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Shanghai Art Chase
A classroom blog, on contemporary art and new media in relation to China, with focus on Shanghai. Managed by NYU in Shanghai Contemporary Art & New Media Class Participants. Instructor: Defne Ayas, Zhao Chuan. Past lecturers included: Yang Zhenzhong, Qiu Anxiong, Gu Wenda, Ding Yi, Hu Jueming, Birdhead, Lu Yuanmin, Yang Fudong, Davide Quadrio, Phil Tinari, Liu Ying Mei, Barbara Pollack, Lisa Movius, Binghui Huangfu. Since Fall 2006.
Friday, May 15, 2009
Does a Future Lie in Typography?
“In the long run, China will endure the turbulent and unprecedented upheavals of urbanization and internationalization. Art inspired by these times is consequently sure to be especially engaging and dazzling”
- Speech given at An International Discourse on New Chinese Video and Photography, 31 January 2004, San Diego Museum of Art Curator, Betti-Sue Hertz
A current running through the discussion on the impact of new media on contemporary art has been a question of how art can engage in the issues and problems that pervade society in an age of desensitization, disconnection and image overload. For Chinese contemporary art, this question is especially important.
How can Chinese artists address what is going on around them in China and in the world, while trying to maintain a regional identity? How can their work engage with the issues that face contemporary Chinese society? Not only must their work respond to the simultaneous launch of China into the international scene and rapid domestic development, it must also grapple with the issue of how to do so in a world ruled by techonology.
The 2004 Shanghai Biennale, which opened on September 28th 2004, focused on this question and, more specifically, the influence of new media on Chinese art and international art. It was entitled Techniques of the Visible in English and yingxiang shengcun (Media Existence) in Chinese. This title was meant to show the complexity of the issues by illustrating the parallel between the two phrases and the shared interest in both the east and west. The show centers on two main questions: how does contemporary art reflect and evaluate the influence of technology on humanity? How may art use technology to enrich human experience?
In order to answer these questions the Biennale utilizes the Chinese concept of “ying” which encompasses all phenomena related to sight. Here “ying” can be used to mean the way in which artists can create work that engages and connects with its viewer, instead of only providing the viewer with something to see. “Ying” is where artwork can be transformed from merely an image (among so many others) to something truly “visible.” It is here where the visible and the invisible meet. The concept of “ying” is particularly useful in relation to an essay written by art critic John Berger entitled Small Steps Towards a Theory of the Visible. In the essay, Berger argues that as the world becomes more and more image saturated “appearances have become volatile” (Berger). Art does not provoke, it entertains. How can artists create work that puts “ying” into practice by engaging its viewer and bringing him or her on a journey with the artist through the work.
The Shanghai Biennale aimed to show that with the increasing relevance of this concern, attention is directed away from the “east/west dichotomy” and more towards “the relationship between technology and human existence” (Course Reader, Ying, Xu Jiang) As new media’s role in contemporary art becomes increasingly important, the conceptual understanding of art (What constitutes art? How can art be distinguished from other forms of expression?) is becoming more and more global. In an article entitled Ying by Xu Jiang, the President of China Academy of Art, a more in depth discussion of the role “ying” in Chinese contemporary art takes place. He writes that the 2004 Biennale also aimed to emphasize that for Chinese artists, this global issue must be addressed in the context of maintaining a regional identity. They suggest that perhaps the use of the concept “ying” can be the vehicle by which Chinese contemporary art can develop domestically and internationally.
When looking at contemporary Chinese art, especially in the past 10 years, we can see the rapid rise of a number of artists on the international scene. Particularly, we can look at Xu Bing who has exhibited in numerous museums and galleries all around the world. In an interview with Xu, he discusses the role of globalization in Chinese art. He states that “contemporary art” in China has become boring. Instead of creating what Berger would call the “visible,” it is wrought with themes and images that have become somewhat trite. To him, artists working within the contemporary Chinese art scene have taken on the idea that “you are an artist, so whatever you do is valuable.” In doing so, they forget the “ultimate goal of art,” which is to create something involving “creative superiority” (Course Reader, Interview with Xu Bing). In using the word “artist” in reference to themselves, they have allowed themselves to create “substandard work.”
According to Xu, artists today have become too narrow and have “increasingly lost touch with the times and the social context.” As art becomes more and more global, it has become easier and easier for artists to see what kind of art is valuable on the international market and create something to that effect. Young artists see the successes of older artists like Xu and try to mold themselves into a similar model. Thus, the scene is dominated by a huge influx of the same kinds of art work, much without any of what Xu would call “creative superiority.” Xu Bing sees the future of Chinese art, not in “contemporary art,” but in the world of “practical or commercial art” such as graphic design and typography. In this way, the use of new media can be looked at as a place for Chinese artists to create something fresh or something that is able to more genuinely connect with the current social context China is facing.
The idea that contemporary art in China has become “boring” echoes with many Chinese artists. Another such artist is Lu Jie, who has also risen to stardom in the contemporary art scene. Like Xu Bing, Lu Jie has become internationally recognized. Lu Jie and Xu Bing share similar views, although Lu Jie seems to be much more critical of the contemporary art scene in China. In 1999 he and Qiu Zhijie curated the Long March Project: A Walking Visual Exhibition, which was a five-month traveling art show that followed the route of the original long march. In the description of the Long March Project written by Lu Jie and Qui Zhijie, many concerns and grievances with the direction Chinese art has moved are expressed. They write that contemporary art has moved from 1. masses to elite 2. private studios to hierarchal structures (such as the biennale and blockbuster exhibitions) and 3. China to the international world. They also express apprehension about the future of the contemporary art scene in China, a scene that exists in an increasingly global spotlight. The aim of the project was to address these concerns by bringing contemporary art to the people or “peripheral population” of China through a moving exhibit.
In an interview with Lu Jie, he explains the aim of the project and his thoughts on the development of contemporary art. He blames the international market for inserting western intellectual jargon (issues like post colonialism and globalization) into Chinese contemporary artwork, standardizing a set of topics that all “Chinese contemporary art work” must deal with, but that most actually fail to truly engage with. Like Xu Bing, Lu also feels that contemporary art has lost a sense of “creative superiority.” Although it might have attained elite status on the international scene, its ability to engage with Chinese history and society has become “shallower and shallower.” He argues that a deeper understanding of the local context is necessary for the future of the art scene. He calls for subtle exploration of this “period’s traces, rescuing it from canonized discourse” (Course Reader, Interview with Lu Jie).
Perhaps Lu Jie would agree with Xu Bing in his conviction that the future lies in commercial art. After attending the typography lecture during the Shanghai Literary Festival, I have to agree that art forms such as graphic design have momentous potential. Maybe it will be in such art forms that the concept of “ying” can be utilized, creating art work that is able to maintain a cultural and regional identity, while still acting within a global context.
The Grassmarket is a historic market place and an event space in the Old Town of Edinburgh, Scotland. In relation to the rest of the city it lies in a hollow, well below surrounding ground levels.
The Grassmarket is located directly below Edinburgh Castle and forms part of one of the main east-west vehicle arteries through the city centre. It adjoins the Cowgate and Candlemaker Row at the east end, the West Bow (the lower end of Victoria Street) in the north-east corner, King's Stables Road to the north west and the West Port to the west. Leading off from the south-west corner is the Vennel, on the east side of which can still be seen some of the best surviving parts of the Flodden and Telfer town walls.
The Grassmarket tenements with the Castle shrouded in a typical Edinburgh haar. The view to the north, dominated by the castle, has long been a favourite subject of painters and photographers, making it one of the iconic views of the city.
First mentioned in the Registrum Magni Sigilii Regum Scotorum (1363) as "the street called Newbygging [new buildings] under the castle", the Grassmarket was, from 1477, one of Edinburgh's main market places, a part of which was given over to the sale of horse and cattle (the name apparently deriving from livestock grazing in pens beyond its western end).
Western end of Grassmarket, painted in 1845
Daniel Defoe, who visited Edinburgh in the 1720s, reports the place being used for two open air markets: the "Grass-market" and the "Horse-market". Of the West Bow at the north-east corner, considerably altered in the Victorian period, he wrote, "This street, which is called the Bow, is generally full of wholesale traders, and those very considerable dealers in iron, pitch, tar, oil, hemp, flax, linseed, painters' colours, dyers, drugs and woods, and such like heavy goods, and supplies country shopkeepers, as our wholesale dealers in England do. And here I may say, is a visible face of trade; most of them have also warehouses in Leith, where they lay up the heavier goods, and bring them hither, or sell them by patterns and samples, as they have occasion."
As a gathering point for market traders and cattle drovers, the Grassmarket was traditionally a place of taverns, hostelries and temporary lodgings, a fact still reflected in the use of some of the surrounding buildings. In the late 18th century the fly coach to London, via Dumfries and Carlisle, set out from an inn at the Cowgate Head at the eastern end of the market place. In 1803 William and Dorothy Wordsworth took rooms at the White Hart Inn, where the poet Robert Burns had stayed during his last visit to Edinburgh in 1791. In her account of the visit Dorothy described it as "not noisy, and tolerably cheap". In his 1961 film Greyfriars Bobby Walt Disney chose a lodging in the Grassmarket as the place where the Skye terrier's owner dies (depicting him as a shepherd hoping to be hired at the market rather than the real-life dog's owner, police night watchman John Gray).
The market closed in 1911 when a new municipal slaughter house at Tollcross replaced the old shambles in the western half of the Grassmarket (a road beyond the open market place) which joins King's Stables Road.
An inscribed flagstone in the central pavement in front of the White Hart Inn indicates the spot where a bomb exploded during a Zeppelin raid on the city on the night of 2–3 April 1916. Eleven people were killed in the raid, though none at this particular spot.
The Grassmarket was also a traditional place of public executions.
Shadow of the gibbet next to the Covenanters Memorial
A memorial near the site once occupied by the gibbet was created by public subscription in 1937. It commemorates over 100 Covenanters who died on the gallows between 1661 and 1688 during the period known as The Killing Time. Their names, where known, are recorded on a nearby plaque. One obdurate prisoner's refusal to escape death by swearing loyalty to the Crown prompted the snide remark by the Duke of Rothes that he had chosen to "glorify God in the Grassmarket".
In 1736 the Grassmarket formed the backdrop to the Porteous Riots which ended in the lynching of a captain of the Town Guard. A plaque near the traditional execution site now marks the spot where an enraged mob brought Captain Porteous's life to a brutal end.
Maggie Dickson's Pub
A popular story in Edinburgh is that of Margaret Dickson, a fishwife from Musselburgh who was hanged in the Grassmarket in 1724 for murdering her illegitimate baby shortly after birth. After the hanging, her body was taken back to Musselburgh on a cart. However, on the way there she awoke. Since, under Scots Law, her punishment had been carried out, she could not be executed for a second time for the same crime (only later were the words "until dead" added to the sentence of hanging). Her "resurrection" was also to some extent seen as divine intervention, and so she was allowed to go free. In later life (and legend) she was referred to as "half-hangit Maggie". There is now a pub in the Grassmarket named after her.
In 1775, the young advocate James Boswell's first criminal client, John Reid from Peeblesshire, was hanged in the Grassmarket for sheep-stealing. Boswell, convinced of his client's innocence and citing Maggie Dickson's miraculous recovery, hatched a plan to recover Reid's corpse immediately after execution and have it resuscitated by surgeons. He was finally dissuaded from this course of action by a friend who warned him that the condemned man had become resigned to his fate and might well curse Boswell for bringing him back to life.
Sir Walter Scott described his memory of the Grassmarket gibbet in his novel The Heart of Midlothian published in 1818.
The fatal day was announced to the public, by the appearance of a huge black gallows-tree towards the eastern end of the Grassmarket. This ill-omened apparition was of great height, with a scaffold surrounding it, and a double ladder placed against it, for the ascent of the unhappy criminal and the executioner. As this apparatus was always arranged before dawn, it seemed as if the gallows had grown out of the earth in the course of one night, like the production of some foul demon; and I well remember the fright with which the schoolboys, when I was one of their number, used to regard these ominous signs of deadly preparation. On the night after the execution the gallows again disappeared, and was conveyed in silence and darkness to the place where it was usually deposited, which was one of the vaults under the Parliament House, or courts of justice."
The old market area is surrounded by pubs, clubs, local retail shops, and two large Apex Hotels. Many students live in the Grassmarket, though its openness (due to the large market space) and proximity to the centre of town now tend to increase house prices.
North-east corner of the Grassmarket. Up until 1764 public hangings took place on a spot just to the left of the yellow traffic sign. Thereafter, they were carried out in the Lawnmarket until the last hanging there in 1864.
The building dates range from 17th century to 21st century. The White Hart Inn dates from the early 18th Century and claims to be the oldest public house in Edinburgh and is said to have been visited by Robert Burns (1759–96), the Wordsworths (1803), William Burke and William Hare in the late 1820s.
There are several modern buildings on its southern side. Some properties were used by Heriot-Watt University, and its predecessor college, for teaching and research until the university moved fully to its new Riccarton campus (1974–92). The Mountbatten Building of Heriot-Watt University was built in 1968) for the departments of electrical engineering, management and languages. The Mountbatten building was converted and reopened as the Apex International Hotel in 1996.
Reformance: recycled performance festival.
This photo is a reinterpretation of Marina Abramovic & Ulay's "Relation in Time". Claremi and I, as Miranda & Mirón, organised the festival's first edition with 9 different pieces in spring 2010. We took these photos to accompany the call for submissions and inspire some reinterpretations using two well-known performances of art history. Info, photos and videos on the results at
www.fernandezmiron.com/reformance
Reformance: festival de performance reciclada
Esta foto es una reinterpretación de "Relation in Time", de Marina Abramovic & Ulay. Claremi y yo, como Miranda y Mirón, organizamos la primera edición del festival con 9 piezas diferentes en primavera de 2010 e hicimos estas fotos para acompañar la convocatoria e inspirar algunas reinterpretaciones mediante dos de las performance más conocidas de la historia del arte. Información, fotos y vídeos de los resultados en www.fernandezmiron.com/reformance
Relation | Pala'U'h | Sea Gypsies
Location : Omadal Island | Semporna | Sabah | Malaysian North Borneo
© 2010 AzmanJumat Photography.Any unauthorized copy, usage or reproduction of the image is strictly prohibited.
email : azj68@yahoo.com
Item Number:662-2-sh1
Document Title:Detroit Chamber of Commerce (verso)/ Woodward Ave./ Section Showing its Relation to River (P/I)/ ; Scale 1" = 4' (recto)
Project:00662; Detroit Chamber of Commerce; Palmer Pk #663 --Metropolitan Park Commission; Detroit; MI; 02 City & Regional Planning & Improvemen; 11;
Artist/Creator:Olmsted Jr., Frederick Law
Location:Olmsted National Historic Site, Brookline, MA
Category:PLAN
Purpose:P&S (Profile & Section)
Physical Characteristics:0000068158 28 1/4" x 35 1/4" water/g --graphite --ink paper
Dates:14-MAR-1905 Rec'd OB. (st. recto)
Notes:Made by F.L.O. Jr. while in Detroit & added to in the Office of Donaldson & Meier (P/I)/ Brought by F.L.O. Jr. (P/I)/ Donaldson & Meier, Detroit from (verso)/ Detroit Photographic Co. 13 th & Linden, Mr Moore (verso)
Please Credit: Courtesy of the National Park Service, Frederick Law Olmsted National Historic Site
This photograph was sent to me by distant relation to my paternal grandmother. If only it had been taken with a decent camera!
I am guessing that this photo dates from 1952 to 1953 for several reasons:
Tramlines are visible and if one looks in the stationery shop window there appears to be a large picture in the middle top. I think this could be of Queen Elizabeth II on her accession or coronation hence my guess at the date.
What I found interesting was that the Fish and Chip shop to the right did not have a “Vitrolite” fascia in the photo as applied to 236 & 238 Smithdown Road which was the property purchased by my grandfather H.W. Luxton in 1938.
However, by the time I was around in the early 1960s the fish and chip shop known as “The Chippery” had gained a matching facia.
My grandfather bought the Fish and Chip Shop in the 1950s I think around 1952/3 it was when he acquired it was known as the “Greenbank Supper Bar”.
Carefully examination of picture reveals “SU” is just visible on the windows. Until I saw this picture a few months ago I thought the distinctive green and black “Vitrolite” fascia had been applied to the shops at the same time.
I was born in 1959 and by the early 1960s grandfather was renting it out to a Mr Wally Livesey to whom he sold the property. Mr Livesey then sold it on to a Greek man who after running it for himself for a while then rented it out to a succession of tenants some good and some bad! In more recent years the “Chippery” which had gained a new facia and had become “The New Chippery” was sold on to the current owners who completely revamped it and it has been the “Greenbank Fish Bar” now for some years.
The Vitrolite frontage of the Stationery, Newsagents and Chippery became damaged as a result of several bus crashes which occurred around 1984 (I think there was three). It took about three years for the MPTE to make good the damage and put up new facias but they would not replace the Vitrolite on cost grounds – which really was unfair.
When my Grandfather died in 1979 my father took over the business and had the interiors refitted with typical Formica shop fittings of the early 1980s. He continued to run the business into well into his 80s and his sudden death in spring 2007.
As I had a full time job, and my mother was also well past retirement age we sold the property on to a local businessman who converted and expanded using loft conversions the substantial residential property into student lets and the shops into lock ups.
Interestingly in the years since we sold up the former stationery and news agents shops have had several different uses each! However, the Fish and Chip Shop which my grandfather sold so many years ago had retained its function. I wonder if he had known that there was a future in fast food if he would have made that decision?
Also visible in the photo is Silverberg’s Kosher Butcher this closed in the late 1970s and was acquired by the Lev family who converted it into Dafna’s Cheesecake Factory which still trades today and which also retains its original front.
Original Caption: Memorial of Queen Liliuokalani in relation to the Crown lands of Hawaii, 12/19/1898
Created By: U.S. House of Representatives. Committee on Territories. (12/13/1825 - 1946)
From: Record Group/Collection: 233
From: Petitions and Memorials Referred to the Committee on the Territiories of the 55th Congress Regarding Hawaii
Production Dates: 12/19/1898
Persistent URL: arcweb.archives.gov/arc/action/ExternalIdSearch?id=306653
Reference Unit: Center for Legislative Archives (NWL), National Archives Building
Access Restrictions: Unrestricted
Use Restrictions: Unrestricted
Negative No: 1971-0911 - Negatives Book Entry: King Street West Area views in relation to right of light
Brussels Airlines has often been the poorer relation within the Lufthansa Group family; since their inception back in 2007 following the amalgamation of SN Brussels Airlines and Virgin Express, the airline has not benefitted from any brand new aircraft, only second-hand or transferred aircraft from previous iterations of Belgium's flag-carrier.
With Brussels Airlines having made a strong recovery since COVID-19, the carrier has recently benefitted from newer second-hand aircraft internally transferred within the Lufthansa Group, notably Airbus A320s which will allow the airline to retire the eldest Airbus A319s.
By late-2021, Brussels Airlines would benefit from 3 brand new Airbus A320neos, the first time in their operating history they will receive new aircraft; this made Brussels Airlines the last carrier within the Lufthansa Group to take on Airbus A320neos and rather than going to Pratt & Whitney PW1000G engines which continue to suffer reliability issues, Brussels Airlines will utilise CFM International LEAP-1A engines as fitted to their Eurowings counterparts, and will soon feature on future deliveries for Lufthansa. The order for 3 Airbus A320neos was later increased to 5 by late-2022.
Brussels Airlines took delivery of their first Airbus A320neo back in late-October 2023, the first carrying a special variation of Brussels Airlines livery advertising the Airbus A320neos greener credentials; these have since been followed by 2 other Airbus A320neos, one in all-over white and the other in standard Brussels Airlines colours.
So far, the delivery of Brussels Airlines new Airbus A320neo fleet have allowed the flag-carrier to retire the eldest Airbus A319/A320s.
Currently, Brussels Airlines operates 33 Airbus A320 family aircraft, which includes 14 Airbus A319s, 16 Airbus A320s and 3 Airbus A320neos. Brussels Airlines have 2 Airbus A320neos on-order.
Sierra Bravo Alpha is one of 3 Airbus A320neos operated by Brussels Airlines, delivered new to the flag-carrier on 30th October 2023 and she is powered by 2 CFM International LEAP-1A26 engines. She has carried Less CO₂. Less Fuel. Less Noise colours since new.
Airbus A320-251N OO-SBA on short finals into Runway 09L at London Heathrow (LHR) on SN2093 from Brussels-Zaventem (BRU).
Easter Holiday, Roadtrip Idar-Oberstein
Easter (Old English: Ēostre; Greek: Πάσχα, Paskha; Aramaic: פֶּסחא Pasḥa; from Hebrew: פֶּסַח Pesaḥ) is the central feast in the Christian liturgical year.[1] According to the Canonical gospels, Jesus rose from the dead on the third day after his crucifixion. His resurrection is celebrated on Easter Day or Easter Sunday[2] (also Resurrection Day or Resurrection Sunday). The chronology of his death and resurrection is variously interpreted to be between AD 26 and 36, traditionally 33.
Easter marks the end of Lent, a forty-day period of fasting, prayer, and penance. The last week of the Lent is called Holy Week, and it contains Good Friday, commemorating the crucifixion and death of Jesus. Easter is followed by a fifty-day period called Eastertide or the Easter Season, ending with Pentecost Sunday.
Easter is a moveable feast, meaning it is not fixed in relation to the civil calendar. The First Council of Nicaea (325) established the date of Easter as the first Sunday after the full moon (the Paschal Full Moon) following the northern hemisphere's vernal equinox.[3] Ecclesiastically, the equinox is reckoned to be on March 21 (even though the equinox occurs, astronomically speaking, on March 20 in most years), and the "Full Moon" is not necessarily the astronomically correct date. The date of Easter therefore varies between March 22 and April 25. Eastern Christianity bases its calculations on the Julian Calendar whose March 21 corresponds, during the 21st century, to the 3rd of April in the Gregorian Calendar, in which calendar their celebration of Easter therefore varies between April 4 and May 8.
Easter is linked to the Jewish Passover by much of its symbolism, as well as by its position in the calendar. In many European languages, the words for "Easter" and "Passover" are etymologically related or homonymous.[4] The term "Pascha", from the same root, is also used in English to refer to Easter.
Easter customs vary across the Christian world, but decorating Easter eggs is a common motif. In the Western world, customs such as egg hunting and the Easter Bunny extend from the domain of church, and often have a secular character.
English: Page from the Stavelot Bible. Stavelot monastery, Mosan region, Belgium. 57.5 x 37 cm. In the collection of the British Library, London.
en.wikipedia.org/wiki/File:Christ_in_Majesty_-_Stavelot_B...
Principality of Stavelot-Malmedy
From Wikipedia, the free encyclopedia
Principauté abbatiale de Stavelot-Malmedy (fr)
Preensdom Stavelot-Malmedy (li)
Fürstabtei Stablo-Malmedy (de)
Vorstelijke abdijen Stavelot en Malmedy (nl)
Imperial abbey of Stavelot-Malmedy
Imperial Abbey of the Holy Roman Empire
←
651–1795
→
Stavelot-Malmedy, as at 1560, within the Lower Rhenish–Westphalian Circle
Capital
Stavelot
Government
Principality
Historical era
Middle Ages
- Malmedy abbey founded
648
- Stavelot abbey founded
651
- Abbot Poppo of Deinze
1020–48
- Abbot Wibald
1130–58
- Annexed by France
1794
- Creation of Ourthe
1795
- Congress of Vienna*
9 June 1815
Area
600 km2 (232 sq mi)
* Stavelot to United Kingdom of the Netherlands; Malmedy to Prussian province of Jülich-Cleves-Berg
The Principality of Stavelot-Malmedy was a principality of the Holy Roman Empire. Princely power was exercised by the Benedictine abbot of the imperial double monastery of Stavelot and Malmedy, founded in 651. At 600 km2 (230 sq mi), it was the second-smallest territory in the Empire, after the Duchy of Bouillon at 140 km2 (54 sq mi).[1] Along with Bouillon and the Prince-Bishopric of Liège, it was one of only three principalities in the region that were never a part of the Southern Netherlands,[2] all having been a part of the Lower Rhenish Imperial Circle, rather than the Burgundian Circle.[3]
In 1795 the principality was abolished and its territory was incorporated into the French département of Ourthe.[4] The Congress of Vienna in 1815 assigned Stavelot to the United Kingdom of the Netherlands[5] and Malmedy became part of the Prussian district of Eupen-Malmedy.[5] Both are currently parts of the Kingdom of Belgium — since the 1830 Belgian Revolution and the 1919 Treaty of Versailles respectively.
Establishment
Saint Remaclus
Saint Remaclus founded the Abbey of Stavelot on the Amblève river circa 650[5][6] on lands occupying the border between the bishoprics of Cologne and Tongeren,[7] this territory previously having been part of the Frankish Empire. A charter of Sigebert III, king of Austrasia entrusted Remaclus with both monasteries of Stavelot and Malmedy a few kilometres eastwards in the Ardennes forest, "a place of horror and solitary isolation which abounds with wild beasts".[8][9][10] Sigebert granted forest land and his Mayor of the Palace, Grimoald the Elder, was charged with furnishing money to build the two monasteries and continued to foster these communities with personal gifts and means from the king.[8]
The monastery of Malmedy is considered by the historians and the hagiographers to be slightly older than the monastery of Stavelot,[11] with the town claiming foundation in 648.[12] Malmedy is listed on earlier maps than Stavelot and the commission appointed in 670 by Childeric II, in order to delimit the abbey territory, started from Malmedy (Latin: de Monasterio Malmunderio).[7] Afterwards, the territory of the abbey was increased westwards so that Stavelot became the geographical center and the capital of the principality.[7]
The site of Malmedy was probably already settled before the foundation of the abbey, despite etymology seeming to indicate Malmedy may have been unsuitable for settlement.[7] Mal(u)mund(a)-arium was "a place with winding waters" or, most probably, Malmund-arium, a "bad confluency".[7] The Warchenne was partially canalised and its banks strengthened, before which Malmedy was often flooded.[7]
The first church in Stavelot was built by abbot Godwin and, on 25 June 685, was dedicated to the saints Martin, Peter and Paul.[13] The relics of Saint Remaclus were held in this new church.[14] The abbey church in Malmedy was dedicated to St Benedict.[10]
Who said "dog's life"?
This is a stray dog in Valdivia, Chile. In Chile because of the lack of good policies about animal control and bad education of people in general about tenancy of pets the issue of stray dogs is quite present. The developing of the situation has it own particularities. Although there exist cases of persons that got bitten by dogs, they are in general friendly to people and people like them and feed them. Proof of the good relation is that many of them look well feed. The best adapted also known how to deal with streets and the gathering of food from the left overs of fast food restaurants. Obviously stray dogs need to struggle to survive, but some of them cope with street life well enough to even take sweet naps under the sun, in the beach or in this case in the riverside.
Relation of this manuscript with the mysterious Voynich manuscript - as described by Rafal Prinke:
Most interestingly, however, folio 1r is signed "Jakuba z Tepence"! It is exactly in the same place as in the VMS and has the same form so there can now be no doubt that he was indeed the owner of both (I must admit that until now I was not quite sure what to think about his erased signature in VMS). As far as I know this is the first identified MS from Sinapius's library mentioned in VMS literature.
October 27, 2018 at 12:00pmuntil November 11, 2018 at 5:00pm at GENERATOR Projects
The exhibition, “Flesh and Finitude”, has borrowed its title from Cary Wolfe’s book, What is Posthumanism (2010). It explores the boundaries of human life and body. What is the end of the human and where does something else begin? This year’s NEoN festival’s theme is ‘Lifespans’ and our exhibition’s aim is to investigate the ‘posthuman condition’, the lifespan of ‘human’ as we know it.
Five artists were invited to provide different points of enquiry into what it means to be human in relation to other species, Nature, objects, technology, and humanity itself.
“Not all of us can say, with any degree of certainty, that we have always been human, or that we are only that.” (Rosi Braidotti, The Posthuman (2013) p.1) Today, when artificial intelligence, 3D printed organs and genetic engineering are a reality, what it means to be human is extended and redesigned. At the same time, technological advancement also reflects on our relationship (and most importantly similarities) with the Other.
Digital and sculptural works reflect on different aspects of human and its boundaries, its uncanny symbiotic relationship with others, held together by a melancholic sense of uncertainty.
Curated by Zsofia Jakab
Artists:
Caitlin Dick (UK) – Caitlin Dick recently graduated from her Master’s in Contemporary Art from Edinburgh College of Art and previously studied a BA (Hons) in Contemporary Art Practice at Gray’s School of Art, Aberdeen. Caitlin’s most recent work The Problem Begins When…, shown in Embassy Gallery Edinburgh, has focussed on the fusion of the technological and the human, creating an uncomfortable hybrid through digital and kinetic sculpture.
Give in to that Easy Living expands upon this previous work, attempting to explore these matters in a playfully cynical way, experimentally introducing an object-based installation which highlights our relationship with the bizarre, posthuman form that technology has created. Mobility assistance devices, kinetic sculpture and film create a sad scene of near total technological integration. Technology has become an extension of ourselves, no longer a separate entity; we feel lost or uneasy without it. The expectation of connection to anything and anyone at any time and for it then to be reciprocated immediately is an assumed part of capitalist consumer culture. Not only do we need to be accessible 24/7, we also believe that it is essential to be constantly active as part of our techno-ego. Our technological addiction has melted into everyday life, becoming monotonously accepted as part of normality. Website
Caitlyn Main (UK) – Caitlyn Mains practice operates from a state of uncertainty: through sustained linguistic unravelling and temporal installation, she presents works that speak of intimacy, agitation and balance. She accommodates, and indeed, propagates conditions encouraging fragility: every piece has the potential to collapse in on itself, and contains obvious indications of temporality. The work is a physical manifestation of precariousness – the use of dangling, leaning, bound and suspended elements serves to underline the flimsiness of matter.
Mains compositions reverberate between a situation of familiarity and abstraction. As firm edges become dissolved, or ignored, the parameters of her work seem to become floppy, saggy, and fluid – seeping outward to be absolved into the daily mass of visual information that surrounds us. The flesh of her assemblages is that of the world – the bones and tendons extrapolated from the domestic and the detrital, from our illuminated back lit phone screens and the phrases uttered to one another. Her frantic constellations continually oscillate between contradictory states: they are simultaneously saturated and empty, humorous, pathetic, sexual, exquisite and insignificant. Website
Rodrigo Arteaga (CHILE) – Rodrigo’s work aims to redefine some notions and ideas around nature and culture, considering what sort of division can exist between them. He has used material culture that comes from science and its varied systematic methods in the form of books, maps, diagrams, furniture and tools. There is some inherent contradiction in this effort to bring together order and disorder, the useful and the useless, unearthing the coded enigmas of our relationship to the environment. He has responded to scientific culture in an attempt to embrace its limits, maybe turn it back onto itself, finding a crack, subjectivizing something meant to be objective. Website
Alicia Fidler (UK) – Alicia’s practice expands how aesthetics of an object can be used to allude to the presence of action and a premise for performance. Functionality and Agency are contexts, which she employs to transcend an object’s still state. Adopting motifs such as handles, hooks, hinges, nets, harnesses and hoops, she dips into our preexisting relationships with objects and actions. Using Function as a guide for how the body enters the work. ‘Where the handle meets the hand to produce the thing’.
The work’s interaction is the crux, the genesis. She is fascinated by the anticipation and desire for engagement with sculpture. Changing and twisting the nature of the body and the object, into a moment caught in time. She makes works, which in every sense give instructions and demand usage but are so still. Wrapped up in potentiality. Stalling the moment of activity, producing an object that screams its performative past and future out. Recently working with visual suggestion, she has begun to use photographs of past performances. Distorting them with pattern and abstraction. Absorbing images directly onto materials. Re-digesting the echoes of action, presenting a twisted instruction. Through self-referencing, function and performance my work has become anthropomorphic. The sculptures embody their own Agency through visual clues.
They play out their own situations and actions extending beyond the tools, objects and apparatus they resemble. She moves from the realms of interaction, into works that represent a single moment; Bodilyobjects. Website
Callum Johnstone (UK) Callum Johnstone’s practice explores environmental collapse and the implications it will have on humanity. Knowing that our environment is changing at an accelerated pace due to climate change, humanity must quickly adapt by re-imagining and re-designing the structures in which we live. Johnstone aims to show that it is not the physical structures alone which must change, by also the underlying structures of our society which need to be rethought.
Though his work is primarily understood as sculpture, it often verges on the boundaries of architecture and design. His structures often incorporate repeating modular elements which allow the potential for a continuation, acting simply as a beginning component to a much larger superstructure. These ideas can then extend to the actions of the individual which as a collective become a greater movement and have the potential to alter society as we know it. Johnstone sees himself not only as a commentator and illustrator of current events but also as a module of the superstructure we call society. As a catalyst of ideas, the artist intends to inspire a conversation on ways in which humanity may adapt to imminent environmental threats.
Image Credit: Kathryn Rattray Photography
Rosie McDowell, Monica Townsend, Carolyn Garcia, Sergio Rodriguez, Teri Relation and Meghan McKinney join community members Paolo Mancinelli and Antonio sorting medicines to be donated to the poor.
Back across to the other side of Faversham, past a fellow orchid fanatic friend's house and out onto the marshes once again. And just when you think you have taken the wrong turn and run out of road, to the left you see the simple bellcote.
The approach to St Bartholomew's is down a long track, and the church is hudden behind a line of trees, so you really don't know what to expect.
The church seems surrounded by it's neighbouring farm, and the simple bellcote is currently supported by scaffolding. A simple two cell church with a large porch added at some point, and as expected from its rural location, a rustic church.
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Goodnestone was never the centre of a large population. Court and Church stood on slightly rising ground above the marshes of the River Swale, adjacent to the wealthier parish of Graveney whose church grew to outshine this `poor relation`. Today Goodnestone`s lack of prestige in the medieval period is cause for celebration as its simple two cell Norman construction is largely unaltered, other than for some enlarged windows and rebuilt chancel arch. The staircase that formerly lead to the Rood Loft remains in the north wall although this goes almost unnoticed as the visitor's eye is drawn to the simple Decorated window in the east wall. This is filled with stained glass produced by one of the most famous early nineteenth century practitioners in the newly rediscovered art, Thomas Willement. He lived just outside Faversham and many local churches have examples of his work. This is one of his better designs where scale, colour and technique combine to make something that is eminently suitable for its location. Nave, chancel, north porch, west belfry.
www.kentchurches.info/church.asp?p=Goodnestone+1
IES the next parish eastward from Preston, and is the last to be described in this hundred. It should seem by its name once to have belonged to Godwin, earl of Kent, being termed in antient writings Goodwinstune, i. e. Godwin's town, or village.
It is a very small parish, lying on the north side of the high London road, at the 48th mile-stone, about half a mile's distance from it. The village and church are situated in the middle of the parish, which does not extend more than half a mile from them each way. It lies low in a flat and open country, and from its nearness and exposure to the marshes, very unhealthy, the lands in it are exceeding rich and fertile, like those in the same tract in Faversham and Preston described before, the fields are very level, large, and but little encumbered with trees or hedge-rows, what trees there are are elm, and there is no woodland.
A fair is held yearly on Sept. 26, for toys, pedlary, &c.
THIS PLACE was held in the reign of Henry III. by Simon de Turville, of the earl of Leicester, as lord paramount, who held it again of the king in capite by knight's service. (fn. 1) Of his successor Nicholas de Turville this estate was again held in the reign of king Edward II. by one of the family of Chiche, which had been seated at the Dungeon in Canterbury for some generations, in which city they were of eminent account, being possessed of the fee of the aldermanry of Burgate there.
In the 20th year of king Edward III. Thomas Chiche, of the Dungeon, paid respective aid for the manor of Goodneston, then held by knight's service. Thomas Chiche, his son, was sheriff of Kent in the 15th year of Richard II. and was grandfather of Valentine Chiche, esq. of the Dungeon, who left three daughters his coheirs; Margaret, first married to Clovill, of Essex, and secondly to John Judde, of Tunbridge; Emelyn, to Sir Thomas Kempe; and another married to Martyn, who on their father's death became jointly entitled to this manor. The two former of them alienated their interest in it, about the beginning of king Henry VIII.'s reign, to Oxenbridge, as the latter did to Pordage, of Rodmersham. Soon after which, the whole property of it, excepting the third part of the advowson of the church of Goodneston, seems to have become vested in the name of Finch, and John Finch having, anno 17 Elizabeth, levied a fine of it, passed it away to Mr. Robert Fagge, descended from the Fagges, of Willesborough. in which parish they held lands so early as the reign of king Edward III. He died possessed of this manor, and was succeeded in it by his son Mr. Edward Fagge, gent of Faversham, who died in 1618, and lies buried in Faversham church, having married Anne, daughter of Richard Theobald, esq. of Seal, widow of Thomas Nevison, esq. of Eastry, by whom he had one son Michael, killed abroad in the Dutch wars, and buried at Utrecht, and two daughters, who became his coheirs, Mary, married to Sir Edward Partrich, of Bridge, whose first wife she was, and Anne, to Sir John Proude, being his second wife. The former died without issue, and the latter left by Sir John Proude, who was killed in 1628, at the siege of Groll, in Guelderland, being in the service of the states of Holland against the Spaniards, one son Edward, and a daughter Anne, who on the death of her brother without issue became entitled to this manor. The Proudes bore for their arms, Azure, three otters in pale, or, each holding in its mouth a fish, argent. (fn. 2) Many of of this family lie buried in St. Alphage's church, in Canterbury, where they resided for several generations. Anne Proude above-mentioned first married Sir William Springate, and afterwards Mr. Isaac Pennington, eldest son of Sir Isaac Pennington, lord-mayor in 1643, a most atrocious republican, who bore for his arms, Argent, five fusils in fess, azure, (fn. 3) who in her right became possessed of this manor, which continued in his descendants till at length Mr. Pennington, of Philadelphia, becoming entitled to it, conveyed it by sale, about the year 1748, to Michael Lade, gent: of Canterbury, who was descended of a family originally spelt both Lad and Ladd, who were of good antiquity in this county, in several parts of which they were possessed of lands as early as Edward the 1st.'s reign, which still bear their name. In king Edward the IVth.'s reign a branch of them was settled at Elham, one of them, John Ladd, of that place, died in 1527, whose youngest son Thomas settled at Barham, where many of his descendants lie buried. His grandson Vincent Lad, for so he spelt his name, died in 1625, leaving several sons, of whom Robert the eldest, who first spelt his name Lade, was of Gray's-inn a barrister-at-law, and recorder of Canterbury, to whom Segar, garter, granted the arms of Argent, a fess, wavy, between three escallops, sable. He was ancestor of the Lades, of Boughton, as Thomas, a younger son, was of the Lades, of Warbleton, in Sussex, from whom Sir John Lade, who was created a baronet in 1730, and the present Sir John Lade, bart. are descended. The former of whom still bear the above coat of arms, but the latter have changed the field for distinction, to or.
Michael Lade, the purchaser of this estate as before-mentioned, afterwards retired to Faversham, where he died in 1778, and was buried in BoughtonBlean church. He left two sons, John, of whom hereafter; and Michael, barrister-at-law, who married Sophia, lady dowager Cranston; and one daughter Elizabeth, married to Mr. Benjamin Browne. John Lade, esq. of Boughton-Blean and Canterbury, the eldest son, is the present possessor of the manor of Goodneston, and married Hester, sole daughter and heir of Mr. Hills Hobday, gent. of Faversham. She died in 1778, by whom he has three sons, John Hobday, now an officer in the militia; William, A. M. and rector of Knolton; and Charles, late an officer in the army; and one daughter Hester, married to William Stacey Coast, esq. now of Sevenoke.
A court baron is held for this manor.
There are no parochial charities. The poor constantly relieved are four, casually not more than one or two at most.
GOODNESTON is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Ospringe.
The church, which is dedicated to St. Bartholomew, consists of one isle and a chancel, with a small wooden spire at the west end, in which there is one bell. In the porch lies buried William Benet, rector of this church, 1490.
It appears by the Tower records of 1279, anno 8 Edward I. that Richard le Dagh, and Eleanor his wife, sold their lands here, and the advowson of the church, to Stephen Chiche, citizen of Canterbury, with a part of Blean wood, and some land lying below it. (fn. 4)
¶After which the patronage of it seems to have sollowed the like succession of owners that the manor did, till the reign of queen Elizabeth, when it became vested with it in Judde, Kempe, and Martyn; at the latter end of which, the two turns of presentation to it, which had belonged to the two former, became vested in Fagg, and the third turn in the Pordages, of Rodmersham, successors to the Martyns at Graveney-court; in which state they continued in 1640. In 1678 the Penningtons, owners of the manor, possessed two turns, and the Whites, of Vintners, in Box ley, who had become possessors of Graveney court, the other turn, from which name it passed to that of Blaxland, of Graveney-court, where it still continues. But the two turns belonging to Pennington were sold with the manor, about the year 1748, to Michael Lade, gent. of Faversham, whose son John Lade, esq. of Boughton, owner of Goodneston manor, is at this time entitled to them.
This church is a rectory, and a discharged living in the king's books, of the clear yearly certified value of thirty pounds, the yearly tenths of which are 10s. 3d.
In 1578 there were communicants here thirty-three; in 1640 twenty-four only, the value of it being then forty pounds per annum.
This rectory is endowed with all tithes whatsoever. There is a house and three acres of glebe land belonging to it.
An acre of land, called the Church Acre, belongs to the church, but it is not known who gave it.
it's really no relation to the photo, but i wanted to get this down somewhere. lately, leo will turn on the television and flip to the channel where the nuns are praying - it's on 24 hours a day where we live. leo will insist that we watch the nuns as they go over the rosary again and again... then he'll quote them with 'blessed is the fruit.' he likes to listen to them pray. he's totally serious about this and gets upset if i try to change the channel. if a priest walks onto the screen, he gets even more into it and he'll say 'look mom - it's JESUS!'
so we stop at the dollar store the other day to look for some kids hangers and there are two nuns shopping. leo and i are casually walking down the isle when he eyes these nuns. he immediately stops in his tracks and he's frozen. he won't go any further down the isle, and he's trying to bury his head into a shelf like he's looking at something. i thought for sure with all the intrigue of the tv nuns he'd want to go up and shake their hands!
Moda Womenswear fashion show
Location: Birmingham NEC
Photographer: Michael Kelly www.constructphotographic.co.uk
www.constructphotographic.co.uk
Twitter: @constructphoto
for information in relation to this and other images: Contact Michael On (+44) 7900 985 951 or E-mail us on Michael@constructphotographic.co.uk
مالي ومال الناس
مالك ومال الناس
لما حبيتك
ماخذت راي الناس
خلينا في الحاضر
وانسي الي كان
لاتشغل الخاطر
نحسب لرأي الناس
لاقالوا لاعادوا
لانقصوا زادوا
It can be built with animals !! sometimes they are better than humans :)
Location : Dubai , The Greek park , Dubai dolphinarium ..
--> i had to use the photoshop mis7t awadim oo shway mfa9ee5 ;p !!
Model : Gosha :D tyaaaannin kanat damha 5afeef !!
When did the sixth extinction begin, and who is responsible for it?
One way to tackle these questions is to consider the increasingly influential notion of the Anthropocene. The term, first put into broad use by the atmospheric chemist Paul J. Crutzen in 2000, refers to the transformative impact of humanity on the Earth’s atmosphere, an impact so decisive as to mark a new geological epoch.
The idea of an Anthropocene Age in which humanity has fundamentally shaped the planet’s environment, making nonsense of traditional ideas about a neat divide between human beings and nature, has crossed over from the relatively rarified world of chemists and geologists to influence humanities scholars such as Dipesh Chakrabarty, who proposes it as a new lens through which to view history.
Despite its increasing currency, there is considerable debate about the inaugural moment of the Anthropocene. Crutzen dates it to the late eighteenth century, when the industrial revolution kicked off large-scale emission of carbon dioxide into the atmosphere.
This dating has become widely accepted despite the fact that it refers to an effect rather than a cause, and thereby obscures key questions of violence and inequality in humanity’s relation to nature.
On the third season of the BFFs With Vogue khushi kapoor and Janhvi Kapoor take part of its first episode. Neha shared this episode on her Insta account. The special thing is that in this video, Janhvi is talking about the relationship of Ishaan Khattar and Tara Sutaria.
www.bhaskarhindi.com/news/janhvi-kapoor-clevered-answers-...
The deck will be extended to mount the arm in the proper relation to the spindle. Although the mounting pad can be turned and just squeaked on to the corner of one of these decks, I prefer to modify it and retain the full range of adjustment for tangency as my arm has a non removable shell.
Plus I have to make a 1/4" riser anyway as the platters on these are tall so I figured I would make it all one piece and eliminate having to make a spacer too.