Where is that fine line,

Where a pixl becomes a focus,

And the image looses the honor of the photograph, but moves out of illustration because no artist held a brush?

For me it's about trying to find meaning in the visual world, about detecting what Rupert Sheldrake called 'morphic resonance' the evolving sha ping of time space.

 

Inspired on Ben Horne's photographies, took this image trying to find the definition of contrast. Still can't find it haha

 

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Posted via email from Suzan's posterous

Another evening when I forgot a sketchbook and drawing implement and resorted to borrowing a pen to draw on a napkin. The Pizza Express restaurant is in the Golden Cross shopping area, housed in a 17th century or earlier timber frame building with wall paintings and oriel windows, now a pizza restaurant.

Understanding. Watermaal-Bosvoorde, 2022. Digital painting.

Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.

 

Today however we are at Glynes, the grand Georgian family seat of the Chetwynds in Wiltshire, and the home of Lettice’s parents, the presiding Viscount and Countess of Wrexham and the heir, their eldest son Leslie and his wife Arabella. Lettice is staying at her old family home for the festive season as she usually does between Christmas and Twelfth Night*. However, this year she had an extra reason for being with her family this Christmas.

 

For nearly a year Lettice had been patiently awaiting the return of her then beau, Selwyn Spencely, son of the Duke of Walmsford, after being sent to Durban by his mother, Lady Zinnia in an effort to destroy their relationship which she wanted to end so that she could marry Selwyn off to his cousin, Pamela Fox-Chavers. Having been made aware by Lady Zinnia in October that during the course of the year, whilst Lettice had been biding her time, waiting for Selwyn’s eventual return, he had become engaged to the daughter of a Kenyan diamond mine owner whilst in Durban. Fleeing Lady Zinnia’s Park Lane mansion, Lettice returned to Cavendish Mews and milled over her options over a week as she reeled from the news. Then, after that week, she knew exactly what to do to resolve the issues raised by Lady Zinnia’s unwelcome news about her son. Taking extra care in her dress, she took herself off to the neighbouring upper-class London suburb of Belgravia and paid a call upon Sir John Nettleford-Hughes.

 

Old enough to be her father, wealthy Sir John is still a bachelor, and according to London society gossip intends to remain so, so that he might continue to enjoy his dalliances with a string of pretty chorus girls of Lettice’s age and younger. As an eligible man in a aftermath of the Great War when such men are a rare commodity, with a vast family estate in Bedfordshire, houses in Mayfair, Belgravia and Pimlico and Fontengil Park in Wiltshire, quite close to the Glynes estate belonging to her parents, Lettice’s mother, Lady Sadie, invited him as a potential suitor to her 1922 Hunt Ball, which she used as a marriage market for Lettice. Selwyn rescued Lettice from the horror of having to entertain him, and Sir John left the ball early in a disgruntled mood with a much younger partygoer. Lettice recently reacquainted herself with Sir John at an amusing Friday to Monday long weekend party held by Sir John and Lady Gladys Caxton at their Scottish country estate, Gossington, a baronial Art and Crafts castle near the hamlet of Kershopefoot in Cumberland. To her surprise, Lettice found Sir John’s company rather enjoyable. She then ran into him again at the Portland Gallery’s autumn show where she found him yet again to be a pleasant and attentive companion for much of the evening.

 

Sir John also made a proposition to her that night: he offered her his hand in marriage should she ever need it. More like a business arrangement than a marriage proposal, Sir John offered Lettice the opportunity to enjoy the benefits of his large fortune, be chatelain of all his estates and continue to have her interior design business, under the conditions that she agree to provide him with an heir, and that he be allowed to discreetly carry on his affairs in spite of their marriage vows. He even suggested that Lettice might be afforded the opportunity to have her own extra marital liaisons if she were discreet about them. Turning up unannounced on his doorstep, she agreed to his proposal after explaining that the understanding between she and Selwyn was concluded. However, in an effort to be discreet, at Lettice’s insistence, they did not make their engagement public until the new year: after the dust about Selwyn’s break of his and Lettice’s engagement settled. Sir John motored across from Fontengil Park in the days following New Year and he and Lettice announced their engagement in the palatial Glynes drawing room before the Viscount and Lady Sadie the Countess, Leslie, Arabella and the Viscount’s sister Eglantyne (known by all the Chetwynd children affectionally as Aunt Egg). The announcement received somewhat awkwardly by the Viscount initially, until Lettice assured him that her choice to marry Sir John has nothing to do with undue influence, mistaken motivations, but perhaps the person most put out by the news is Aunt Egg who is not a great believer in the institution of marriage, and feels Lettice was perfectly fine as a modern unmarried woman. Lady Sadie, who Lettice thought would be thrilled by the announcement of her engagement, received the news with a somewhat muted response and she discreetly slipped away after drinking a toast to the newly engaged couple with a glass of fine champagne from the Glynes wine cellar.

 

We now find ourselves in the Glynes morning room where after noticing her prolonged absence, the Viscount has discovered his wife sitting quietly alone.

 

The Glynes morning room is very much Lady Sadie’s preserve, and the original classical Eighteenth Century design has been overlayed with the comfortable Edwardian clutter of her continual and conspicuous acquisition that is the hallmark of a lady of her age and social standing. China cabinets of beautiful porcelain line the walls. Clusters of mismatched chairs unholstered in cream fabric, tables and a floral chaise lounge, all from different eras, fill the room: set up to allow for the convivial conversation of the great and good of the county after church on a Sunday. The hand painted Georgian wallpaper can barely be seen for paintings and photographs in ornate gilded frames. The marble mantelpiece is covered by Royal Doulton figurines and more photos in silver frames. Several vases of Glynes’ hothouse flowers stand on occasional tables, but even their fragrance cannot smother Lady Sadie’s Yardley Lily of the Valley scent which is ever present in the air.

 

“I say! What are you doing in here, old girl?” the Viscount asks as she sees his wife sitting at her bonheur de jour** in the corner of the morning room. “The rest of the family is still in the drawing room, including Lally and Charles, who have returned from their visit to Bowood.***”

 

“I’m well aware of that, Cosmo. I heard them come back.” Lady Sadie says peevishly. “And less of the old, if you don’t mind.”

 

“Sorry Sadie.” the Viscount apologises. “It’s having all the young ones around and their new vernacular. It’s ‘old boy this’ and ‘old girl that’. It’s catching.”

 

“That’s alright, Cosmo, so long as it doesn’t catch on, here.” Lady Sadie replies with a cocked eyebrow.

 

“We were wondering where you’d gotten to.” the Viscount says. “I’ve opened another bottle of champagne.”

 

“Have you, dear?” Lady Sadie remarks absently.

 

“Of course I have, Sadie!” the Viscount chortles. “After all, it isn’t every day that our youngest daughter gets married.”

 

“I suppose not, Cosmo.” Lady Sadie replies rather laconically.

 

The Viscount watches his wife as she picks up a studio photograph taken in London by Bassano**** of their eldest daughter, Lally as a gangly young teenager, and Lettice as a girl of seven, both dressed in the pre-war uniform fashion of young girls: white lawn dresses with their hair tied in large satin bows. She sighs.

 

“Sir John is suggesting that we all motor over to Fontengil Park for luncheon, now that Lally and Charles are back.” the Viscount remarks awkwardly in an effort to break his wife’s unusual silence. “To celebrate the good news as it were. I thought it was rather a capital idea! Don’t you agree, Sadie?”

 

Lady Sadie doesn’t reply, instead staring deeply at the faces of her two daughters forever captured within Mr. Basanno’s lens, her look expectant, as if she were waiting for them to speak.

 

“You know, I must confess, I wasn’t too keen on him to begin with, nor the idea of he and Lettice marrying.” He looks guiltily at his wife. “I never really liked him, and always thought him a bit of an old lecher, sniffing around young women half his age, like our daughter. But Lettice assures me that she has made up her mind to marry him, and that there was no undue influence in the making of her decision.”

 

“Undue influence.” Lady Sadie muses in a deadpan voice.

 

“And now that I’ve really met him and chatted with him properly, I actually don’t mind Sir John, even if I do worry that he may be a tad old for Lettice. He’s quite a raconteur, very eloquent and worldly, and he obviously wants to make her happy. He might be just what she needs after all: a mature man who can help guide her in life, and indulge her too. He says he has no intention of stopping her career as an interior designer.”

 

Lady Sadie does not reply to her husband’s observations.

 

“Of course Eglantyne is quite against the engagement.” The Viscount chuckles. “But then, you know her opinions about marriage.”

 

Lady Sadie’s silence unnerves the Viscount as he tries desperately to fill the empty void between the pair of them.

 

“I thought I might get Harris to motor Leslie, Arabella, the grandchildren, you and I over there together.” the Viscount goes on when no opinion is forthcoming from his wife. “It might be fun for Harrold and Annabelle to come for a ride with us in the big old Daimler. Charles and Lally can go in their car with nanny and the baby.”

 

“Piers is hardly a baby anymore, Cosmo.” Lady Sadie opines as she puts down the photo of Lally and Lettice and picks up one of their eldest son, Leslie, as a boy of six in a Victorian sailor suit, with his soft blonde waves swept neatly behind his ears. “He’s two now, nearly three.” She then adds, “Won’t that be rather tiresome for Sir John’s cook, catering for us all?”

 

“We are connected to the exchange, Sadie. He can telephone ahead.”

 

“As you like.” she replies in a rather non-committal way. “Although I might cry off with one of my heads.”

 

“You don’t have one of your heads, Sadie.” the Viscount says darkly.

 

“How do you know I don’t, Cosmo. You don’t suffer them as I do.”

 

“I’ve been married to you long enough to know when you have a headache and when you don’t.” he replies. “And you certainly don’t have one now, even if you say you do.”

 

Putting down the photo of Leslie and picking up one of their second son, Lionel also in a sailor’s suit, and wearing a straw hat, Lady Sadie shudders. His look is sweet, but already at the tender age of three or four he was causing trouble, playing nasty tricks and hurting his nannies and worse, his own siblings. When Lettice was born a few years after the photograph was taken, Lady Sadie had to warn Lettice’s nurses that they were never to leave her unattended in Lionel’s presence, lest he smother her with a pillow, which he tried to do on several occasions when the nurses were slack in their observation of Lady Sadie’s rule or they were caught off guard.

 

“And of course Sir John can take Lettice over there in that topping blue Bugatti Torpedo***** of his.”

 

“Ghastly, vulgar and showy.” Lady Sadie opines. “Tearing up the country lanes as he speeds along them, so that no decent person of the county can walk them any more without fearing for their lives when he’s visiting the district.” She sniffs. “Or so I have it on good authority.”

 

She returns to her perusal of photos.

 

“I say, Sadie,” the Viscount remarks in surprise. “What’s the matter?”

 

“Whatever do you mean, Cosmo?” she asks, lifting her head from a baby photo of Leslie sitting on the corner of a button back****** sofa taken at the same time as the one she has of him leaning precariously against a rocking chair in a silver frame standing on the right side of her bonheur de jour.

 

“You know perfectly well.” the Viscount retorts. “Don’t be obtuse.”

 

“I’m not being obtuse, Cosmo!” Lady Sadie retorts.

 

The Viscount sighs, knowing in order to get an answer, he must play his wife’s game of teasing out the answer from her: a game he is well versed in playing after many years of marriage.

 

“You’re obviously not happy about the engagement, which I have to say surprises me. Why have you suddenly taken so much against Sir John? I thought you’d be delighted by the announcement.”

 

Lady Sadie ignores her husband’s question and picks up a large and ornate framed photograph of a wedding group taken in the early years of the Twentieth Century. It features a rather beaky looking bride in a pretty lace covered white wedding dress and a splendid black feather covered Edwardian picture hat. Her groom, dressed in his Sunday best suit with a boutonnière******* in his lapel and a derby on his head sits back in his seat, looking very proud. Around them stand various men and women in their Edwardian best, but the flat caps and mismatched jackets and trousers of the men and similarly mismatched outfits of the ladies suggest that this is not an upper-class wedding. In front of the bride a five year old Lettice stands proudly dressed as a flower girl in a white lace dress with ribbons in her hair, clutching a bouquet.

 

“Didn’t you take that photograph with your first Box Brownie********, Sadie?” the Viscount asks as he walks over and stands next to his wife and looks at the photograph.

 

“Yes, I did, Cosmo.” Lady Sadie acknowledges. “How good of you to remember.”

 

“Oh, who could forget that occasion?” the Viscount chortles sadly. “That was poor Elsie Bucknell’s wedding to that wastrel who turned her head with all his talk of being a tailor to all the great and good of Swindon, when in fact he was nothing but a con man from Manchester.”

 

“You were very good to settle the debts he left her with after he and his real wife absconded with all her money.” Sadie says, pointing at the rather pretty woman in white and a neat picture hat sitting to the groom’s right.

 

“Well, it was the right thing to do, wasn’t it? As lord of manor, it was my duty to support her, poor jilted woman.”

 

“Yes, the right thing.” Lady Sadie agrees with a sigh. “You’ve always done the right thing, Cosmo.”

 

“Well, I also did encourage her to marry him when she asked my opinion of him.”

 

“You’ve not always been the best judge of character, Cosmo.” Lady Sadie remarks.

 

The Viscount laughs. “What does that say about me choosing you as my bride then, Sadie?”

 

“I did imply that your poor judgements of character only happen sometimes, not always.” She runs her fingers over the glass in front of Lettice’s smiling face. “Lettice was as pleased as punch to be the flower girl at that wedding. Do you remember?”

 

“I do believe she thought all the smiles and gushing of the adulating congregation were for her and not for Elise behind her.”

 

“I do believe you are right, Cosmo.” Lady Sadie chuckles. “Did you know that’s why they call them, ‘Flappers’?”

 

“Who dear?”

 

“The newspapers and magazines.” Lady Sadie muses. “I found out not all that long ago, from Geraldine Evans of all people, if you can believe it,” she remarks with another chuckle, mentioning the elder of two genteel spinster sisters who live in Holland House, a Seventeenth Century manor house, in Glynes village. “She told me that they call the young girls of the Bright Young Things********* ‘Flappers’ because it refers to the fact that when they were girls and their hair was still down, it was tied by flapping ribbons or tied in pigtails that flapped.” She points to the big bow in the young Lettice’s hair.

 

“No. No, I didn’t know.” the Viscount replies a little awkwardly. “Look, what’s all this got to do wi…”

 

“Thinking of the right thing, Cosmo, I really should take this photo out of the frame, what with all the sad connotations it has, but I can’t quite bear to do it.” Lady Sadie goes on, interrupting her husband. “I’m rather proud of this photograph.”

 

“There’s no need. Elise has long since left Glynes after all the scandal, so she won’t know. Anyway, it’s a very good shot, Sadie.” her husband agrees, putting his hand around her and giving her right shoulder an encouraging squeeze.

 

“I’ve never been what you’d call artistic, like Eglantyne,” Lady Sadie says, referring to her husband’s favourite younger sibling, who is an artist of some renown in London. “Or like Lettice, but I’m not bad at taking photographs.”

 

“I think you’re a dab hand at it, Sadie my dear.” He rubs his wife’s right forearm, and bestows a kiss on her greyish white waves atop her head. “Far better than me, or Leslie. But I ask again, what’s any of this to do with Sir John, and your sudden dislike of him?”

 

“You know, you think you know what, or who your children will become,” Lady Sadie says wistfully, replacing the photograph in the frame back on the surface of her bonheur de jour. “And yet, they always surprise you.”

 

“Oh, I don’t think either Leslie or Lally have been particularly surprising.” the Viscount retorts.

 

“No?”

 

“No. As the eldest son, Leslie has turned out to be the fine heir to the Glynes estate that we always wanted. He’s responsible, and goodness knows his insight and forward thinking has prevented us from finding ourselves in the straitened circumstances that the Brutons or poor Nigel Tyrwhitt and Isobel are in now. And now that he’s married, it will only be a matter of time before he and Arabella give us a grandson to carry on the Chetwynd line and one day become the next Viscount Wrexham.” He smiles indulgently at the thought. “And Lally’s marriage to Charles Lanchenbury is all we could hope for, for her. I mean, Charles may not inherit a hereditary title from old Lanchenbury, which is a bit of a pity. But still, he’s a successful businessman and she’ll never wont for anything. She seems to rather enjoy playing lady or the manor in High Wycombe with her brood.”

 

“Oh yes.”

 

“Lionel was a surprising one.” The Viscount picks up the photograph of his second son in his Victorian sailor’s outfit and wide brimmed straw hat that his wife had held before. “Who would have imagined that behind such an angelic face lurked the depraved character of the devil incarnate?” He feels his wife shudder again at the thought of their wayward son beneath his hand. “There, there, Sadie my dear.” he coos. “The further away from us he is, the less we have to think about him,” He heaves a great sigh of regret. “Or deal with his messy affairs.”

 

“You know I received a letter from him yesterday?” Lady Sadie asks.

 

“No.”

 

“Yes,” Lady Sadie snorts derisively. “From Durban of places, would you believe?”

 

“The same as young Spencely.”

 

“Yes! Isn’t that a coincidence? It was quite a good letter actually, and the first I’ve had since Leslie’s wedding where he doesn’t implore me to ask you to bring him back here. He writes that he went to Durban to show off two of his new Thoroughbreds to a perspective buyer: some playboy horse racing son of a nouveau riche businessman. It sounds like he’s had a bit of luck, as he seems quite flush at the moment, going to nightclubs and the like down there.”

 

“Squandering his earnings on gambling, women and god knows what else, down there, I’ll warrant.” the Viscount opines gruffly.

 

“No doubt.” Lady Sadie sighs.

 

“Poor Lettice.” the Viscount adds in a softer tone, as his mind shifts to his youngest daughter’s heartbreak at the hands of Selwyn Spencely.

 

“Aahh, and then there was Lettice.” Lady Sadie remarks, taking up a round gold frame featuring a studio photograph of a beaming Lettice at age ten in a smart winter coat and large brimmed hat, full of confidence sitting before the camera. “The most surprising child of all, not least of all because she was a surprise late pregnancy for me.”

 

“Oh, Lettice is no surprise to me, Sadie.” the Viscount retorts. “I mean, Eglantyne picked her as having an artistic temperament right from the beginning, and she was right. I knew she had more brains than our Lally has, which is why I gave her all those extra lessons.”

 

“You indulged her, Cosmo!” Lady Sadie remarks. “You’ve always spoiled her. So does Eglantyne. She’s your pet, and hers too.”

 

“Every bit as much as Leslie is yours, Sadie.” He points to the silver framed portrait of Leslie.

 

“You were the one who encouraged her to start up this ridiculous interior decoration nonsense.”

 

“Well, in reality it was really Eglantyne who drew my attention to her flair for design, but I’m glad that she did. Look at the successes she has had! She runs her own business, with very few hiccups or missteps,” He momentarily remembers the kerfuffle that there was with Lettice signing a contract drawn up by Lady Gladys Caxton’s lawyers without consulting the Chetwynd family lawyers. “And she’s very good at keeping accounts.”

 

“Excellent, she’ll make the perfect bookkeeper.” Lady Sadie remarks sarcastically.

 

“It will put her in good stead for running Sir John’s households, Sadie.” the Viscount tempers. “Goodness knows he has enough of them. And she has received accolades from Henry Tipping**********, printed in Country Life********** for all to see, and that is fine feather for her cap, you must confess.”

 

“I don’t deny that.” Lady Sadie agrees somewhat reluctantly.

 

“No, I always knew Lettice would be the greatest success of all our children.” the Viscount says proudly.

 

“Did you, Cosmo?”

 

“Of course I did, Sadie. I understand her.”

 

“You!” Lady Sadie scoffs. “You may decry that you love your youngest and favourite daughter so well, Cosmo, and without a doubt, you do. However, whatever you say, you don’t understand Lettice.”

 

“And you do, Sadie?” the Viscount retorts hotly. “When she comes home to lick her wounds after Zinnia sent Selwyn away, craving comfort, you drove her from the house, telling her she needed to throw herself into the social rounds, rather than stop and miss him. Is that understanding?” He folds his arms akimbo and looks away from his wife in disgust. “No wonder she kept her engagement to Sir John a secret for the last month or so, since you suddenly seem to despise her husband-to-be: a man whom I should like to point out, you thought was perfectly suitable for her not so very long ago. Sir John may not have the title of duke, but he has a title nonetheless, and I have no doubt that his fortune is equal to that of the Duke of Walmsford.”

 

“You misunderstand me, and my motives, Cosmo.” Lady Sadie replies, hurt by his words, but also resigned to the fact that he believes them. “As always, I am portrayed like one of Mrs. Maingot’s derided pantomime villains in the Glynes Christmas play.”

 

“If the cap fits, Sadie.”

 

“See, you think I don’t understand my children, but I assure you that, aside from Lionel, I do.”

 

“Who could ever understand that child of the devil, Sadie?”

 

“Indeed, well aside from our errant black sheep, I understand the others. You love them, Cosmo, probably far more than me, but I on the other hand, understand them.”

 

“How so, Sadie?”

 

“You misalign my actions because you don’t understand them, either. When Lettice came here after Zinnia packed Selwyn off to Durban, what did you do? You gave her a place to shelter, yes, but you mollycoddled her: feeding her shortbreads and allowing her to retreat from the world.”

 

“Well, that’s what she needed, Sadie.”

 

“No. That’s where you are wrong, Cosmo. She didn’t need mollycoddling. It just made things worse. It amplified her situation and how she felt as you allowed her to spend her empty days brooding. Lettice is apt to brood, when given the opportunity. What she really needed was to be told that the sun will still rise and set, in spite of her own innermost turmoil, and what she needed was to be sent back out into the world, so that she could be distracted, and build up her resilience. That’s what she needed, Cosmo, and I helped her achieve that. And that, my dear, is what I mean by truly understanding Lettice. Believe it or not, I understand her as a young woman, and I understand what she needs.”

 

“Well, if you wanted to build resilience in her, that’s what you’ve achieved, and admirably at that. Selwyn jilts our daughter and what does she do? Rather than moping, which is what you seem to think I would have encouraged her to do, she went out and got herself engaged to one of the most eligible bachelors in the county, in England no less. Yet you don’t seem at all happy about the engagement, even though you put Sir John into the mix at the Hunt Ball that you used as a marriage market for Lettice.”

 

“Once again, Cosmo, you see your daughter, but you don’t understand her.”

 

“Then pray enlighten me, Sadie because I certainly don’t understand you right at this moment.”

 

“Lettice’s heart is breaking, and ever since she was a child, when her heart is broken, she lashes out, like when Mopsy died. Remember her Cavalier King Charles Spaniel?”

 

“How could I forget that beautiful dog. But surely you aren’t comparing her tears and tantrums as a seven year old child, to now, Sadie? There are no tears this time, no tantrums.”

 

“But that’s where you are wrong, Cosmo. This is her tantrum. It just isn’t one that exhibits itself in the same way. Lettice is trying to prove to Selwyn,” She pauses for a moment and thinks. “No, more prove to Zinna, that she isn’t defeated by whatever nasty games she is playing to break the romance between Lettice and Selwyn. She’s trying to exact revenge on them both.” Lady Sadie sighs. “But she’s going about it all wrong.”

 

“What do you mean, Sadie?” The Viscount sighs as he sinks down onto the edge of one of the morning room chairs nearest him and looks across at his wife, who sits, slumped in her own seat at her desk, looking defeated.

 

“I blame myself really for this turn of events.” Lady Sadie gulps awkwardly. “I’m almost too ashamed to admit it, but I was misaligned in some of my thinking, and wrong in my judgement, and now the results have well and truly come home to roost.”

 

“What are you talking about, Sadie?”

 

“Sir John, Cosmo.” She says simply. “When I held that Hunt Ball, I practically threw Lettice at Sir John.”

 

“Well, to assuage your fears, Sadie, that is what I meant by confirming that there were no undue influences in Lettice’s decision.” the Viscount pronounces. “I asked her whether she felt obliged to marry Sir John because you had encouraged the match, and that she feared being stuck on the shelf.” He looks meaningfully at his wife. “But she says that neither of these had any influence on her decision. She says that Sir John isn’t perfect, but that he’s a good man, and that he isn’t lying to her. As I said - as you said – Sir John may not be young, but he’s eligible and wealthy to boot. Lettice will be chatelaine of a string of fine properties, and she’ll never have to worry about going without.”

 

“But Lettice is wrong about him nor lying to her.”

 

“What’s that?”

 

Lady Sadie snatches the lace handkerchief poking out of her left sleeve opening at her wrist and dabs her nose, sniffing as she does. “Several of my friends, Lally, and even Lettice tried to warn me about him. They said that he’s a lecherous man, with a penchant for younger women, actresses in particular.”

 

“Well,” the Viscount chuckles. “Plenty of men of good standing have been known to have the odd discreet elicit affair with a Gaiety Girl*********** or two.” He then blusters. “Not myself of course!”

 

“Of course not, Cosmo.” She reaches out one of her diamond spangled hands to her husband and takes his own proffered hand. “Never you. You were always too much of a gentleman to have a liaison with another woman. As I said, you always do the right thing, Cosmo. Do you know, I do believe that is why Zinnia stopped coming to our house parties. You weren’t for conquest, no matter how much she threw herself at you. And she did, quite shamelessly.”

 

“Did she?” the Viscount asks innocently.

 

“You know she did!” Lady Sadie slaps her husband’s wrist playfully. “Now who’s being obtuse?”

 

“Well, maybe I did sense her overtures towards me, but she never stood a chance, Sadie!” the Viscount replies with an earnest look. “You were only ever going to be the one for me.”

 

“That’s sweet of you Cosmo, and I appreciate it. But, for all his pedigree and wealth, and for all his apparent care for Lettice, your judge of character of Sir John is fatally flawed my dear.”

 

“Flawed?”

 

“Sir John Nettleford-Hughes is not for our youngest daughter.” Lady Sadie goes on. “Nor any good and upstanding young lady of society. I know now that he is a philanderer: discreet yes, but not discreet enough, and no matter how many houses he has, or wealth, he will never make Lettice happy – quite the opposite in fact, I fear, even if she can’t see that in her present state of besottedness. She will become the neglected, deserted wife and the ridicule of society. And that is why I am against Sir John, and this marriage, which will be as disastrous for her as dear Elsie Bucknell’s was for her.” Sadie points to the wedding party photograph again.

 

“What?”

 

“Yes.” Lady Sadie cocks an eyebrow as she gives her husband a withering look. “His latest conquest is an up-and-coming West End actress named Paula Young. Such a nasty, common name.” she opines. “Then again, it suits a nasty and common little upstart tart of an actress!”

 

“Sadie!”

 

“Sorry Cosmo, but that’s what she is, if she allows herself to be seen in such an…” Lady Sadie shudders. “An intimate situation with a man like Sir John.”

 

“Surely there is some kind of misunderstanding: just gossip, Sadie.”

 

“Gossip yes, but verified nonetheless.” Lady Sadie answers sadly. “Though I wish to god that I could say it wasn’t. My cousin Gwendolyn was having dinner at the Café Royal************ and saw them together herself less than a week ago.”

 

“What was Gwendolyn doing at the Café Royal?”

 

“She is a duchess, Cosmo dear, or have you forgotten?”

 

“Who could ever forget that Gwendolyn is the Duchess of Whiby, Sadie? She certainly won’t let anyone forget it.”

 

“Well, she was escorting her grand-nice Barbara who debuted last year as part of the London Season, because poor Monica had influenza and was confined to bed, and she noticed Sir John and that that cheap actress at a shaded corner table.”

 

“A simple dinner between two friends., Sadie.” the Viscount tries to explain the situation away.

 

“Gwendolyn says that he was practically devouring her as he lavished her bare forearms with kisses.” Lady Sadie replies with another shudder and a look of disgust. “In public! With an actress! How vulgar, and certainly not discreet, even if at a corner table in the shadows!”

 

“Gwendolyn goes looking for gossip wherever she goes, Sadie, even in places where it isn’t.” the Viscount cautions his wife.

 

“I know, but be that as it may, Cosmo, I also have it from your own sister, Eglantyne, that many years ago, before she was married, he also had an elicit affair with that awful romance novelist Gladys Caxton, whom Lettice and you had all the trouble with not long ago.”

 

“Well you know Eglantyne doesn’t believe in the institution of marriage.” the Viscount begins.

 

“This was before any of us even knew of the understanding reached between Lettice and Sir John, Cosmo.”

 

“Well,” he chuckles in an effort to shake he sudden concerns off. “If that affair was many years ago, who cares, Sadie? It has no significance now.”

 

Lady Sadie slides open a drawer of her bonheur de jour and takes out a sheet of paper on which is written a list of names.

 

“After Gwendolyn’s revelations, I did a bit of digging myself, and these are the actresses ingénues and parvenues I was able to connect him to.”

 

“The cad!” the Viscount gasps as his widened eyes run down the list. “There must be at lest two dozen women on this list.”

 

“There are twenty-nine to be exact, Cosmo, and they are only the ones I could find and link him to.”

 

“You know I always thought that he was an old letch.” the Viscount restates his long held belief again. “I can’t deny that I’d heard the rumours too, but being unmarried I didn’t pay them much mind. And when he showed up here today, all charm, and was so solicitous to Lettice, making my little girl so happy, well...”

 

“You were swayed on your judgment of this character.” Lady Sadie says with an arched eyebrow and a knowing look.

 

“I was.” the Viscount agrees. “I was persuaded: taken in by him as a matter-of-fact! What a fool I am!”

 

“Charming people can always beguile, dear Cosmo.”

 

“I shall go into the drawing room this very minute and have it out with him!” He gets to his feet, trembling with anger and frustration as his elegant hands form into fists. “I’ll fling Sir John out on his philandering ear!”

 

Lady Sadie reaches out again to still her husband, wrapping her hand comfortingly around his wrist. “No you won’t, Cosmo.” she says calmly and matter-of-factly, gazing up at him sadly. “It would be the wrong thing to do, and you know it. And, as we have agreed, you always do the right and decent thing. It would be too embarrassing to conduct such a scene before a houseful of guests, even if they are family: for Sir John, Leslie, Arabella, Lally, Eglantyne, me, you,” She lowers her voice and adds sadly. “For Lettice.”

 

“You’re right, Sadie.” the Viscount says, still trembling with anger. “Shall I speak to Lettice?” he suggests. “Pull her aside and have a discreet word with her?”

 

“Why, Cosmo?”

 

“I could forbid her to marry him. I could threaten to cut her allowance off.”

 

Lady Sadie laughs in a sad and tired fashion. “Cosmo, what purpose would that serve? She’s already told you that she intends to go through with this marriage, and that she won’t be swayed.”

 

“Well, Lettice might come to her senses if I tell her… tell her the reasons why I’m forbidding her to marry that… that bounder!”

 

“She knows already what kind of man Sir John is, Cosmo. She was one of the people who told me that he’s a philanderer.”

 

“What?”

 

“Lettice told me herself that he has a penchant for young ladies.”

 

“Well, if she hears it from me, her own father?”

 

“You’ll only drive her deeper into his arms, Cosmo. She’s angry. She’s hurting. She’s rebelling, God help us all!” Lady Sadie says knowingly. “She’s seeking revenge. And your threat to cut off Lettice’s allowance would be meaningless if she marries Sir John. As you have duly noted already, he’s richer than Croesus*************. Besides, thanks to you and Eglantyne she also has a successful business venture to support her now.”

 

“What the devil is she playing at then?” the Viscount asks. “Is it not bad enough that we have an errant son in Lionel, that we must now have a daughter who marries a known philanderer with a penchant for young actresses, and will doubtless end up being dragged through the divorce courts as a result, casting shame on the family?”

 

“I don’t know, Cosmo, other than she is lashing out at Lady Zinnia, exacting her revenge as she sees it.”

 

The Viscount looks down at his wife sadly and ponders. “You’re being remarkably calm about all this, Sadie.”

 

“Yes,” she replies with a derisive snigger as she starts to take up some of the lose photos and file them together. “I know. Usually, it’s me having histrionics, not you. However, there is something I keep reminding myself of that brings me solace as I mull this situation over in my mind.”

 

“What on earth can bring you solace about this disastrous situation Lettice has willingly foisted upon herself?”

 

Lady Sadie looks knowingly at her husband. “One swallow does not a summer make**************, Cosmo. And an engagement, especially a hasty one, does not necessarily lead to marriage.”

 

“What are you saying, Sadie?”

 

“I’m simply saying that if a man breaks off his engagement with a lady, he’s a cad and a bounder. However, a lady is perfectly entitled to break off her engagement with a gentleman. In fact,” She smiles smugly. “It is her prerogative to do so.”

 

“Are you suggesting that we should encourage Lettice to break her engagement with Sir John?” the Viscount asks. He sighs and rubs his cleanly shaven chin. “I say! What a clever ploy, Sadie.” he muses. “Quite brilliant! Quite Machiavellian, no less!”

 

“No, I’m not saying that at all, Cosmo.” Lady Sadie quips. “You misunderstand me again.” She releases an exasperated sigh. “This is also what I mean by you not understanding Lettice. There is no talking to her right now, she’s so focussed on her own hurt and anger, and is determined to exact her own misaligned form of revenge on Selwyn and Zinnia. At the moment you could say that Sir John is made of glass and will shatter into a thousand slivers the moment she marries him and stab her to death, and she’ll still marry him to spite them, because she simply cannot see straight. She’s so angry that she won’t listen to reason.” She settles back in her seat and steeples her fingers before her as she stares off into a future only she can see. “Lettice is like a blizzard: blustery, but eventually her anger will peter out.”

 

“So you are suggesting what?”

 

“So, what I’m suggesting is that in this case, we must be patient with Lettice. We must settle ourselves in for the long game, and just watch what happens when her storm peters out.”

 

“So, in your opinion, we do nothing, then?” the Viscount blasts.

 

“For the time being, no, Cosmo.”

 

“But if we do nothing, she’ll marry the cad, and then where will we be?”

 

“I’m not convinced, Cosmo.” Lady Sadie assures her husband. “I think that if we cool our heels and let things play out, Lettice will come to her senses in the fullness of time.”

 

“You seem very sure of that, Sadie.” the Viscount says with a dubious look at his wife.

 

“I am, Cosmo.”

 

“And if you’re wrong? What then?”

 

“I’m not.” she assures him. “But if I were to be, then we shall simply have to steer her back to her senses when she is in a frame of mind that best allows us to encourage her to break off this disastrous marriage with Sir John.”

 

The Viscount shudders. “How can I have a son-in-law who’s as old as I am, or older.”

 

“Not quite, Cosmo, dear.” Lady Sadie assures him. “He’s a year and a half younger than you. I know. I did my in depth research about him before putting him forward as a potential suitor in 1922.”

 

“Evidently not in depth enough, Sadie,” He holds up the sheet of paper before he wife before screwing it up in anger and throwing it vehemently into her waste paper basket. “If Lettice is now engaged to a wealthy womaniser who carries on with actresses in public.”

 

“Don’t worry.” Lady Sadie continues to soothe in a soft voice, “We won’t have Sir John as our son-in-law. You’ll see.”

 

“Now that I know what I know,” the Viscount sighs. “I just hope you’re right, Sadie.”

 

“I usually am, Cosmo,” Lady Sadie resumes shuffling the photographs. “In the end.”

 

*Twelfth Night (also known as Epiphany Eve depending upon the tradition) is a Christian festival on the last night of the Twelve Days of Christmas, marking the coming of the Epiphany. Different traditions mark the date of Twelfth Night as either the fifth of January or the sixth of January, depending on whether the counting begins on Christmas Day or the twenty-sixth of December. January the sixth is celebrated as the feast of Epiphany, which begins the Epiphanytide season.

 

**A bonheur de jour is a type of lady's writing desk. It was introduced in Paris by one of the interior decorators and purveyors of fashionable novelties called marchands-merciers around 1760, and speedily became intensely fashionable. Decorated on all sides, it was designed to sit in the middle of a room so that it could be admired from any angle.

 

***Bowood is a Grade I listed Georgian country house in Wiltshire, that has been owned for more than two hundred and fifty years by the Fitzmaurice family. The house, with interiors by Robert Adam, stands on extensive grounds which include a garden designed by Lancelot "Capability" Brown. It is adjacent to the village of Derry Hill, halfway between Calne and Chippenham. The greater part of the house was demolished in 1956.

 

****Alexander Bassano was an English photographer who was a leading royal and high society portrait photographer in Victorian London. He is known for his photo of the Earl Kitchener in the Lord Kitchener Wants You army recruitment poster during the First World War and his photographs of Queen Victoria. He opened his first studio in 1850 in Regent Street. The studio then moved to Piccadilly between 1859 and 1863, to Pall Mall and then to 25 Old Bond Street in 1877 where it remained until 1921 when it moved to Dover Street. There was also a Bassano branch studio at 132 King's Road, Brighton from 1893 to 1899.

 

*****Introduced in 1922, the Type 30 was the first production Bugatti to feature an Inline-8. Nicknamed the “Torpedo” because of its similar look to the wartime munition, at the time Bugatti opted to move to a small two-litre engine to make the car more saleable, lighter and cheap. The engine capacity also made the Type 30 eligible for Grand Prix racing, which was a new direction for the marque. Despite the modest engine capacity, the power output was still remarkable thanks to the triple-valve arrangement. Also benefiting the Type 30 was good road handling, braking and steering which was common throughout the marque. The Type 30 was also the first Bugatti to have front brakes.

 

******Button back upholstered furniture contains buttons embedded in the back of the sofa or chair, which are pulled tightly against the leather creating a shallow dimple effect. This is sometimes known as button tufting.

 

*******A boutonnière is a flower that someone wears in the buttonhole of, or fastened to, their jacket on a special occasion such as a wedding.

 

********The Brownie (or Box Brownie) was invented by Frank A. Brownell for the Eastman Kodak Company. Named after the Brownie characters popularised by the Canadian writer Palmer Cox, the camera was initially aimed at children. More than 150,000 Brownie cameras were shipped in the first year of production, and cost a mere five shillings in the United Kingdom. An improved model, called No. 2 Brownie, came in 1901, which produced larger photos, and was also a huge success. Initially marketed to children, with Kodak using them to popularise photography, it achieved broader appeal as people realised that, although very simple in design and operation, the Brownie could produce very good results under the right conditions. One of their most famous users at the time was the then Princess of Wales, later Queen Alexandra, who was an avid amateur photographer and helped to make the Box Brownie even more popular with the British public from all walks of life. As they were ubiquitous, many iconic shots were taken on Brownies. Jesuit priest Father Frank Browne sailed aboard the RMS Titanic between Southampton and Queenstown, taking many photographs of the ship’s interiors, passengers and crew with his Box Brownie. On the 15th of April 1912, Bernice Palmer used a Kodak Brownie 2A, Model A to photograph the iceberg that sank RMS Titanic as well as survivors hauled aboard RMS Carpathia, the ship on which Palmer was travelling. They were also taken to war by soldiers but by World War I the more compact Vest Pocket Kodak Camera as well as Kodak's Autographic Camera were the most frequently used. Another group of people that became posthumously known for their huge photo archive is the Nicholas II of Russia family, especially its four daughters who all used Box Brownie cameras.

 

*********The Bright Young Things, or Bright Young People, was a nickname given by the tabloid press to a group of Bohemian young aristocrats and socialites in 1920s London.

 

**********Henry Tipping (1855 – 1933) was a French-born British writer on country houses and gardens, garden designer in his own right, and Architectural Editor of the British periodical Country Life for seventeen years between 1907 and 1910 and 1916 and 1933. After his appointment to that position in 1907, he became recognised as one of the leading authorities on the history, architecture, furnishings and gardens of country houses in Britain. In 1927, he became a member of the first committee of the Gardens of England and Wales Scheme, later known as the National Gardens Scheme.

 

***********Country Life is a British weekly perfect-bound glossy magazine that is a quintessential English magazine founded in 1897, providing readers with a weekly dose of architecture, gardens and interiors. It was based in London at 110 Southwark Street until March 2016, when it became based in Farnborough, Hampshire. The frontispiece of each issue usually features a portrait photograph of a young woman of society, or, on occasion, a man of society

 

************Gaiety Girls were the chorus girls in Edwardian musical comedies, beginning in the 1890s at the Gaiety Theatre, London, in the shows produced by George Edwardes

 

*************The Café Royal in Regent Street, Piccadilly was originally conceived and set up in 1865 by Daniel Nicholas Thévenon, who was a French wine merchant. He had to flee France due to bankruptcy, arriving in Britain in 1863 with his wife, Célestine, and just five pounds in cash. He changed his name to Daniel Nicols and under his management - and later that of his wife - the Café Royal flourished and was considered at one point to have the greatest wine cellar in the world. By the 1890s the Café Royal had become the place to see and be seen at. It remained as such into the Twenty-First Century when it finally closed its doors in 2008. Renovated over the subsequent four years, the Café Royal reopened as a luxury five star hotel.

 

**************The idiom “richer than Croesus” means very wealthy. This term alludes to Croesus, the legendary King of Lydia and supposedly the richest man on earth. The simile was first recorded in English in 1577.

 

**************The expression “One swallow does not a summer make, nor one fine day; similarly one day or brief time of happiness does not make a person entirely happy” is attributed to Aristotle (384 – 322 BC).

 

Cluttered with photographs and furnishings, Lady Sadie’s bonheur de jour is different from what you might think, for it is made up entirely of 1:12 size dollhouse miniatures from my collection.

 

Fun things to look for in this tableau include:

 

The Chetwynd’s framed family photos seen on the desk and hanging on the walls are all real photos, produced to high standards in 1:12 size on photographic paper by Little Things Dollhouse Miniatures in Lancashire. The frames are almost all from Melody Jane’s Dollhouse Suppliers in the United Kingdom and are made of metal with glass in each. The largest frame on the right-hand side of the desk is actually a sterling silver miniature frame. It was made in Birmingham in 1908 and is hallmarked on the back of the frame. It has a red leather backing.

 

The remaining unframed photographs and photograph album on Lady Sadie’s desk are a 1:12 size miniatures made by the British miniature artisan Ken Blythe. Ken Blythe is known for his miniature books. Most of the books crated by him that I own may be opened to reveal authentic printed interiors. In some cases, you can even read the words, depending upon the size of the print! I have quite a large representation of Ken Blythe’s work in my collection. What might amaze you even more is that all Ken Blythe’s opening books are authentically replicated 1:12 scale miniatures of real volumes. The photo album, although closed, contains pages of photos in old fashioned Victorian style floral frames on every page, just like a real Victorian photo album. Not only did Ken Blythe create books, he also created other 1:12 miniatures with paper and that includes the photographs. To create something so authentic to the original in such detail and so clearly, really does make this a miniature artisan piece. He also made the packets of seeds, which once again are copies of real packets of Webbs seeds and the envelopes sitting in the rack to the left of the desk. Ken Blythe’s work is highly sought after by miniaturists around the world today and command high prices at auction for such tiny pieces, particularly now that he is no longer alive. I was fortunate enough to acquire pieces from Ken Blythe prior to his death about four years ago, as well as through his estate via his daughter and son-in-law. His legacy will live on with me and in my photography which I hope will please his daughter. I hope that you enjoy this peek at just two of hundreds of his books that I own, and that it makes you smile with its sheer whimsy!

 

The vase of primroses in the middle of the desk is a delicate 1:12 artisan porcelain miniature made and painted by hand by Ann Dalton.

 

The desk and its matching chair is a Salon Reine design, hand painted and copied from an Eighteenth Century design, made by Bespaq. All the drawers open and it has a lidded rack at either end. Bespaq is a high-end miniature furniture maker with high attention to detail and quality.

 

The wallpaper is a copy of an Eighteenth Century blossom pattern.

Leipziger Buchmesse 2015

2015-03-13 (Friday)

2015_011

2015#138

 

missingnumb3r (Tonia) 870177 as Poison Ivy from Batman

 

Thank you for any group invites which I'd be glad to accept. However, if I can't check the content of such groups ("This group is not available to you") I'd rather not add any of my photos. Thanks for your understanding.

A series of AI-generated pictures of a cyborg heart in different art styles.

To be continued.

Pictures made with Midjourney.

 

I'm always happy to accept invites to groups as long as I can see their content. If I see "this group is not available to you", my photos won't be made available to that group. Thanks for your understanding.

Kamera: Nikon F3 (1989)

Linse: Nikkor-S Auto 50mm f1.4 (1970)

Film: Cinestill BWXX (Kodak 5222) @ ISO 200

Kjemi: Xtol (stock / 8 min. @ 21°C)

 

I WILL NOT BE SILENT. NEVER AGAIN.

 

For those of you who want a better understanding of the ongoing genocidal Israel-Hamas war, it is imperative that you educate yourself on the current political situation inside Israel itself, and especially on how American extremist zionist jews to a large degree have been instrumental in exporting their extremism into Israel and radically transforming Israeli society ever since the start of the Israeli occupation of the Palestinian territories and the Golan Heights after the Six-Day War in 1967.

 

For this very reason, you need to know about one very important key figure: American-born jewish fundamentalist fascist terrorist and extremist Meir Kahane (1934-1990), his legacy and his followers; past and present.

 

Mad 'rabbi' Kahane´s racist, fascist, ultranationalist, supremacist and religious theocratic ideology - Kahanism - lives on like never before and has grown immensely among his many supporters in Israel - not only among extremist illegal settlers any longer, not only among the odd ordinary Israeli citizen - No, today, this ideology permeates Israeli society itself.

 

Today, Kahane´s followers are even represented in the jewish fascist Benjamin Netanyahu government; many holding quite influential and powerful minister positions - like (and these are just a few of them):

 

1.) The infamous terrorist and so-called "Minister of Security" Itamar Ben-Gvir (b. 1976 and hailing from the extremist jewish fundamentalist and religious zionist settlement of Kiryat Arba in Hebron, Occupied Palestine)

 

2.) The terrorist and so-called "Finance Minister" Bezalel Smotrich (b. 1980 and hailing from the extremist jewish fundamentalist and religious zionist settlement of Kedumim, Occupied Palestine)

 

3.) The old-skool Moshe Levinger (1935-2015) follower and Gush Emunim settler extremist and so-called "Minister of Settlements" (!) Orit Strook (b. 1960 and hailing from the extremist jewish fundamentalist and religious zionist settlement of Kiryat Arba in Hebron, Occupied Palestine)

 

4.) Yitzhak Wasserlauf (b. 1992), so-called "Minister for the 'Development' of the Periphery, the Negev and the Galilee".

 

Therefore, here for your consideration I will present to you three important lectures held on the subject by what must be one of the bravest men in the world: David Sheen [his website is no longer available], an exceptional Israeli Canadian former journalist of the Israeli newspaper Haaretz; now an independent investigative journalist.

 

This is all very well researched and explained.

 

In his lecture ‘Kahanistan’ you will get a broader understanding of political thought and development in Israel and how in the past few decades it has become more and more deeply connected to the Kahane movement:

 

- David Sheen: Kahanistan (2022)

 

In the lecture ‘Messiah Mode’ you will become much more familiar with the history of Meir Kahane himself, the Jewish Defense League in the USA and the Kach party in Israel; in addition to several other influential kahanist religious figures and politicians:

 

- David Sheen: Messiah Mode (2019)

 

In his latest lecture, ‘False Messiah’s Donkey’, David Sheen delves deeper into the Kahane movement´s influence on U.S. society and politics in general and the Democratic party in particular:

 

- David Sheen: False Messiah’s Donkey (2022)

  

A TRULY SHAMEFUL LIST OF JUST A FEW PEOPLE MENTIONED:

  

- Baruch Goldstein (1956-1994), american-born jewish extremist physician and religious mass-murderer from Brooklyn, New York. Goldstein immigrated to Israel in 1982 and moved to the jewish extremist settler hub in Kiryat Arba / Hebron. In 1994 during Ramadan on the Jewish holiday of Purim he perpetrated the Cave of the Patriarchs massacre in Hebron. Wearing an IDF uniform and armed with an IMI Galil assault rifle, he opened fire on 800 Muslim worshippers inside the Ibrahimi Mosque, managing to kill 29 and wounding 129 before he was beaten to death by the survivors. Baruch Goldstein was a follower of Meir Kahane and a member of terrorist organization Jewish Defense League. Goldstein was number three in the Kach party after Meir Kahane (1932-1990) and Yisrael Ariel (b. 1939). Goldstein´s grave has become a site of pilgrimage and veneration for Jewish extremists, especially during Purim. The tomb of Baruch Goldstein is located in the Meir Kahane Memorial Park in the illegal extremist jewish fundamentalist and religious zionist settlement of Kiryat Arba in Hebron, West Bank, Occupied Palestine.

 

- Itamar Ben-Gvir (b. 1976), the current Minister of Security and party leader of Otzma Yehudit since 2022. Son of a mother active in the Irgun terrorist organization. Previously convicted of supporting the Kach terrorist organization. Exempted from service in the IDF due to extremist political background. Lawyer known for representing far-right Jewish activists suspected of terrorism and hate crimes; most notably representing the american-born extremist settler Baruch Marzel (b. 1956 in Boston, USA) in Hebron, the «right-hand man» of american-born rabbi Meir Kahane (1932-1990) and a fellow Otzma Yehudit party member. Known for displaying the portrait of american-born extremist settler and terrorist mass-murderer Dr. Baruch Goldstein (1956-1994) in his living-room. Itamar Ben-Gvir has 6 children and is a permanent resident of the illegal extremist jewish fundamentalist and religious zionist settlement of Kiryat Arba in Hebron, West Bank, Occupied Palestine.

 

- Baruch Marzel (b. 1959), american-born kahanist originally from Boston. His family immigrated to Israel when he was 6 weeks old, when he was 13 he joined the Jewish Defense League. At the age of 14 he was arrested for the first of many times, and when he was 17 he was imprisoned for the first time. An early member of the Kach party, he was Meir Kahane´s parliamentary aide in Knesset and the spokesperson for Kach for 10 years. Marzel is a physically violent man who has been harassing, threatening and assaulting countless Palestinians in Hebron for decades in addition to police officers, left-wing activists, peace activists and journalists. Marzel is known to have shot and killed a 15-year-old Palestinian boy and he has been arrested for conspiring to bomb a Palestinian school. He has also advocated violence against homosexuals in Israel and calling for religious war against them. Together with Bezalel Smotrich (b. 1980) - Israel´s Finance Minister - he arranged the «Beast Parade» in 2006, leading goats and donkeys through the streets in opposition to the Jerusalem gay pride parade.

 

Marzel is an important and instrumental figurehead for the extreme right in Israel. After the Kach party was banned in 1994, he founded the party Jewish National Front in 2004 and ran for Knesset. After not winning enough votes to enter Knesset, he joined the National Union party and served as fellow extremist and kahanist Michael Ben-Ari´s (b. 1963) parliamentary aide. Together with Bentzi Gopstein (b. 1969) he started Lehava in 2005, a jewish supremacist organization that stricly opposes jewish assimilation, objecting to any relationships between Jews and non-Jews - in 2010 he was urging Israeli model Bar Refaeli (b. 1985) not to marry her non-jewish boyfriend at the time, Leonardo DiCaprio (b. 1974). In 2013 he ran for Knesset again, this time for the Otzma Yehudit party, which had splintered from the National Union party; again not winning enough votes to enter Knesset. In 2015 he ran for Knesset again, but the Election Committee disqualified him from running in the election because of racism. Otzma Yehudit was not extreme enough for Marzel, so in 2022 together with Michael Ben-Ari he started the process of launching a new party to the right of Otzma Yehudit. Baruch Marzel has 9 children and is a permanent resident of the illegal extremist jewish fundamentalist and religious zionist settlement of Tel Rumeida in Hebron, West Bank, Occupied Palestine.

 

- Michael Ben-Ari (b. 1963); Ph.D. in Land of Israel and Archaeology studies. If you have ever heard about Gustaf Kossinna (1858-1931) and Nazi archaeology - that´s the kind of scholar Michael Ben-Ari is. Previous member of the Kach terrorist organization; Ben-Ari was banned from running in the 2019 elections due to his extremist political views. He was also a member of the Jewish National Front, a political party founded by american-born extremist settler Baruch Marzel (b. 1956 in Boston, USA) in Hebron, the «right-hand man» of american-born rabbi Meir Kahane (1932-1990). When Jewish National Front merged with the far-right religious Eretz Yisrael Shelanu, Ben-Ari gained a seat in the Knesset 2009-2012, electing Marzel and Ben-Gvir as his aides. Eretz Yishrael Shelanu was not extreme enough for Ben-Ari, so together with Marzel and Ben-Gvir he founded the Otzma Yehudit in 2012. Ben-Ari has been denied US visa several times for his extremism. After he was banned from Knesset in 2019, he has since found that Otzma Yehudit was not extreme enough for him, so he has recently started planning a new party together with Baruch Marzel. Ben-Ari has 9 children and is a permanent resident of the illegal extremist jewish fundamentalist and religious zionist settlement of Karnei Shomron, West Bank, Occupied Palestine.

 

- Baruch Ben-Yosef and Israel Fuchs, both of them american-born jewish Israeli kahanist settlers whose names are originally Andy Green and Keith Fuchs. Together with convicted murderer Robert Manning they are the suspected assassins of Alex Odeh (1944-1985), a Palestinian activist in the American-Arab Anti-Discrimination Committee. In Israel in 1980, Ben-Yosef was subjected to administrative detention for 6 months together with Meir Kahane for plotting to blow up the Dome of the Rock. In 1983, on the Jewish holiday of Purim, Fuchs sprayed a passing Palestinian car with bullets. Ben-Yosef later studied law and together with Fuchs he established the lawfare American Center for Civil Justice. Fuchs later mentored Simcha Rothman (b. 1980), a settler and religious zionist member who now serves as chairman of the Constitution, Law and Justice committee in the Knesset. Ben-Yosef mentored kahanist lawyer Itamar Ben-Gvir (b. 1976), current leader of the Otzma Yehudit party and Israel´s Minister of Security. In 2004, Ben-Yosef was one of 20 extremists who carried out the black magic kabbalistic curse of Pulsa diNura at the gravesite of Irgun terrorist Shlomo Ben-Yosef (1913-1938) in order to kill prime minister Ariel Sharon because of the 2005 Israeli disengagement from Gaza. Both Ben-Yosef Green and Keith «Israel» Fuchs are permanent residents of the illegal extremist jewish fundamentalist and religious zionist settlement of Kiryat Arba in Hebron, West Bank, Occupied Palestine.

 

- Mike Guzofsky, american-born jewish extremist from New York and a former member of Terror Against Terror, a militant organization that was active in Israel that openly espoused the ideology of perpetrating terrorism and committed several violent attacks directed at Palestinians, ranging from vandalism to mass shooting, bombing and murder. The group consisted of many Jewish-American settlers living in Hebron who considered themselves acolytes of ‘rabbi’ Meir Kahane. About mass-murderer Baruch Goldstein he said: «He was the sweetest jew who have ever lived.» Also known for, among other things, being a breeder of fierce patrol dogs with the purpose of instilling fear in the Palestinian population. Guzofsky is a permanent resident of the illegal extremist jewish fundamentalist and religious zionist settlement of Kfar Tapuach, West Bank, Occupied Palestine.

 

- Bentzi Gopstein (b. 1969), american-born jewish extremist who got away with murder in 1990, an ardent anti-christian and founder of the Lehava movement, a jewish supremacist organization that stricly opposes jewish assimilation, objecting to any relationships between Jews and non-Jews. Gopstein advocates the expulsion of Christians and the banning of celebrating Christmas. He is a member of the Otzma Yehudit party, has 8 children and is a permanent resident of the illegal extremist jewish fundamentalist and religious zionist settlement of Kiryat Arba in Hebron, West Bank, Occupied Palestine.

 

- David Ha'ivri (b. 1967), american-born extremist orthodox jew whose real name is Jason David Axelrod. About the assassination of Yitzhak Rabin he said: «It was not a jew who was murdered; it was a traitor who was liquidated. The liquidation of an enemy is a positive thing.» Today, David Ha'ivri acts as an Israeli diplomat and is a spokesperson for Israeli illegal settlements. He has 8 children and is a permanent resident of the illegal extremist jewish fundamentalist and religious zionist settlement of Kfar Tapuach, West Bank, Occupied Palestine.

 

- Ovadia Yosef (1920-2013) was the chief rabbi of Israel and spiritual leader of the religious orthodox Shas party. Ovadia Yosef had many controversial remarks; among them the following: «Gentiles were born only to serve us. Without that they have no place in the world, only to serve the jewish people. Why are gentiles needed? They´ll work, they´ll plow, they´ll reap. We will sit like an effendi and eat.» His son Yitzhak Yosef (b. 1952) is now the chief rabbi of Israel; a man who has likened people of black African descent to monkeys and has compared secular women to animals because they dressed immodestly.

 

- Ya'akov Yosef (1946-2013) was another son of Ovadia Yosef, also a rabbi and a Knesset representative for the Shas party 1984-1988. In the Knesset Ya'akov Yosef worked ardently on changing and doctoring the laws of Israel so that racism would be allowed so long as it was justified by religious arguments. Ya'akov Yosef openly endorsed rabbi Yitzhak Shapira´s book ’The King's Torah’ (2009) where it is argued that it is permissible for Jews to kill non-Jews, including children, under certain circumstances, and that there may be a reason to kill babies on the enemy side, even if they have not violated any laws, due to the potential future danger they might pose based on the assumption that they will grow up to be evil like their parents. ’The King's Torah’ also proposes that indirect killing of children could be justified as a means of exerting pressure on enemy leaders or if the children are obstructing a rescue operation and their presence contributes to murder.

 

- Yonatan Yosef, son of Ya'akov Yosef and also a rabbi, an illegal settler in East Jerusalem and former spokesman for the settlers in Sheikh Jarrah. He has been a Jerusalem City Council member since 2018, representing the ultra-orthodox religious zionist party Yachad. When he was 18 years old, he smuggled and collected caches of weapons from the army, plotting to murder Palestinians. He was arrested, but was tipped off by a government minister that the Shin Bet was coming for him; so he managed to get rid of much of the evidence and got off easy. In 2023, he was marching in Sheikh Jarrah with a group of supporters, chanting «We want Nakba, Nakba now!»

 

- Aryeh King (b. 1973) is the current Deputy Mayor of Jerusalem, representing the ultra-orthodox religious zionist party Yachad. In 2014, he was inciting a group of hundreds of ultra-orthodox men by telling them "This Sabbath we will read about Zimri and Kosbi. Phineas committed the act; he was zealous for God. He got up and committed the act - It´s like that today. Every single person here is like a small Phineas. I call out to all the small Phineas's here! I call on all of us to make a great commotion, wake up! The Lubavitcher rebbe is here with us - I have no doubt he expects us all to commit acts of Phineas." Zimri and Kosbi is a story in the bible, and according to this legend there was a jewish man and a Midianite woman, in other words, it was an interracial relationship. And this priest, Phineas, was so incensed, so disgusted at this miscegenation, at this interracial love that he actually took a spear, according to legend, and he murdered them in the middle of the act of lovemaking. In fact, according to the Talmud it says exactly what that act was: "Miracles were done for Phineas... His aim was through the penis of the man and the vagina of the woman" - that is; he pierced them in their intertwined genitals. Hours later after Aryeh King's speech; religious jews went out and mutilated and murdered 16-year old Palestinian Mohammed Abu Khdeir. They kidnapped him outside his home, stuffed him into a car and drove him out to the forest, where they forced petrol down his throat and they burned him to death from the inside out. Aryeh King is the father of 6 and is a permanent resident of the illegal settlement of Ma'ale HaZeitim in East Jerusalem, West Bank, Occupied Palestine.

 

- Moshe Feiglin (b. 1962), a kahanist, Likud politician and former Deputy Speaker of the Knesset. As Deputy Speaker of the Knesset, during the 2014 Gaza war he said that «The IDF shall designate certain open areas […] in which the civilian population will be concentrated subsequent to the elimination […] Gaza […] will become part of […] Israel and will be populated by Jews.» Also in 2014, he was inciting for Jews to go and take over the Al-Aqsa mosque. Feiglin has made so many controversial statements that he was banned from entering the United Kingdom in 2008. Moshe Feiglin has 5 children and is a permanent resident of the illegal extremist jewish fundamentalist and religious zionist settlement of Karnei Shomron settlement, West Bank, Occupied Palestine.

 

- Yoel Lerner (1941-2014), american-born extremist from Brooklyn, New York who grew up in South Africa. In 1960 he immigrated to Israel where he became a linguist and translator. He became a student of Meir Kahane and a member of the Jewish Defense League; and later became an aide to Kahane. In 1973, Lerner was arrested in a case of arson involving a fire in a shop selling Christian missionary books. In 1975, he was arrested on suspicion of conspiring to harm Henry Kissinger (1923-2023). Newspaper reports said that Lerner «had expressed threats to assassinate Kissinger». In 1978 he was imprisoned for 3 years for conspiracy and illegal possession of weapons. He had founded an underground ring of militants called ‘Gal’ with the aim to overthrow the government and establish a state based on religious law, and kill Arabs. In 1982, Lerner had formed a small youth organization whose aim was to destroy the Dome of the Rock in order to rebuild the Temple Mount, and for this he was sentenced to 5 years in jail, but 2 ½ years of his sentence was suspended. Lerner was married and had eight children.

 

- Alan Goodman (b. 1945) american-born extremist who moved from Baltimore to Israel in 1977. On Easter morning 1982, wearing an IDF military uniform and armed with an M-16 automatic rifle, he shot his way into the Dome of the Rock, killing two and wounding 11 Palestinians. Sentenced to life imprisonment plus 40 years. Goodman was released after 15 years.

 

- Yisrael Ariel (b. 1939), number two in the Kach party after Meir Kahane; these days he is propagating the re-introduction of ancient Sanhedrin rabbinical courts in Israel. Arrested several times; in the early 80s for sedition because he was planning to dig a tunnel under the Al-Aqsa mosque in order to take it over and turn it into a jewish settlement. Today, he is the chief rabbi in the state-sponsored Temple Institute, which has a focus on educating children on jewish temples and the establishing of the Third Temple on the Temple Mount in Jerusalem.

 

- Craig Leitner, american-born lawyer and former terrorist member of the JDL and Kach who served 30 months in jail for firebombing the Palestinian newspaper Al-Fajar and being involved in the shooting at an arab bus in Ramallah in 1984, injuring 6-7 Palestinians. Together with his lawyer wife Nitsana Darshan-Leitner (b. 1973) in the Shurat Hadin lawfare organization he is mostly involved with legal matters defending terrorists like for instance Yigal Amir (b. 1970); the assassin of Yitzhak Rabin (1922-1995), and Jonathan Pollard (b. 1954); an American-Israeli civilian-employed US Military intelligence analyst who in 1986 was sentenced to life in imprisonment for spying on the United States of America for the State of Israel. It is sickening to see that this man, who betrayed ALL of the NATO countries at the HEIGHT of the Cold War, not just the USA, but ALL WESTERN EUROPEAN COUNTRIES has been living as a free, war-mongering, obvious and public kahanist in Israel since 2021.

 

- Rafi Peretz (b. 1956), chief military rabbi of the IDF, Minister of Education 2019-2020 and Jerusalem Affairs and Heritage Minister of Israel 2020-2021.

  

See also:

 

- Unpacking Israeli History: Baruch Goldstein - Legacy of a Massacre (Nov. 2020)

- David Sheen: «Three Decades After his Death, Kahane’s Message of Hate is More Popular Than Ever», Middle East Report Online, February 02, 2021.

- Jeff Halper: «How Israel Undermines International Law Through ‘Lawfare’», The Israeli Committee Against House Demolitions, August 18 2014.

- Wikipedia: 2021 ban of Palestinian human rights organizations

Police from Tameside investigating modern slavery and drugs trafficking between Tameside and #Humberside have made arrests this morning.

 

Warrants were executed at addresses in #NewtonHeath, #Failsworth, and the #NorthernQuarter area as part of an operation dedicated to disrupting a drugs line between Tameside and #Hull that involves the criminal exploitation of vulnerable children.

 

The action is part of #OperationMarconi which was formed in June 2020 and concerns the exploitation of children from Tameside aged between 16 and 17.

 

It is one of over 20 investigations being led by GMP Tameside's Child Criminal Exploitation (CCE) team dedicated to modern slavery and the exploitation of vulnerable people who have been coerced into criminal activity in the district.

 

The CCE team have already made an additional eight arrests as part of those investigations and four people have been charged with modern slavery and drug offences.

 

A number of vulnerable individuals coerced into 'county lines' and identified as high-risk have been safeguarded and re-housed with support from local partner agencies.

 

County lines describes organised criminal networks involved in exporting illegal drugs into one or more importing areas within the UK, using dedicated mobile phone lines.

 

Children and vulnerable adults are often exploited to move and store the drugs and money often through coercion, intimidation, violence and weapons.

 

Police continue to collaborate with social services and schools, in particular, to help spot the signs of any children that may have been identified to be at risk of such exploitation.

 

Detective Constable Laura Hughes, of GMP Tameside's Child Criminal Exploitation team, said: "Today's action is a significant statement as we continue to tackle the pernicious exploitation of vulnerable young people for illicit gains.

 

"We have been working tirelessly in the CCE team in Tameside to work with local agencies in identifying and safeguarding potential victims of this criminality, while pursuing those that we believe are responsible for such exploitation.

 

"Tackling 'county lines' by its nature requires closely co-ordinated work, not just with local partners, but also policing partners from across the country and I would like to thank Humberside Police for their support during this operation so far.

 

"A lot of our work is based on intelligence and we are forever gaining a clearer picture as to how these criminal enterprises operate and are developing a real understanding of how these groups recruit and coerce vulnerable young people.

 

"It is important people know to spot the signs of when someone may be being exploited; whether it being withdrawn from family and friends and skipping school, to having more than one phone and going missing from home more regularly.

 

"Anyone with suspicions or concerns should contact police online via our website, call 101 and always dial 999 in an emergency. Details can be passed to the independent charity Crimestoppers on 0800 555 111."

 

...to reveal the individual before his camera, to transfer the living quality of that individual to his finished print...Not to make road maps but to record the essential truth of the subject; not to show how this person looks, but to show what he is. - Edward Weston - Edward Weston's definition of the role of the portrait photographer. "The Portrait in Photography", Reaktion Books, London 1992, Mick Gidley, p136 - 137.

My second session at water droplets. I know I need to work on my ambient lighting and currently using on camera flash, but am enjoying experimenting with this genre.

Kodak-Tri X 400asa Developer T-Max 1+9 10min 24º.

Nikon Film Coolscan 5000 ED.

Canon F-1, Canon FD 1:1.4 /50mm

 

Thank you everyone for your visit, favorites and comments.

Merci à tous pour votre visite, favoris et commentaires

  

ATTENTION!..........

  

If you are not one of those who I follow, so be kind and

  

DO NOT take my pics in favorites if either your public PHOTOSTREAM or YOUR FAVORITES/or GROUPS contain VULGAR or KINKY pictures, including a vulgar, non- aesthtic nudity.

  

Or I shall block you.

  

If you are a CD/TV, a fetishist, a sub, etc.- i. e . you belong to the group which the society does not (yet) fully accept and show yourself as such on your site, it is no probelm, but in that case you must show your face in your stream too. I mean your face as your uncle, your chief and your children see you. Stand behind it., be yourself " the change you want to see in the world" (as Gandhi said), be a pioneer. If not, I understand that, too, but then please refrain from favorizing my pictures. You can not expect me to be associated with you if you do not want to be associated with your own second self.

  

Otherwise nothing else shall reimain for me than to BLOCK you. And I do not want to do it, mostly. So please , do not make my long blocking list even longer.

  

ESPECIALLY: those individuals are DEMANDED to KEEP AWAY from my site, whose pics or favs or groups show a disrespectful treatment of a woman by a man, or misogynist contents etc.

  

I block those individuals with pleasure.

  

Thanks for your understanding and your cooperation.

  

.................

  

Comments for those who I do not follow are DISABLED.

 

Rejoice in the Lord always. I will say it again: Rejoice! Let your gentleness be evident to all. The Lord is near. Do not be anxious about anything, but in every situation, by prayer and petition, with thanksgiving, present your requests to God. And the peace of God, which transcends all understanding, will guard your hearts and your minds in Christ Jesus.

 

[Philippians 4:4-7 NIV]

 

5 THINGS YOU SHOULD KNOW:

 

1. Like it or not, we are ALL sinners: As the Scriptures say, “No one is righteous—not even one. No one is truly wise; no one is seeking God. All have turned away; all have become useless. No one does good, not a single one.” (Romans 3:10-12 NLT)

 

2. The punishment for sin is death: When Adam sinned, sin entered the world. Adam’s sin brought death, so death spread to everyone, for everyone sinned. (Romans 5:12 NLT)

 

3. Jesus is our only hope: But God showed his great love for us by sending Christ to die for us while we were still sinners. (Romans 5:8 NLT) For the wages of sin is death, but the free gift of God is eternal life through Christ Jesus our Lord. (Romans 6:23 NLT)

 

4. SALVATION is by GRACE through FAITH in JESUS: God saved you by his grace when you believed. And you can’t take credit for this; it is a gift from God. Salvation is not a reward for the good things we have done, so none of us can boast about it. For we are God’s masterpiece. He has created us anew in Christ Jesus, so we can do the good things he planned for us long ago. (Ephesians 2:8-10 NLT)

 

5. Accept Jesus and receive eternal life: If you openly declare that Jesus is Lord and believe in your heart that God raised him from the dead, you will be saved. (Romans 10:9 NLT) But to all who believed him and accepted him, he gave the right to become children of God. (John 1:12 NLT) And this is what God has testified: He has given us eternal life, and this life is in his Son. Whoever has the Son has life; whoever does not have God’s Son does not have life. (1 John 5:11-12 NLT)

 

Read the Bible for yourself. Allow the Lord to speak to you through his Word. YOUR ETERNITY IS AT STAKE!

'COURSE, TODAY none think of wearing a fine silken gown … but she may put on a cheerleaders uni, or hit the beach in a bikini, sport a low-cut top, wear leggings she was poured into … whatever.

 

But her weapon for attention will be to VISUALLY attract THE MALE.

 

In a blatant NUTSHELL:

 

MALES respond to VISUAL stmuli.

 

FEMALES respond to VERBAL (or, effective communication specifically)

 

So don't take it personally or have a fembot male-hating freakout because of instinctual male sexuality.

 

Chill.

 

Get over it, male-haters—

 

Male sexuality just IS.

 

"And if a woman wants to understand MALE SEXUALITY … she has to understand the power of the visual" (Dennis Prager)

 

A 5 MINUTE quickie further explaining this phenomenon is HERE:

 

www.youtube.com/watch?v=A9WZFeA4FzI

 

WOMEN often feel betrayed by their significant other, or feel THREATENED when guy, well, notices (looks at) the attractiveness of another woman.

 

Chill.

 

MEMORIZE THIS: He has forgotten about her a few minutes later …

 

So let yourself have peace of mind.

 

Another 5 MINUTE overview explaining this HARMLESS phenomenon is HERE:

 

www.youtube.com/watch?v=dlZsGpWJmos

  

The poem is Canadian and some day I'll feature the whole wham thing.

Navid Nuur – Untitled (Never Mind the Map Never Map the Mind) at the exposition Navid Nuur "Lube Love", Bonnefantemuseum, Maastricht

 

pienw.blogspot.nl/2014/01/navid-nuur-lube-love-in-het.html

Leipziger Buchmesse 2019 / Leipzig Book Fair 2019

 

2019-03-23 (Saturday)

2019_045

2019#375

Mayumo.Cosplay [insta] (Julia) ______ as ______ from ______

 

I would appreciate any help with the identification of the character and the cosplayer, thank you.

 

Thank you for any group invites which I'd be glad to accept. However, if I can't check the content of such groups ("This group is not available to you") I'd rather not add any of my photos. Thank you for your understanding.

Saint-Petersburg, Generalny shtab.

Mans understanding of Woman, the first step is to realize you know nothing, in knowing nothing you know everything,and now that you know everything the fact is you know nothing! steve.

Look deep into nature, and then you will understand everything better.

Albert Einstein

 

The Wolfman Jack Statue in Del Rio, Tx.. Standing around 3ft tall, this is in the Museum in Del Rio, Tx. This is the proto-type to what was to have been an actual life-size statue to be placed in the downtown area but for what ever reason, that (sadly) fell through. THIS still should happen though!!

Wolfman Jack is my biggest nation-wide Disc Jockeys' influences.. Known nearly all over the world, he was in the 1972 hit movie, "American Graffiti" as himself when he was on XERB-1090am, Los Angeles, CA. He first got his start, 'mainly' on XERF-AM, a station on the other side of the border which had the super power of 250,000 watts, also known as one of the "Border Blasters", which is why so many could hear him, especially at night time.. There's a video of him going back to the station in the 1980's & do a broadcast on youtube. This actually starts off at Keller's Hamburgers in Dallas Tx which is still in business!! Then travels to XERF-AM, 1570am, Radio Station, seen here > www.youtube.com/watch?v=TnKiOvKY6oY&t=1s ..

He also had guest appearances in "Married With Children", "The Odd Couple" & other Tv shows as well.. Did several commercials, including this Clearasil Commercial seen here> www.youtube.com/watch?v=nIeXPGgLfIc ..

He was also interviewed, I believe around 1993? seen here which is awesome!

www.youtube.com/watch?v=is7HKh39vhE

Born in Brooklyn NY, January 21 1939 & his given name, Robert Weston Smith...

Sadly :( he passed away at only 57 years old on July 1 1995 from a major heart-attack.

His voice still lives on in re-broadcasts of his older shows & all over youtube too..

I do a recreation of his shows ever so often on my Real Oldies Show on KSGV-955FM, Seagoville Tx and also at The Galaxy Drive In Theatre, in Ennis (Garrett) Tx also.. I use what I've collected over the years of his broadcasts' etc and mix them with in the music to make it sound like it's Wolfman Jack doing a great show, as he always did.

Keeping my radio idol memory alive..

RIP Wolfman Jack.. Gone much too soon but never forgotten..

Photo Taken: July 20 2022

Using my I-13 Phone.

Photo Taken By: Randy A Carlisle

ALL Photos (Unless otherwise stated) Copyright RAC Photography ✞

"Preserving AMERICAs History Thru Photography"

***NO Photos are to be posted on ANY other website, or any kind of publication Without MY Permission. No Exceptions! They are not to be "Lifted", Borrowed, reprinted, or by any other means other than viewing here on Flickr. If you want to use a photo of mine for anything, please email First. I'll assist you any way I can. Thank You for your understanding. ALL Photos are For Sale.*** .

even amidst all the material things in the World...is our Heart to rather see all people...who are the living...in need of understanding God's Love...

Lucie, a Scout from Junák - český skaut, in discussion with a supporter of extreme right movements, in Brno (#CzechRepublic).

People from all walks of life, and #Scouts among them, came to the streets during an extreme right march yesterday, to express their support for values of diversity, peace and understanding. Creating a better world!

 

Photo by Vladimír Čičmanec

is what we need in this Age.

Understanding the size of pot sizes and cultural preferences is critical to the development of a successful cookstove and fuel intervention.

understanding tree language.

Canon EOS 7D | Canon 50mm 1.4 | Available Light

 

So, I was speaking recently with a couple of folks who have been following the photo project. They all liked the project (or at least had a good enough understanding of social graces to feign affection for it while I was standing there). But they did find one curious deficiency in the demographics of the project subjects: an apparent dearth of young, male subjects.

 

Busted.

 

I created The People of Detroit as an excuse to take pictures of strange women. I have no interest in revising the marred image of the city. I only occasionally post a photograph of a well-dress old man or a child to throw the Bureau of Altruistic Deeds off my scent.

 

My real name is Noah BLOGgojevich.

 

Naw, but for real. The real reason why there aren't a lot of dudes in the people of Detroit is because a) men are ugly and b) its mad awkward to approach a dude on some "dog, can I can your picture?" shit.

 

Plus thanks to the uh, uh, uh, how you say, emasculating, uh, uh, genocidal proclivities of The White Man and whatnot, almost all of this city's young black men are either dead!, in jail!... or in Atlanta...

 

':-|

 

Naw, but for real. I'm completely open to featuring young men in The People of Detroit. It does make me feel weird to ask a grown man if I can take his picture, but I bet it made Harriett Tubman feel weird to walk 10,000 miles to freedom. But she did it for the greater good. And I do TPOD for you, America.

 

[insert Bill Clinton lip bite / thumb point]

 

Anytime I encounter a young brother whose appearance or reputation betrays a certain urbane, world-aware sensibility I am more than happy to make a portrait of them. The brother you see above is just one such person.

 

Dwele is a homegrown, internationally-known R&B musician who definitely fits that criterion. As a matter of fact, I first met Dwele at a Detroit-themed skate party in London hosted by another acclaimed Detroit musician by the name of Kenny Dixon Jr (aka Moodymann). He saw me with my camera, and we proceeded to talk shop about photography and dSLR filmmaking (Dwele has used the 7D to make a couple of music videos as a matter of fact).

 

I saw him one time after that in the city and again today in a local sandwich shop.

 

Every time I've encounter Dwele, he's been nothing but gracious. No airs. No self-obsessed star shit. Just a cool, regular dude. That's why I'm more than happy to count him as one of The People of Detroit.

 

Plus the BAD was getting wise...

 

[View the ongoing project and meet more of: The People of Detroit ]

Praying for the dead bird

understanding the inner being

evokes a great flow.

History of the Museum

Scientific research and gathering in Austria found relatively late understanding and promotion. Indeed contained the chambers of art and curiosities of the Habsburgs also natural produce but for a long time they have been regarded as mere oddities, not as objects of scientific importance. It was not until Emperor Franz I. (Francis Stephen of Lorraine, 1745-1765), the husband of Maria Theresia, founded in 1748 with the purchase of the famous collection of Johann Baillous a private Naturalienkabinett. It was put up in accordance to Baillous' own scientific system in the Hofburg and was initially managed by this self.

The main emphasis was put on minerals and fossils as well as snail and mussel shells and corals. Plants and animals with soft parts were then (mainly because of the preparation problems) yet little appreciated as collector's items. They were held alive in botanical gardens and menageries.

After the death of Francis I the collection in which the Emperor had invested large sums of money was transferred into state ownership, reorganized and made ​​twice a week accessible to the public. 1776 appointed Maria Theresa, particularly dear to her being mainly the earth sciences as a basis for mining and industry, the excellent mineralogist and montanist Ignaz von Born to Vienna and entrusted him with the systematic expansion of the collection. Born was a leader of the Enlightenment and Freemasonry, he might even have given the model for Sarastro in Mozart's "Magic Flute". With him for "Austria", definitely, dawned the scientific-technological age. The Naturalienkabinett (a cabinet of curiosities) then became a center of mineralogical research in Europe.

The nature-loving Emperor Franz II (I, 1792-1835) expanded the natural history collection for a private animal cabinet. The foundation for this were the trophies of the Habsburgs, which date back to Emperor Maximilian II (1564-1576), as well as the famous collection of prepared native vertebrates and insects of the falconer Joseph Natterer. After several reclassifications followed in 1807 the foundation of a separate plants cabinet. The Emperor lay with the gift of his Privatherbars (private plant collection) the foundation.

The exhibition practice around 1800 was marked by an often curious juxtaposition of little scientific and very progressive tendencies. The stuffed animals were shown in artificial landscape dioramas, ie already in ecological context. Alongside, however, stood also Stopfpräparate (stuffed compounds) of people of non-native breeds such as the "high princely Moor' Angelo Soliman, who came to literary fame.

The eminent scholar and organizer Carl Schreibers who from 1806 until 1851 headed the Natural History Collection, provided for key reforms in all areas. He extented all departments to major research centers and was supported not only by the museum officials, but also by a number of often highly skilled, unpaid volunteers.

On the occasion of the marriage of his daughter Leopoldina with the Brazilian crown prince Dom Pedro in 1817 sent Emperor Franz also well-known researchers to South America. Through their collecting activities, the growth of the museum's experienced a glorious climax. So stayed the zoologist Johann Natterer for 18 years in South America and established an in an exemplary manner documented collection of scientific and ethnographic objects for Vienna. This contributed significantly to the worldwide reputation of the museum, but also led to a decades-long lack of space.

With various, not always felicitous chosen emergency solutions on tried in vain to handle space problems sussesfully. During the revolutionary turmoil of 1848, the Imperial Palace was bombarded by imperial troops and partially set on fire. A part of the collection was destroyed, tragically, also many irreplaceable objects from the Brazilian material.

In the years after the Revolution, the collection was converted into an independent zoological, botanical and mineralogical Hofkabinett (Court cabinet). These cabinets with their extremely rich stocks offered not only ideal possibilities to explore, they contributed to the establishment of scientific disciplines in the university sector in 1870 also considerably to the formation of young scientists. The collections have been enhanced through exchange and purchases, by the collecting activities of the researchers as well as legacies, especially of scientifically inclined travelers, constantly . In addition, the by the Imperial Court generously funded cooperation with the Austrian navy became very important: Especially the circumnavigation of the world of the frigate "Novara" (1857-1859), which was attended by numerous excellent naturalist, gave an exceedingly rich collection of new material to the museum. The scientific word off should take decades.

This scientific Poiniergeist (pioneering spirit), reflecting the general belief in progress in the second half of the 18th Century, was facing the more and more oppressive need of space. Although Emperor Franz Joseph had already in 1857 the razing of the fortification lines around the city center ordered. On the cleared area should along a boulevard alongside other representative public buildings also new museums emerge. Up to the completion of this project, however, it was still a long way to go.

The liberal bourgeoisie then undergoing a steep political and economic upswing was inclined to replace the old cabinets through research and education centers for broad strata of the population and thus make its own cultural advancement clearly visible. But the neo-absolutist empire of the gradually decaying Habsburg monarchy, too, wanted erect itself a modern, artistically accomplished monument: A monumental Imperial Forum following the ancient example was planned, that should be reaching from the Imperial Palace to the royal stables. Realized of it was only a torso: the New Castle and Maria Theresa Square with Museum of Art History and Museum of Natural History.

The internal organization of the new 'Imperial and Royal Natural History Court Museum", which on 10 August was officially opened in 1889, goes back to the great geologist, New Zealand researcher and first director of the museum, Ferdinand von Hochstetter, and has been preserved largely in its clear systematic today. However, the proliferation of resources and new demands on the research and display collection activities required new spatial and structural solutions. Thus, an underground storage was created in 1990, which extends under the building on four levels and in fully air-conditioned rooms keeps a portion of the collection material. Due to the roof extension (1991 to 1995) further collection, but also numerous new working rooms were gained.

The research, the preservation and completing of the major scientific collections and the presentation of selected natural objects to this day have not lost any of their topicalities. In a time of increasingly rapid destruction of our environment, they are more important than ever. Just as the white patches have become smaller on the map, penetrates the science into ever smaller areas. Long scanning electron microscope and X-ray equipment have replaced hand magnifier. In the permanent exhibition area visitors also have access to advanced optical devices, especially in "Microcosmos" ( Hall 21). The preservation of collection, too, follows modern conservation knowledge.

Over a century ago, the Museum hace been created for the systematic presentation - the diversity of nature sorted strung together, the palace-like building, the interplay of means and objects as well as the historic atmosphere giving it a distinctive character.

Even with the redesign of many exhibition halls systematic classification was basically retained to make the visitors aware of the immense diversity of life. However, the presentation is successively adapted to the museological requirements and needs of the 21st century. Also presented are interesting topics and new contents in a contemporary didactic form.

Copyright Museum of Natural History

www.wien-konkret.at/kultur/museum/naturhistorisches-museu...

U.S. Department of Agriculture's (USDA) Deputy Secretary Krysta Harden, left, signs a memorandum of understanding (MOU) with NASA's Deputy Administrator Dava Newman, right, that highlights and solidifies the commitment to inspiring young people to pursue careers in science, technology, engineering, mathematics and agriculture on Monday, October 5, 2015 at USDA's People's Garden in Washington, DC. The MOU is an annex to an agreement between USDA and NASA to better protect America's working lands, predict and prevent natural disasters, and encourage youth to pursue careers in the STEM and agricultural fields. Photo Credit: (NASA/Aubrey Gemignani)

Knowles milked his publicity stunt for all it was worth, and beyond. In today's terms, it became his brand.

 

That's somewhat surprising, because he looks nothing like the idealized "modern caveman" he depicted in this visual summary of his experience living in the wild.

 

However, these vignettes are a tribute to his skill as an artist, which he wisely chose to cultivate during his years in Seaview,Washington.

 

======================

The Columbia Pacific Historical Society in Ilwaco, Washington, has mounted an exhibit of the art of Joe Knowles.

 

Knowles, a skilled artist and relentless self-promoter moved to Seaview, Washington, after a notorious scandal on the East Coast.

 

He's been called one of early start of reality performance. Before looking at his art, it's worth exploring the chapter in his life that led him to pull up stakes back East and move to an isolated village on Washington's Long Beach Peninsula.

 

Here's the story. I'll post photos of some of his art later today.

 

=========================================================================================================================

[In 1913], Joe Knowles stripped down to his jockstrap, said goodbye to civilization, and marched off into the woods to prove his survival skills. He was the reality star of his day. For eight weeks, rapt readers followed his adventures in the Boston Post. He returned home to a hero’s welcome. That’s when things got interesting.

 

The expedition began on a drizzly August morning, in a sort of no-man’s land outside tiny Eustis, Maine. The spot was some 30 miles removed from the nearest rail line, just north of Rangeley Lake, and east of the Quebec border. Knowles showed up at his starting point, the head of the Spencer Trail, wearing a brown suit and a necktie. A gaggle of reporters and hunting guides circled him.

 

Knowles stripped to his jockstrap. Someone handed him a smoke, cracking, “Here’s your last cigarette.” Knowles savored a few meditative drags. Then he tossed the butt on the ground, cried, “See you later, boys!,” and set off over a small hill named Bear Mountain, moving toward Spencer Lake, 3 or 4 miles away. As soon as he lost sight of his public, he lofted the jockstrap into the brush—so that he could enjoy, as he would later put it in one of his birch-bark dispatches, “the full freedom of the life I was to lead.”

 

If Knowles made himself sound like Tarzan, it was perhaps intentional. One of the most popular stories in Knowles’s day was Tarzan of the Apes, an Edgar Rice Burroughs novella. Published in 1912 in the pulp magazine All-Story, it starred a wild boy who goes “swinging naked through primeval forests.” The story was such a hit that in 1914 it was bound into book form.

 

Pulp magazines (so named because they were published on cheap wood-pulp paper) represented a new literary form, born in 1896. They offered working-class Americans an escape into rousing tales of life in the wilderness. Bearing titles like Argosy, Cavalier, and the Thrill Book, they took cues from Jack London, whose bestselling novels, among them The Call of the Wild (1903) and White Fang (1906), saw burly men testing their mettle in the wild. They were also influenced by Teddy Roosevelt, who insisted that modern man needed to avoid “over-sentimentality” and “over-softness” while living in cities. “Unless we keep the barbarian virtue,” Roosevelt argued, “gaining the civilized ones will be of little avail.”

 

On the morning of October 5, the Post’s front page blared, “KNOWLES, CLAD IN SKINS, COMES OUT OF THE FOREST.” A subhead continued, “Boston Artist, Two Months a ‘Primitive Man,’ Steps into the Twentieth Century near Megantic, Province of Québec.” Subsequent copy read, “Tanned like an Indian, almost black from exposure to the sun…. Scratched and bruised from head to foot by briars and underbrush…. Upper garment sleeveless. Had no underwear.”

 

Picked up nationwide, the Post’s piece explained that Knowles had just traversed the most inhospitable portion of the Maine woods, after which, when he had emerged on the outskirts of Megantic, he had made his first human contact—a young girl he had found standing by the railroad track. “And the child of 14, wild-eyed, stared at him,” the story said, “and into her mind came the memory of a picture of a man of the Stone Age in a history book.”

 

Not everyone believed the story. In late October, after he had returned to civilization, an editorial in the Hartford Courant wondered whether “the biggest fake of the century has been palmed off on a credulous public.” Meanwhile, a reporter from the rival Boston American had begun working on a long story about Knowles. The paper specialized in blockbuster exposés, and its investigative bloodhound, Bert Ford, had spent seven weeks combing the woods around Spencer Lake, aided in his research by a man he would call “one of the ablest trappers in Maine or Canada,” Henry E. Redmond.

 

On December 2, in a front-page article, Ford went public with the explosive allegation that Knowles was a liar. He zeroed in on Knowles’s alleged bear killing, noting that the Nature Man’s bear pit was but 4 feet wide and 3 feet deep. In boldface, the story asserted, “It would have been physically impossible to trap a bear of any age or size in it.” Knowles’s club was likewise damning evidence. Found leaning against a tree, it was a rotting stub of moosewood that Ford easily chipped with his fingernails.

 

According to the Boston American, Knowles had a manager in the Maine woods, and also a guide who bought the bearskin from a trapper for 12 dollars. The bear had not been mauled, but rather shot. “I found four holes in the bear skin,” Ford averred after meeting Knowles and studying the very coat he was wearing. “Experts say these were bullet holes.”

 

Ford argued that Knowles’s Maine adventure was in fact an “aboriginal layoff.” He wasn’t gutting fish and weaving bark shoes, as the Post’s dispatches suggested. Rather, he was lounging about in a log cabin at the foot of Spencer Lake and also occasionally entertaining a lady friend at a nearby cabin.

 

No matter; Knowles had gained the notoriety he needed to launch a national tour of speaking engagements, publish a book, and sell his artwork.

 

Prior to his notoriety for adventure, Knowles was an illustrator whose work graced the cover of numerous periodicals. The “Golden Age” of illustration was in full swing and Knowles’ artwork fit right in. By the early 1920s Knowles had settled in Seaview, Washington where he made his living from his paintings, prints and commissioned works.

 

This exhibition will focus on Joe Knowles as an artist. His paintings, prints and drawings were widely collected and played an important role in this community where he spent the final decades of his career. “By placing his work in the context of early 20th century American art and illustration we hope that viewers will gain a better understanding of Joe Knowles as a creative and accomplished artist,” said CPHM Director and Curator, Betsy Millard.

www.bostonmagazine.com/news/2013/03/26/naked-joe-knowles-...

columbiapacificheritagemuseum.org/the-art-of-joe-knowles/

Metropolitan Museum of Art, NYC

www.leannestaples.com

Light makes photography. Embrace light. Admire it. Love it. But above all, know light. Know it for all you are worth, and you will know the key to photography.

 

~ George Eastman

 

x

CINEMA DIGITAL

 

A Study of 4D Julia sets

 

Baraka / Baraka from DVD to 4K / Baraka with the monkey

 

Beatbox360

 

Enquanto a noite não chega (While we wait for the night â?" first Brazilian film in 4K)/(primeiro filme brasileiro em 4k)

 

Era la Notte

 

Flight to the Center of the Milky Way

 

Growth by aggregation 2

 

Jet Instabilities in a stratified fluid flow

 

Keio University Concert

 

Manny Farber (Tribute to)

 

Scalable City

 

The Nonlinear Evolution of the Universe

 

The Prague train

   

FILE INOVAÇÃO / FILE INNOVATION

 

Interface Cérebro-Computador – Eduardo Miranda

 

Sistema comercial de Reconhecimento Automático - Genius Instituto de Tecnologia

 

Robô de visão omnidirecional – Jun Okamoto

 

Loo Table: mesa interativa - André V. Perrotta, Erico Cheung e Luis Stateri dos Santos, da empresa Loodik

 

Simulador de Ondas e Simulador de Turbilhão - Steger produção de efeitos especiais ltda.

   

GAMES INSTALAÇÕES / INSTALLATIONS GAMES

 

Giles Askham – Aquaplayne

 

Jonah Warren & Steven Sanborn – Transpose

 

Jonah Warren & Steven Sanborn – Full Body Games

 

Fabiano Onça e Coméia – Tantalus Quest

 

Julian Oliver - levelHead

   

GAMES

 

Andreas Zecher – Understanding Games

 

Andrei R. Thomaz – Cubos de Cor

 

Arvi Teikari – Once In Space

 

Fabrício Fava – Futebolando

 

Golf Question Mark – Golf

 

Introversion.co.uk – Darwinia

 

Jens Andersson and Ida Rödén – Rorschach

 

Jonatan Söderström – CleanAsia!

 

Jonatan Söderström – AdNauseum2

 

Jorn Ebner – sans femme et sans avieteur

 

Josh Nimoy – BallDroppings

 

Josiah Pisciotta – Gish

 

Marek Walczak and Martin Wattenberg – Thinking Machine 7

 

Mariana Rillo – Desmanche

 

Mark Essen - Punishment: The punishing

 

Mark Essen - RANDY BALMA: MUNICIPAL ABORTIONIST

 

Playtime – SFZero

 

QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno - WATERCOULEUR PARK

 

QueasyGames - Jonathan Mak – Everyday Shooter

 

R-S-G: Radical Software Group - Kriegspiel - Guy Debord's Game of War

  

Shalin Shodhan (www.experimentalgameplay.com) – On a Rainy Day

 

Shalin Shodhan (www.experimentalgameplay.com) – Cytoplasm

 

Shalin Shodhan (www.experimentalgameplay.com) – Particle Rain

 

Tales of Tales: Auriea Harvey & Michaël Samyn - The Graveyard

 

Tanja Vujinovic – Osciloo

 

ThatGameCompany – Jenova Chen – Clouds

 

ThatGameCompany – Jenova Chen - flOw

   

JOGOS BR

 

JOGOS BR 1

 

Ayri - Uma Lenda Amazônica - Sylker Teles da Silva / Outline Interactive

 

Capoeira Experience - Andre Ivankio Hauer Ploszaj / Okio Serviços de Comunicação Multimídia Ltda.

 

Cim-itério - Wagner Gomes Carvalho / Green Land Studios

 

Incorporated (Emprego Maluco) - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos

 

Iracema Aventura – Odair Gaspar / Perceptum Software Ltda.

 

Nevrose: Sangue e Loucura Sob o Sol do Sertão - Rodrigo Queiroz de Oliveira

/ Gamion Realidade Virtual & Games

 

Raízes do Mal – Marcos Cruz Alves / Ignis Entretenimento e Informática Ltda.

 

JOGOS BR 2 – Jogos Completos

 

Cave Days - Winston George A. Petty / Insolita Studios

 

Peixis!

(JOGO EM DESENVOLVIMENTO) - Wallace Santos Lages / Ilusis Interactive Graphics

 

JOGOS BR 2 – Demos Jogáveis

 

Brasilia Tropicalis - Thiago Salgado Aiache de Moraes / Olympya Games

 

Conspiração Dumont - Guilherme Mattos Coutinho

 

Flora - Francisco Oliveira de Queiroz

 

Fórmula Galaxy – Artur Corrêa / Vencer Consultoria e Projetos Ltda.

 

Inferno - Alexandre Vrubel / Continuum Entertainment Ltda

 

Lex Venture - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos

 

Trem de Doido (DEMO EM DESENVOLVIMENTO) - Marcos André Penna Coutinho

 

Zumbi, o rei dos Palmeiras - Nicholas Lima de Souza

    

HIPERSÔNICA / HIPERSONICA

  

Hipersônica Performance

 

Andrei Thomaz, Francisco Serpa, Lílian Campesato e Vitor Kisil – Sonocromática

 

Bernhard Gal – Gal Live

 

+Zero: Fabrizio Augusto Poltronieri, Jonattas Marcel Poltronieri, Raphael Dall'Anese - +Zero do Brasil

 

Luiz duVa - Concerto para duo de laptops

 

Henrique Roscoe (a.k.a. 1mpar) – HOL

 

Jose Ignacio Hinestrosa e Testsu Kondo – Fricciones

 

Alexandre Fenerich e Giuliano Obici – Nmenos1

 

Orqstra de Laptops de São Paulo - EvEnTo 3 Movimentos para Orquestra

    

Hipersônica Participantes

 

Agricola de Cologne - soundSTORY - sound as a tool for storytelling

 

Jen-Kuan Chang – Drishti II

 

Jen-Kuan Chang – Discordance

 

Jen-Kuan Chang – Nekkhamma

 

Jen-Kuan Chang - She, Flush, Vegetable, Lo Mein, and Intolerable Happiness

 

Jerome Soudan – Mimetic

 

Matt Lewis e Jeremy Keenan – Animate Objects

 

Robert Dow - Precipitation within sight

 

Tetsu Kondo – Dendraw

 

Tomas Phillips – Drink_Deep

   

INSTALAÇÕES / INSTALLATIONS

 

Anaisa Franco – Connected Memories

 

Andrei Thomaz & Sílvia Laurentiz – 1º Subsolo

 

Graffiti Research Lab – Various

 

Hisako K. Yamakawa – Kodama

 

r3nder.net+i2off.org – is.3s

 

Jarbas Jacome – Crepúsculo dos Ídolos

 

Julio Obelleiro & Alberto García – Magnéticos

 

Julio Obelleiro & Alberto García – The Magic Torch

 

Mariana Manhães – Liquescer (Jarrinho)

 

Mariana Manhães – Liquescer (Jarrinho Azul)

 

Rejane Cantoni e Leonardo Crescenti – PISO

 

Sheldon Brown – Scalable City

 

Soraya Braz e Fábio FON – Roaming

 

Takahiro Matsuo – Phantasm

 

Ursula Hentschlaeger – Outer Space IP

 

Ursula Hentschlaeger – Phantasma

 

Ursula Hentschlaeger – Binary Art Site

   

SYMPOSIUM

 

Agnus Valente

 

Anaisa Franco

 

Andre Thomaz e Silvia Laurentiz

 

Christin Bolewski

 

Giles Askham

 

Graffiti Research Lab: James Powderly

 

Hidenori Watanave

 

Ivan Ivanoff e Jose Jimenez

 

Jarbas Jácome

 

João Fernando Igansi Nunes

 

Marcos Moraes

 

Mediengruppe Bitnik; Carmen Weisskopf, Domagoj Smoljo, Silvan Leuthold, Sven König [SWI]

 

Mesa Redonda (LABO) - Cicero Silva, Lev Manovich (teleconferencia) e Noah Wardrip-Fruin

 

Mesa Redonda [BRA] – (Hipersônica) Renata La Rocca, Gabriela Pereira Carneiro, Ana Paula Nogueira de Carvalho, Clarissa Ribeiro Pereira de Almeida. Mediação: Vivian Caccuri

 

Mesa Redonda [BRA] - [Ministro da Cultura: Gilberto Gil | Secretário do Audiovisual do Ministério da Cultura: Sílvio Da-Rin | Secretário de Políticas Culturais do Ministério da Cultura: Alfredo Manevy ]

 

Mesa Redonda [BRA] - Inovação - Lala Deheinzelin, Gian Zelada, Alessandro Dalla, Ivandro Sanches, Eduardo Giacomazzi. Mediação: Joana Ferraz

 

Mesa Redonda 4k - Jane de Almeida, Sheldon Brownn, Mike Toillion, Todd Margolis, Peter Otto

 

Nardo Germano

 

Nori Suzuki

 

Sandra Albuquerque Reis Fachinello

 

Satoru Tokuhisa

 

Sheldon Brown

 

Soraya Braz e Fabio FON

 

Suzete Venturelli, Mario Maciel e bolsistas do CNPq/UnB (Johnny Souza, Breno Rocha, João Rosa e Samuel Castro [BRA]

 

Ursula Hentschlaeger

 

Valzeli Sampaio

   

Cinema Documenta FILE São Paulo 2008

 

Antonello Matarazzo – Interferenze – Itália / Italy

Bruno Natal - Dub Echoes – Brasil / Brazil

Carlo Sansolo - Panoramika Eletronika - Brasil / Brazil

Kevin Logan – Recitation – Londres / London

Kodiak Bachine e Apollo 9 – Nuncupate – Brasil / Brazil

Linda Hilfing Nielsen - Participation 0.0 – Dinamarca

Maren Sextro e Holger Wick - Slices, Pioneers of Electronic Music – Vol.1 – Richie Hawtin Documentary – Alemanha / Germany

Matthew Bate - What The Future Sounded Like – Austrália

Thomas Ziegler, Jason Gross e Russell Charmo - OHM+ the early gurus of electronic music – Eua / USA

 

Mídia Arte FILE São Paulo 2008

 

[ fladry + jones ] Robb Fladry and Barry Jones - The War is Over 2007 – EUA / USA

Agricola de Cologne - One Day on Mars – Alemanha / Germany

alan bigelow - "When I Was President" – EUA / USA

Alessandra Ribeiro Parente Paes

Daniel Fernandes Gamez

Glauber Kotaki Rodrigues

Igor Albuquerque Bertolino

Karina Yuko Haneda

Marcio Pedrosa Tirico da Silva Junior – Reativo – Brasil / Brazil

Alessandro Capozzo – Talea – Itália / Italy

Alex Hetherington - Untitled (sexyback, folly artist) – Reino Unido / United Kingdon

Alexandre Campos, Bruno Massara e Lucilene Soares Alves - Novos Olhares sobre a Mobilidade – Brasil / Brazil

Alexandre Cardoso Rodrigues Nunes

Bruno Coimbra Franco

Diego Filipe Braga R. Nascimento

Fábio Rinaldi Batistine

Yumi Dayane Shimada – Abra Sua Gaveta – Brasil / Brazil

ALL: ALCIONE DE GODOY, ADILSON NG, CAMILLO LOUVISE COQUEIRO, MARINA QUEIROZ MAIA, RODOLFO ROSSI JULIANI, VINÍCIUS NAKAMURA DE BRITO – Vita Ex Maxina – Brasil / Brazil

Andreas Zingerle - Extension of Human sight – Áustria

Andrei R. Thomaz - O Tabuleiro dos Jogos que se bifurcam - First Person Movements - Brasil / Brazil

Andrei R. Thomaz e Marina Camargo – Eclipses – Brasil / Brazil

Brit Bunkley – Spin – Spite – Nova Zelândia – New Zeland

calin man – appendXship / Romênia

Carlindo da Conceição Barbosa

Kauê de Oliveira Souza

Guilherme Tetsuo Takei

Renato Michalischen

Ricardo Rodrigues Martins

Tassia Deusdara Manso

Thalyta de Almeida Barbosa / Da Música ao Caos – Brasil / Brazil

Christoph Korn – waldstueck – Alemanha / Germany

Corpos Informáticos: Bia Medeiros, Carla Rocha, Diego Azambuja, Fernando Aquino, Kacau Rodrigues, Márcio Mota, Marta Mencarini, Wanderson França – UAI 69 – Brasil / Brazil

Duda. – do pixel ao pixel – Brasil / Brazil

Daniel Kobayashi

Felipe Crivelli Ayub

Fernando Boschetti

Luiz Felipe M. Coelho

Marcelo Knelsen

Mauro Falavigna

Rafael de A. Campos

Wellington K. Guimarães Bastos - A Casa Dentro da Porta – Brasil / Brazil

David Clark - 88 Constellations for Wittgenstein – Canadá

Thais Paola Galvez

Josias Silva

Diego Abrahão Modesto

Nilson Benis

Vinicius Augusto Naka de Vasconcelos

Wilson Ruano Junior

Marcela Moreira da Silva – Rogério caos – Brasil / Brazil

Diogo Fuhrmann Misiti, Guilherme Pilz, João Henrique - Caleidoscópio Felliniano: 8 ½ - Brasil / Brazil

Agence TOPO: Elene Tremblay, Marcio Lana-Lopez, Maryse Larivière, Marie-Josée Hardy, James Prior - Mes / My contacts – Canadá / Canada

Eliane Weizmann, Fernando Marinho e Leocádio Neto – Storry teller – Brasil / Brazil

Fabian Antunes - Pousada Recanto Abaetuba – Brasil / Brazil

Edgar Franco e Fabio FON - Freakpedia - A verdadeira enciclopédia livre – Brasil / Brazil

Fernando Aquino – UAI Justiça – Brasil / Brazil

Henry Gwiazda - claudia and Paul - a doll's house is...... - there's whispering...... – EUA / USA

Architecture in Metaverse: Hidenori Watanave - "Archidemo" - Architecture in Metaverse – Hapão / Japan

Yto Aranda – Cyber Birds Dance – Chile

Dana Sperry - Sketch for an Intermezzo for the Masses, no. 7 – EUA / USA

Jorn Ebner - (sans femme et sans aviateur) – Reino Unido / United Kingdon

Josephine Anstey, Dave Pape - Office Diva – EUA / USA

Josh Fishburn – Layers – Waiting – EUA / USA

Karla Brunet – Peculiaris – Brasil / Brazil

Kevin Evensen - Veils of Light – EUA / USA

lemeh42 (santini michele and paoloni lorenza) - Study on human form and humanity #01 – Itália / Italy

linda hilfling e erik borra - misspelling generator – Dinamarca / Denmark

Lisa Link - If I Worked for 493 years – EUA / USA

Marcelo Padre – Estro – Brasil / Brazil

Martha Carrer Cruz Gabriel - Locative Painting - Brasil / Brazil

Martin John Callanan - I Wanted to See All of the News From Today – Reino Unido / United Kingdon

Mateus Knelsen, Ana Clara, Felipe Vasconcelos, Rafael Jacobsen, Ronaldo Silva - A pós-modernidade em recortes: Tide Hellmeister e as relações Design e cultura – Brasil / Brazil

Mateus Knelsen, Felipe Szulc, Mileine Assai Ishii, Pamela Cardoso, Tânia Taura - Homo ex machina – Brasil / Brazil

Michael Takeo Magruder - Sequence-n (labyrinth) - Sequence-n (horizon) – Reino Unido / United Kingdon

Michael Takeo Magruder + Drew Baker + David Steele - The Vitruvian World - Reino Unido / United Kingdon

Nina Simões - Rehearsing Reality ( An interactive non-linear docufragmentary) - Reino Unido / United Kingdon

Nurit Bar-Shai - Nothing Happens – EUA / USA

projectsinge: Blanquet Jerome - Monkey_Party – França / France

QUBO GAS - WATERCOULEUR PARK – França / France

rachelmauricio castro – 360 - R.G.B. – tybushwacka – Brasil / Brazil

Rafael Rozendaal - future physics – Netherlands

Regina Célia Pinto - Ninhos & Magia – Brasil / Brazil

Roni Ribeiro – Bípedes – Brasil / Brazil

Rubens Pássaro - ISTO NÃO É PARANÓIA – Brasil / Brazil

Rui Filipe Antunes – xTNZ – Brasil / Brazil

Selcuk ARTUT & Cem OCALAN – NewsPaperBox – Brazil

Tanja Vujinovic - "Without Title" – Switzerland

 

Hipersônica Screening – FILE São Paulo 2008

 

1mpar – hol – Brasil / Brazil

Art Zoyd - EYECATCHER 1 - EYECATCHER 2, Man with a movie camera - Movie-Concert for The Fall of the Usher House – França / France

Audiobeamers (FroZenSP and Klinid) - Paesaggi Liquidi II – Alemanha / Germany

Bernhard Loibner – Meltdown – Áustria

Bjørn Erik Haugen – Regress - Norway

Celia Eid e Sébastien Béranger – Gymel – França / France

Studio Brutus/Citrullo International - H2O – Itália / Italy

Daniel Carvalho - OUT_FLOW PART I – Brasil / Brazil

David Muth - You Are The Sony Of My Life – Reino Unido / United Kingdon

Dennis Summers - Phase Shift Vídeos – EUA / USA

Duprass - Liora Belford & Ido Govrin – Free Field – Pink / Noise – Israel

Fernando Velázquez – Nómada – Brasil / Brazil

Frames aka Flames - Performance audiovisual sincronizada: Sociedade pós-moderna, novas tecnologias e espaço urbano - Brasil / Brazil

Frederico Pessoa - butterbox – diving - Brasil / Brazil

Jay Needham - Narrative Half-life – EUA / USA

Soundsthatmatter – trotting – briji – Brasil / Brazil

x

London Passenger Transport Board

 

The Bombings of 1940 forced a reappraisal of deep-shelter policy and at the end of October the Government decided to construct a system of deep shelters linked to existing tube stations. London Transport was consulted about the sites and required to build the tunnels at the public expense with the understanding that they were to have the option of taking them over for railway use after the war. With the latter point in mind, positions were chosen on routes of possible north-south and east-west express tube railways. It was decided that each shelter would comprise two parallel tubes 16 foot 6 inches internal diameter and 1,600 feet long and would be placed below existing station tunnels at Clapham South, Clapham Common, Clapham North, Stockwell, Oval, Goodge Street, Camden Town, Belsize Park, Chancery Lane and St. Pauls...Each tube would have two decks, fully equipped with bunks, medical posts, kitchens and sanitation and each installation would accommodate 9,600 people...All the deep level shelters were sub-divided into sleeping areas. Each tunnel was divided into 4 sections with connecting doors between them. Each section was given a name. At Clapham South they were all naval commanders. The northern entrance sections (i.e. those accessed directly from the northern lift without crossing to the other side) were named: Freemantle, Beatty, Evans, Anson, Nelson, Jellicoe, Madden and Inglefield while those accessed from the southern entrance were: Grenville, Hardy, Drake, Oldham, Keppel, Parry and Ley. Each section had bunks fitted longitudinally along the outer wall, a single at the top, a double in the middle and a single at the bottom. Along the inner wall bunks were fitted across the passage forming bays. There were 7.952 bunks in total and each bunk was allocated to a named person. If they didn't turn up one night the bunk remained unused...Although work on them began in November 1940 there were difficulties in obtaining sufficient labour and materials so the first one was only ready in March 1942 and the other seven were finished later that year. Access to them was by ticket in order to help control numbers and prevent disruption to the underground network. There was considerable pressure to open the shelters to relieve the strain on London’s tube stations from people sheltering from the bombing, but the authorities were concerned about the cost of maintaining the shelters once opened and preferred to keep them in reserve in case the bombing intensified. Clapham South was used as weekend troop accommodation from 1943. The start of the attacks on London by V1 flying bombs (commonly known as ‘doodlebugs’) in June 1944, followed by the V2 rocket campaign in September that year, caused many of the deep shelters to be made fully available to the public; Clapham South opened on 19 July 1944. The south entrance, next door to what was the Odeon cinema, was in a small compound that housed administrative offices and ticket printing presses for all eight deep shelters. The shelters were used for their original purpose for less than a year. The north section closed on 21 October 1944 and the shelter was transferred from the Ministry of Home Security to the Ministry of Works on 1 October 1945. Clapham South closed completely on 7 May 1945 and from June 1945 it found a new use as a military leave hostel and for one month in June 1946 it acted as an armed-forces troop billet. At the end of the war, London had a severe labour shortage and the Colonial Office sought to recruit a labour force from Britain’s colonies. At that time there were no immigration restrictions for citizens from one part of the British Empire moving to another part. An advertisement appeared in Jamaica's Daily Gleaner on 13 April 1948 offering transport to the UK for a fare of £28.10s (£28.50) for anyone who wanted to work in the UK. As a result the ship MV Empire Windrush arrived in Tilbury later in 1948 carrying 492 worker migrants from Jamaica. However, as there was no accommodation for the new arrivals the Colonial Office decided to house them in the deep-level shelter at Clapham South.

The nearest labour exchange to Clapham South was on Coldharbour Lane in Brixton so the men sought jobs there. As a result Brixton became a focus for West Indian settlers from that point onwards with successive arrivals making their way to the developing

community. The actual time the deep-level shelter was occupied by new arrivals was relatively short as the men all quickly found jobs and accommodation, and successfully integrated into many parts of south London.

[Subterranea Britannica]

As a child I loved looking at the covers and the illustrations within my dad's old science magazines. I didn't actually read any, just looked at the pictures. It's still absolutely inspirational stuff.

 

I really like this one.

 

See my main account for my photography, videos, fractal images and more here: www.flickr.com/photos/josh-rokman/

 

This is one of a series of images I made with the Bing Image Creator, which is an AI image generator powered by DALL-E 3.

 

For most of these images I tried to combine multiple elements together into one, rather than creating a scene with multiple separate elements. This pushes the limits of what the AI model can do, and maximizes the amount of human control over the images. For example, I might use the text prompt ‘photo realistic snake plane made out of carbon fiber and gold’.

 

Here is my take on AI generated images vs. human made art: I think that the quality of AI generated images will NOT dramatically improve, even many years into the future. The ultimate goal of a creative image is to create a certain emotional state in the viewer. - Emotions themselves - are the main tool used to do this. A purely logic driven machine can only create a crude, generalized model of something meant to create a certain emotional state. When someone makes a piece of art, it is always some combination of using logic and emotions to guide the process. Remember that the ultimate goal is to create a certain emotional state in the viewer. Only having access to logic, but not emotions, will always create a very generic looking work. You need to actually be able to feel emotions to fine-tune the work beyond that, since creating emotions is the ultimate goal.

 

The main difference between an AI model and a human is not the difference in the power of the logic that can be deployed. The difference is that a human can feel emotions, which is key to creating an image (or text) made to create a certain emotional state. The logic that the best AI image generator models currently have seems to already be at the level of what the best human can do (based on some of the results I got, which was quite a shock). The results are still crude and generic compared to what a human can do, because the AI models have no access to emotions, which are the main tool for making and refining a creative work designed to create certain emotional states.

 

All creative work is built with a combination of logic and emotions (emotions should always be the main tool), and by not having direct access to emotions, a machine can only create crude, generic results. When I make music I always try and use emotions rather than logic to guide the process as much as possible, since creating a certain emotional state in the listener is the ultimate goal. The best AI models have an amazing ability to use logic to mix two different styles of images together since that is a logic driven process. They can’t make those images from scratch, since that is an emotion driven process, since it is all about creating certain emotions in the viewer.

 

Imagine you were a chef trying to develop a new dish, but you were not allowed to taste the food at any point as you made it. Your ability to determine the correct amount of salt and other seasonings would be very crude and limited. There would always be the possibility of a disaster happening, since you could not add a bit of seasoning at a time and taste it, so you would have to just dump it all in at once. This is the same idea of an AI model that is trying to ultimately create emotional states using sophisticated logic, but without having any access to emotions to guide the process.

 

The results will always be very generic looking, with the occasional unexpected gruesome image being returned. The power of the logic I have seen in some of the images I have created is quite shocking, but the results are still crude and generic compared to what a human can do, since the AI model is trying to create emotional states without being able to actually feel emotions itself, which is vital to creating emotional states through an image (or text).

 

The AI models have an amazing ability to combine multiple types of images together into one, but they have no understanding of what the individual elements they are combining together truly are. Again, this is because the individual images are designed to create certain emotional states, and an AI model has no ability to feel emotions, meaning it has no ability to understand them.

 

Having said all that, there is a good chance that the ability of humans to customize AI generated images will keep going up, and this will allow for this tool to create highly creative works close to what a human could do from scratch after all. I don’t think that the AI models will ever be able to do this by themselves with a simple button push though, as I have made the case for above. Also, I would expect that the number of images that are generated with a button push will keep going up and up.

 

Now, does making good AI generated images take talent? I say the answer is yes simply because these images are not all equal in quality. To create the best image in a set of 1,000 to 100,000,000 images, and to do so consistently, takes skill. You need to learn something from every single image you create about what the AI model does well and does not do well. You also need creative and artistic skills to come up with really good text prompts, in addition to this. The skills involved in this are similar to the skills involved in coming up with a great line in text, like in books, poems, speeches, scripts, ect. This is like abstract art. I know from experience that randomly applying different colors of paint never yields anything impressive. It takes a lot of talent to make good abstract art. Random combinations of words in text prompts will never create the results that highly targeted ones will, when it comes to AI generated images.