thereby widening your insurance policy choices. A regular check on water sources’ availability is vital to keep the fire sprinklers operational and work at the time of need. Also, a periodic inspection for leaks in water pipelines is recommended to avoid unnecessary damage to the fire sprinklers system.
This blog post about "Fire Sprinklers" was first published on our website here https://www.collinsfire.com/how-do-fire-sprinklers-work
collinsfire.blogspot.com/2020/08/how-do-fire-sprinklers-w...
"Everything has beauty, but not everyone sees it."
-- Confucius
© John Phillips, USA. All rights reserved.
The first out of my Occupational Deaths series.
Keenan perceived no real danger in his occupation, especially since he worked mostly on his own.
Option #2
I like his facial expression here. Might be the winner?
Thanks to Megan and Toby helping with lighting,
... and Keenan for enduring the spiders in the leaves!
Many Dreams Perceived Continually Change ... or ... my dream perhaps can change ?
Original painting 15 cm x 20 cm
by Karq 2009
“I perceive God everywhere in His works. I sense Him in me; I see Him all around me.”
― Jean-Jacques Rousseau
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
When the night falls the image of the city changes. Daylight is replaced by islands of artificial light. Brightly lit shop windows and facades, illuminated signs, headlights of passing cars and traffic lights are perceived as signals in a background noise: the gleam of streets, squares and roads caused by public lighting. The night - the realm of fantasy and magic - in Eindhoven is the stage for GLOW 2010.
‘(Re-)Discovering Eindhoven’ puts well-known urban spaces by means of artificial light in a different perspective and illuminates unexpected locations in the city. GLOW 2010 focuses on sites that tickles the imagination of artists. Familiar situations get a new meaning and places that are invisible or ignored because of their obscure nature are revealed by light. Think of the dark corners with waste bins and the poor backsides of luxury shop exteriors, with drain pipes, air conditioners, motion detectors, security fences and emergency exits. At daytime lifeless and uninteresting, during night hours titillating, inhospitable and sometimes ominous. These sites stimulate the imagination of artists and inspire them in their quest for the visible and hidden urban identity.
‘(Re-)Discovering Eindhoven’ shows the city in other disguises. As a space for rhetoric, narration, memory, dialogue and self-reflection. GLOW 2010 allows artists to bring back magic into the innercity by adding light objects to the existing streetscape, not fearing techniques of seduction and drama. Some make their own story and use materials they find in the surrounding areas. Others start a dialogue with the urban environment by making use of existing wall surfaces that serve as giant projection screens or exploit the interior of an existing building for their personal discovery.
One thing all light objects have in common. At various locations something appears that deviates from the ordinary and offers a surprise or perhaps a small miracle. Something that attracts and helds the public attention, makes curious and cannot immediately see through. But every work of art causes individual thoughts and feelings about a place using the magical power of light.
Blair Millet
Morello 8th hour
Colors of Light and Shadows
Content Background:
The color an object appears to be when a person looks at it is not because the object itself is that color. A person’s eyes perceive objects to be certain colors because of the light that hits the object. If no light is present, the object cannot be seen; therefore, it will appear black. The color that an object appears to be is a result of the interactions between different frequencies of visible light waves with the atoms of the materials the objects are made of. Many objects contain certain atoms that are capable of selectively absorbing or reflecting one or more frequencies of light. The frequencies of light that become reflected to a person’s eyes will contribute to the color the person perceives the object to be. The primary colors of light are red, green, and blue. When added together, they produce white light which is the existence of all colors of the visible light spectrum. The visible spectrum is what human eyes are sensitive to, and it’s a small piece of the electromagnetic spectrum. Each color is made from a certain wavelength and frequency of light. When two primary colors are added together, they produce a secondary color; cyan, yellow or magenta. Red and green will make yellow; green and blue will make cyan; blue and red will make magenta. If an object is perceived as a primary color of light, that means the object’s atoms are capable of absorbing all of the colors of the visible light spectrum except that primary color which it reflects. So if an object looks red, it absorbs green and blue and reflects red. The same thing happens for secondary colors—if an object appears magenta, it absorbs green and reflects the red and blue hitting it (because magenta is made of red and blue light). If an object produces a shadow, the color of light that hits the object will be absent in the shadow. That is why the sunlight (white light) produces black shadows—no light is present in the shadow. Depending on the colors of light hitting the object, and the angle that the lights are hitting it, the colors of the shadow may vary. There can be three different lights shining on an object at three different angles, and the shadow will have more than three different colors.
Description of Photographs:
All of the pictures were taken at the same spot, under the same conditions, at the same time and with the same type of camera. The only difference is the colors of light that were shined upon the object. The pictures were taken inside of my house at noon on Wednesday April 27th. The conditions were at room temperature and all of the lights were off. I had to block the windows from the sunlight as much as possible so the colors from the flashlights would be more visible. I set up a white poster for the background of all of the pictures. I took them in the hall of my house because it was the darkest area with the least amount of sunlight. I used a GE 7.0 megapixel A735 Digital Camera; there was no extra filter or anything used for these pictures and the flash was turned off. A stool was set up about a foot away from the poster and in line with it. The flashlights rested on the stool. The object the lights are shining on is a plastic, white cup. Picture 1 is set up with the blue flashlight shining on the cup. Notice that the cup itself appears blue and the shadow of the cup is black, but the light around the shadow is blue. Picture 2 is set up with a red flashlight on the left and a green flashlight on the right and they are angled to shine on the same spot of the cup. Notice how the cup appears yellow, the colors of the shadows are red, green and black, and how the light around the shadows is yellow. Pictures 3, 4, 5, and 6 are of the same thing, but from different viewpoints. The flashlights are set up with the blue flashlight on the left, the green flashlight in the middle, and the red flashlight on the right all angled to the same point on the cup. Notice how the cup appears white, the shadows are all different colors with the middle one appearing black, and the light around the shadows is white.
Explanation of Photographs:
Before I start explaining, it is very important to understand that each light produced its own shadow for the cup and the part of that light that is not block by the cup is shined on the background. In picture 1 the cup appears blue and gives off a black shadow. The cup is originally white when shined on with white light, so this cup’s atoms are capable of reflecting everything that shines on it. The blue light is reflected back to our eyes and this is why it appears blue. For the shadow, it is black because the cup is not capable of transmitting any light; it just reflects and absorbs. Shadows are made from the light being absent. That brings up the other point as to why the light around the cup is blue. The blue light not hitting the cup diffracts around it and shines on the white background behind it. So it reflects blue to our eyes. In picture 2 the cup appears yellow and there are three different shadows. The cup appears yellow because it reflects both the red and green light hitting it, producing yellow light to our eyes. The shadows are different colors because of the angles of the light. Since the red light is on the left, its shadow (on the right) will appear green. Since you have red and green light shining, the absence of just the red light will produce just the green light. The same reason goes for the green light’s shadow (on the left) to be red—the absence of the green light will produce just red light. Notice that the shadow in the middle is black. Both of the lights are absent in this shadow because this is the point where the shadows meet. Because you have the absence of both lights, there is nothing to reflect so it is seen as black. The light around the shadows appears yellow. The cup is not blocking any of this light so red and green added together make yellow light. For pictures 3, 4, 5, and 6 the cup appears white, and there are five different shadows. The cup is white because all of the light is reflected. Since all three primary colors of light (blue, green and red) are shining on the cup in the same spot, these three colors added together produce white light. The shadows are more complicated in this situation. The blue light on the left will be blocked and not appear in right half of the shadows. The green light in the middle will be blocked and not appear in three middle shadows. The red light on the right will be block and not appear in the left half of the shadows. So if you do the math right and know which colors produce what, you will understand the reasons the shadow colors are the colors they are. Starting on the left you see the color is cyan (it looks green, but I can explain this later). It is cyan because only the red light will be blocked in this case; so the blue and green added together produce cyan. The second shadow is just blue. The green light is blocked and the red light is blocked. The only light that is not blocked is the blue light. The third shadow appears black. This is the point where the shadows of all three lights meet, and all of the light is absent—making the shadow appear black. The fourth shadow is red. The blue light will be blocked and the green light will be blocked, leaving red the only light to be seen. The fifth shadow appears yellow. The blue light is the only one blocked. The red and green light shining will add together to make yellow. Notice that the light around the shadows is white. This is the addition of all of the not being blocked by the shadows.
In these situations you have to subtract colors to figure out what the shadow will appear to be. In picture 1 you see the shadow is just black, but that is just because you only have that light shining on it. If you have more than one light shining on it and the shadows do not meet, then you will have the absence from the light that is blocked and the addition of the light that is not blocked. A difficulty I had was that some of the flashlights were brighter than the others. The red one was super bright; while the blue one was very dim. This is why the first shadow in pictures 3, 4, 5, and 6 looks more green than cyan. The blue was not “blue” enough to add together with the green. Another difficulty was the fact that the flashlights were so small. They do not give off THAT much light. So it makes it harder to understand how the light not blocked by the shadows be will the addition of all of the light shining on the background to produce white light. If you can tell, just the very middle right above the cup is the whitest part. If the lights had more strength, the whole area around the cup would have been white.
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 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-...
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
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)
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 !
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
You need to understand what is love before you can know how to love your wife and not be bitter against her. Love is the ability to perceive what will not hurt another person and avoid it.
When you perceive what will hurt and still go ahead and embark on it, it means you hate, you do not believe in your spouse. You are making expression that means your spouse is not a part of your system, you are not accepting him or her into your world.
When you make such expression to someone, you are giving the person the mandate to treat you the same. If the person does not retaliate because of the word, then he or she has activated the law of vengeance which says; vengeance belongs to God, and that makes it more dangerous for you because you are being handed over to God.
Love is the ability to see your woman as yourself
True love does not discriminate, it takes everybody as being the same, it depicts what Jesus did on the cross. The blood is for everybody, not only the Israelites – for whosoever. God loves everybody the same, he puts us on the platform, the same grace is extended to everybody.
You lie if you say you love God whom you do not see, but you cannot love your wife whom you see. Jesus said; by this shall all men know that ye are my disciples if ye love one another.
What does it mean to love one another?
- It means to take another person as yourself, whatever you won’t do to yourself, do not do to another person.
- It means to sacrifice for another.
www.turnmentojesus.com/how-to-love-your-wife-and-not-be-b...
DON'T WE! We perceive intersections as gaps don't we. Say it.
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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)
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