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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
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.
Times Square, New York City, New Years Eve Ball Drop, 2013 - 2014
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,”
Performers of the 2013 - 2014 celebration Miley Cyrus, Macklemore & Ryan Lewis, Blondie, Icona Pop, Jencarlos Canela, El Dasa, Rodney Atkins, Melissa Etheridge
For more on New Years Eve in Times Square visit:
Photo
Times Square, New York City, USA, North America
12-31-2013
Flying the Harrier is unlike any other jet aircraft. It utilizes the concept of "Vectored Thrust," in which turbine by-pass air is routed to one of two pairs of nozzles at the wing roots, while jet exhaust is directed through the second pair. The combined "thrusts" enable the Harrier to either hover or fly normally depending on the position of the nozzles, which can be rotated in unison along the longitudinal axis anywhere from straight aft for forward flight to a little forward of straight down for hover. Nozzle positions are controlled by a single lever near the throttle. To control the aircraft in the hover mode, during which speed is so slow that elevator and rudder surfaces are not operable, a reaction control system cuts in which enables high pressure bleed air to be routed to exhaust ducts called "puffers" or "puff pipes" at the wing tips, nose and tail. When the pilot moves the stick forward, the puffer under the tail emits air causing the nose to go down; and when he pulls it back, the puffer under the nose emits air causing the nose to go up. Similarly, side-to-side movement of the stick operates the puffers at the wing tips (inversely of course) causing the plane to roll; and puffers at the tail operated by the rudder pedals, blow air sideways to control "yaw." As far as the pilot is concerned, the controls continue to operate normally.
British Harriers flew combat missions in the Falkland Islands War in 1982, during which forty-two were deployed for ground support, air defense, ship strikes, and reconnaissance. They shot down at least twenty enemy planes (Mirages, A-4 Skyhawks, and a Canberra bomber) without a single air-to-air loss. Five were lost to ground fire and four to adverse weather. The first Marine Corps aircraft went to war almost twenty years later. During Operation Desert Storm, a total of eighty-six Harriers flew combat missions from both ship and shore, logging 3,380 sorties for 4,038 hours, and delivering over 5.95 millions lbs of ordnance. Harriers also flew combat missions in support of Operation Allied Force, the sustained NATO air campaign against Kosovo in 1999, and continue to fly in support of operations in Afghanistan and Iraq.
Specifications
Manufacturer: McDonnell Douglas Corporation (now Boeing)
Dimensions: Length: 45 ft., 7 in.; Height: 11 ft., 11 in.; Wingspan: 25 ft., 3 in.
Weights: Empty: 13,086 lb.; Gross: 25,200 lb.
Power Plant: One 21,500 lb. static thrust Rolls-Royce Pegasus 103F402-RR-401 Performance: Maximum Speed: 730 M.P.H., Service Ceiling: 51,200 ft.; Range: 414 miles
Armament: Provisions for 25mm cannon, Sidewinder and Maverick missiles, bombs, and rockets
Crew: Pilot
DLP projectors utilizing a mechanical spinning color wheel may exhibit an anomaly known as the “rainbow effect.” This is best described as brief flashes of perceived red, blue, and green "shadows" observed most often when the projected content features high contrast areas of moving bright/white objects on a mostly dark/black background. The scrolling end credits of many movies are a common example, and also in animations where moving objects are surrounded by a thick black outline. Brief visible separation of the colours can also be apparent when the viewer moves their eyes quickly across the projected image. Some people perceive these rainbow artifacts frequently, while others may never see them at all.
en.wikipedia.org/wiki/Rainbow_effect#The_color_wheel_.22r...
Leather Pants Men have utilized for riding way, strolling or going to office. This outfit is adaptable for all events. Genuine cowhide pants were involved by riders for insurance. However mens cowhide bike jeans and coats were utilized as defensive stuff on the cruiser, today it is viewed as a design proclamation.
Are Leather Pants In Style?
Leather Pants Men outfit is exceptionally in-style since significant time frames. Their fame has soar because of the expansion in interest in extravagance road wear patterns and styles. Cowhide is a much needed development from the fairly restricted assortment choices men have for legwear as Jeans, joggers and savvy pants.
Could Guys Wear Leather Pant?
Obviously, men can wear cowhide pants! There are so many genuine calfskin pants for men to pick. Presently not restricted to cruiser riders and rockers, calfskin jeans can without much of a stretch be fused into your home closet. Cowhide pants are a speculation purchase that will endure forever.
tapferenterprises.com/product/men-fashion-contrast-color-...
CNUG April 2012 Users Group
Get Yourself Kinect-ed
This month we look at how you can build Windows applications that utilize Microsoft Kinect for Windows.
Prior to the regularly scheduled CNUG meeting the Chicago Azure Cloud Users Group and Scott Seely will present "Intro to Windows Azure and Windows Azure Appfabric" at 5:30PM.
Sponsor: Solving IT!
Website: www.solvingit.com/
When: April 18th
Where: Microsoft Downers Grove
3025 Highland Parkway
Downers Grove, IL
Agenda:
5:30PM - Arrival
6:30PM - Food and Beverages
7:00PM - Get Yourself Kinect-ed! - Greg Levenhagen, Skyline Technologies
Abstract:
Kinect development used to mean hacking without any support, but now that the Kinect SDK, Kinect for Windows hardware and commercial support for non-XBOX 360 applications has been released, the full power of the Kinect is unleashed. Come see how to start developing with the Kinect, using its hardware features and what the Kinect SDK provides.
Speaker Bio:
Greg Levenhagen has been designing and developing enterprise solutions, leading projects for a variety of businesses for over 10 years and has worked on a diverse set of platforms using many different tools. He is a true enthusiast of computer science, with passions and interests including mobile, cloud, architecture, parallel, testing, agile, ALM, UX, 3D/games, languages and much more. Greg is a Senior Software Engineer with Skyline Technologies, Board member of the Fox Valley .NET User's Group, cofounder of the Northeast WI Agile User’s Group, INETA speaker, IEEE member, ACM member, substitute professor and a PhD student.
Along with being a life-long geek, Greg enjoys golfing, football, woodworking, philosophy and stimulating conversation.
You can find Greg at devtreats.com and @GregLevenhagen.
View the high resolution image on my photo website
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.
SSRL utilizes x-rays produced by its accelerator, the Stanford Positron Electron Asymmetric Ring (SPEAR3), shown in this photo from 2004. Based on the 2004 upgrade funded by the Department of Energy and the National Institutes of Health, SPEAR3 is a 3-GeV, high-brightness third generation storage ring operating with high reliability and low emittance. SSRL runs with 500 mA in top-off mode, during which the beam current is kept constant with injection of electrons into the ring every five minutes.
Credit: Peter Ginter / SLAC
Read more: www-ssrl.slac.stanford.edu/content/spear3/spear3-accelerator
This is the fifth piece of a 14-part series, utilizing the 14 statues featured on the two quarter-round colonnades of Hősök tere/Heroes' Square. Since all of the protagonists are major and significant figures in the history of Hungary, some Budapest streets are named after them here and 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.
Béla király útja is located on a highly illustrious area of the city, at Buda, on Szabadság Hill. Its inhabitants are representatives of the political ruling class of the country, and the street is most famous for a residence to accomodate the highest officers of the state, either the Prime Minister or the President of Hungary (actually none of them occupied it in the last years). During the former regime the street was a completely closed estate for the public, saved by armed guards. Since I have never been to there I don’t know wether it is closed today or not. – Sincerely, I am not sure that this street of Budapest is actually named after him (three previous kings of Hungary had been crowned under his name), but he seems to be the most important of them – or at least he is the only Béla who got a statue in this very special statuary.
Béla IV of Hungary lived a very eventful life, full of family affairs, with his father (Andrew II under #4) as well as with his sons. It was under his reign (1235-1270) when the first Mongol invasion of Hungary (1241-1242) took place – he had definitely lost the battle of Mohi, has been chased as far as Trogir but the Mongols unexpectedly withdrew shortly after their triumph, nonetheless they left a completely devastated country behind. Béla IV is considered as the second founder, a rebuilder of Hungary, from then on his internal policy was focused on strenghtening the country against further invasions (which inevitably came in the 1280s again). Despite all of the vulnerabilities during his reign, and due to the more and more chaotic situation following him, he is considered to be the last monarch who could bring peace to his realm. – It is strange that one of his daughters, Saint Margaret of Hungary (1272-1271), living a holy life without any historical significance, won a much more larger fame as for public space names: Margitsziget (a small island in the Danube between Pest and Buda where she was spending most of her life) and Margithíd (a bridge linking Pest, Buda and this island) are keeping up her name.
The sculpture was designed by Miklós Köllő in 1905, and was constantly standing at the same spot.
These parts of this series are available now.
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.
Times Square, New York City, New Years Eve Ball Drop, 2013 - 2014
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,”
Performers of the 2013 - 2014 celebration Miley Cyrus, Macklemore & Ryan Lewis, Blondie, Icona Pop, Jencarlos Canela, El Dasa, Rodney Atkins, Melissa Etheridge
For more on New Years Eve in Times Square visit:
Photo
Times Square, New York City, USA, North America
12-31-2013
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.
2001 China TCDC International Training Course on Bamboo Technology
DESCRIPTION:
Training Course
China National Bamboo Research Center
CHINA
FOR MORE INFORMATION:
Mr. Ding Xingcui,
Mr. Wu Jintao cbrc@mail.hz.zj.cn
+86 571 8869217 or 8863888 ext. 8915
PRESS RELEASE:
Participants are required to master the basic theories and principles of cultivation processing and utilization of bamboo so as to enhance their awareness and capacity of integrated development of bamboo, and create a chance leading to further mutual fruitful exchange and cooperation.
Enrollment Information for Course Guangzhou - 10-May-2001
ENROLLMENT INFORMATION 2001
China TCDC International Training Course on Bamboo Technology
Totally, there are 1250 species of bamboo or more belonged to 150 genera with a bamboo forest area of 1700 million ha. in the world, among which, there are more than 500 species belonging to 39 genera with a bamboo forest area of 500 million ha. in China, or about 1/3 of the world total, therefore, China is reputed as a "Bamboo Kingdom". China not only is a big country of bamboo resources, but also has already accumulated so much experience in bamboo research, exploitation, production, and management, etc., as a result, has been in advanced position of the world in many aspects of bamboo, especially marked achievements have been scored in bamboo integrated processing and utilization. The total production value of bamboo sector in China in 1999 is over US$ 2.2 billion. Bamboo sector has been becoming a new sunrising industry.
China National Bamboo Research Center (CBRC) was established in 1988 in Hangzhou, a picturesque city in eastern China, which is located in one of the China's biggest bamboo grown centers, and well-known for its West Lake. CBRC has three missions as enshrined by the Ministry of Science and Technology, the State Administration of Forestry: (a) to undertake, organize and coordinate major international and domestic bamboo projects of research and exploitation; (b) to undertake international technical and economic exchange and cooperation and personnel training in bamboo; and (c) to be managed and operated by modality of share-holding and gradually grow into a locomotive and backbone enterprise of China's bamboo sector so as to enhance China bamboo industry as a whole.
In order to disseminate bamboo technology, CBRC has already held with success several training courses/workshops entrusted by United Nations Development Program (UNDP), the Ministry of Foreign Trade & Economic Cooperation (MOFTEC), P.R. China, etc.
"2001 China TCDC International Training Course on Bamboo Technology" is the course sponsored by the Chinese Government. CBRC is entrusted by the MOFTEC to organize this training course. We should invite famous experts, professors all over the China, even an academician to give lectures.
1. Objectives
Participants are required to master the basic theories and principles of cultivation, processing and utilization of bamboo so as to enhance their awareness and capacity of integrated development of bamboo, and create a chance leading to further mutual fruitful exchange and cooperation.
2. Date and Duration
From May 8 to June 22, 2001.
3. Venue
China National Bamboo Research Center (CBRC) No. 138 Wenyi Rd., Hangzhou, Zhejiang Province, 310012 P.R. China
4. Main Course Contents
Present situation of bamboo resources, cultivation, processing, utilization in China and in the world; Bamboo sustainable development; Bamboo classification and introduction; Bamboo genetic pool set-up and maintenance; Bamboo biology and ecology, including individual and population growth and development; Bamboo propagation; Oriented cultivation of in-kind bamboo stands, such as for shoot, timber, both shoot and timber, coastal shelter, water and soil conservation, landscape, and pulp etc.; Bamboo landscaping; Bamboo pest control; Bamboo shoot production and processing; Production technologies of bamboo flooring and 10-plus bamboo artificial boards; Bamboo food, Bamboo integrated utilization (bamboo mats, bamboo charcoal, bamboo chemical utilization, etc); and Bamboo timber and shoot preservation; Bamboo social economy, etc.
5. Training Methods
Lectures, Field Practice, Demonstration, Seminar on Special Topics, Field Tours, Discussion and Report Presentation, Term Paper, etc.
6. Medium of Instruction
English
7. Source of Trainees
Technical, management and research personnel or officials in the field of forestry, bamboo, agriculture and others from developing countries.
8. Methods for Evaluation
The evaluation for the participants will be done on the basis of written tests, field practice, site study and comprehensive performance. Successful completion of the training program will lead to a diploma offered by CBRC. The allotment of marks will be as follows: a) Written tests 50% b) Comprehensive performance 50%
9. Participant's Qualifications and Requirements for Admission
Participants are requested: 1) To be nominated by his/her related government department; 2) To be less than 45 years old, better with a minimum educational background of college graduate, better with an agriculture, forestry and bamboo background and with a minimum of two years' practice in the relative profession; 3) To be in good health conditions with no infectious diseases and not handicapped. Physically fit to completing all course activities; 4) To be proficient in English reading, listening, speaking and writing; 5) To prepare a review paper or report on the bamboo (forestry) production or research of the participant's country and brief introduction of the participant's professional experiences for the purpose of experiences exchange; 6) Not to bring family members to the training course; and 7) To observe all the laws, rules and regulations of P. R. China and respect the Chinese customs during the training period.
10. Training Expenses
1) The expenses of training, boarding and lodging, local transportation, pocket money of RMB 30 Yuan per person per day during the training period in China will be borne by the Chinese Government and distributed by CBRC. 2) The International travel costs including round trip tickets, transit fares are to be covered by the participants themselves, or their respective Governments, or their employers or sponsored by some international organizations, like UNDP, ESCAP, FAO, etc. through proper application and consultations. 3) The expenses of medical care, insurance and domestic salaries for the participants are to be borne by the participants' governments.
11. Application and Admission
1) The applicants should be nominated by their respective Governments. The nominated participants are requested to fill up the Application Forms, which should be endorsed by the departments concerned of their respective Governments, and submit with valid Health Certificates provided by authorized physicians or hospitals to the Economic and Commercial Counselor's Office of the Chinese Embassy ( ECCOCE ) for examination, recommendation and endorsement; 2) After endorsed by the Economic and Commercial Counselor's Office of the Chinese Embassy, Admission Notices will be issued to the accepted participants by the ECCOCE through the related governmental departments of the participants. With the Admission Notices, the participants are requested to go through all necessary formalities for entering into China and bring all the documents like Admission Notices, Application Forms, Health Certificates to China for attending the Course on time.
12. Insurance
The training course organizer dose not hold any responsibility for such risks as loss of life, accidents, illness, loss of properties incurred by the participants during the training period.
13. Liaison Address
Attn: Mr. Ding Xingcui, Mr. Wu Jintao China National Bamboo Research Center No. 138, Wenyi Rd., Hangzhou 310012 Zhejiang Province P.R. China Phone:+86 571 8869217 or 8863888 ext. 8915 Mobile: +86 13805791796 Fax: +86 571 8869217, 8860944
E-mail: cbrc@mail.hz.zj.cn
Another piece utilizing the great techniques I learned this summer with Diane Falkenhagen. This one combines some really gorgeous snail? shells from a very vintage necklace and makes use of a watch case half as a centerpiece. The other elements are either brass ovals with resin, mica, gold leaf and a shell or some more roughly gold-leafed papier mache/polymer beads. This one will probably be entered in an upcoming juried show.
U.S. Department of Agriculture (USDA) Agriculture Research Service (ARS) geneticist Anson E. Thompson holds a vial of lesquerella oil processed and refined at the USDA ARS National Center for Agricultural Utilization Research in Peoria, IL. USDA photo by Jack Dykinga.
Utilizing available light, whether indoors or outside is how I shoot. The old Post Office in Ellicott City (now a visitor center) is such a great room to photograph. Every time I walk in there the light seems to change and delight me. Sometimes it's film noir and other times it's just whatever you make of it. The original art deco light fixtures, along with the WPA murals are great historical pieces. The murals are in need of restoration to the tune of $20,000.
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).
Japanese experimental artist Ei Wada breathes new life into old TV picture tubes. He utilizes their lectromagnetic properties to transform light into sound and back again. When he touches the screens, this triggers a fascinating audio & video performance in which his hands and his whole body serve as pseudo-antennas. The old-fashioned picture tube TVs and a video recorder become percussion instruments, light synthesizer and VJ/DJ equipment all rolled into one. Thus, devices that have lost their original function can be used in a new way.´
credit: Takeshi Horinouchi
Photo: POH
Portraits of Hope's massive public art and civic project – involving more than 20,000 kids, adults and volunteers – that visually transformed Manhattan. By recruiting and utilizing more than 5,400 fully operational NYC taxis to participate in the unprecedented 4-month exhibition, the cabs and city streets of New York were transformed into a giant mobile canvas. The unprecedented event integrated two key characteristics that define the City: the saturation of the iconic taxis; and the vertical physicality of Manhattan. www.portraitsofhope.org
Garden in Transit -- A Portraits of Hope Project
Portraits of Hope's NYC Public Art and Civic Project -- NYC Taxis
Conceived and Developed by Ed Massey and Bernie Massey, Founders of Portraits of Hope
5,400+ New York City Taxis
23,000 Children and Adults
200+ Participating Schools, Hospitals, and NYC institutions
700,000 Sq. ft. of paintings
Youth and Program Sessions in NY, CA, NJ, OH, GA, PA
Project-based learning: interdisciplinary contemporary issues and civic education and leadership sessions for schools, grades 2 -12
Creative therapy sessions for hospitalized children and persons with disabilities; including cancer, orthopedic ailments, burn trauma, brain and neck injuries, and other serious conditions
10-month program and collaborative phase
4-month New York City public art exhibition
Youth sessions and exhibition in Brooklyn, Bronx, Manhattan, Queens, Staten Island
Portraits of Hope rings NASDAQ opening bell
Special thank you to Helen Bing and Peter Bing, Vornado Realty, Hotel Pennsylvania, MACtac, Empire Blue Cross/Blue Shield
Port Authority of New York and New Jersey
Cordelia Corporation, Veriflora, Wooster Paint Company, Jenner & Block, Purdy-Bessemer Holdings, FedEx, Hudson River Park Trust, Susan Kohlmann, Debbie and Hal Jacobs, Nazdar, Abbot & Abbot Box Corp. AAA Flag & Banner, Bruce and Nancy Newberg Family Fund, Pillsbury Sutro Shaw Pittman, Davidow Charitable Fund, Joleen and Mitch Julis, Armstrong Nickoll Family Foundation, Polo Ralph Lauren Foundation, Ore Hill Partners LLC, Time Warner, Building Maintenance Services LLC, PTG Event Services, FedEx, NASDAQ
In addition to choosing cleaner, greener fuels, utilizing onshore power supply service (also known as "cold ironing", "alternative maritime power" and "shore-side electricity), is another solution to reduce air pollution and emissions from ships, as well as limiting local noise. IMO is addressing the need for global standards for the process of providing shoreside electrical power to a ship at berth, while its main and auxiliary engines are turned off. Draft guidelines on safe operation of on-shore power supply to ships are set to be finalized by the Sub-Committee on Ship Systems and Equipment (SSE), which meets this week (2-6 March).
urning to passenger and crew safety matters, the Sub-Committee is expected to finalize draft amendments to the Life-Saving Appliance (LSA) Code on ventilation requirements for survival craft and related draft amendments to the Revised recommendation on testing of life-saving appliances, to ensure a habitable environment is maintained in such survival craft.
The Sub-Committee is also working to prevent accidents related to lifting appliances and anchor handling winches, which have caused harm to operators and damage to ships, cargo, shore-based structures and subsea structures, as well as to the marine environment. The session is set to complete draft guidelines for lifting appliances, as well as draft guidelines for anchor handling winches. The guidelines will complement draft SOLAS regulations which are due to be submitted to the Maritime Safety Committee (MSC) for approval and adoption.
On fire safety, the Sub-Committee will continue its work to minimize the incidence and consequences of fires on ro-ro passenger ships, following a number of serious accidents that occurred recently. The session is expected to further develop draft amendments to the SOLAS Convention and associated codes to enhance fire prevention, detection and extinction.
The SSE 7 meeting was opened by IMO Secretary-General Kitack Lim and is being chaired by Mr. Umut Senturk (Turkey).
Teacher Tamene Mengistu runs students through their lessons, who have more time to study now that they are spending less time fetching water thanks to wind powered water pumps provided through a program funded by the African Development Bank.
Virtually everybody today understands that the apple iphone has extraordinary abilities. If you are thinking about acquiring the apple iphone, or currently have one, this write-up will certainly educate you all the many things an apple iphone could do, so you could either acquire it or optimize its usage.
If you wish to surf the internet with simplicity on the apple iphone, attempt a bigger key-board. Place the apple iphone to the side and also in Safari, faucet on the address bar.
If you're surfing the internet with your apple iphone, you need to understand you do not have to kind ". Simply place the primary address - anything prior to the.com - to browse to the website you wish.
Are you fed up by all the notices you obtain on your apple iphone? There is a method to effortlessly transform off the notices. Inspect "In Notice Facility" to determine applications that are not presently of usage.
Did you understand that any sort of web site you see can be made right into an application? Once it is on your house web page, you could relabel it and also have your quite own application.
Utilize your apple iphone to download on your own an application that allows you to post any sort of data you wish into your phone, through this you could utilize your apple iphone as a data storage space gadget. Along with pictures and also short video, you could keep both songs and also post and also message data. The apple iphone will just have to be connecteded into the computer system to get to the data, or you could straight open them with the phone.
There is a calculator device in the apple iphone that effortlessly allows you include, increase or deduct something quite promptly. In the phone's upright position, you will certainly obtain a common calculator and also if you turn it right into straight position, you will certainly view a clinical calculator.
Attempt not to speak to your Siri feature as commonly as you do if you are a quite personal kind of individual. They do attempt to keep all data safe and secure, though occasionally this is difficult.
Like several various other mobile phones, apple iphone could give aesthetic info of inbound phone calls or messages. You could establish up the apple iphone's LED flash to blink when a phone call or message comes in.
You could catch a screenshot while utilizing your apple iphone. Just, discover the display you wish a go of and also hold back your "house" switch as you click your "rest" switch. When the photo is conserved to the memory of your phone, the display will certainly transform white.
The Safari on the apple iphone has a great deal of functions, comparable to that of a computer system's Web. The context food selection pops up and also allows you keep the picture straight to the photo application, if you have one.
Establish your very own AutoText expressions and also words to make messaging quicker. You need to utilize this function for expressions you utilize at all times, such as 'where are you' or for authorizing your e-mails. This faster way is in the apple iphone's key-board setups.
There is likewise an excellent time-based function on the apple iphone which enables you to establish time suggestions like when to prepare supper. There is no end to the kinds of suggestions you could establish on your apple iphone.
Make certain you are booked when it comes to the number of applications you are setting up. Some of them set you back cash, and also others are cost-free to utilize.
When you're taking photos, it's simple to utilize your apple iphone one-handed. All you need to do is goal and also press the quantity boost switch. Your photo will certainly be equally as clear and also concentrated.
With your apple iphone, you could take a screenshot whenever the need strikes you. You could achieve this by pushing the House and also Power switches at the exact same time.
There are a great deal of excellent functions that are on your apple iphone right out of the box, like a complete thesaurus. This device is unbelievably practical. You just have to touch and also hold any sort of provided word and also decide on "specify" from the offered choices.
A superb method to interact with your apple iphone is with FaceTime. Touch the switch and also you will certainly now view the individual while you are speaking.
As you could view from the suggestions in the above write-up, there is constantly something brand-new to discover one of the most efficient method to utilize an apple iphone. If this holds true for you, you just have to utilize the info to obtain the very best usage from your phone, or decide regarding whether the phone is a great option for you.
Utilize your apple iphone to download on your own an application that allows you to post any sort of data you wish into your phone, this method you could utilize your apple iphone as a data storage space gadget. The apple iphone will just require to be connected right into the computer system to obtain accessibility to the data, or you could straight open them with the phone.
You could establish up the apple iphone's LED flash to blink when a phone call or message comes in. You could catch a screenshot while utilizing your apple iphone. It's simple to utilize your apple iphone one-handed when you're taking photos. c2creviewer.typepad.com/blog/2012/09/espionnez-un-iphone-...
FORT IRWIN, Calif. -- The 2916th Aviation Battalion utilized an off-cycle window in their calendar March 20 - 23 to conduct brigade-level training in the National Training Center's "Box". The exercise culminated at the Fort Irwin Weed Army Community Hospital (WACH) March 23.
The goal of the training is to test readiness as well as hone emergency medical skills among the participating service members. One simulation presented the participants with an Improvised Explosive Device (IED) attack on a troop transport that resulted in 16 casualties. The role players required triage at the point of injury in the training area, then airlifted back to the WACH on Fort Irwin for treatment. This was a large-scale training module that involved complex planning.
To make the exercise as authentic as possible training units had no warning of what they would encounter throughout the course of the event and participants were alerted only as the scenario unfolded, just as if the casualties and events were real. Large casualty events of this kind take a special type of planning coordination, material and geography to execute, and even more consideration to undertake, which makes the NTC an ideal venue for such training.
The 2916th assumed the role of air medevac, requiring multiple airlifts to bring all casualties back to the WACH, where staff members prioritized, stabilized and treated the mock casualties, then prepared to fly any they determined needing specialized care beyond WACH capabilities to other nearby available medical facilities for more extensive treatment.
To learn more about the people and facilities of the National Training Center and the Weed Army Community Hospital visit their official websites at www.irwin.army.mil or www.irwin.amedd.army.mil
Photo by Captain Sean Donoghue for WACH Public Affairs (Released),
Farmer Megertu Seboka waters her plants whenever they need it, now that she has water running to her home thanks to wind powered water pumps provided by funding by the African Development Bank.
2001 China TCDC International Training Course on Bamboo Technology
DESCRIPTION:
Training Course
China National Bamboo Research Center
CHINA
FOR MORE INFORMATION:
Mr. Ding Xingcui,
Mr. Wu Jintao cbrc@mail.hz.zj.cn
+86 571 8869217 or 8863888 ext. 8915
PRESS RELEASE:
Participants are required to master the basic theories and principles of cultivation processing and utilization of bamboo so as to enhance their awareness and capacity of integrated development of bamboo, and create a chance leading to further mutual fruitful exchange and cooperation.
Enrollment Information for Course Guangzhou - 10-May-2001
ENROLLMENT INFORMATION 2001
China TCDC International Training Course on Bamboo Technology
Totally, there are 1250 species of bamboo or more belonged to 150 genera with a bamboo forest area of 1700 million ha. in the world, among which, there are more than 500 species belonging to 39 genera with a bamboo forest area of 500 million ha. in China, or about 1/3 of the world total, therefore, China is reputed as a "Bamboo Kingdom". China not only is a big country of bamboo resources, but also has already accumulated so much experience in bamboo research, exploitation, production, and management, etc., as a result, has been in advanced position of the world in many aspects of bamboo, especially marked achievements have been scored in bamboo integrated processing and utilization. The total production value of bamboo sector in China in 1999 is over US$ 2.2 billion. Bamboo sector has been becoming a new sunrising industry.
China National Bamboo Research Center (CBRC) was established in 1988 in Hangzhou, a picturesque city in eastern China, which is located in one of the China's biggest bamboo grown centers, and well-known for its West Lake. CBRC has three missions as enshrined by the Ministry of Science and Technology, the State Administration of Forestry: (a) to undertake, organize and coordinate major international and domestic bamboo projects of research and exploitation; (b) to undertake international technical and economic exchange and cooperation and personnel training in bamboo; and (c) to be managed and operated by modality of share-holding and gradually grow into a locomotive and backbone enterprise of China's bamboo sector so as to enhance China bamboo industry as a whole.
In order to disseminate bamboo technology, CBRC has already held with success several training courses/workshops entrusted by United Nations Development Program (UNDP), the Ministry of Foreign Trade & Economic Cooperation (MOFTEC), P.R. China, etc.
"2001 China TCDC International Training Course on Bamboo Technology" is the course sponsored by the Chinese Government. CBRC is entrusted by the MOFTEC to organize this training course. We should invite famous experts, professors all over the China, even an academician to give lectures.
1. Objectives
Participants are required to master the basic theories and principles of cultivation, processing and utilization of bamboo so as to enhance their awareness and capacity of integrated development of bamboo, and create a chance leading to further mutual fruitful exchange and cooperation.
2. Date and Duration
From May 8 to June 22, 2001.
3. Venue
China National Bamboo Research Center (CBRC) No. 138 Wenyi Rd., Hangzhou, Zhejiang Province, 310012 P.R. China
4. Main Course Contents
Present situation of bamboo resources, cultivation, processing, utilization in China and in the world; Bamboo sustainable development; Bamboo classification and introduction; Bamboo genetic pool set-up and maintenance; Bamboo biology and ecology, including individual and population growth and development; Bamboo propagation; Oriented cultivation of in-kind bamboo stands, such as for shoot, timber, both shoot and timber, coastal shelter, water and soil conservation, landscape, and pulp etc.; Bamboo landscaping; Bamboo pest control; Bamboo shoot production and processing; Production technologies of bamboo flooring and 10-plus bamboo artificial boards; Bamboo food, Bamboo integrated utilization (bamboo mats, bamboo charcoal, bamboo chemical utilization, etc); and Bamboo timber and shoot preservation; Bamboo social economy, etc.
5. Training Methods
Lectures, Field Practice, Demonstration, Seminar on Special Topics, Field Tours, Discussion and Report Presentation, Term Paper, etc.
6. Medium of Instruction
English
7. Source of Trainees
Technical, management and research personnel or officials in the field of forestry, bamboo, agriculture and others from developing countries.
8. Methods for Evaluation
The evaluation for the participants will be done on the basis of written tests, field practice, site study and comprehensive performance. Successful completion of the training program will lead to a diploma offered by CBRC. The allotment of marks will be as follows: a) Written tests 50% b) Comprehensive performance 50%
9. Participant's Qualifications and Requirements for Admission
Participants are requested: 1) To be nominated by his/her related government department; 2) To be less than 45 years old, better with a minimum educational background of college graduate, better with an agriculture, forestry and bamboo background and with a minimum of two years' practice in the relative profession; 3) To be in good health conditions with no infectious diseases and not handicapped. Physically fit to completing all course activities; 4) To be proficient in English reading, listening, speaking and writing; 5) To prepare a review paper or report on the bamboo (forestry) production or research of the participant's country and brief introduction of the participant's professional experiences for the purpose of experiences exchange; 6) Not to bring family members to the training course; and 7) To observe all the laws, rules and regulations of P. R. China and respect the Chinese customs during the training period.
10. Training Expenses
1) The expenses of training, boarding and lodging, local transportation, pocket money of RMB 30 Yuan per person per day during the training period in China will be borne by the Chinese Government and distributed by CBRC. 2) The International travel costs including round trip tickets, transit fares are to be covered by the participants themselves, or their respective Governments, or their employers or sponsored by some international organizations, like UNDP, ESCAP, FAO, etc. through proper application and consultations. 3) The expenses of medical care, insurance and domestic salaries for the participants are to be borne by the participants' governments.
11. Application and Admission
1) The applicants should be nominated by their respective Governments. The nominated participants are requested to fill up the Application Forms, which should be endorsed by the departments concerned of their respective Governments, and submit with valid Health Certificates provided by authorized physicians or hospitals to the Economic and Commercial Counselor's Office of the Chinese Embassy ( ECCOCE ) for examination, recommendation and endorsement; 2) After endorsed by the Economic and Commercial Counselor's Office of the Chinese Embassy, Admission Notices will be issued to the accepted participants by the ECCOCE through the related governmental departments of the participants. With the Admission Notices, the participants are requested to go through all necessary formalities for entering into China and bring all the documents like Admission Notices, Application Forms, Health Certificates to China for attending the Course on time.
12. Insurance
The training course organizer dose not hold any responsibility for such risks as loss of life, accidents, illness, loss of properties incurred by the participants during the training period.
13. Liaison Address
Attn: Mr. Ding Xingcui, Mr. Wu Jintao China National Bamboo Research Center No. 138, Wenyi Rd., Hangzhou 310012 Zhejiang Province P.R. China Phone:+86 571 8869217 or 8863888 ext. 8915 Mobile: +86 13805791796 Fax: +86 571 8869217, 8860944
E-mail: cbrc@mail.hz.zj.cn
In addition to choosing cleaner, greener fuels, utilizing onshore power supply service (also known as "cold ironing", "alternative maritime power" and "shore-side electricity), is another solution to reduce air pollution and emissions from ships, as well as limiting local noise. IMO is addressing the need for global standards for the process of providing shoreside electrical power to a ship at berth, while its main and auxiliary engines are turned off. Draft guidelines on safe operation of on-shore power supply to ships are set to be finalized by the Sub-Committee on Ship Systems and Equipment (SSE), which meets this week (2-6 March).
urning to passenger and crew safety matters, the Sub-Committee is expected to finalize draft amendments to the Life-Saving Appliance (LSA) Code on ventilation requirements for survival craft and related draft amendments to the Revised recommendation on testing of life-saving appliances, to ensure a habitable environment is maintained in such survival craft.
The Sub-Committee is also working to prevent accidents related to lifting appliances and anchor handling winches, which have caused harm to operators and damage to ships, cargo, shore-based structures and subsea structures, as well as to the marine environment. The session is set to complete draft guidelines for lifting appliances, as well as draft guidelines for anchor handling winches. The guidelines will complement draft SOLAS regulations which are due to be submitted to the Maritime Safety Committee (MSC) for approval and adoption.
On fire safety, the Sub-Committee will continue its work to minimize the incidence and consequences of fires on ro-ro passenger ships, following a number of serious accidents that occurred recently. The session is expected to further develop draft amendments to the SOLAS Convention and associated codes to enhance fire prevention, detection and extinction.
The SSE 7 meeting was opened by IMO Secretary-General Kitack Lim and is being chaired by Mr. Umut Senturk (Turkey).
An Event for Wound Licking
February 6, 2-4pm (wound licking from 2-4pm, performance by Nonnsha at 3pm)
Baik Art
Utilizing the healing properties of dog saliva, An Event for Wound Licking will be a participatory event pairing wounds with dogs. Experimental in nature, participants will bring their wounds and participants will bring their dogs. Ideally, we can get the dogs to lick some of the wounds. Wounds of all types are requested (including wounds of the psychic variety), as well as dogs of all breeds (mutts especially).
In ancient Greece, the saliva of trained dogs and non-venomous snakes were utilized in Asclepieia (healing temples) to help treat the afflicted. Following in this tradition (and in a controlled manner), a kingsnake and albino cornsnake will be on-site. Due to the experimental nature of this event, liability waivers must be signed by all participants.
The event will culminate with a performance from Shannon Simbulan, aka Nonnsha, at 3pm.
Nonnsha is a Lo-Fi musician who enjoys grocery shopping. Chin up, chin up.
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EYE-DEE-QUE (Something Like an Asclepeion)
Matt Wardell
January 9 - February 13, 2016
Baik Art presents EYE-DEE-QUE (Something Like an Asclepeion), a solo installation and series of events by Los Angeles artist Matt Wardell.
For the exhibition, Wardell will present an immersive environment of images and objects by channeling ‘something like’ an ancient Greek temple of healing. Using Baik Art’s unique architecture, viewers experience a literal (and perhaps figurative) katabasis (‘to go down’ as in a descent of some type), but more importantly, and ideally, a catharsis (‘cleansing’ or ‘purification’).
Numerous objects, found and constructed, engage with the verticality of Baik Art’s shaft-like space, surrounded by an installation of wall works including drawings, collages, and repurposed images. Several fabric sculptures fill the gallery functioning as apotropaic totems. These Guardian Figures suggest a ‘presence’, ideally something beyond the object.
Daytime and evening events will further activate the gallery a space for healing. Practitioners from a variety of fields will be on hand for consultation. Music for Healing or What You Need will present a sonic cleansing. Incubation and Dream Analysis will be an overnight event of guided sleep followed by dream analysis with a professional. Utilizing the healing properties of dog saliva, An Event for Wound Licking will be a participatory event pairing wounds with dogs. For the date and time of each event, please contact the artist at shonufwardell@hotmail.com.
In ancient Greece and Rome, an asclepeion was a healing temple, sacred to Asclepius, the Greek God of Medicine. These temples were places in which patients would visit to receive either treatment or some sort of healing, whether it was spiritual or physical. Epidaurus was the first place to worship Asclepius as a god, beginning sometime in the 5th century BCE.
Starting around 350 BCE, the cult of Asclepius became increasingly popular. Pilgrims flocked to asclepieia to be healed. They slept overnight (“incubation”) and reported their dreams to a priest the following day. He prescribed a cure, often a visit to the baths or a gymnasium. Since snakes were sacred to Asclepius, they were often used in healing rituals. Non-venomous snakes were left to crawl on the floor in dormitories where the sick and injured slept.
Matt Wardell seeks to prolong a sense of wonder while placing the viewer in a lingering position of active assessment. He is interested in how we choose to live and in introducing work that facilitates these investigations. Wardell enjoys walking on fences, answering wrong numbers, and giving directions to places he does not know. Uncomfortable laughter, confusion, and irritation tend to be the byproducts of Wardell’s works.
Wardell has exhibited his work at venues throughout the United States and Mexico, including the Museum of Modern Art in San Francisco (SFMOMA), Claremont Museum of Art in Claremont, Los Angeles Contemporary Exhibitions (LACE), REDCAT, PØST, Human Resources, Black Dragon Society, Mark Moore Gallery, and Commonwealth and Council, all in Los Angeles. Wardell is a founding member of the artist collective 10lb Ape.
Baik Art
2600 S. La Cienega Blvd., Los Angeles, California 90034
310.842.3892
Solar panels in rural Ethiopia are using the sun to power water pumps to provide clean, consistent water to its people thanks to a program funded in part by the African Development Bank.
Jabo Seifu explains how he has started his own business of providing private showers to people in his village thanks to the reliable water now provided by the solar powered water pumps thanks to a loan from the African Development Bank
Times Square New Years Eve Ball Drop in New York City 2014 - 2015
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,”
Performers of the 2014 - 2015 celebration Jenny McCarthy, Anderson Cooper, O.A.R., Idina Menzel, American Authors, Magic!, Jencarlos Canela, Florida Georgia Line, Va Por ti including Yazaira López, - José Enrique Poyato -Virginia Stille - Fernando Corona - Ana Cristina Pagán, Alejandra Guzmán, Taylor Swift,
For more on New Years Eve in Times Square visit:
www.timessquarenyc.org/index.aspx
Photo
Times Square, New York City, USA, North America
12-31-2014
The second 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 them 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.
Könyves Kálmán körút is also a section of what is generally (but mistakenly) known as Hungária Circular Road, the longest and outermost of Pest circulars so far. It lays between three major areas, Józsefváros, Kőbánya and Ferencváros, 8th, 10th and 9th districts of Budapest, respectively. Like Károly Róbert körút, it is also a 2x3 tracked city road, equipped with a tramway at the middle, leading towards and from Lágymányosi Bridge, always a busy, frequently a jammed spot of the city, conducting a heavy traffic of M5 and No. 4 highways, as well, towards Buda and the central parts of Pest. Its extension and refurbishment is rather a recent development, but sometimes it is not able to cope with the enormous transit traffic dumped into Budapest on daily basis.
Coloman (the Book Lover, or the Learned, as his name is also used) ruled between 1095 and 1116, had a very bad physique and appeareance according to chronicles written mostly by his enemies (however, he is the shortest in the Heroes' Square statue gallery), but since his father wanted him to be a bishop, on the other hand he was a well educated, smart monarch - that's why he got his epitheton ornans. His most important efforts (besides the connecting of Hungary, Croatia and Dalmatia) were his legislative deeds, e.g. he was the king who banned burning of "strigas", witches of the age.
The statue, the work of Richárd Füredi, was erected in 1906 at the same place.
These parts of this series are available now.
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).
I utilized a 6 F-STOP ND filter to allow the use of strobes and keep the sync speed of the shutter under 1/200s.
Strobist:
2x vivitar 285, both at full power in a westcott apollo softbox.
An Ethiopian villager Atsadu Tufa hired to manage the operation of a Solar powered water pump providing water to rural Ethiopians through a program funded by the African Development Bank.
Hotel Lan Kwai Fong in Macau, China utilized a 90-foot dome with transparent cover for the grand opening in July 2009. Hotel Lan Kwai Fong (LKF) is the newest boutique hotel located in downtown Macau near SoHo, and close to hotspots such as Man Mo Temple, Times Square, Possession Street, the Repulse Bay and Stanley Market. LKF wanted a grand opening ceremony to foreshadow its unique features and elaborate furnishings, and has since been voted the best Asian boutique hotel by TravelWeekly. The 90-foot LKF dome will remain up for one year as an event space.
Jabo Seifu explains how he has started his own business of providing private showers to people in his village thanks to the reliable water now provided by the solar powered water pumps thanks to a loan from the African Development Bank
Hotel Lan Kwai Fong in Macau, China utilized a 90-foot dome with transparent cover for the grand opening in July 2009. Hotel Lan Kwai Fong (LKF) is the newest boutique hotel located in downtown Macau near SoHo, and close to hotspots such as Man Mo Temple, Times Square, Possession Street, the Repulse Bay and Stanley Market. LKF wanted a grand opening ceremony to foreshadow its unique features and elaborate furnishings, and has since been voted the best Asian boutique hotel by TravelWeekly. The 90-foot LKF dome will remain up for one year as an event space.
Dancers - Umbrella
The Mercury fountain utilizes mercury rather than water. This fountain was designed by the American artist Alexander Calder and commissioned by the Spanish Republican government for the 1937 World Exhibition in Paris. He donated the Mercury Fountain to the Fundació as a mark of his friendship with Miró. Calder took a particular interest in incorporating movement into sculpture, and he was one of the precursors of kinetic art. Among other works, the World Fair Spanish pavilion also contained Picasso's Guernica, Montserrat by Julio González, and The reaper by Joan Miró, which disappeared after the closure of the exhibition. The artwork is an anti-fascist tribute to the siege of Almadén during the Spanish Civil War by Franco's troops. Almeden has the largest reservoirs of mercury in the world and in 1937 60% of the world's mercury came from its mines. The mercury in this fountain has a double significance: it acts as the driving force, and it also pays tribute — in the same way as Picasso did to the inhabitants of Guernica — to the people of Almadén. The mercury fountain, now at the Fundació Joan Miró in Barcelona, is displayed behind very thick permanently sealed glass so that the poisonous vapors never escape. Interestingly that mercury fountains existed in some castles in Islamic Spain; the most famous one was situated at the Kasr-al-Kholaifa in Córdoba.
I create bodies of work that explore subjects such as gender, artifice, and spectacle. Utilizing processes ranging from directorial to anthropological, I showcase exuberantly irrepressible personalities who revel in challenging clichés associated with masculinity and femininity. A sampling of recent 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 my current project "Life is Drag", I am documenting the most singular and innovative performers of the currently exploding alt-drag and neo-burlesque scenes. I am 3 years into this project and have so far made 250+ portraits, created in my Brooklyn studio as well as during residencies - in 2021 in New York City (The Cell Theater, Bushwig) and in Pittsburgh (The Kelly Strayhorn Theater, Blue Moon Bar, Bloomfield Garden Club), and in 2020 in New England (3S Artspace).
Over the course of my 2 month Wave Pool residency, I worked with 25 performers - including members of Cincinnati based ODD Presents drag haus and Smoke & Queers burlesque troupe, as well as with other performers from the tri-state area.
The residency also included an exhibition featuring this ever-growing archive, as well as multiple live performance events. These photos are from the opening reception at Wave Pool on March 12th, 2022, featuring performances by:
- Betty Page Turner (host)
- Seymour Hiney
- Bleu Vomit
- Dandy Lyin
- Delusiona Grandeur
- Dahlí
"Life is Drag" was the 2022 Vance-Waddell Residency, and as a part of that I selected a Cindy Sherman photograph and Janine Antoni sculpture from the Vance-Waddell collection to inform and expand on the installation for this project.
To see the full "Life is Drag" archive:
lifeisdrag.com
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).
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.
The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European one, as well as the greatest German speaking theater. The original 'old' Burgtheater at Saint Michael's square was utilized from 1748 until the opening of the new building at the ring in October, 1888. The new house in 1945 burnt down completely as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher serving as temporary quarters. The Burgtheater is considered as Austrian National Theatre.
Throughout its history, the theater was bearing different names, first Imperial-Royal Theater next to the Castle, then to 1918 Imperial-Royal Court-Burgtheater and since then Burgtheater (Castle Theater). Especially in Vienna it is often referred to as "The Castle (Die Burg)", the ensemble members are known as Castle actors (Burgschauspieler).
History
St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)
The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.
The 'old' Burgtheater at St. Michael's Square
The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, ruling after the death of her father, which had ordered a general suspension of the theater, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor (Carinthian gate), Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.
In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her royal box directly from the imperial quarters, the Burgtheater structurally being connected with them. At the old venue at Saint Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer premiered .
On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the stage plays should not deal with sad events for not bring the Imperial audience in a bad mood. Many theater plays for this reason had to be changed and provided with a Vienna Final (Happy End), such as Romeo and Juliet or Hamlet. From 1794 on, the theater was bearing the name K.K. Court Theatre next to the castle.
1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.
On 12 October 1888 took place the last performance in the old house. The Burgtheater ensemble moved to the new venue at the Ring. The Old Burgtheater had to give way to the completion of Saint Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.
The "new" K.K. Court Theatre (as the inscription reads today) at the Ring opposite the Town Hall, opened on 14 October 1888 with Grillparzer's Esther and Schiller's Wallenstein's Camp, was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.
However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task after similar commissioned work in the city theaters of Fiume and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase on the side facing the café Landtmann of the Burgtheater (Archduke stairs) reproduced Gustav Klimt the artists of the ancient theater in Taormina on Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor) the London Globe Theatre and the final scene from William Shakespeare's "Romeo and Juliet". Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized himself in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.
The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper's Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus above the Isar. Above the middle section there is a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Above the center house there decorates a statue of Apollo the facade, throning between the Muses of drama and tragedy. Above the main entrances are located friezes with Bacchus and Ariadne. At the exterior facade round about, portrait busts of the poets Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel can be seen. The masks which also can be seen here are indicating the ancient theater, furthermore adorn allegorical representations the side wings: love, hate, humility, lust, selfishness, and heroism. Although the theater since 1919 is bearing the name of Burgtheater, the old inscription KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits have been hung up in the new building and can be seen still today - but these images were originally smaller, they had to be "extended" to make them work better in high space. The points of these "supplements" are visible as fine lines on the canvas.
The Burgtheater was initially well received by Viennese people due to its magnificent appearance and technical innovations such as electric lighting, but soon criticism because of the poor acoustics was increasing. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon it was situated among the "sanctuaries" of Viennese people. In November 1918, the supervision over the theater was transferred from the High Steward of the emperor to the new state of German Austria.
1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. On 8th May 1925, the Burgtheater went into Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza.
The Burgtheater in time of National Socialism
The National Socialist ideas also left traces in the history of the Burgtheater. In 1939 appeared in Adolf Luser Verlag the strongly anti-Semitic characterized book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was on the occasion of the 50th anniversary of the opening of the Burgtheater a Don Carlos production of Karl-Heinz Stroux shown that served Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the sentence in direction of Joseph Goebbels box vociferated: "just give freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 the Merchant of Venice, in which Werner Kraus the Jew Shylock clearly anti-Semitic represented. The same director staged after the war Lessing's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused in pure fear of an assassination.
For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jews ", were quickly imposed stage bans, within a few days, they were on leave, fired or arrested. The Burgtheater ensemble between 1938 and 1945 did not put up significant resistance against the Nazi ideology, the repertoire was heavily censored, only a few joined the Resistance, as Judith Holzmeister (then also at the People's Theatre engaged) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.
The Burgtheater at the end of the war and after the Second World War
In summer 1944, the Burgtheater had to be closed because of the decreed general theater suspension. From 1 April 1945, as the Red Army approached Vienna, camped a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned down on 12th April 1945 completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.
The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to launch Vienna's cultural life as soon as possible again. The council summoned on 23 April (a state government did not yet exist) a meeting of all Viennese cultural workers into the Town Hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This venue chose the newly appointed director Raoul Aslan, who championed particularly active.
The first performance after the Second World War was on 30 April 1945 Sappho by Franz Grillparzer directed by Adolf Rott from 1943 with Maria Eis in the title role. Also other productions from the Nazi era were resumed. With Paul Hoerbiger, a few days ago as Nazi prisoner still in mortal danger, was shown the play of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre could be played (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott from the year 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took place performances. Aslan the Ronacher in the summer had rebuilt because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the enlarged stage.
The first new productions are associated with the name of Lothar Müthel: Everyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel in Nazi times seemed to have been fallen into oblivion.
Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years in exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations on the 175th anniversary of the theater took place.
1948, a competition for the reconstruction was tendered: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, according to which the house was to be rebuilt into a modern gallery theater. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative but also cost effective. The character of the lodges theater was largely taken into account and maintained, the central royal box but has been replaced by two balconies, and with a new slanted ceiling construction in the audience was the acoustics, the shortcoming of the house, improved significantly.
On 14 October 1955 was happening under Adolf Rott the reopening of the restored house at the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this play, which the beginning of Habsburg rule in Austria makes a subject of discussion and Ottokar of Horneck's eulogy on Austria (... it's a good country / Well worth that a prince bow to it! / where have you yet seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .
In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.
Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts of Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard was as a successor of Klingenberg mentioned, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.
Benning, the first ensemble representative of the Burgtheater which was appointed director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel to the then politically separated East and took the the public taste more into consideration.
Directorate Claus Peymann 1986-1999
Under the by short-term Minister of Education Helmut Zilk brought to Vienna Claus Peymann, director from 1986 to 1999, there was further modernization of the programme and staging styles. Moreover Peymann was never at a loss for critical contributions in the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program within sections of the audience met with rejection. The greatest theater scandal in Vienna since 1945 occurred in 1988 concerning the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama which was fiercly fought by conservative politicians and zealots. The play deals with the Vergangenheitsbewältigung (process of coming to terms with the past) and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard after the premiere dared to face on the stage applause and boos.
Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann, to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his plays precisely in his homeland not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard play Before retirement by the first performance director Peymann. The plays by Bernhard are since then continued on the programme of the Burgtheater and they are regularly newly produced.
In 1993, the rehearsal stage of the Castle theater was opened in the arsenal (architect Gustav Peichl). Since 1999, the Burgtheater has the operation form of a limited corporation.
Directorate Klaus Bachler 1999-2009
Peymann was followed in 1999 by Klaus Bachler as director. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.
Were among the unusual "events" of the directorate Bachler
* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )
* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available)
* John Irving's reading from his book at the Burgtheater Until I find you (2006)
* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of him under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).
* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat (December 2008). Outpatient care is enough.
Jubilee Year 2005
In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer's King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg) received the Nestroy Theatre Award for Best Actor for his role in this play. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.
Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves with a as natural as possible facial expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto of this season served a quotation from Lessing's Minna von Barnhelm: "It's so sad to be happy alone."
The Burgtheater on the Mozart Year 2006
Also the Mozart Year 2006 was at the Burgtheater was remembered. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera on the occasion of the Vienna Festival in May 2006 a new production (directed by Karin Beier) of this opera on stage.
Directorate Matthias Hartmann since 2009
Since September 2009, Matthias Hartmann is Artistic Director of the Burgtheater. A native of Osnabrück, he directed the stage houses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Bösch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer, came actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came permanently to the Burg. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the Castle, the New York group Nature Theater of Oklahoma show their great episode drama Live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .