OCTOBER Page - (All proceeds from this fundraiser to towards the Miami Baseball + Soccer Field Development)

Cross-border solidarity action utilizing Guerrilla Light Projection onto Trump's prototype border walls. Artful Activists San Diego, OLB San Diego, Backbone Campaign's affiliated San Diego Solidarity Brigade and photographer and educator Jill Marie Holslin mobilized this bold action. Their message was clear - "Build Bridges Not Borders," "Refugees Are Welcome," "No One is Illegal," countering the racist and xenophobic policies and rhetoric of the "Embarrassment-In-Chief" and the party of Trump.

On 11/19/2017, under a new moon, accompanied by a gorgeous sunset, a binational group of activists/artist met up at Las Torres barrio, Tijuana, Baja California. Setting up atop 3 vehicles parked against the existing border fence, facing the newly constructed prototypes, our group began projecting light graffiti onto the 30 ft by 30 ft border wall prototypes, located 100 to 150 feet away, on heavily guarded, impossible-to-access, U.S. soil. By using our" Las Torres shortcut", we had perfect access to all the prototypes. Overpass Light Brigade San Diego aimed our 750 watt Source Four stage lamp, equipped with a long-distance lens, at several prototypes, and began projecting. Jill Holslin, Andrew Sturm, and a Mexican videographer recorded the entire event. 5 images were displayed, beginning with a luchador, well known as a fighter against injustice in Mexico. A ladder ascending the prototype was next. In a playful spirit, the 3rd image of a stick figure climbed the wall with the words "LLEGALE" (go for it) below it. Lady Liberty then shown her light. The concluding image was an invocation that we as humans honor our common humanity more than contrived borders, and welcome refugees. The entire event was an example of how borders can bring people together, as UCSD students, faculty, Mexican nationals and US activists all met and created the event in response to the erection of fascist architecture on OUR BORDER. San Diego is and ever shall be, a border town. We are her citizens, and we shall defend her.

Lock arms with Backbone Campaign to be a part of Bold and Creative action! - backbonecampaign.org

The initial piece of a 14-part series, utilizing the 14 statues featured on the two quarter-round colonnades of Millenium Monument at Hősök tere/Heroes' Square. Since all of the men portaitured this way are major and significant figures in the history of Hungary, some Budapest streets are named after them here or there. The primary aim of this series is not to introduce the statues or characters (all are commonplaces frequently featured in touristic photoguides), but roads, squares and public spaces bearing their names.

Róbert Károly körút is the Angyalföld section of what is generally (but mistakenly) known as Hungária Circular Road, the longest and outermost of Pest circulars so far. The piece in question is a 2x3 tracked city road, leading towards and from Árpád Bridge, always a busy, frequently a jammed spot of the city up to the mouth of M3 high road, which drives a great amount of traffic into the inner parts of Budapest. Things change after 11.00 p.m. - if you want to take a car ride in Budapest, try to do it after then.

Charles I (Károly Róbert, as he is referred in Hungarian, born as Caroberto) was the first king of Hungary of Angevin origin, also a monarch of Croatia in almost the same time (in Hungary 1307-1342, as sign tells; other sources specify 1308 as the beginning of his reign in Hungary), and he could have been the King of Naples, as well, but his father decided him to take the rule of these countries. He is famous for strenghtening the royal (and state) power against magnates of the time of its own.

The statue is designed by György Kiss, and was erected in 1905.

These parts of this series are available now.

The Sharpie Show

“An exhibition by artists who utilize marking pens as part of their craft”

Opening Reception with Beats by DJ Phyz Ed and Live Printing by Two Rabbits:

Saturday, February 7th, 2009 from 6pm - 9pm

In the Graffiti subculture, practitioners are known as "writers" because graffiti is about writing your name on as many surfaces as possible. Although many writers elevate their art form to the level of creating huge and beautiful murals, they all began their journey as an artist by first learning to write and perfect their name. The Sharpie marker is often the first tool a writer acquires in his lifelong journey to hone his craft and in becoming an artist.

The Sharpie Show, an exhibition curated by renown graffiti artist Man One, featuring original pieces created using Sharpies by some of the best known graffiti artists in the country (and beyond). Aside from graffiti artists, work by tattoo artists and known illustrators; Lalo Alcaraz and Overton Loyd will be on display. From stylized hand signatures, to throw ups, piecebooks, stickers, and any other possible object that can be marked upon, this exhibit will demonstrate the level of creativity that can be achieved between an artist and his/her most basic tool - The Sharpie.

***Exhibit runs thru March 1st, 2009***

Participating Artists:

20MG, AFEXONE, ASTEK, AUKS ONE, BENJIE, BLEN 167, BOB MOTOWN, BRANDED, BROOKS B. GOLDEN, CACHE, CAT FERRAZ, CATCULT, COPE2, DASH"2000"FIDEL, DEB (AUSTRAILIA), DENZONE®, DSRUP K4P, DRILONE, DYTCH66, EGR, ERIBERTO ORIOL, ERICK SCARECROW, ERIK DEBAT "RISK", EVAN SKREDERSTU, EVERETT CHING, EZRA, FLYCAT(ITALY), GHOST ONE, GIMIKS, GREG "CRAOLA" SIMKINS, GWEN MERCADO–REYES, HASTE, HEX, HUIT, IMMY MELLIN – THE SHARPIE KING, INDIE 184, JAMES "CASPER" JANKOWIAK, JOSE REYES, KING157, KRASH, LALO ALCARAZ, MAD, MAKE ONE, MAN ONE, MANDOE MAK, MARKA27, MAX NEUTRA, MEAR ONE, MIKE GIANT, MOE RADKE, MR "PUPPET" 201, NICKLU, NICNAK, NOEK, OVERTON LOYD, PEAP (NEW ZEALAND), PHOENIX ART, PHONETICONTROL, PROJECT RABBIT, RANDY KONO, RAWKET, RELAX, ROA(BELGIUM), ROME (CHICAGO), SACRED, SERGIO D. ROBLETO, SHERM, SIMSONE, SLOKE ONE, SRPNTWLF, SUBWAY SUDS, THOR, VANESSA HAMPTON, VYAL, WANE ONE, WERC, ZEN ONE and many more…

Ethiopian children riding back home after successfully filling up their jerricans at a solar powered water reservoir, funded by the African Development Bank.

Times Square, New York City, New Years Eve Ball Drop, 2012 - 2013

The Times Square Ball is a time ball located atop the One Times Square building in New York City, primarily utilized as part of New Year's Eve celebrations held in Times Square. Yearly at 11:59 p.m. EST on December 31, the ball is lowered 77 feet (23 m) down a specially designed flagpole, resting on the midnight to signal the start of the new year. The first ball drop in Times Square took place on December 31, 1907, and has been held annually since (except in 1942 and 1943 in observance of wartime blackouts). The ball's design has also been updated over the years to reflect new advances in technologies—its original design utilized 100 incandescent light bulbs, iron, and wood in its construction, while its current incarnation features a computerized LED lighting system and an outer surface consisting of triangle-shaped crystal panels. As of 2009, the ball is also displayed atop One Times Square year-round and is removed only for general maintenance.

The Times Square ball drop is one of the best-known New Year's celebrations internationally, attended by at least one million spectators yearly, with an estimated global audience of at least 1 billion. The prevalence of the Times Square ball drop has also inspired other similar "drops" held locally in other cities and towns around the world.

“Dick Clark’s New Year’s Rockin’ Eve with Ryan Seacrest,” from American Idol as the host

Performers of the 2012 - 2013 celebration Carly Rae Jepsen, Neon Trees, Flo Rida, Pitbull, with Taylor Swift, in the headliner position just before midnight.

For more on New Years Eve in Times Square visit:

www.timessquarenyc.org/

Photo

Times Square, New York City, USA, North America

12-31-2012

Also an entrance no longer utilized.

Rowland Hussey Macy moved to New York City in 1858 and founded R.H. Macy and Company. In 1893, the Straus brothers acquired ownership of Macy’s and Wechsler & Abraham in Brooklyn. Macy’s kept its original name while Wechsler and Abraham was changed to Abraham and Straus. The two companies were run separately but under the same ownership until 1915 when Nathan Straus’ family took control of Abraham and Straus and Isidor Straus’ family took control of Macy’s.

In 1902, the Straus brothers moved the store uptown to its current location on 34th and Broadway. The Broadway building (most of these photos) was designed by DeLemos & Cordes. The 7th Avenue additions were designed by Robert D. Kohn in 1924, 1928, and 1931.

Macy’s is on the National Register #78001873, and it is also a National Historic Landmark.

40 feet tall unique steel sculpture utilizing cutting edge design, she is dancing naked with her eyes closed. Breathtaking modern sculpture in structure and balance.

To see more images from 2010 and other years of Burning Man festival go to: www.dusttoashes.net

I hope you enjoyed the images and thank you for visiting.

Lourdes (Alfie) Alvarado-Ramos, Director of Veterans Affairs, passionately describes the many benefits of utilizing the leadership and organizational skills of returning veterans in work groups like this Swan Lake Restoration Group of Puget SoundCorps.

She explained that outdoor environmental projects like Swan Lake help veterans gain some new skills while utilizing their skills from their military experience to help improve the environment and also successfully transition from military life to civilian life.

Photo: Nancy Charbonneau/DNR

Utilizing the light from the recent supermoon to test out my new super-compact's (Olympus XZ-2) long exposure capability. Here's 60 seconds of St Julians at ISO 100. It passed the test

I utilized a 6 F-STOP (64x) ND filter to allow the syncing of strobes at 1/200s or less and shooting wide open.

Strobist:

Triggered with Pocket Wizard PLUS and PLUS II units

Alienbee B1600, 8 o'clock at 1/2 power with a 48" octobox.

YONGIN CITY, South Korea (Sept. 9, 2013) - Capt. Justin E. James, Bravo Company Commander, 304th Expeditionary Signal Battalion, explains to General Hyuk Soon Kwon, Commander of Third Republic of Korea (ROK) Army, about how utilization of radio over internet protocol equipment can increase the efficiency of communication between U.S. and ROK Army at Third Republic of Korea Army Command. (Photo Credit: Photo by Pfc. Jong Soo Oh, 1st Signal Brigade Public Affairs Office)

130914-A-JO312-414

** Interested in following U.S. Pacific Command? Engage and connect with us at www.facebook.com/pacific.command and twitter.com/PacificCommand and www.pacom.mil/

:Of Treasures:

This delightful little wonder is a Gris Gris Bag, also known as a Mojo Bag, JouJou Bag or Sachet. Gris Gris Bags are magnificent little talismans and can be utilized to bring about desired outcomes, protect one against ill will or they can just simply be unique little handmade oddities to decorate your vanity or alter with. Some simply adore the smell alone and use them as pin cushions or sachets to keep linens and lingerie smelling down right divine.

This one in particular was hand crafted and blessed to be a Love, Lust & Passion Gris Gris; meant to bring its keeper much in the way of fiery liaisons of the heart and of the flesh. It has been handcrafted of cotton and silk. Most of the sachet's outer material is a reddish-pink cotton bespeckled with stars. The pocket is constructed of a deep scarlet silk dupioni which has been edged with an embroidered design of flowers with tiny sequins sewn throughout.

Its sultry mix of deep scarlet and pink color shades denotes its use in rites and rituals involving matters of the heart.

It is hand stuffed with a mix of lavish goodies: a tag with runic symbols hand written upon it, fine cotton fiber, various rose petals and parts and a dash of essential oils from Ginger and Jasmine. All in all, a variety of fine magical ingredients have been combined to make this Gris Gris Sachet a potent tool for drawing love and relationship luck.

:Oodles of Magitastic Accessories:

This Gris Gris also has a wonderment of accessories that accompany it: a length of red satin ribbon for binding, a bit of red feathers, 3 pieces of parchment paper onto which you write your wishes & desires... 2 beautifully designed envelopes for tucking your wishes into... Both the parchment paper and the envelopes are emblazoned with Zodiac symbols and such. The larger envelope pictured (with Alice of Wonderland on it) contains a 2.75 Oz. bag of practically divine ritual dead sea bath salts whose aroma is a heady mix of Ginger and Jasmine. This Gris Gris care package will also come to you with a hefty 1 Oz. bottle of "The Patronus Charm" fine Artisan Perfume Oil (The Love and Lust Batch).

:Of "The Patronus Charm" Artisan Perfume Oil:

Dreamed up by the fireplace as the moon was waxing full, this Patronus Charm perfume oil was also created with the sultry and sensual in mind. In that regard, care was taken to utilize essential oils from plants and herbs which folklore suggests bring about aphrodisiac results. This particular variety of The Patronus Charm is composed of sultry Ginger & super sexy Jasmine essential oils, melded with White Tea & a touch of Vanilla. Other components of The Patronus Charm (the Love & Lust batch): sweet almond oil, jojoba oil, hazelnut oil, amber glass bottle and a parchment paper label. It is completely natural, organic and vegan friendly. This perfume oil is also perfect for aromatherapy, meditation, rites and rituals alike.

:Other Details:

This Large Gris Gris Bag Measure 5" x 4".

It is suggested that you add your own meaningful items to your Gris Gris when you receive it. A lock of hair, a fingernail, a small picture, a favorite rock or shell...Whatever you might like to meditate on.

I put a pocket on my Gris Gris sachets for a reason... so the pocket is nice and big to accommodate any manner of trinkets or personal charms you'd like to tuck into it. The Love & Lust Gris Gris will come to you with more detailed instructions on its use, 3 small tea light candles in red, pink and yellow (not shown) and will be packaged in gift-style wrappings with love and care.

find this at pixxxiepieandposie.etsy.com

A Caterpillar D7H bulldozer utilized by 3rd Armored Brigade Combat Team, 1st Armored Division, Fort Bliss, Texas, provides hasty battle positions in support of defensive operations during Decisive Action Rotation 18-08 at the National Training Center, Fort Irwin, Calif., June 7, 2018. Decisive Action Rotations at the National Training Center ensure Army BCTs remain versatile, responsive, and consistently available for current and future contingencies. (U.S. Army photo by Spc. Guy Mingo, Operations Group, National Training Center)

Built in 1949-1951, this Modern building was designed by Frank Lloyd Wright and Marshall Erdman to house the First Unitarian Society of Madison, utilizing a strong emphasis on the geometry of triangles in its design. The First Unitarian Society of Madison was founded in 1879, and two of its founding members were William Cary Wright and Anna Lloyd Jones, the parents of Frank Lloyd Wright, and was comprised primarily of those who followed Jenkin Lloyd Jones, Frank Lloyd Wright’s uncle. Frank Lloyd Wright was a member of the church as well. The Unitarians completed their first building in Madison in 1885, which was located downtown, and was the home of the local Unitarian congregation until they sold the building in 1951 and moved to Shorewood Hills, a suburb of Madison located west of the University of Wisconsin - Madison campus. The budget for the church was exceeded by a factor of 3, owing to unforeseen complications during the construction process, and led to members of the church taking on some of the labor to build it. After its completion, the church was widely celebrated as a highly innovative church design, and influenced the design of many Modernist churches in the United States during the subsequent two decades.

The building is a long, mostly low structure underneath a copper and wood roof that follows the topography of the site, with it being more open with larger windows facing towards the adjacent University Bay Drive to the north, and less open towards the parking area to the south. The roof is hipped with low eaves, the lowest of which is about 5 feet above the sidewalk, right at the building’s original main entrance. The exterior is clad in limestone, with both vertical punched opening windows and long horizontal bands of ribbon windows on the wings flanking the “upper meeting house,” which terminate at the entrance at the southeast corner of the building and a fellowship hall in a pointed section at the northwest corner of the building. The most notable feature of the building is the “upper meeting house,” a tall space with a tall triangular pointed roof that slopes to a low eave at the south face of the building, and a facade on the north side of the building that tapers to a narrow point reminiscent of the prow of a ship, which is wrapped by a planter at the base and a glass curtain walls with angled mullions above, and resembles hands folded in prayer. The roof of the space is supported by hinged arch trusses that are supported by being counterbalanced at the eaves, forming a 64-foot span with no interior supports. The interior of the pointed section of the building is home to an organ and a simple limestone altar, with the light from the prow window in the front of the space being diffused by several light shelves. The ceiling features multiple soffits in the rear that have similar triangular shapes to the rest of the building, a glass storefront with a pointed top that contains two doors to a terrace outside, and a stone wall that penetrates up through the roof, appearing much like a chimney.

The building was listed on the National Register of Historic Places in 1973, and was designated a National Historic Landmark in 2004. The building complex has been expanded multiple times as the congregation has grown into one of the largest Unitarian organizations in the United States, necessitating additions to be built to the southwest of the original classroom wing in 1965 and 1990, designed by Taliesin Associated Architects and mimicking the footprint, exterior cladding, window placement, and layout of the original building, but with low-slope roofs instead of hipped roofs. In 2008, the church received a massive contemporary addition to the rear to house an additional worship space and community spaces, designed by Kubala Washatko Architects, and meant to both preserve the historic landscape around the original building and embody similar design principles. The building is maintained under the stewardship of the non-profit Friends of the Meeting House, Inc., which has existed since the 1970s to address the building’s various preservation and maintenance needs. The church today remains in use as an active worship space for the original congregation, which also allows various community groups to utilize its facilities.

1965 Shelby 427 Competition Cobra

Lot 156 | $3,000,000 - $3,600,000 USD

Not Sold

From Sotheby's:

A true triple threat: The only Cobra to feature on the Cobra Caravan, in a major Hollywood movie, and in-period competition

Utilized by Shelby as a part of their famous Cobra Caravan publicity tour

Documented as Elvis Presley’s “hero car” in the 1966 MGM Studios film Spinout

First owned and raced in period by the Formula One driver Moisés Solana Arciniega

Retained by the consignor between 1980 and 1993, then reacquired in 2006

It was classic Carroll Shelby, a delightfully mad idea made even madder: Take the already ferocious 289 Cobra . . . and “upgrade” it with a 427. Ford’s engineering department assisted in redeveloping the Cobra platform to take the massive powerhouse, re-engineering the chassis to be five inches wider, and mounting coil springs all around. To contain wider wheels and tires, the body swelled with menacing fender bulges, as if it could barely conceal the throbbing 500 horsepower being produced by the cast-iron 427-cubic-inch V-8 within.

Shelby intended to race the 427 Cobra in the FIA’s Group 3 GT-class, and planned to produce 100 competition cars for homologation purposes. But by the time FIA inspectors arrived at his facility, only 51 of the cars had been completed, and so he was denied their approval. He subsequently canceled his order for the remaining competition cars, with a total of 53 competition chassis produced, of which 23 were completed in full race trim and sold to private teams.

These 427 Competition Cobras feature a number of differences that separate them from the standard street machine, including larger rear brake rotors with heavy-duty front and rear calipers, optional bronze suspension bushings, an external fuel filler, Stewart-Warner “Booster” fuel pump, a special 42-gallon fuel tank, as well as the front and rear jacking points and roll bar. Additionally, beneath the scooped hood, they had magnesium intake manifolds, aluminum cylinder heads, an oil cooler, rear differential cooler, and the intimidating, unbaffled side exhaust. Each was finished in primer, with a black interior, and air shipped to Shelby’s facilities upon completion.

CSX 3011, THE 427 COBRA PRESS CAR

As documented by the Shelby American Auto Club Registry, this 427 Competition Cobra (CSX 3011) was first invoiced by AC on 11 January 1965, and then subsequently completed by Shelby on 14 May. It is recorded as the only example of the initial batch of 19 competition cars which was not pre-sold to a privateer racing team.

By September, CSX 3011 had been painted Guardsman Blue with white stripes and fitted with FIA-spec Halibrand magnesium racing wheels. CSX 3011 first worked publicity duty when it was supplied (along with Ken Miles) to Jerry Titus’ Sports Car Graphic magazine staff, gracing the cover of their November 1965 issue after testing at Riverside International Raceway. In their words, “…the 427 Cobra is a brute. There's no other word for it.”

It was then subsequently included on the famous Shelby Cobra Caravan publicity tour across the USA. Paired with a GT 350 R, GT 350, Street 427 Cobra, Cobra Daytona Coupe, and a GT 40, CSX 3011 and the Cobra Caravan stopped in 12 major cities to celebrate the company’s victory in the 1965 FIA International Championship for GT Manufacturers, and to promote Carroll Shelby’s new book, The Cobra Story.

By March 1966, it was surely the most photographed and widely seen example of the company’s new competition model. Shelby derived plenty of sales from their successes in motorsports, but they also needed to get their race-proven cars out in front of the buying public—in Ford showrooms, auto exhibits, and the media; CSX 3011 was a crucial sales tool of the latter effort.

CSX 3011 further cemented its title as de facto 427 Competition Cobra Press Car when, on 7 February 1966, it was loaned to MGM Studios for the filming of an upcoming movie starring “the King of Rock and Roll,” Elvis Presley. The resulting project was later released in October 1966 under the title Spinout, with a plot involving a single, road-racing musician who finds himself trapped between three different women seeking to marry him. CSX 3011 (then painted white) features prominently in the popular film as none other than the “hero car” of the protagonist, Mike McCoy, as played by Elvis. Having completed filming 10 weeks later, Shelby American invoiced MGM Studios on 25 April for a grand sum of $12,595.

INTO PRIVATE HANDS

In October 1966, CSX 3011 was finally sold into private ownership. On 11 October, Shelby American invoiced Formula One driver Moisés Solana Arciniega for the car, freight delivery, and a compendium of additional racing spares totaling $11,393. The order was placed via Ford of Mexico, and CSX 3011 was subsequently delivered on 15 October to Laredo, Texas in immediate preparations for a race Solana had entered. Interestingly, Solana specified the fitment of a dry sump lubrication system, Koni shocks, and shoulder harnesses.

The talented Mexican driver had previously garnered much success while driving a 289 Cobra, and so this new competition model seemed a natural fit for him. Solana would race CSX 3011 several times in Mexico and the United States until he suffered a fatal accident in an unrelated hillclimb event on 27 July 1969.

From Solana’s estate CSX 3011 then passed to his close friend Juan Carlos Bolanos, who continued to race the car for several years until it suffered damage to its original body. In 1978, the car was tracked down in Mexico by Cobra enthusiast Jim Southard of Marietta, Georgia. CSX 3011 was then purchased on 9 April 1980 by the consignor—a noted Shelby Cobra collector and vintage racer, and brought to Chuck Gutke’s Cobra Restorers of Kennesaw, Georgia for a full resurrection of the highest quality.

This important 427 Competition Cobra was subsequently completed from the bare frame up with new alloy bodywork from Brian Angliss of Cobra Parts/Autokraft fame, as well as a new interior, chromed roll bar, white side pipes, and fresh coat of Rangoon Red paint. Per Southard’s correspondence, the 427 race engine found with the car in Mexico is believed to be its original unit. It was entirely rebuilt and fitted with replacement heads, a dual quad-barrel carburetor setup, and then reinstalled in CSX 3011—where it remains today. The freshly restored CSX 3011 quickly returned to the limelight when it was portrayed by Ron Caudle as the poster car for the 1984 Grand Bahamas Vintage Speed Week.

The consignor retained CSX 3011 until 1993, and then having regretted its sale, spent the interceding years trying to purchase it back; he finally reacquired it in 2006. After exhibition during SAAC 32 (2007) at Miller Motorsports Park in Erda, Utah, CSX 3011 was submitted to a restoration back to its original factory specifications, as shown during its 1965–1966 publicity duties. The renowned specialists Cobra Automotive in Wallingford, Connecticut painstakingly restored CSX 3011 over the course of three years, engaging multiple marque historians and SAAC concourse judges as consultants. A restoration summary totaling nearly $300,000 firmly illustrates that absolutely no expense was spared in returning this important Competition Cobra to a state of ideal mechanical performance and historically accurate presentation.

Newly restored, CSX 3011 debuted in 2011 during SAAC 36 at Virginia International Raceway, and promptly secured Gold Award class honors.

As a carefully treasured prize of the consignor’s significant collection of Shelby Cobras, CSX 3011 has always been thoroughly enjoyed while under their ownership. Today, it is accompanied by a restoration summary, historic imagery, owner’s manual, Spinout movie memorabilia, an original Cobra Caravan press brochure, original 1966 Shelby invoice to Moises Solana, 1965 FIA Homologation Form, 1980 bill of sale, and also copies of its comprehensive Shelby American documentation.

The 427 Competition Cobras have always been the most desirable Cobras ever built, and ownership is a dream of many Shelby enthusiasts. Perhaps even greater than its 22 427 Competition Cobra siblings, CSX 3011 is truly a triple threat of Shelby significance: It is the only Cobra to have featured in the Cobra Caravan tour, a major Hollywood movie, and in-period competition.

- - -

When I returned to Scottsdale from Tucson, I joined Fred on a Sotheby's pre-auction auto tour led by Andy Reid who is considered an expert in European sports and luxury cars and is a respected concours judge.

- - -

This year I was able to escape the snow and join Fred in Scottsdale for sunshine, cars, and music! I also drove down to Tucson to meet Doug for lunch and spend a nice evening visting with Richard and Lola.

Gomez utilizes color as a thematic element, conveying his personal memories expressively on large canvases. His paintings relay the popular stories of Caribbean people – their clothing, movement, and dance, with a strong African influence. Critics have praised him for his authenticity, and called him a Dominican treasure. You can find Miguel Gomez originals on exhibit at Exodo Galeria in Old San Juan.

For more information visit.www.galeriaexodo.com

Galería Exodo

San Juan, Puerto Rico

Cineaste365 (February 8, 2014 - DAY 119) - The word “REVANCHE” in German means “revenge” but also has the meaning of “second chance”.

Götz Spielmann manages to craft his masterpiece through utilizing these five characters in whose lives are intertwined after tragedy but not going through the cliched route of banality or a theme of built on misanthropy. Each character at their own moral crossroads and each character brings something to the viewer. Alex as a man in love and in a man in mourning. Robert as a man who is proud but broken down by guilt. Hausner as a man who knows he’s growing older but seeing a side of his son that he has never seen before. Susanne as a wife, who will do anything to save her marriage. These characters are all vulnerable and must struggle with their own personal dilemmas. Spielmann uses the theme of “REVANCHE” as a choice the character Alex will need to make.

The Criterion Collection once again brings a quality release. For Spielmann fans, just to see the man in work while he is creating the film via the documentary included is quite wonderful. Plus the addition of his debut short film is another plus in this release. I have also been asked by my readers to let them know in my Criterion Collection reviews if I can mention if the films are family friendly films. In “REVANCHE”, this is definitely not a film to showcase in front of children as there is full frontal nudity and sexual themes in addition to some violence.

What makes this film work for me is that these Australian talents are people that I have never seen before in a film, they play their role remarkably well and the film is well-cast. No one has this image of unbelievability. Spielmann is able to craft a tale that captivates your attention from beginning to end through its characters but also the beautiful cinematography of the naturalistic surroundings of where these characters live but also capturing the seedy underground of Alex’s and Tamara’s life earlier in the film.

Overall, “REVANCHE” is compelling, smart and extraordinary film.

A rural Ethiopian villager fills up his water jerrican whenever he wants, thanks to the reliable, clean water now provided by solar power through a program funded by the African Development Bank.

Built in 1949-1951, this Modern building was designed by Frank Lloyd Wright and Marshall Erdman to house the First Unitarian Society of Madison, utilizing a strong emphasis on the geometry of triangles in its design. The First Unitarian Society of Madison was founded in 1879, and two of its founding members were William Cary Wright and Anna Lloyd Jones, the parents of Frank Lloyd Wright, and was comprised primarily of those who followed Jenkin Lloyd Jones, Frank Lloyd Wright’s uncle. Frank Lloyd Wright was a member of the church as well. The Unitarians completed their first building in Madison in 1885, which was located downtown, and was the home of the local Unitarian congregation until they sold the building in 1951 and moved to Shorewood Hills, a suburb of Madison located west of the University of Wisconsin - Madison campus. The budget for the church was exceeded by a factor of 3, owing to unforeseen complications during the construction process, and led to members of the church taking on some of the labor to build it. After its completion, the church was widely celebrated as a highly innovative church design, and influenced the design of many Modernist churches in the United States during the subsequent two decades.

The building is a long, mostly low structure underneath a copper and wood roof that follows the topography of the site, with it being more open with larger windows facing towards the adjacent University Bay Drive to the north, and less open towards the parking area to the south. The roof is hipped with low eaves, the lowest of which is about 5 feet above the sidewalk, right at the building’s original main entrance. The exterior is clad in limestone, with both vertical punched opening windows and long horizontal bands of ribbon windows on the wings flanking the “upper meeting house,” which terminate at the entrance at the southeast corner of the building and a fellowship hall in a pointed section at the northwest corner of the building. The most notable feature of the building is the “upper meeting house,” a tall space with a tall triangular pointed roof that slopes to a low eave at the south face of the building, and a facade on the north side of the building that tapers to a narrow point reminiscent of the prow of a ship, which is wrapped by a planter at the base and a glass curtain walls with angled mullions above, and resembles hands folded in prayer. The roof of the space is supported by hinged arch trusses that are supported by being counterbalanced at the eaves, forming a 64-foot span with no interior supports. The interior of the pointed section of the building is home to an organ and a simple limestone altar, with the light from the prow window in the front of the space being diffused by several light shelves. The ceiling features multiple soffits in the rear that have similar triangular shapes to the rest of the building, a glass storefront with a pointed top that contains two doors to a terrace outside, and a stone wall that penetrates up through the roof, appearing much like a chimney.

The building was listed on the National Register of Historic Places in 1973, and was designated a National Historic Landmark in 2004. The building complex has been expanded multiple times as the congregation has grown into one of the largest Unitarian organizations in the United States, necessitating additions to be built to the southwest of the original classroom wing in 1965 and 1990, designed by Taliesin Associated Architects and mimicking the footprint, exterior cladding, window placement, and layout of the original building, but with low-slope roofs instead of hipped roofs. In 2008, the church received a massive contemporary addition to the rear to house an additional worship space and community spaces, designed by Kubala Washatko Architects, and meant to both preserve the historic landscape around the original building and embody similar design principles. The building is maintained under the stewardship of the non-profit Friends of the Meeting House, Inc., which has existed since the 1970s to address the building’s various preservation and maintenance needs. The church today remains in use as an active worship space for the original congregation, which also allows various community groups to utilize its facilities.

Located in the Kyles Community of Jackson County, Alabama.

It is suspected to have been built prior to 1855. In 1888 it burned but was rebuilt utilizing the walls that still stood. It is rumored to be haunted.

All photos by Mathias Vejerslev.

Partnering with the Danish Museum of Science and Technology, InfinIT, a Danish network for innovative utilization of IT, Cotter (Laser Cutting Services) and VRKSTEDET (Underbroen) we created a Bits & Beers to kickstart our newest venture - a series of workshops called "From Old Patents to New Prototypes".

Our theme was 'crazy inventions that can change the world' and our speakers included some very special people who have contributed to our world!

Some of the people joining us included:

Jesper Vind, CEO at Future Electric

The company makes state-of-the-art electric motorcycles, with increased maneuverability and acceleration.

→ futureelectric.dk

→ facebook.com/futureelectric.dk

Christian Liljedahl: In collaboration with a small team of experts, Christian invented the Pulse Jet Concert, by playing with the pitch of the sound of the pulse jet by changing the length of the pipes. An incredible auditory experience!

→ christian.liljedahl.dk

Bent Stawski: Specialist in design and manufacturing of advanced scaled mechanical models such as steam trains, steam engines and other mechanical equipment.

Vincent Seremet: Aviation designer and military test pilot with a wide range of aeronautic designs and inventions: gyro-copters, rocketpropelled parachutes, jet packs, phantom wings, etc.

→ kristeligt-dagblad.dk/historier/vincent

→ flyvemuseum.dk/html/vincent_seremet.html

Christian Hansen & Steen Lærke: Specialists in miniature model building. Both scaling, engineering and electrical function associated with advanced model building.

Per Nielsen & Mikkel Posselt: Specialists in combustion engines and can get anything up and running, including the Hammelvogn, built in 1888 by Hans Urban Johansen at the Albert F. Hammels machine factory in Nørrebro.

Finn Helmer: Engineer and previous co-owner of the Electronic company Giga, Finn will talk about startups within inventions, and how to increase your chances of success.

Terje Lade: Manager at Ladeas and developer of the project Vindship, a hybrid merchant vessel for sustainable sea transport.

→ ladeas.no

And a F-16 Jet

The Danish Museum of Science and Technology has a F-16 Jet on loan, and Bits & Beers guests were welcome to get up close and personal, and even sit in the cockpit!

Photos by www.flickr.com/photos/mvejerslev (Credit required for use of photos).

The Army is utilizing its Warfighter Information Network-Tactical (WIN-T) tactical communications network to provide voice, video and data sharing, mission command and situational awareness to the brigade during the coalition-inclusive Army Warfighter Assessment (AWA) 17.1, at Fort Bliss, Texas this month. During the assessment, the Army is using Commercial Coalition Equipment (CCE) to connect to the coalition network over WIN-T so it can share information with our partner nations, enabling multiple nations to fight as one force. (U.S. Army photos by Amy Walker, PEO C3T Public Affairs)

Photo by Aaron Burden for the National Association of State Foresters

Utilizing technology "borrowed" from Roboforce, the Aquasharks built this rover to function semi-autonomously, keeping a human pilot to provide instructions but carrying out those instructions by figuring out the optimal usage of its arms and assortment of weaponry. The rover is unusual for an Aquasharks vehicle given that it can't "swim," but it makes up for its lack of speed and maneuverability with brute force and toughness.

The model actually features a LEGO inertia motor, which spins up a flywheel as you roll it along so when you release it it keeps rolling for a long time. This was meant for Racers sets, but works great for keeping tracked vehicles in motion! Thus, I can watch this rover climb over obstacles in its way after building up some decent inertia, which is quite fun :)

:Of Treasures:

This delightful little wonder is a Gris Gris Bag, also known as a Mojo Bag, JouJou Bag or Sachet. Gris Gris Bags are magnificent little talismans and can be utilized to bring about desired outcomes, protect one against ill will or they can just simply be unique little handmade oddities to decorate your vanity or alter with. Some simply adore the smell alone and use them as pin cushions or sachets to keep linens and lingerie smelling down right divine.

This one in particular was hand crafted and blessed to be a Love, Lust & Passion Gris Gris; meant to bring its keeper much in the way of fiery liaisons of the heart and of the flesh. It has been handcrafted of cotton and silk. Most of the sachet's outer material is a reddish-pink cotton bespeckled with stars. The pocket is constructed of a deep scarlet silk dupioni which has been edged with an embroidered design of flowers with tiny sequins sewn throughout.

Its sultry mix of deep scarlet and pink color shades denotes its use in rites and rituals involving matters of the heart.

It is hand stuffed with a mix of lavish goodies: a tag with runic symbols hand written upon it, fine cotton fiber, various rose petals and parts and a dash of essential oils from Ginger and Jasmine. All in all, a variety of fine magical ingredients have been combined to make this Gris Gris Sachet a potent tool for drawing love and relationship luck.

:Oodles of Magitastic Accessories:

This Gris Gris also has a wonderment of accessories that accompany it: a length of red satin ribbon for binding, a bit of red feathers, 3 pieces of parchment paper onto which you write your wishes & desires... 2 beautifully designed envelopes for tucking your wishes into... Both the parchment paper and the envelopes are emblazoned with Zodiac symbols and such. The larger envelope pictured (with Alice of Wonderland on it) contains a 2.75 Oz. bag of practically divine ritual dead sea bath salts whose aroma is a heady mix of Ginger and Jasmine. This Gris Gris care package will also come to you with a hefty 1 Oz. bottle of "The Patronus Charm" fine Artisan Perfume Oil (The Love and Lust Batch).

:Of "The Patronus Charm" Artisan Perfume Oil:

Dreamed up by the fireplace as the moon was waxing full, this Patronus Charm perfume oil was also created with the sultry and sensual in mind. In that regard, care was taken to utilize essential oils from plants and herbs which folklore suggests bring about aphrodisiac results. This particular variety of The Patronus Charm is composed of sultry Ginger & super sexy Jasmine essential oils, melded with White Tea & a touch of Vanilla. Other components of The Patronus Charm (the Love & Lust batch): sweet almond oil, jojoba oil, hazelnut oil, amber glass bottle and a parchment paper label. It is completely natural, organic and vegan friendly. This perfume oil is also perfect for aromatherapy, meditation, rites and rituals alike.

:Other Details:

This Large Gris Gris Bag Measure 5" x 4".

It is suggested that you add your own meaningful items to your Gris Gris when you receive it. A lock of hair, a fingernail, a small picture, a favorite rock or shell...Whatever you might like to meditate on.

I put a pocket on my Gris Gris sachets for a reason... so the pocket is nice and big to accommodate any manner of trinkets or personal charms you'd like to tuck into it. The Love & Lust Gris Gris will come to you with more detailed instructions on its use, 3 small tea light candles in red, pink and yellow (not shown) and will be packaged in gift-style wrappings with love and care.

find this at pixxxiepieandposie.etsy.com

We're starting a new series in just a few weeks. The images on the left are kind of a cop-out. A coworker built the logo, and I treated the photo. My initial idea was to utilized the Hebrew calendar cycle on the right, but I'm struggling with finding a way to make it work.

I'm thinking we'll still stick with the mock-ups on the left, and change out the photos and color each week. My issue is with the grains in the logo. I'm wondering if I should try to revamp the simpler calendar (bottom right) so it fits around the 7 in the logo.

What do you think? Ideas?

Social media marketing, whether it is through marketing with Facebook or marketing your videos through YouTube, can be done free of charge. You just need to spend your time. Using social networking for business is the latest trend. Using social media campaigning for your business is far better than using any stagnant advertisement procedures. Advertising on social networks looks more like sharing information than direct advertising.

This home on Mercer Island utilizes the elemental natures of concrete, steel and glass to create a family refuge. Two concrete structures, which house the garage, mudroom, and a play area, present themselves to the street. Between them runs an exposed steel bridge which leads over a private courtyard and into the main house. A bent plate steel staircase descends into an open plan, double-height living space, which is dominated by an immense concrete fireplace and chimney (in the living room) and a massive black granite-covered island (in the kitchen). Floor to ceiling windows provide unimpeded views of the water from the courtyard or inside the house.

© 2009, Olson Sundberg Kundig Allen Architects

Questions? Contact Todd Bell: tbell@pbssips.com

Want More? Visit: www.pbssips.com

A rural Ethiopian villager fills up his water jerrican whenever he wants, thanks to the reliable, clean water now provided by solar power through a program funded by the African Development Bank.

The Army is utilizing its Warfighter Information Network-Tactical (WIN-T) tactical communications network to provide voice, video and data sharing, mission command and situational awareness to the brigade during the coalition-inclusive Army Warfighter Assessment (AWA) 17.1, at Fort Bliss, Texas this month. During the assessment, the Army is using Commercial Coalition Equipment (CCE) to connect to the coalition network over WIN-T so it can share information with our partner nations, enabling multiple nations to fight as one force. (U.S. Army photos by Amy Walker, PEO C3T Public Affairs)

This is not a blaze but rather a limb cavity being utilized by birds.

Want to take a trip back in to Oregon’s fascinating history? Well, then the Huntington Wagon Road is just the place for you! The Huntington Wagon Road trail is short segment of trail (1.2 miles) within the larger Wagon Roads Area of Critical Environmental Concern (ACEC). The road was constructed by J. W. P. Huntington in 1867 as a means of delivering materials promised by the US Government to the Klamath Indian Agency. Stretching from The Dalles, Oregon, to near present-day Fort Klamath, Oregon, the wagon road once stretched over one hundred miles in length. The Huntington Wagon Road Trail represents one of the few remaining visible road remnants which are legally accessible to the general public. Some artifacts may be viewed at the Des Chutes Historical Museum in nearby Bend, Oregon. Interpretive signs and benches are located along this out-and-back trail.

To get to this super-cool slice of Oregon’s history just follow these instructions: From Bend, Oregon, travel north approximately 7 miles on US highway 97. Take the Deschutes Market Road exit, turning slightly right on Pleasant Ridge Road. Take the 1st right onto Graystone Lane, then take the 1st left onto Deschutes Market Road. Take the 2nd left onto Dale Road. Turn right on McGrath Road and proceed 1.2 miles. The trailhead is on the right. Trailhead coordinates: 44.1365670, -121.2234910

More information on the Huntington Wagon Road is available online at: blm.gov/33ld

HOLTVILLE, Calif. (Oct. 5, 2020) U.S. Marine Corps MV-22B Ospreys, participating in the Weapons and Tactics Instructor (WTI) course 1-21, refuel utilizing the tactical aviation ground refueling system (TAGRS) during static forward arming and refueling point (FARP) training at Holtville Airfield, in Holtville, Calif., Oct. 5, 2020. The WTI course is a seven-week training event hosted by Marine Aviation Weapons and Tactics Squadron One, providing standardized advanced tactical training and certification of unit instructor qualifications to support Marine aviation training and readiness, and assists in developing and employing aviation weapons and tactics. (U.S. Marine Corps photo by Cpl. Sarah Taggett)

I utilized a very sophisticated lighting set-up for this shot.This was shot in my living room in daylight with windows both camera right and left.

I first brought in my profoto airs with 2400 ws packs, along with mutiple soft boxes and beauty dished boomed over head. I took a variety of meter readings , which I immediately ignored. Then I did not plug any of the lighting equipment in.

Then I placed a cheap silver reflector precariously propped up on a chair camera left,with available light bouncing uncontrollably all over the place.

Utilizing the TSP 6000, Crown was able to consolidate welding, brake press operations, warehousing and material handling functions for its lift truck door and cover production into one cell. Learn more at www.crown.com.

Ribat (Garrison) built by the Aghlabids and then further utilized by the Fatemids. They lined the coastline. Used as military garrisons and religious places. Tunisia

3D red/cyan anaglyph created from two non-matching glass plates at the Library of Congress. The two images were taken maybe an hour or so apart from the same camera location, but were never intended to be utilized as a stereoscopic pair.

Right side from Library of Congress: "Old Ford's Theatre, 10th St. N.W., Washington D.C. (where Lincoln was shot)": www.loc.gov/pictures/item/2017897854/

Left side from Library of Congress - edited in Photoshop (e.g. people and objects added, removed, or moved about, etc.) to make a matching left side image: "Ford's Theatre, Wash., D.C.": www.loc.gov/pictures/item/2017897853/

Date: Circa 1872

Notes: This cropped version focuses on Kimmell's Dye House, at 517 10th St., NW, one door to the left of Ford's Theatre, seen here about seven years after Lincoln was assassinated on April 14, 1865. At that time, this building had a different address and a different owner; it was then "The Greenback Restaurant" (aka Saloon) at 452 10th St. Although not as well known today as the Star Saloon, on the opposite side of Fords’, where John Wilkes Booth downed a last drink before shooting the President, the Greenback was a popular drinking spot as well, and often visited by Booth. There is assassination testimony that places Booth right into the scene we see here, on horseback, talking to the owner of the Greenback, standing at the front entrance on the afternoon of Lincoln's assassination.

From 1865 images of this block, you can see that the Greenback's appearance at the time of Lincoln's assassination looked almost identical to the building's 1872 appearance here. The only differences that I detect, besides Kimmell’s signs, and the addition of a drain pipe on the porch post, is the replacement of the storefront window with a box style window, and the removal of all porch rails at street level. In 1865, the lower rails looked like the upper porch rails we see here, except the rails only went half around the landing on the left side, then stopped for the front entrance. There were no rails on the right side, and patrons of the theatre could exit Ford’s and walk right into the Greenback. When the Federal Government took over the theater and turned it into a records storage facility and Medical museum, four of the five theatre doors were blocked off and reconfigured into windows. In this view, there is a couple standing at the one remaining door.

The Greenback and it's owner in 1865, James P. Ferguson, are part of the Lincoln assassination story, which can be found in the Lincoln Conspiracy testimony and witness statements at the National Archives, a brief excerpt below. I've also included three advertisements going back to 1863, for additional context on the Greenback. At the very bottom are my 2019 notes on Hiram Kimmell, Union Veteran, and the business he conducted here at the Philadelphia Dye House.

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

Washington April 15, 1865

Statement of James P. Ferguson

"My name is James B. Ferguson. I am a resident of Washington City, D. C. I keep a restaurant No. 452 10th St. west between E & F Streets north adjoining Fords Theater. I am well acquainted with J. Wilkes Booth. I have known him about three months. He has been in the habit during that period of visiting my restaurant almost every day. I am familiar with his appearance and his voice. I saw him about two o’clock PM on the 14th inst. He was then riding a bay mare a beautiful animal. He rode in front of my restaurant door and said Jim or Ferguson, see what a nice horse I have. I did not see him again until I saw him in the theater when the President was shot. I was sitting in the dress circle right opposite the box occupied by the President, Mrs. Lincoln and one other lady whom I did know and the gentleman in citizen clothes I did not know. I was looking in that direction because I expected to see Lieutenant General Grant, whom I have known since my boyhood, having been raised in the same county Ohio in which he had lived. I saw J. Wilkes Booth go in the direction of the box occupied by the President. I saw him walk up to the box, stop for a moment and look around. He had his hat in his left hand....He pressed his knee against the door of the box. He then opened the door of the box. Upon the door opening, I saw the flash of a pistol. I then saw the citizen in the box catch hold of Booth. I then saw Booth draw a knife, a kind of Bowie knife exactly like the one shown me by the District Attorney and strike with the blade down at the citizen. He then made a rush for the front of the box. First he placed his left hand upon the railing of the box and he then placed both hands on and swung his feet over. At that time his spur caught in the flag, which was around the box, and he fell to one side. He immediately sprang up, looked me right in the face and said Sic Semper Tyrannus or something of that sort, which I did not understand. He then ran across the stage, looked me directly in the face, and said brandishing the knife above his head “I have done it”. He then disappeared from the stage. I have not seen him since...."

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

Boyd’s 1864 D.C Directory (Compiled 1863), Page 290

Advertisement placed by the Greenback's owner in 1863

Moses Samstag

“THE BEST ALE IN THE CITY AT

M. SAMSTAG’S ALE VAULTS

S.E. Cor 10th St. and Pennsylvania Ave., And At

THE GREENBACK

First door above Ford’s New Theatre,

Washington, D.C.

N.B.-Burton, Amber and India Pale Ales, Stock Porter and Lager Beer always on draught. Also, choice Wines, Liquors and Segars of the finest quality.”

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

The Evening Star

Washington, D.C.

November 14, 1863

"FOR SALE -- A first-class DRINKING SALOON, directly attached to Ford's New Theatre, now doing a first class trade. For particulars inquire at SAMSTAG'S Ale Vaults, corner 10th street and Pa. avenue."

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

The Evening Star

Washington, D.C.

May 11, 1864

"THE GREENBACK RESTAURANT, ADJOINING FORD'S THEATRE, ON THE NORTH SIDE. The proprietor of the above popular house, owing to a recent domestic affliction, requiring his absence from the city for several months, will dispose of the good-will, fixtures and furniture at a great sacrifice. He will guarantee a larger percentage of profits upon the investment than any other house in a similar business in Washington. Price $2,200 cash. Apply to JAMES P. FERGUSON, Proprietor."

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

2019 Notes on Kimmell's Phil. Dye House - Circa 1872:

517 10th St – Philadelphia Dye House – Proprietor, Hiram Henry Kimmell, Union Veteran. He lived here with his wife Mary and six children.

The sign out front in the street reads: “517 Kimmell’s Steam Dye & Scouring House – Clothing Cleaned & Pressed.”

H. H. Kimmell practiced his trade at various addresses over the years. Before moving to 10th St., he was on Pennsylvania Ave and below is his advertisement in Boyd’s 1867 D.C. Directory which tells of the various services he performed at the Philadelphia Dye House:

“451 - PHILADELPHIA DYE HOUSE - 451, 451 Pennsylvania Avenue, bet. 3d and 4 1-2 Sts. Washington, D.C. Ladies Garments Cleaned or Dyed to Any Shade of Color and Neatly Finished. Coats, Pants, Vests, and Kids Gloves, Cleaned or Dyed, and Neatly Pressed, Equal to New. Repairing done in the best manner and in the shortest time possible. Carpets Cleaned. All kinds of paints and grease spots removed from all fabrics. Also Merchant Tailor. Don’t forget the number. Give me a trial. H. H. KIMMELL”

Hiram H. Kimmell was born about 1840 and enlisted in the Union Army on Sept. 23, 1861 as a Private, in Co. H, 96th Pennsylvania Volunteer Infantry. On his 1881 pension application, Kimmell states, “On the 8th of May 1862, was taken with a severe case of Measles immediately after my arrival at West Point, Va from Alexandria Va on the steamer John Brooks, was then sent back to Alexandria Mansion House Hospital….have been troubled ever since with “functional disorder of the heart.” Because of his condition, Kimmell was transferred to the Veteran Reserve Corps (Invalid Corps) in 1863, and discharged from service on October 14, 1864.

In 1872 he received some form of heat treatment for his heart disorder from Dr. B.F. Craig, next door, at the adjacent Army Medical Museum. During the years 1873 – 1874, he had two severe attacks, and on both occasions “was prostrated” for short periods, and again received treatment from Dr. Craig of the Medical Museum. His 1881 pension application states, “I have followed my occupation since my discharge as a dyer and very often have been compelled to stop work when my business was most urgent, on account of the frequent attacks of the disease…and thereby have lost a great deal of my trade which I was dependent upon as my only means of support for myself and family and very often have done work when I was actually too ill to do it as necessity compelled me to thus labor. These attacks have occurred many times since my discharge.”

By the time the 1877 city directory is compiled (late 1876?) and published, Kimmell has moved his business elsewhere and 517 10th St. is listed as a Florist shop and greenhouse. Hiram H. Kimmell died Feb 9, 1890, from “disease of heart” and was buried in Congressional Cemetery in Washington D.C. A couple weeks later, his wife Mary filed her application for a Widows Pension; she died in 1928 and is buried with him in the same site.

************************

Red/Cyan (not red/blue) glasses of the proper density must be used to view 3D effect without ghosting. Anaglyph prepared using red cyan glasses from The Center For Civil War Photography / American Battlefield Trust. CCWP Link: www.civilwarphotography.org/

Utilizes the Moody Blue Technique from Dave Black; White balance 3000K to get the blue effect with orange filters (original included with the SB800) on the flash which restores the color balance to whatever the flash hits.

Used 2 SB800 flashes on low stands. one positioned directly behind the chair and one behind and to the left. Both are position just outside the camera field of view.

Post-processed in Capture NX to selectively brighten the chair a bit

14s, at f\22 || 18mm || WB: 3000K 0. || ISO: 100 || Tone: AUTO || Sharp: MED.H || Camera: NIKON D200on: 2007:07:15 18:51:33

Learn how to light at Strobist.

"The camel is still utilized in India, mainly for ploughing, transport of man and agriculture produce, drawing water from deep wells, and extraction of oil from oilseeds.

Camels can generate a draft force equivalent to 17-22 % of their body weight and can supply 1.1 hp bioenergy continuously for long periods. A survey (1993) on the use of camel draught power as source of livelihood revealed that average net income to the camel cart owners ranged from Rs.2,000/- to Rs.5,000/- per month per cart.

The Indian Camel population is mostly confined to the north-western part of the country. Rajasthan (0.719 million), Haryana (0.128 million), Punjab(0.43 million) and Gujarat (0.058 million) inhabitates almost 93.12 % of Indian camel population (base, 1987). The other states where the camel occurs in substantial numbers are Uttar Pradesh (0.036 million) and Madhya Pradesh (0.015 million). Eleven arid districts of Rajasthan (0.567 million) contribute 78.86 % to the total Rajasthan camel population and 55.70 % to the Indian camel population.

There are three major breeds of Camel in India viz. Bikaneri, Jaisalmeri and Kutchi.

The Bikaneri has excellent draft capabilities and is therefore becoming the breed of choice of the farmers of the Thar desert (NW Rajasthan).

The Jaisalmeri camel has good race potential and therefore was important breed before advent of modern camel cart. They were preferred in cavalries in the past life Ganga Risala which took part in World War I and II. Presently the Camel Corps constitutes an important wing of the Border Security Force of Indian para-military service.

Kutchi breed (Kutch region of Gujarat) has good milk potential. "

How Barkbeetle Outbreaks May Be Controlled in Pine Forests

Utilization

Direct Control Methods

Burning

Peeling

Solar Heat

Page 17 of a hand-colored photo album called BarkBeetle Enemies of California Forests. Prepared by the USDA Bureau of Entomology and Plant Quarantine in cooperation with the State Emergency Relief Administration - Project 3F-2-302 and the Emergency Educational Program. Berkeley, California. February, 1935.

Credit: USDA Forest Service, Pacific Northwest Region, State and Private Forestry, Forest Health Protection.

Collection: Forest Health Protection digital file collection; Region 6 Regional Office, Portland, Oregon.

Wickman's account of these photo albums:

"The drought-related stress to trees on million of acres of

ponderosa pine forests in the inland West caused dramatic

levels of tree mortality that could not be ignored by politicians. Miller, Keen, and Patterson also played a clever propaganda game to procure appropriations to increase the research efforts on the western pine beetle. During the depression, government agencies provided some level of support for artists, cartographers, and draftsmen as a “make work” program. These artisans were eagerly employed by Miller at bargain prices to produce hand-colored photo albums showing the extent of the tree mortality caused by bark beetles, what was being done, and what was needed in the form of research programs to curb this wasteful tree loss. Miller got the message across by supplying these albums to trade associations, chambers of commerce, politicians, and universities."

From: Wickman, Boyd E. 2005. Harry E. Burke and John M. Miller, pioneers in Western forest entomology. Gen. Tech. Rep. PNW-GTR-638. Portland, OR: USDA, Forest Service, Pacific Northwest Research Station. p. 126.

www.fs.fed.us/pnw/publications/pnw_gtr638/

For additional historical forest entomology photos, stories, and resources see the Western Forest Insect Work Conference site: wfiwc.org/content/history-and-resources

Image provided by USDA Forest Service, Pacific Northwest Region, State and Private Forestry, Forest Health Protection: www.fs.usda.gov/main/r6/forest-grasslandhealth

About Terra Cotta

Terra cotta, also commonly spelled terracotta, is a building material created from clay. This becomes widely utilized because when compared to other building materials, it is cheap and easy to give shape; it is essentially just a clay product fired under specific techniques.

Terra cotta is one of the oldest building materials and sculpting media. The term simply means "baked earth" in Latin. Used in ancient times to make pipes, cooking pots, bricks, cornices and architectural ornaments, its principal use today is in the sculpture and tile that bear its unmistakable orangish color and porous texture.

The Process

1. Clay

Terra cotta is made from clay. However, different types of terra cotta have different names based on where the product is made. This is partly because clay harvested from the ground in any particular region will have a slightly different makeup than clay found elsewhere. However, wherever the terra cotta is made, the first step is finding suitable clay deposits and harvesting the clay from the ground.

2. Refining

The raw clay needs to be refined before it is made into terra cotta pots, tiles or other products. This process involves drying the clay and then screening and filtering it to remove impurities that affect the consistency, color and other properties of the clay. Depending on the purity of the clay pit from which the material is removed, raw clay has foreign matter, minerals, rocks and other items that need to be removed during this process.

3. Molding

Once it has been refined, terra cotta clay is often pressed into molds. Roofing tiles, flooring tiles and architectural embellishments are just a few of the mold types that are used for terra cotta in building material applications. The clay is firmly pressed into the mold so that it takes on the shape before firing.

4. Firing

Once the terra cotta has been pressed into the appropriate shape, it needs to be fired in order to cook and harden. Terra cotta falls into the category of low fire clay. This means that you must fire it at a lower temperature than many other clays or it will melt. This can damage the kiln as well as ruin the work. Normally, terra cotta is fired at a temperature between 2,048 and 2,079 degrees Fahrenheit.

Additional Information

Terracotta female figurines were uncovered by archaeologists in excavations of ‘Mohenjo-daro’ (3000-1500 BC). Along with phallus-shaped stones, these suggest some sort of fertility cult and a belief in a mother goddess. The ‘Burney Relief’ is an outstanding terracotta plaque from Ancient ‘Mesopotamia’ of about 1950 BC.

The ancient Greeks' Tanagra figurines are mass-produced mold-cast and fired terracotta figurines. Significant uses of terracotta have included Emperor Qin Shi Huang's Terracotta Army of China, built in 209–210 BC.

Pre-colonial West African sculpture also made extensive use of terracotta. The region’s most recognized for producing terracotta art in this part of the world include the Nok culture of central and north-central Nigeria, the Ife/Benin cultural axis in western and southern Nigeria (also noted for its exceptionally naturalistic sculpture), and the Igbo culture area of eastern Nigeria, which excelled in terracotta pottery. These related, but separate, traditions also gave birth to elaborate schools of bronze and brass sculpture in the area.

French sculptor Albert-Ernest Carrier-Belleuse made many terracotta pieces, but possibly the most famous is The Abduction of Hippodameia depicting the Greek mythological scene of a centaur kidnapping Hippodameia on her wedding day. American architect Louis Sullivan is well known for his elaborate glazed terracotta ornamentation, designs that would have been impossible to execute in any other medium. Terracotta and tile were used extensively in the town buildings of Victorian Birmingham, England.

Io Aircraft - www.ioaircraft.com

Drew Blair

www.linkedin.com/in/drew-b-25485312/

io aircraft, phantom express, phantom works, boeing phantom works, lockheed skunk works, hypersonic weapon, hypersonic missile, scramjet missile, scramjet engineering, scramjet physics, boost glide, tactical glide vehicle, Boeing XS-1, htv, Air-Launched Rapid Response Weapon, (ARRW), hypersonic tactical vehicle, hypersonic plane, hypersonic aircraft, space plane, scramjet, turbine based combined cycle, ramjet, dual mode ramjet, darpa, onr, navair, afrl, air force research lab, defense science, missile defense agency, aerospike,

Advanced Additive Manufacturing for Hypersonic Aircraft

Utilizing new methods of fabrication and construction, make it possible to use additive manufacturing, dramatically reducing the time and costs of producing hypersonic platforms from missiles, aircraft, and space capable craft. Instead of aircraft being produced in piece, then bolted together; small platforms can be produced as a single unit and large platforms can be produces in large section and mated without bolting. These techniques include using exotic materials and advanced assembly processes, with an end result of streamlining the production costs and time for hypersonic aircraft; reducing months of assembly to weeks. Overall, this process greatly reduced the cost for producing hypersonic platforms. Even to such an extent that a Hellfire missile costs apx $100,000 but by utilizing our technologies, replacing it with a Mach 8-10 hypersonic missile of our physics/engineering and that missile would cost roughly $75,000 each delivered.

Materials used for these manufacturing processes are not disclosed, but overall, provides a foundation for extremely high stresses and thermodynamics, ideal for hypersonic platforms. This specific methodology and materials applications is many decades ahead of all known programs. Even to the extend of normalized space flight and re-entry, without concern of thermodynamic failure.

*Note, most entities that are experimenting with additive manufacturing for hypersonic aircraft, this makes it mainstream and standardized processes, which also applies for mass production.

What would normally be measured in years and perhaps a decade to go from drawing board to test flights, is reduced to singular months and ready for production within a year maximum.

Unified Turbine Based Combined Cycle (U-TBCC)

To date, the closest that NASA and industry have achieved for turbine based aircraft to fly at hypersonic velocities is by mounting a turbine into an aircraft and sharing the inlet with a scramjet or rocket based motor. Reaction Engines Sabre is not able to achieve hypersonic velocities and can only transition into a non air breathing rocket for beyond Mach 4.5

However, utilizing Unified Turbine Based Combine Cycle also known as U-TBCC, the two separate platforms are able to share a common inlet and the dual mode ramjet/scramjet is contained within the engine itself, which allows for a much smaller airframe footprint, thus engingeers are able to then design much higher performance aerial platforms for hypersonic flight, including the ability for constructing true single stage to orbit aircraft by utilizing a modification/version that allows for transition to outside atmosphere propulsion without any other propulsion platforms within the aircraft. By transitioning and developing aircraft to use Unified Turbine Based Combined Cycle, this propulsion system opens up new options to replace that airframe deficit for increased fuel capacity and/or payload.

Enhanced Dynamic Cavitation

Dramatically Increasing the efficiency of fuel air mixture for combustion processes at hypersonic velocities within scramjet propulsion platforms. The aspects of these processes are non disclosable.

Dynamic Scramjet Ignition Processes

For optimal scramjet ignition, a process known as Self Start is sought after, but in many cases if the platform becomes out of attitude, the scramjet will ignite. We have already solved this problem which as a result, a scramjet propulsion system can ignite at lower velocities, high velocities, at optimal attitude or not optimal attitude. It doesn't matter, it will ignite anyways at the proper point for maximum thrust capabilities at hypersonic velocities.

Hydrogen vs Kerosene Fuel Sources

Kerosene is an easy fuel to work with, and most western nations developing scramjet platforms use Kerosene for that fact. However, while kerosene has better thermal properties then Hydrogen, Hydrogen is a far superior fuel source in scramjet propulsion flight, do it having a much higher efficiency capability. Because of this aspect, in conjunction with our developments, it allows for a MUCH increased fuel to air mixture, combustion, thrust; and ability for higher speeds; instead of very low hypersonic velocities in the Mach 5-6 range. Instead, Mach 8-10 range, while we have begun developing hypersonic capabilities to exceed 15 in atmosphere within less then 5 years.

Conforming High Pressure Tank Technology for CNG and H2.

As most know in hypersonics, Hydrogen is a superior fuel source, but due to the storage abilities, can only be stored in cylinders thus much less fuel supply. Not anymore, we developed conforming high pressure storage technology for use in aerospace, automotive sectors, maritime, etc; which means any overall shape required for 8,000+ PSI CNG or Hydrogen. For hypersonic platforms, this means the ability to store a much larger volume of hydrogen vs cylinders.

As an example, X-43 flown by Nasa which flew at Mach 9.97. The fuel source was Hydrogen, which is extremely more volatile and combustible then kerosene (JP-7), via a cylinder in the main body. If it had used our technology, that entire section of the airframe would had been an 8,000 PSI H2 tank, which would had yielded 5-6 times the capacity. While the X-43 flew 11 seconds under power at Mach 9.97, at 6 times the fuel capacity would had yielded apx 66 seconds of fuel under power at Mach 9.97. If it had flew slower, around Mach 6, same principles applied would had yielded apx 500 seconds of fuel supply under power (slower speeds required less energy to maintain).

Enhanced Fuel Mixture During Shock Train Interaction

Normally, fuel injection is conducted at the correct insertion point within the shock train for maximum burn/combustion. Our methodologies differ, since almost half the fuel injection is conducted PRE shock train within the isolator, so at the point of isolator injection the fuel enhances the combustion process, which then requires less fuel injection to reach the same level of thrust capabilities.

Improved Bow Shock Interaction

Smoother interaction at hypersonic velocities and mitigating heat/stresses for beyond Mach 6 thermodynamics, which extraordinarily improves Type 3, 4, and 5 shock interaction.

6,000+ Fahrenheit Thermal Resistance

To date, the maximum thermal resistance was tested at AFRL in the spring of 2018, which resulted in a 3,200F thermal resistance for a short duration. This technology, allows for normalized hypersonic thermal resistance of 3,000-3,500F sustained, and up to 6,500F resistance for short endurance, ie 90 seconds or less. 10-20 minute resistance estimate approximately 4,500F +/- 200F.

*** This technology advancement also applies to Aerospike rocket engines, in which it is common for Aerospike's to exceed 4,500-5,000F temperatures, which results in the melting of the reversed bell housing. That melting no longer ocurrs, providing for stable combustion to ocurr for the entire flight envelope

Scramjet Propulsion Side Wall Cooling

With old technologies, side wall cooling is required for hypersonic flight and scramjet propulsion systems, otherwise the isolator and combustion regions of a scramjet would melt, even using advanced ablatives and ceramics, due to their inability to cope with very high temperatures. Using technology we have developed for very high thermodynamics and high stresses, side wall cooling is no longer required, thus removing that variable from the design process and focusing on improved ignition processes and increasing net thrust values.

Lower Threshold for Hypersonic Ignition

Active and adaptive flight dynamics, resulting in the ability for scramjet ignition at a much lower velocity, ie within ramjet envelope, between Mach 2-4, and seamless transition from supersonic to hypersonic flight, ie supersonic ramjet (scramjet). This active and dynamic aspect, has a wide variety of parameters for many flight dynamics, velocities, and altitudes; which means platforms no longer need to be engineered for specific altitude ranges or preset velocities, but those parameters can then be selected during launch configuration and are able to adapt actively in flight.

Dramatically Improved Maneuvering Capabilities at Hypersonic Velocities

Hypersonic vehicles, like their less technologically advanced brethren, use large actuator and the developers hope those controls surfaces do not disintegrate in flight. In reality, it is like rolling the dice, they may or may not survive, hence another reason why the attempt to keep velocities to Mach 6 or below. We have shrunken down control actuators while almost doubling torque and response capabilities specifically for hypersonic dynamics and extreme stresses involved, which makes it possible for maximum input authority for Mach 10 and beyond.

Paradigm Shift in Control Surface Methodologies, Increasing Control Authority (Internal Mechanical Applications)

To date, most control surfaces for hypersonic missile platforms still use fins, similar to lower speed conventional missiles, and some using ducted fins. This is mostly due to lack of comprehension of hypersonic velocities in their own favor. Instead, the body itself incorporates those control surfaces, greatly enhancing the airframe strength, opening up more space for hardware and fuel capacity; while simultaneously enhancing the platforms maneuvering capabilities.

A scramjet missile can then fly like conventional missile platforms, and not straight and level at high altitudes, losing velocity on it's decent trajectory to target. Another added benefit to this aspect, is the ability to extend range greatly, so if anyone elses hypersonic missile platform were developed for 400 mile range, falling out of the sky due to lack of glide capabilities; our platforms can easily reach 600+ miles, with minimal glide deceleration.

Utilizing my daughters for added weight on the second exercise of a Metabolic Pump Complex.

Traffic Police Corps utilize white and blue vehicles, patrolling in a wide variety of cars, trucks, motorcycles, and SUVs.

1:64 TSM Mini GT:

Land Rover Defender 110

Korlantas

Indonesia National Traffic Police

Republic of Indonesia

Polisi Lalu Lintas

Patroli Jalan Raya

Direktorat Lalu Lintas

Kepolisian Negara

Republik Indonesia

Atlantic Walk

2022 Law Enforcement Vehicle Show

Veterans Beach

City of Mystic Beach

Baynard County, Florida, USA

#CallingAllCopCars22

Olympus OM-D E-M5 Mark II

Olympus M.14-42mm F3.5-5.6 II R

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It was a sense-awakening experience in the Golden State recently as Monarch Magazine took part in the esteemed Monterey Car Week utilizing the impeccable Range Rover Sport SVR performance enhanced sport utility vehicle. With 550 British steeds, Adaptive Dynamics, 21” alloy wheels tucked in 285/45R21 Pirelli Scorpion Verde all-season rubber, Roll Stability Control and Dynamic Stability Control, the energetic SUV moves like Usain Bolt in Olympic displays of bravado.

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How can ICT Utilization Provide Solutions on Sustainable Development for Developing Countries? (Japan)

Possibilty of ICTs to facilitate social and economic development in developing countries

© ITU/C. Montesano Casillas

One video still from each "Life is Drag" video portrait (performance documentation).

lifeisdrag.com

ARTIST STATEMENT:

I create bodies of work that explore subjects such as gender, artifice, and spectacle. Utilizing processes ranging from directorial to curatorial to anthropological, I showcase exuberantly irrepressible personalities who revel in challenging clichés associated with constructs such "masculinity" and "femininity". A sampling of subjects include Girls Girls Girls (the world's first and only all-female Mötley Crüe tribute band), Tazzie Colomb (the world's longest competing female bodybuilder), and LACTIC Incorporated (an avant-garde clothing brand that takes the detritus of corporate life and reinterprets it into one-of-a-kind structural garments that challenge the polarization of gender).

With this current and ongoing project "Life is Drag", I am documenting the most innovative and singular performers of the currently exploding international alt-drag and neo-burlesque scenes. I am 3 years into this project, and so far have created 250+ portraits. These are created in my studio as well as during residencies - in New York City (The Cell Theater, Bushwig), Pittsburgh (The Kelly Strayhorn Theater, Blue Moon Bar, Bloomfield Garden Club), and New England (3S Artspace).

This project began in early 2019 in my studio in Brooklyn, when I collaborated with a local visual artist by the name of Untitled Queen - a deeply beloved, highly respected, and uniquely visionary performer and conduit within the NYC drag scene who uses drag as a part and extension of her artistic process. I then worked with selected performers from Ohio and Kentucky in conjunction with a mid-career retrospective in my hometown of Cincinnati in the spring of 2019, and in January and February of 2020, I worked with 20+ New England-based drag artists as part of a residency and exhibition at 3S Artspace in Portsmouth, New Hampshire.

From the autumn of 2020 until the summer of 2021, I was an artist in residence at The Cell Theatre in the Chelsea neighborhood of NYC, where I expanded the project in the midst of the pandemic to also include neo-burlesque performers and performance artists whose work deals specifically with gender performativity. Most recently was a residency in my hometown of Cincinnati, Ohio - which included creating video portraits of performers from the drag haus ODD Presents, members of the neo-burlesque troop Smoke & Queers, and other alt-drag and burlesque artists from the tri-state area. This residency also included an exhibition featuring this ever-growing archive, as well as multiple live performance events.

My long-term goal is to continue to do a series of such residencies nationally and internationally, which will allow me to create a comprehensive archive of video portraits of drag, burlesque and performance artists from a wide range of locations, backgrounds, cultures, and ages. Each portrait includes video of the artist performing (lip-synching, singing, telling stories, reciting monologues, dancing, etc.) in addition to interview documentation, and will live online as well as in galleries and unexpected places in between. "Life is Drag" has so far been exhibited at such venues as the the Carnegie Museum of Art and Bunker Projects (PA), Satellite Art Club, Bushwig and The Cell (NYC), 3S Artspace (NH), and the Weston Art Gallery (OH).

I believe this project is innovative and important in that it is treating and respecting "drag" (defined as broadly and inclusively as possible) as a proper art form – recognizing it as an extremely vital and valid style of performance art, and every bit as deserving of the deference reserved for more traditional classical art forms like painting and sculpture. Drag is painting and sculpture and performance all at once - and quite often also activism, education, protest, therapy, resistance, catharsis, comedy, tragedy, enlightenment, inspiration - or some combination of the above - to those who practice it, and also to those who experience it as an observer. This project is about celebrating this experimental and expansive form of art and its wide range of practitioners and manifestations. It is about creating a record - an archive - of these brilliant but ephemeral performances, from dive bars to art galleries, city streets to grand theater stages. It is about trying to properly document and share these wildly diverse acts and profound stories that will surely open minds and capture hearts.

One video still from each "Life is Drag" video portrait (performance documentation).

lifeisdrag.com

ARTIST STATEMENT:

I create bodies of work that explore subjects such as gender, artifice, and spectacle. Utilizing processes ranging from directorial to curatorial to anthropological, I showcase exuberantly irrepressible personalities who revel in challenging clichés associated with constructs such "masculinity" and "femininity". A sampling of subjects include Girls Girls Girls (the world's first and only all-female Mötley Crüe tribute band), Tazzie Colomb (the world's longest competing female bodybuilder), and LACTIC Incorporated (an avant-garde clothing brand that takes the detritus of corporate life and reinterprets it into one-of-a-kind structural garments that challenge the polarization of gender).

With this current and ongoing project "Life is Drag", I am documenting the most innovative and singular performers of the currently exploding international alt-drag and neo-burlesque scenes. I am 3 years into this project, and so far have created 250+ portraits. These are created in my studio as well as during residencies - in New York City (The Cell Theater, Bushwig), Pittsburgh (The Kelly Strayhorn Theater, Blue Moon Bar, Bloomfield Garden Club), and New England (3S Artspace).

This project began in early 2019 in my studio in Brooklyn, when I collaborated with a local visual artist by the name of Untitled Queen - a deeply beloved, highly respected, and uniquely visionary performer and conduit within the NYC drag scene who uses drag as a part and extension of her artistic process. I then worked with selected performers from Ohio and Kentucky in conjunction with a mid-career retrospective in my hometown of Cincinnati in the spring of 2019, and in January and February of 2020, I worked with 20+ New England-based drag artists as part of a residency and exhibition at 3S Artspace in Portsmouth, New Hampshire.

From the autumn of 2020 until the summer of 2021, I was an artist in residence at The Cell Theatre in the Chelsea neighborhood of NYC, where I expanded the project in the midst of the pandemic to also include neo-burlesque performers and performance artists whose work deals specifically with gender performativity. Most recently was a residency in my hometown of Cincinnati, Ohio - which included creating video portraits of performers from the drag haus ODD Presents, members of the neo-burlesque troop Smoke & Queers, and other alt-drag and burlesque artists from the tri-state area. This residency also included an exhibition featuring this ever-growing archive, as well as multiple live performance events.

My long-term goal is to continue to do a series of such residencies nationally and internationally, which will allow me to create a comprehensive archive of video portraits of drag, burlesque and performance artists from a wide range of locations, backgrounds, cultures, and ages. Each portrait includes video of the artist performing (lip-synching, singing, telling stories, reciting monologues, dancing, etc.) in addition to interview documentation, and will live online as well as in galleries and unexpected places in between. "Life is Drag" has so far been exhibited at such venues as the the Carnegie Museum of Art and Bunker Projects (PA), Satellite Art Club, Bushwig and The Cell (NYC), 3S Artspace (NH), and the Weston Art Gallery (OH).

I believe this project is innovative and important in that it is treating and respecting "drag" (defined as broadly and inclusively as possible) as a proper art form – recognizing it as an extremely vital and valid style of performance art, and every bit as deserving of the deference reserved for more traditional classical art forms like painting and sculpture. Drag is painting and sculpture and performance all at once - and quite often also activism, education, protest, therapy, resistance, catharsis, comedy, tragedy, enlightenment, inspiration - or some combination of the above - to those who practice it, and also to those who experience it as an observer. This project is about celebrating this experimental and expansive form of art and its wide range of practitioners and manifestations. It is about creating a record - an archive - of these brilliant but ephemeral performances, from dive bars to art galleries, city streets to grand theater stages. It is about trying to properly document and share these wildly diverse acts and profound stories that will surely open minds and capture hearts.