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Part 1: Screening
Warum Wir Männer die Technik so lieben/Why We Men Love Technology So Much
(1985, 57 minutes, color, sound, video, produced by BRTN/Belgian television)
A program on war, technology and perception, with interviews with Paul Virilio, Jack Goldstein, and Klaus vom Bruch
Lessen in Bescheidenheid/ Lessons in Modesty (selections from)
(1995, 90 minutes, color, sound, video)
Decostere looks at the inherent paradox in the conception of the future by scientists from the San Francisco area, who praise the merits of an on-line virtual community which will ultimately allow users to never leave the periphery of their neighbourhoods. In ‘Lessons in Modesty’, artists are made to experience and comment on the fiction of empowerment through high technology. Clearly two models of artists are set up before us. There are those who come out of studios, taking their work to in situ performance spaces, away from art institutions which are still suspicious of high tech, using their bodies as sites and receptacles of the techno-experience. And there are those whose studios are corporations such as Xerox and NASA, and who project a distance from the body. The first category addresses issues touching the materiality of the body head on. The second category is invested with a mission, a task: constructing a new time for a new body. This task is neither sacred nor profane; it is divine creation itself and the Mecca is the American West Coast.
Part 2: Seminar
Index, Affect, Artifact: Philosophical Aspects of Documentary Practice
‘Machines for seeing modify perception.’ -Paul Virilio
This seminar will examine contemporary accounts of documentary from a philosophical, critical and theoretical perspective, starting with early accounts, inherited from photographic practices, of the indexical relation between the media apparatus, the world, and media artifacts. From Walter Benjamin to Friedrich Kittler, via Bergson, Deleuze, Foucault, Virilio, Stiegler, Bolz, Derrida, and others, the philosophical interrogation of technically reproduced ‘realism’ circumscribes an immensely complex, rich, and roductive field. We will discuss aspects of a contempory theory of mediation/remediation by looking firsthand at a variety of works and excerpts. We will also discuss texts by Jay Leyda, Joris Ivens, Theodor Adorno, Giorgio Agamben, and others. References and Reading lists will be made available in class.
screenings of excerpts:
—Land Without Bread, Luis Buñuel
—Arbeiter Verlassen die Fabrik/Workers Leaving the Factory, Harun Farocki
—Videogramme Einer Revolution/Videograms of a Revolution Harun Farocki/Andrei Ujica
—CBS News, Dan Rather in China (broadcast television)
Stefaan Decostere studied film direction at the National Film School RITS in Brussels. Finishing in 1978, he directed his first documentary on Marcel Duchamp. From 1979 until 1998, he worked as director and producer for the Arts Department of the Flemish Belgian Television (the former BRTN). He was amongst a handful of truly innovative directors working in television, creating new forms for increasingly complex ideas. Decostere approached the television medium as a serious platform for his specific ideas about media analysis, structural experimentation and video-graphic creation. In his documentaries he became increasingly critical of the medium he employed, a form of essay in which he responded to codes that uphold mainstream television programming. His television documentaries include productions for Belgian Television BRTN, co-productions for the Banff Center for the Arts, CBS, Channel Four, INA, NOS, TVE and VPRO.??Central to Decostere’s journey of discovery towards a radical, new visual language was his creative use of editing. Because of this, even today, his documentaries remain more than a report about their subject. Unlike ‘normal’ television productions, for the viewer, Decostere’s programmes offer a challenge. Because they approach themes and subjects from several perspectives, or offer an opportunity for reflection and introspection, they force the viewer to take an active stance.
Thomas Zummer is an independent scholar and writer, artist and curator. He is the author of articles on mediation and virtuality, including “Projection and Dis/embodiment: Genealogies of the Virtual,” in Into the Light: The Projected Image in American Art 1964-1977,” Chrissie Iles, ed., Whitney Museum of American Art/Harry Abrams, “Arrestments: Corporeality and Mediation,” in Suturas y fragmentos: Cuerpos y territories en la ciencoa-ficción/Stitch and Split: Bodies and Territories in Science Fiction, Nuria Homs, Laurence Rassel, eds., Fundacion Antoni Tapies/Constant vzw, Barcelona/Brussels, and “Variables: Notations on Stability, Permeability, and Plurality in Media Artifacts,” in Saving the Image: Art After Film, ed. Tanya Leighton, Pavel Buchler, [Glasgow and Manchester: Center for Photography/Glasgow and Manchester Metropolitan University]. Other publications include an e-book entitled “What the Hell is That?” (Beehive, 2000) an experimental and humorous look at the rhetoric of cinematic monstrosity; he has also written essays on Eleanor Antin, Vik Muniz, Leslie Thornton, Heleen Decuininck, Harun Farocki and others, and he is currently completing a book on photography, and working on Intercessionary Technologies: Database, Archive, Interface, a study of the early history of reference systems. In 1994 Mr. Zummer curated CRASH: Nostalgia for the Absence of Cyberspace, with Robert Reynolds, one of the first major exhibitions to have a significant portion of digital/online works and works in/as other forms of transmission. He and Mr. Reynolds also edited the book accompanying the exhibition. Mr. Zummer has also curated exhibitions at the Wexner Center for the Arts, CinéClub/Anthology Film Archives, Thread Waxing Space, the Katonah Museum of Art, and the Palais des Beaux-arts/Brussels In 1995 Thomas Zummer won 5th Prize in the ACA/CODA Architectural Design Competition for the City of Atlanta for the 1996 Olympics. Thomas Zummer’s drawings, media, and sculptural works have shown worldwide, with recent exhibitions at the Museum van Hedendaagse Kunst/Antwerpen, Fundacio Antoni Tapies, Barcelona, Mütter Museum, Philadelphia, Frederieke Taylor Gallery, Marcel Sitcoske Gallery, and White Box. Thomas Zummer is a frequent lecturer on philosophy, aesthetics, and the history of technology, and has taught at Brown University, New York University, The New School, the Transart Institute/Linz, and Tyler School of Art/Temple University. He is currently a Regular Visiting Professor in the Transmedia programme/post-graduate at the Hogeschool Sint-Lukas/Universite Leuven in Brussels, and Faculty in Philosophy at the Europäische Universität für Intisziplinare Studien/European Graduate School (EUFIS/EGS), Saas-Fee, Switzerland. Thomas Zummer currently lives and works in Brooklyn, NY.
Keith Sanborn is a media artist, theorist and translator based in New York. His work has been the subject of a number of one-person shows and has been included in major survey exhibitions such as the Whitney Biennial (twice), and festivals such as OVNI (Barcelona), Video Vortex, The Rotterdam International Film Festival, EMAF, and Oberhausen.
His theoretical work has appeared in publications ranging from Artforum and Kunst nach Ground Zero to exhibition catalogues published by MoMA (New York), Exit Art, and the San Francisco Cinematheque. He has translated into English the work of Guy Debord, Georges Bataille, Lev Kuleshov, Esther Shub, Paolo Gioli and Napoleon, among others.
He teaches at Princeton University and the Milton Avery Graduate School in the Arts of Bard College. In 2008, he taught at Smolny Institute in St. Petersburg on a Fulbright Fellowship while researching media in Russia.
Sometimes, my brain just wont let me be.......
Did you ever see me,
Watching from periphery?
I was playing another game
I hoped you catch on all the same. :)
Edit: 26th May 0700hrs ....
Self portrait... remote and D50.... had a rough night... needed something to get my mind off other things :)
U.S. Ambassador to the UN Samantha Power meets with Israeli residents of the Gaza Periphery communities in southern Israel near the border with the Gaza Strip, Kibbutz Nahal Oz, Israel, February 16, 2016.
Photo Credit: Matty Stern/U.S. Embassy Tel Aviv
The Ducal Palace, begun by Francesco I d'Este in 1634 and finished by Francis V, was the seat of the Este court from the 17-19th century. The palace occupies the site of the former Este Castle, once located in the periphery of the city. Although generally credited to Bartolomeo Avanzini, it has been suggested that advice and guidance in the design process had been sought from the contemporary luminaries, Cortona, Bernini, and Borromini.The Palace currently houses the Accademia Militare di Modena, the Military Museum and a precious Library.The Palace has a Baroque façade from which the Honour Court, where the military ceremonies are held, and the Honour Staircase can be accessed. The Central Hall has a frescoed ceiling with the 17th century Incoronation of Bradamante by Marco Antonio Franceschini. The Salottino d'Oro ("Golden Hall"), covered with gilted removable panels, was used by Duke Francis III as his main cabinet of work.
Modena is a city and comune (municipality) on the south side of the Po valley, in the Province of Modena in the Emilia-Romagna region of Italy.An ancient town, it is the seat of an archbishop, but is now best known as "the capital of engines", since the factories of the famous Italian sports car makers Ferrari, De Tomaso, Lamborghini, Pagani and Maserati are, or were, located here and all, except Lamborghini, have headquarters in the city or nearby. Lamborghini is headquartered not far away in Sant'Agata Bolognese, in the adjacent Province of Bologna. One of Ferrari's cars, the 360 Modena, was named after the town itself. Also, one of the colors for Ferraris is Modena yellow.The University of Modena, founded in 1175 and expanded by Francesco II d'Este in 1686, has traditional strengths in Economics, Medicine and Law and is the second oldest Atheneum in Italy, sixth in the whole world. Italian officers are trained at the Italian Military Academy, located in Modena, and partly housed in the Baroque Ducal Palace. The Biblioteca Estense houses historical volumes and 3,000 manuscripts. Famous Modenesi include Mary of Modena, the Queen consort of England and Scotland; operatic tenor Luciano Pavarotti (1935–2007) and soprano Mirella Freni, born in Modena itself; Enzo Ferrari (1898–1988) eponymous founder of the Ferrari motor company; and the rock singer Vasco Rossi who was born in Zocca, one of the 47 comuni in the Province of Modena.
Il Palazzo Ducale di Modena è stato sede della Corte Estense tra Seicento ed Ottocento. Dall’ Unità d’Italia, il Palazzo ospita la prestigiosa Accademia Militare di Modena. Tra i più illustri ex-frequentatori dell'Accademia troviamo 10 Marescialli d’Italia, 1 Maresciallo dell’Aria, 31 ministri, 6 Presidenti del Consiglio, 31 Senatori del Regno e 3 Senatori della Repubblica e 1 Deputato: di questi i nomi più illustri sono ricordati nella Galleria della memoria del museo storico dell'Accademia militare, ubicato nella sede stessa del Palazzo Ducale.La sua costruzione fu iniziata da Francesco I d'Este nel 1634 e fu finita da Francesco V. Il Palazzo sorse su un precedente "Forte Estense" e la sua architettura fu creata anche da interventi di Bernini e Borromini.La maestosa facciata del Palazzo, alleggerita dal gioco cromatico dei marmi, è stata recentemente restaurata. Dalla porta centrale si accede all’elegante "Cortile d’onore", sede delle cerimonie militari, e al suggestivo "Scalone d’onore". Nel Salone centrale è degno di nota il soffitto, affrescato nel Settecento da Marco Antonio Franceschini con l’incoronazione di Bradamante, capostipite degli Este, già celebrata da Ariosto nell’ Orlando furioso. Suggestiva testimonianza dello sfarzo della piccola corte modenese nel Settecento è il "Salottino d’oro", il gabinetto di lavoro del duca Francesco III, che nel 1756 lo fece rivestire e decorare con pannelli rivestiti di oro zecchino.Di fronte al Palazzo si alza una statua dedicata all'eroe risorgimentale Ciro Menotti, mentre alle spalle si trovano i principali "Giardini pubblici" di Modena, anteriormente detti giardini botanici estensi.
Modena è un comune italiano di 184.478 abitanti, capoluogo dell'omonima provincia in Emilia-Romagna.La città di Modena è stata dal 1598 e per diversi secoli capitale del ducato degli Este (fino all'annessione al nel 1859 all'entità statale che due anni dopo prese il nome di Regno d'Italia) ed è un'antica sede universitaria ed arcivescovile. Dal 1947 la città è anche sede dell'Accademia Militare dell'Esercito e dell'Arma dei Carabinieri.Il Duomo, la Torre Civica (Ghirlandina) e la Piazza Grande della città sono state dichiarate patrimonio dell'umanità dall'UNESCO.La città si trova circa al centro della provincia di cui è capoluogo, nella Val Padana. Due fiumi la circondano senza peraltro attraversarla: la Secchia ed il Panaro, la cui importanza per la città è testimoniata anche dalla presenza della Fontana dei due fiumi, dello scultore modenese Giuseppe Graziosi, situata in Largo Garibaldi.Le prime propaggini dell'appennino modenese si trovano circa 10 km a sud della città, già fuori del territorio comunale.La città, e soprattutto la sua area metropolitana, è economicamente una delle maggiori realtà europee. Infatti, nella provincia hanno sede importanti industrie alimentari (tra cui Grandi Salumifici Italiani, Cremonini e Fini, centri di produzione del Parmigiano Reggiano e della lavorazione del maiale - a cui Castelnuovo Rangone, il cuore di questo settore, ha dedicato addirittura un monumento -), metalmeccaniche (Modena può essere considerata la capitale mondiale dell'automobilismo sportivo con le sedi della Ferrari a Maranello, della Maserati in città, De Tomaso in periferia e Pagani a San Cesario, e fino a pochi anni fa, la Bugatti a Campogalliano), delle ceramiche (Sassuolo e Fiorano Modenese), tessili (Carpi) e del settore biomedico (Mirandola). Fino alla metà del XIX secolo, la città aveva due darsene: una interna alle mura, nell'attuale Corso Vittorio Emanuele, ed una esterna (il bacino) all'altezza del cavalca-ferrovia della Sacca, interrata nel 1936. Dei canali di Modena rimane traccia nei nomi delle strade, in particolare nel Centro Storico: esistono infatti vie chiamate Canal Grande, Canal Chiaro, Canalino, Canaletto e così via. Nel 1949 venne costruito, subito fuori delle mura, un Aerautodromo, con le funzioni di pista di volo per usi commerciali e pista di gare internazionali di auto e moto e di prova per le industrie automobilistiche locali di allora (Ferrari, Maserati e Stanguellini). È rimasto in uso sino al 1962 ma anche molto oltre per le gare motociclistiche ed esibizioni varie attinenti ai motori. Ora al suo posto vi è un grande parco dedicato ad Enzo Ferrari.
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Periphery & Animals As Leaders @ Brooklyn Bowl 11.22.2017
2017 © Fred Morledge - www.PhotoFM.com
For licensing or prints of these images, please contact Fred@PhotoFM.com
U.S. Ambassador to the UN Samantha Power meets with Israeli residents of the Gaza Periphery communities in southern Israel near the border with the Gaza Strip, Kibbutz Nahal Oz, Israel, February 16, 2016.
Photo Credit: Matty Stern/U.S. Embassy Tel Aviv
One of my favorite things is to wander just outside the reach of the fire's direct light and stare at the ambient warm glow that paints the underside of the surrounding trees. If you let your eyes adjust, the stars begin to appear in the gaps among the needles above to compete for your attention.
Something's been pushing at us. Some nervous shadow of, we can't say what. A need to be more alive than we've been living, more active around the periphery. It seems to be we're hardly known by name, even those who speak with us come wandering in from other lives. "Hello, how are you?" and hurry home to your own ones. Friendships are hard when you hold little in common. Harder still when the passion inside is locked away, only brought out in unused moments. What is most important should rise to the surface, skimmed off before it sinks below, becomes an alloy with boredom and apathy. "I'll do it tomorrow," we say, and tomorrow becomes the weeks and months that make up our lives. Rural life used to be the hard time, the wide-awake backbone of a work-a-day world. Now, "slow down" seems to be our mantra. So we crawl like snails, but something tells us we're still barreling down the highway.
Anxiety, we all feel it. When is my next vacation, when is the next bus? Did I sleep too late or dream too little? Will this be the year - the one I find true love, the one I stop worrying, the one I find meaning? Reverse insomnia, emotional narcolepsy, why can't I stay awake? Why do I come home and not tell him/her about my day? Is my cell phone as much of a prison as its name implies? The internet connects us, but it's sticky as a spider's web. You only need to look to your left or right to see an army of flies, fully engaged in giving up the struggle. Even too lonely to hang up on telemarketers.
What was the connection that forged a culture? Spaces shared, food and music. The everyday lives overcoming the special events. "Come to my house, sit at my table. Eat my food, and know me better." This is the voice of welcome, the front porch of friendship to those brave enough to give a little. More than your vote, more than your signature. More valuable than money, but free of cost. We can't bear to keep it all to ourselves. We trade a little kindness for a little more time, and suddenly, everything is easier. We'll think back, and realize - this was how we found our way.
This house is part of a farm from the periphery of the Spreewald, a combination of buildings from two sites.
Am Rande des Spreewalds besaßen die Bauern Anbauflächen von etwa 7 bis 15 Hektar, abhängig von der Qualität des Bodens. Damit hatten sie bessere Voraussetzung für die Landwirtschaft als im inneren Spreewald, wo alle Generationen sich ein Haus oder sogar eine Stube teilen mussten. Daher konnte man sich leisten, für die ältere Generation auf dem Hof ein eigenes Haus zu errichten, das sogenannte Auszugshaus.
At the periphery of the Spreewald the farmers owned cultivated areas of about 7 to 15 hectares, depending on the quality of the soil. This gave them better conditions for agriculture than in the inner Spreewald, where all generations had to share a house or even a living room. Therefore they could afford to build a separate house on the farm for the older generation.
Lehde (Lědy in the local Sorbian language) is a village situated near Lübbenau and meawhile integrated into that town. While Lehde had 298 inhabitants in 1929, only 150 people still live here (as of 2017). The place is a village consisting of many small islands. For centuries, until the early 1950s, Lehde could only be reached by water. Even today, practically all plots of land have their own access to one of the many canals between 0.8 and 1 meter deep, which largely have the function of roads. Postal deliveries and waste collection still take place by water. During the winter months, however, mail is delivered to mailboxes set up by the residents on the landside, by mail bike or car.
Due to the unusual location of Lehde and some preserved historical Spreewald houses, Lehde, which is completely under monumental protection, is a popular destination for tourists. Lehde can also be reached on foot, by bicycle or by car, however, the beauty and special features of the place can be experienced above all from the water side. (Wikpedia.de)
The Spreewald (German for 'Spree Forest'; in Lower Sorbian: Błota, i.e. 'the Swamps') is a section of the German state of Brandenburg located about 100 km sou It is known for its traditional irrigation system, consisting of more than 200 small canals (called Fließe; total length: 1,300 kilometres or 810 miles) within the 484-square-kilometre (187 sq mi) area. The landscape was shaped during the last Ice Age. About 50,000 people live in the biosphere reserve (1998). Many of them are descendants of the first settlers in the Spreewald region, the Slavic tribes of the Sorbs and Wends. They have preserved their traditional language, customs and clothing to this day.
Most inhabitants depend on tourism. Many tourists explore the Spreewald in punts. Agriculture, forestry and fishery are other important sources of income. The principal town of the area is Lübbenau. Alder forests on wetlands and pine forests on sandy dry areas are characteristic of the Spreewald region. Grasslands and fields can be found as well. About 18,000 species of flora and fauna have been identified. In 1991, the Spreewald was protected by the UNESCO under its Man and Biosphere Reserve Programme.
From left to right: Mark Holcomb, Jake Bowen, Misha Mansoor, Spencer Sotelo, and Matt Halpern
A quick photo of Periphery right outside of Oceanic Recording studio in bethesda right after European Dream Theater tour and just before Protest the Hero tour.
I got to listen to some of the songs they've recorded and let me tell you, i cannot wait for the world to listen to their new album, it's EPIC!
Strobist:
One light AB800 into octabox right camera feathered.
Left to right: Misha "Bulb" Mansoor, Jake Bowen, Spencer Sotelo, Mark Holcomb, and Matt Halpern.
Photo was taken during a break from their recording session at Oceanic Recording studio in Bethesda, MD. We were planning to do it outdoor but it had been raining for 2 days straight so we ended up shooting in this small area of the building, glad i brought my 24-70mm. I had to place my camera on a tripod and literally up against the wall to avoid more distortion on their faces.
They are now off to europe as special guests for the Dream Theater's Dramatic Tour of Events European tour 2012.
Strobist info:
2x SB-800 into medium softbox above camera for key
SB-600 into small shoot though umbrella left and above camera for fill
SB-28 with red gel on the (left) stairs for rim
SB-28x under the (right) stairs and behind for additional rim and pointed to a white reflector in front of Matt Halpern for more fill (specifically for him and may have spilled into Mark too)
Periphery
Summer Slaughter Tour
@ House Of Blues
Hollywood, CA
July 20, 2012
All Photos © Kaley Nelson - www.KaleyNelson.com
Periphery & Animals As Leaders @ Brooklyn Bowl 11.22.2017
2017 © Fred Morledge - www.PhotoFM.com
For licensing or prints of these images, please contact Fred@PhotoFM.com
Periphery & Animals As Leaders @ Brooklyn Bowl 11.22.2017
2017 © Fred Morledge - www.PhotoFM.com
For licensing or prints of these images, please contact Fred@PhotoFM.com
President Trump's Special Representative for International Negotiations Jason Greenblatt toured the Gaza periphery area, visited Ziv Hospital in Safed, and the Old City of Jerusalem, August 29-30, 2017.
President Trump's Special Representative for International Negotiations Jason Greenblatt toured the Gaza periphery area, visited Ziv Hospital in Safed, and the Old City of Jerusalem, August 29-30, 2017.
When Art and Science Meet
Over 100 Jewish, Arab and Circassian junior-high and high school students from Jatt, Ramleh, Afula and Kfar Kama participated in the fascinating project sponsored by the U.S. Embassy Tel Aviv. The “D.N.A. (Department of Nocturnal Affairs) project” is run by the Israeli-American artistic duo: Tal Yizrael and Caroline Maxwell. It gathers information on nocturnal animals from people around the world and presents it an artistic way to raise awareness to their importance and beauty in our lives. This year the D.N.A. project is part of the “Fresh Paint” International Art Fair in Tel Aviv, where thousands of visitors are exposed to it daily. In addition, Tal and Caroline gave inspirational workshops in the schools in Israeli periphery to the groups of female students involved in the scientific project “Girls Using CSI Approach to Study Barn Owls in STEAM Study in Israel and the U.S.” by the University of f Haifa’s Department of Evolution and Environmental Biology. This project - dedicated to a beautiful nocturnal bird- the barn owl, is supported by the U.S. Embassy, and promotes science education for girls. The organic connection between art and science was a perfect fit for the girls that were excited to learn about alternative research tools and actively involved in painting and sculpting nocturnal environment at their schools. This program highlighted the Embassy’s goal to promote STEAM (Science, Technology, Engineering, Arts and Math) education among girls in general, and from underrepresented communities in Israel’s socio-economic and geographic periphery.
Paimpont forest, also known as Brocéliande, is in the French commune of Paimpont, near the city of Rennes in Brittany. As Brocéliande it had a reputation in the Medieval imagination as a place of magic and mystery. It is the setting of a number of adventures in Arthurian legend, notably Chrétien de Troyes's Yvain, the Knight of the Lion, and locals claim the tree in which the Lady of the Lake supposedly imprisoned Merlin can still be seen today. Other legendary places said to lie within the forest include the Val sans Retour, the tomb of Merlin, the Fountain of Youth, and Hotié de Vivianne (castle of the Lady of the Lake). The medieval chronicler Wace visited the forest but left disappointed:
"...I went there in search of marvels; I saw the forest and the land and looked for marvels, but found none. I came back as a fool and went as a fool. I went as a fool and came back as a fool. I sought foolishness and considered myself a fool."
For those living close to Paimpont, the Arthurian legend is very strong. Many names in the legend can be translated into Breton or French, for example the name Lancelot translates as "wanderer" or "vagabond" in Breton. There is also a strong influence from the Druids, and all around Brittany are standing stones or alignments, the most famous of which are nearby at Carnac; a group of the alignments at Kerlescan are nicknamed "the soldiers of Arthur."
Paimpont is a forest of broadleaf trees, oaks and beeches mainly, with areas of conifers either inside after clear-felling or on the periphery as transition with the moor, for example towards the west in the sector of Tréhorenteuc and the Val-sans-Retour (= Valley of no Return) which was devastated by several fires in particular in 1976, a year of great drought. It occupies mainly the territory of the commune of Paimpont, but extends to bordering communes, mainly Guer and Beignon in the south, Saint-Péran in the northeast, and Concoret in north. The forest of Paimpont is the largest remnant of an ancient forest occupying Argoat, the interior region of Brittany. It was more often called the forest of Brécélien, but its ancient character and other qualities underlined by many authors decided on its name of "forest of Brocéliande," tallying of the adventures of the legend of the Round Table. This flattering designation was reinforced by the birth of the Pays de Brocéliande at the end of the 20th century, an institution intended to facilitate the development of the communes of the west of the département.
The relative altitude of the forested massif contributes to give it a climate close to the oceanic climate of the coasts of Finistere. This mode, where west and south-west winds carry of clouds and regular rain supports the vegetation, dominates. The surplus of water feeds the many brooks occupying the bottoms of small valleys before flowing into the river Aff, then the Vilaine, to the area around Redon in the south of the department. The highest point is at 256 m in the western part called Haute forêt. Altitude decreases regularly while offering viewpoints towards the department of Morbihan; viewpoints which one finds the equivalents in the north on the commune of Mauron, port of the Côtes-d'Armor. It is not far from there that the Paimpont Biological Station of the University of Rennes 1, built in 1966 and 1967, dominates the lake of Chatenay. The varied forest and its surroundings constitute a framework favorable to many training courses in which the Rennes 1 biology students as well as foreign researchers take part. These buildings can accommodate approximately 70 people, and researchers work all the year on subjects generally very far away from the local biotope such as behavior of primates, represented by Cercopithecus, whose cries are familiar for the area but surprising to the walker little accustomed to this exotic fauna. The first researchers lengthily studied the ecology of the Armorican moors, the grounds, and the hydrology.
The forest belongs mainly to owners who maintain it and exploit it for timber and hunting; only in the north-eastern part, a small part (10%) is "domanial" and is managed by the National Forestry Commission. This situation prevents freedom of movement in the forest even with the access to the borough and its pond. The owners, however, signed a convention authorizing, from April 1 to the end of September, the use of some hiking trails in the forest. Among the responsibilities of the forest guards are watching for behaviors that threaten the forest, its flora, and its fauna. For example, behaviors that pose the risk of fire, and those that endanger the game, like dogs running loose. The gathering of mushrooms is not absolutely prohibited, but it is only tolerated near the approved trails. Because of its importance before the French Revolution, the forest was the responsibility of a royal jurisdiction called the National Forestry Commission, as the traditional jurisdictions of the seigneurs did not occupying itself with forest management. The wood was excessively exploited for the power supply of the charcoal blast furnaces for the nearby industry, at least in the 17th and 18th centuries; the assignment of the trees of first choice to the navy was a marginal role.
An extract of the files of the correctional court of Montfort:
"Having left the forging mills of Paimpont on Monday morning, he passed by the workshop of the carpenter who was far away from the forging mills but in the middle of the forest, he drank there with Julien Auffray his cousin and foreman of the carpenters." (Foreman of the carpenters and sawyers on contract to the naval yards elsewhere). Auffray interrogation, 1826.
The Matter of Britain is a name given collectively to the legends that concern the Celtic and legendary history of Great Britain, especially those focused on King Arthur and the knights of the Round Table. The 12th century French poet Jean Bodel created the name in the following lines of his epic Chanson de Saisnes:
Ne sont que III matières à nul homme atandant,
De France et de Bretaigne, et de Rome la grant.
The name distinguishes and relates the Matter of Britain from the mythological themes taken from classical antiquity, the "matter of Rome", and the tales of the paladins of Charlemagne and their wars with the Moors and Saracens, which constituted the "matter of France". While Arthur is the chief subject of the Matter of Britain, other lesser-known legendary history of Great Britain, including the stories of Brutus of Britain, Old King Cole, King Lear, and Gogmagog, is also included in the Matter of Britain: see Legendary Kings of the Britons.
Legendary history of Britain
It could be said that the legendary history of Britain was created in part to form a body of patriotic myth for the island. Several agendas thus can be seen in this body of literature.
The Historia Britonum, the earliest known source of the story of Brutus of Britain, may have been devised to create a distinguished genealogy for a number of Welsh princes in the 9th century. Traditionally attributed to Nennius, its actual compiler is unknown; it exists in several recensions. This tale went on to achieve greater currency because its inventor linked Brutus to the diaspora of heroes that followed the Trojan War, and thus provided raw material which later mythographers such as Geoffrey of Monmouth, Michael Drayton, and John Milton could draw upon, linking the settlement of Britain to the heroic age of Greek literature, for their several and diverse literary purposes. As such, this material could be used for patriotic mythmaking just as Virgil linked the mythical founding of Rome to the Trojan War in The Æneid. Geoffrey of Monmouth also introduced the fanciful claim that the Trinovantes, reported by Tacitus as dwelling in the area of London, had a name he interpreted as Troi-novant, "New Troy".
More speculative claims link Celtic mythology with several of the rulers and incidents compiled by Geoffrey of Monmouth in his Historia Regum Britanniæ. It has been suggested, for instance, that Leir of Britain, who later became Shakespeare's King Lear, was originally the Welsh sea-god Llŷr (see also the Irish sea-god Lir). Various Celtic deities have been identified with characters from Arthurian literature as well: Morgan le Fay was often thought to have originally been the Welsh goddess Modron (cf. the Irish goddess Mórrígan). Many of these identifications come from the speculative comparative religion of the late 19th century, and have been questioned in more recent years.
William Shakespeare seems to have been deeply interested in the legendary history of Britain, and to have been familiar with some of its more obscure byways. Shakespeare's plays contain several tales relating to these legendary kings, such as King Lear and Cymbeline. It has been suggested that Shakespeare's Welsh schoolmaster Thomas Jenkins introduced him to this material, and perhaps directed him to read Geoffrey of Monmouth[citation needed]. These tales also figure in Raphael Holinshed's The Chronicles of England, Scotland, and Ireland, which also appears in Shakespeare's sources for Macbeth. A Welsh schoolmaster appears as the character Sir Hugh Evans in The Merry Wives of Windsor.
Other early authors also drew from the early Arthurian and pseudo-historical sources of the Matter of Britain. The Scots, for instance, formulated a mythical history in the Picts and the Dál Riata royal lines. While they do eventually become factual lines, unlike those of Geoffrey, their origins are vague and often incorporate both aspects of mythical British history and mythical Irish history. The story of Gabhran especially incorporates elements of both those histories.
The Arthurian cycle
"Parsifal before the Castle of the Grail" - inspired by Richard Wagner's Opera Parsifal - painted in Weimar Germany 1928 by Hans Werner Schmidt (1859-1950)
The Arthurian literary cycle is the best known part of the Matter of Britain. It has succeeded largely because it tells two interlocking stories that have intrigued many later authors. One concerns Camelot, usually envisioned as a doomed utopia of chivalric virtue, undone by the fatal flaws of Arthur and Sir Lancelot. The other concerns the quests of the various knights to achieve the Holy Grail; some succeed (Galahad, Percival), and others fail (Lancelot).
The medieval tale of Arthur and his knights is full of Christian themes; those themes involve the destruction of human plans for virtue by the moral failures of their characters, and the quest for an important Christian relic. Finally, the relationships between the characters invited treatment in the tradition of courtly love, such as Lancelot and Guinevere, or Tristan and Iseult. In more recent years, the trend has been to attempt to link the tales of King Arthur and his knights with Celtic mythology, usually in highly romanticized, early twentieth century reconstructed versions.
Additionally, it is possible to read the Arthurian literature in general, and that concerned with the Grail tradition in particular, as an allegory of human development and spiritual growth (a theme explored by mythologist Joseph Campbell amongst others).
Sources wikipedia
Matt Halpern previously Animal As Leader's drummer joined Periphery two years ago. He was nominated as the Best Metal Drummer of the year by Modern Drummer magazine which i had the honor to take the photos for.
At the beginning of this year he launched his website BAND HAPPY in which he has spent a long time developing and still we keep hearing about cool new features popping up. It's a website for musicians who are willing to become teachers and share what they know and for students that are willing to learn from any musicians they wish to learn from anywhere in the world. It's so brilliant it makes me wanna think that this is what the internet is intended for. Matt Halpern himself has been a teacher for a long time and there are hundreds of his students around the world. I truly appreciate artists who also have a passion to share their knowledge and inspire younger generation. Thanks Matt!
Strobist info:
1x Westcott strobe behind subject to whiten the dirty wall and create a glow around his neck (this was unintentional, i wish i could pull him out forward a bit more but we had a small room to work with)
1x Westcott strobe to his left hand side to create rim light
1x SB-800 into Orbis ring flash above camera
If ever there was a band that deserved a better place to play for this night, it is Periphery. The stage was almost non-existent and the lighting was horrible. There were times when you could not even see the band since the lighting was so uneven. My pictures reflect this. However, Periphery did not disappoint. They are technical wizards on their respective instruments. And they have fun on stage!
Si jamás fuera una banda que mereciera un mejor sitio para tocar, sería Periphery. Casi no existía algo que se llamaría un escenario y la iluminación era horrible. Había ocasiones en las que ni siquiera se podía ver la banda debido a las luces tan inconsistentes e irregulares. Mis fotos reflejan esto. No obstante, Periphery no me desilusionó. Todos los integrantes son magos técnicos en sus instrumentos respectivos. ¡Y se divierten en el escenario!
“Even without his favorite horse, “Rancho,” Pete Conrad still has that cowboy look – even on a geological field trip, part of NASA’s training curriculum.”
From another press slug:
“A WESTERN STAR HE ISN’T—Looking like an actor in a western movie, Astronaut Charles Conrad is shown during a geological training trip to Grand Canyon, Ariz., during the spring of 1964. Next Thursday, suited up quite a bit differently, Conrad will get aboard Gemini 5 spacecraft with fellow astronaut Gordon Cooper for a proposed 8-day orbital flight.”
As you'd expect from Pete, he's got it going on: longhorn motif belt buckle, lensatic compass/case next to it, geologist's hammer on the left hip & entrenching tool (maybe) on the right.
Move over Dr. H. H. Schmitt, there’s another ‘sheriff’ in town. 😉 Anyone get it? As in “geo” sheriff…for geologist. Schmitt being a Geologist by profession & the first one on the moon.
Waviness along the bottom periphery of the photo paper due to the copious amount of military-grade adhesive used to affix the press slug on the verso.
Per the following informative & amusing document, I'm assuming the photo to have been taken either 5/6 or 12/13 March 1964:
pubs.usgs.gov/of/2005/1190/of2005-1190_figs_001-019.pdf
Credit: ALSJ website
August 26th, 2016 - Periphery performs live at Saint Andrews Hall in Detroit, Michigan. Credit: Mirak Habbiyyieh. www.schwegweb.com
Namibia.
Swakopmund.
Mondesa township.
Video of the township with locals singing and dancing
The township tour offers a chance to experience the cultures of Mondesa, a large township in the heart of Swakopmund.
Mondesa is a township in Swakopmund started in 1960 by the then South African government. Approximately two-thirds of Swakopmund’s population apparently resides in Mondesa. Mondesa includes an informal settlement housing some 6,000 people at it’s eastern periphery.
read more about the housing scheme in the township
The bustle of people walking in the streets, children playing, food being sold on street corners and the beat of popular tunes merge to create our first impression as we enter township territory. Small tuck shops, shebeens and barbershops nestling amongst the houses become visible.
travelnewsnamibia.com/archives/travel-news/cultural-archi...
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A selfie by one of the statues in the Angkor Wat entrance plaza.This is but one of the may shrines in the outer periphery entrance corridor to the main Angkor Wat temple in Siem Reap, Cambodia. To get to the main temple, you enter through this door, out the door behind the statue, climb down onto the grass and follow the 'visit this way' signs till you get to the stairs at the bottom of the causeway. You then climb back on to the causeway and follow the causeway right upto the main Angkor Wat shrine. This walk is nearly a kilometer long. I had one of the freelancer guides hanging around there take this picture of me. I am not sure what this statue is of- in all probability, it's of a devata- a subsidiary god in Hinduism. (the Angkor Wat was originally a Hindu temple). It's definitely not of the Buddha- although the hair style my suggest so= but the Buddha is never depicted in this form, and not is it of a bodhisatava (a Buddhist figure of a person close to the Buddha and near to enlightenment), as these are usually shown kneeling. Detailed notes about the Angkor Wat temple appear throughout this album. (see previous pictures). (Siem Reap, Cambodia, Oct. 2008)