The cocoa tree (Theobroma Cacao), is a native of the dense tropical Amazon forests. First cultivated by the Mayas of Yucatan and the Aztecs of Mexico, the crop has increased in commercial value since Montezuma began consuming a cocoa bean preparation called "chocolatl" regularly.

 

Although Columbus initially brought the cocoa bean to Europe, it was his fellow countryman, Don Cortes, who recognized its commercial value as a drink and sent back to Spain cocoa beans and recipes for the preparation of chocolate. However, it was the Swedish botanist, Linnaeus, who, probably drawing on the Aztec belief that the cocoa tree had divine origins, gave the genus the name "Theobroma" or Food of the Gods.

 

The Spaniards jealously guarded this increasingly popular drink, to which they added sugar as a sweetener. Cultivation of the cocoa tree by the Spaniards in their isolated colony in Trinidad was part of the effort to keep secret the cultivation and preparation of the cocoa bean. Eventually, the Spaniards sought to grow cocoa elsewhere including other West Indian Islands and the Philippines.

 

The popularity of the chocolate drink spread to Italy, Holland and France and finally in the middle 1600s to England, but it remained a drink for the wealthy because of its high cost. By the early eighteenth century, however, prices began to drop and the commercial manufacture of chocolate began in Bristol, England, where the firm of J.S. Fry founded the first chocolate factory in 1728.

 

The term cacao, essentially a botanical name, refers to the tree, the pods and the unfermented beans found in the pods. The word cocoa, by contrast, refers to the fermented cocoa beans in bulk, and also to the manufactured powdered product used for drinks and in food manufacturing.

 

The cocoa beans are the seeds of the cacao tree species Theobroma cacao L., and the genus Theobroma. Theobroma cacao is the only species of commercial value and is divided into four distinct varieties: Hawaiian, Criollo, Trinitario, and Forastero.

 

Except for in Hawaii, the growing conditions required by the cacao tree are fairly precise with the usual areas of cultivation lying within 20 degrees latitude of the equator. Within these latitudes a temperature range of 21 to 32 degrees Centigrade (70 to 90 degrees Fahrenheit) is required. Soil conditions can vary considerably, but a firm roothold and moisture retention are necessary.

 

Traditionally, cacao trees are grown under shade trees to resemble their natural habitat, however, high yields have been obtained from trees growing in non-shaded areas when sufficient moisture and nutrients are made available to the trees. Cocoa trees, which begin bearing fruits after the age of five, generally live up to 100 years and are in their prime 30 to 40 years after maturity.

 

From the time the seedlings reach a height of 3 to 5 feet, they throw out 3 to 5 branches, and later, vertical “chupons” or suckers from points below “jorquettes” where branches fork. This pattern of growth is repeated until the height of maturity is reached.

 

Flowers, less than a half inch in diameter, are formed in small groups on the trunk and lower main branches of the trees. They are bisexual and produce pollen that is too sticky to be dispersed by the wind. In its natural habitat, pollination occurs primarily through small midge: a tiny fly. Mature trees produce approximately 10,000 flowers per year of which 1000 become pollinated, and of which 100 develop into mature pods. These pods mature in 5 to 7 months during which time many wilt and drop off in a natural thinning process. The pod attains a length of 6 to 10 inches and a diameter of 3 to 4 inches. A pod normally contains 20 to 40 seeds surrounded by a muscilaginous pulp when the pod is ripe.

 

The pods are harvested regularly, for the trees bear mature fruit, flowers, and growing pods all at the same time. After removal from the branches by hand-cutting, the pods are taken to a central location for opening and removal of the beans and adhering pulp. The beans with pulp are then taken to the fermentary for fermenting and drying.

 

From Bean to Chocolate

The development of good chocolate flavors depends on genetics, environment, good fermentation, and the drying and storage of the beans, together with controlled processes of manufacturing.

 

It is critical to good flavor in the final cocoa or chocolate that correct bean fermentation and drying occur. After the pods are cut from the trees, the beans and their adhering pulp are transferred to heaps, boxes or baskets where fermentation is to take place. The beans must be maintained at a temperature close to 50 degrees Centigrade. Too low a temperature (less than 5 to 46 degrees Centigrade or 113 to 115 degrees Fahrenheit) doesn’t allow sufficient flavor precursor development.

 

Complete fermentation usually takes from 5 to 6 days. During the first day fo fermentation the adhering pulp becomes liquid an drains away causing the fermentation temperature to rise steadily. By the third day the mass of beans will have heated fairly evenly to about 45 degrees Centigrade (113 degrees Fahrenheit) and will remain between 45 and 50 degrees Centigrade until fermentation is complete. Periodic turning of the beans ensures that the beans are exposed to temperature conditions prevailing in both the interior an the exterior. The changes that occur in the combined processes of fermentation and drying are commonly referred to as “curing.” When cut, a properly fermented bean exhibits a brown or partly purple appearance with segmented cotyledons. A slatey color and dense structure with the shell adhering firmly indicates bad or no fermentation.

 

After fermentation, the beans are placed in shallow trays to dry. Usually sun-drying is sufficient although in rainy areas artificial drying techniques utilizing various available dryers are used. Adequate drying is essential to preserve the good flavor of the beans; otherwise, molds will develop giving the beans bad flavors that no purifying process can remove. The essential feature of all dryers is that the products of combustion do not come in contact with the beans, otherwise the taints will appear in the final product. Smoky flavors are most objectionable in delicately flavored chocolate and can result from cocoa butter expressed from contaminated beans.

 

When first manufactured commercially, the chocolate prepared from the roasted whole bean, commonly referred to as “nubs,” and sugar was an extremely rich drink because of its high fat (cocoa butter) content. Some manufacturers sought to dilute this high fat content by adding starchy substances, but in 1828, Van Houten of Holland invented a press which removed some of the better fat. Van Houten’s press ultimately led to the manufacture of cocoa powder as we know it today, which was then called “cocoa essence.” In addition, use of the press resulted in the production of cocoa butter, which manufacturers found had natural fat properties lending itself to be molded into tablets of chocolate. The later invention of fondant crème, a type of creamed sugar mass, allowed the coating of fondant centers with chocolate, and an entirely new line of confections was born.

 

Milk chocolate as we know it today was a much later invention with our chocolate confections being more likely developed by the Swiss due to the work in 1876 of Daniel Peters of Vevey, Geneva. The “milk crumb” process was instrumental in producing the popular rich caramelized milk flavor used in much of today’s milk chocolate confections.

 

Production and Consumption

Present world production of cocoa beans is around 2,200,000 metric tons. Chocolate made from this cocoa is over 5,000,000 metric tons. The public taste for chocolate varies from country to country and even indifferent parts of the same country. The preference for milk or dark chocolate also varies and has changed over the years with the preference now leaning toward the dark chocolates.

 

www.hawaiianchocolate.com/growing_chocolate_history.html

 

The history of the Austrian Museum of Applied Arts/Contemporary Art

1863 / After many years of efforts by Rudolf Eitelberger decides Emperor Franz Joseph I on 7 March on the initiative of his uncle Archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London), the establishment of the "k. k. Austrian Museum for Art and Industry" and apponted Rudolf von Eitelberger, the first professor of art history at the University of Vienna, to director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.

1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the kk polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.

1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k. k.) Austrian Museum for Art and Industry .

1866 / Due to the lack of space in the ballroom setting up of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park on the still being under development Rind Road.

1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger Straße 11-13/Schwarzspanierstrasse 17, Vienna 9.

1868 / With the construction of the building at Stubenring is started as soon as it is approved by Emperor Franz Joseph I. the second draft of Heinrich Ferstel.

1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building on the ring. Objects from now on could be placed permanently and arranged according to main materials. / / The Arts School moves into the house on Stubenring. / / Opening of Austrian art and crafts exhibition.

1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum of funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.

1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Applied Arts, adjoining the museum, Stubenring 3 , also designed by Heinrich von Ferstel, is opened.

1878 / participation of the Museum of Art and Industry and the School of Art at the Paris World Exhibition.

1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the arts and crafts school join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and crafts since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.

1885 / After the death of Rudolf von Eitelberger is Jacob von Falke, his longtime deputy, appointed manager. Falke plans all collection areas als well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.

1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high baroque in the history of art and in applied arts in particular.

1895 / end of the Directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.

1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism .

1897 / end of the Directorate of Bruno Bucher. Arthur von Scala, Director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and school of applied arts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagated the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.

1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, Archduke Rainer puts down his function as protector. / / New statutes are written.

1898-1921 / The Museum magazine art and crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.

1900 / The administration of Museum and Arts and Crafts School is disconnected.

1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the " k. k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.

1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .

1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.

1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum receives thereby rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.

1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and crafts.

1914 / Exhibition of works by the Austrian art industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum of arts and crafts in the fifty years of its existence.

1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide .

1920 / As part of the reform of museums of the First Republic, the collection areas are delineated. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.

1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as Josef Hoffmann.

1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.

1925 / After the end of the Directorate of Eduard Leisching Hermann Trenkwald is appointed director.

1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.

1927 / August Schestag succeeds Hermann Trenkwald as director .

1930 / The Werkbund (artists' organization) Exhibition Vienna, A first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.

1931 / August Schestag finishes his Directorate .

1932 / Richard Ernst is the new director .

1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over craft inventories of the collection Albert Figdor and the Kunsthistorisches Museum.

1937 / The Collection of the Museum of Art and Industry is re-established by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.

1938 / After the "Anschluss" of Austria by Nazi Germany, the museum was renamed "National Museum of Decorative Arts in Vienna".

1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Applied Arts in Vienna" is also enlarged in this way.

1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.

1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.

1947 / The "State Museum of Applied Arts in Vienna" is renamed "Austrian Museum of Applied Arts".

1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.

1949 / The Museum is reopened after repair of the war damages.

1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).

1951 / Ignaz Schlosser is appointed manager.

1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.

1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.

1955-1985 / The Museum publishes the periodical ancient and modern art .

1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.

1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.

1958 / End of the Directorate Ignaz Schlosser

1959 / Viktor Griesmaier is appointed as the new director.

1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.

1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.

1964 / The exhibition Vienna 1900 presents Crafts of Art Nouveau for the first time after the Second World War. / / It is started with the systematic processing of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary grantes the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.

1965 / The Geymüllerschlössel is as a branch of the Museum angegliedert (annexed). Gleichzeitig (at the same time) with the building came the important collection of Franz Sobek - old Viennese clocks, emerged between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.

1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are merged.

1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues to today of Austria's most important design project in the 20th Century.

1968 / On Viktor Griesmaier follows Wilhelm Mrazek as director.

1969 / The exhibition Sitting 69 shows on the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.

1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.

1979 / Gerhart Egger is appointed director .

1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the art space in Vienna during the interwar period.

1981 / Herbert Fux follows Gerhart Egger as Director.

1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: Designer. First exhibition of the Italian designer in Austria

1986 / Peter NOEVER is appointed as Director and started building up the collection of contemporary art.

1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.

1989-1993 / General renovation of thee old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for collection and additional exhibit spaces arise.

1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.

1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.

1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.

1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).

1993 / The permanent collection is re-established, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchnerstraße is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.

1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on the MAK terrace plateau).

1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa : Krimania.

1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.

1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive Personale of the work of the designer of Wiener Werkstätte after the Second World War.

1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned .

2000 / Outsourcing the federal museums, transforming the museum into a "scientific institution under public law". / / The exhibition of art and industry. The beginnings of the Austrian Museum of Applied Arts in Vienna are dealing with the founding history of the house and the collection.

2001 / As part of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work the "Four lemurs heads " are placed at the Stubenbrücke located next to the MAK. / / Dennis Hopper: A System of Moments.

2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin in Vienna is presented.

2002 / Exhibition Nodes. symmetrical-asymmetrical. The historic Oriental Carpets of the MAK presents the extensive rug collection.

2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, the exhibition The Price of Beauty. 100 years Wiener Werkstätte takes place. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.

2004 / James Turrell MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.

2005 / Atelier Van Lieshout: The Disziplinatornbsp / / The exhibition Ukiyo-e Reloaded for the first time presents the collection of Japanese woodblock prints of the MAK in large scale.

2006 / Since the beginning of the year the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents special exhibitions annually. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.

2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects .

2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes using a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, the center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property of museums in Vienna.

2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.

2011 / After Peter Noevers resignation Martina Kandeler-Fritsch takes over temporarily the management. / / Since 1 September Christoph Thun-Hohenstein is director of the MAK.

www.mak.at/das_mak/geschichte

Teacher example. My 2D Art class began doing value studies of backpacks

Data Value Hub

“How can Artificial Intelligence enable growth for SMEs”? Looking forward to hearing presentation on this topic for local SME's. datavaluehub.com/about-us/

 

seriously written on a 5lb bag of gummi bears

In the news this week it was revealed that some supermarkets were selling the new Harry Potter for less than the wholesale price. So much so that some independant booksellers will be buying them from Tesco to sell in their shops.

 

They are going to rather disappointed when they see the new cover.

Letter to the UN Human Rights &

  

This is a revolutionary epoch.

Across the globe men are revolting against old systems of exploitation and oppression and the wounds of a frail world new systems of justice and equality are being born.

The wretched of the earth rise up like never before. Those who lived in darkness have seen a great light. We, the West must support these revolutions.

It is sad to realize that due to conformism, complacency, a morbid fear of communism and our proneness to adjust to injustice, the Western nations that led to the revolutionary spirit of the modern world have now become the bastion of anti-revolutionary.

This led many to believe that Marxism has the revolutionary spirit.

Therefore, communism is a verdict against our failure to make democracy a reality and faithful follow the revolutions we initiated. Our only hope today lies in our ability to take up the revolutionary spirit and go out into a world often hostile declaring eternal hostility to poverty, racism, militarism.

With this strong commitment, boldly defy the status and unfair practices, and so anteciparemos the day "when every valley shall be alteado and the whole hill, down, that the plan will be rough and crooked, right."

A genuine revolution of values means in the final analysis that our loyalties must become more ecumenical. Ages must now develop a supreme loyalty to mankind as a whole, in order to preserve the best of each particular society.

This called for a universal fellowship that lifts up the fraternal respect of tribes, races, classes and nations is in reality a call for humanity to experience an all-embracing and unconditional love. This concept often misunderstood, so often misunderstood, so readily dismissed by the Nazis of the world as a weak and cowardly force, around now an absolute necessity for the survival of mankind on our planet. When I speak of love I am not speaking of some sentimental and weak response. I'm not talking about a force that is just a silly sentimental.

I'm talking about a force that all great religions have taken as the supreme unifying principle of life. Love is somehow the key that opens the door to ultimate reality.This belief Hindu-Moslem-Christian-Jewish-Buddhist about ultimate reality is beautifully summed up in the first letter of John :-) "Let us love each other-we, for God is love. It is he who loves is born of God and known by Him.

He that loveth not knoweth not God, for God is love ... If we love one another, God dwelleth in us and His love is perfected in us. "No longer will we worship the god of hate or bow before the altar of retaliation. The oceans of history are made turbulent by the ever-growing tide of resentment. History is cluttered with wrecks of nations and individuals who followed the path of self-destructive hatred. Love is the force that is responsible for final choice redemptive life and good against the destructive choice of death and evil. Therefore, in our list of esperença, the first must be that love has the last word.

Now let's face the fact, my brothers and sisters, that tomorrow is today.

Defrantamos us with the fierce urgency of now. In this mysterious enigma of life and history, sometimes it's too late.

Procrastination is a thief of time.

Life often paralyzes us and we were poor, naked and slaughtered before a missed opportunity. The tide in the affairs of men does not remain in the flow-it ebbs ... We may cry out desperately for time to pause to its passage, but time is adamant to every strict and keeps running. On the ruins and debris piles of numerous civilizations are the pathetic words: "Too late." There is an invisible book of life that faithfully records our vigilance or our neglect.

We still have a choice today: nonviolent coexistence or violent annihilation.

We must move from indecision to action.

We must find new ways to speak for peace in the world and justice throughout the developing world, a world that does not make borders. Unless we act, we certainly dragged through the long dark and shameful corridors of time reserved for those who possess power without compassion, without morality and strength without sight.

Let's start now!

We re-dedicate the long and bitter but beautiful struggle for a New World.

This is called the sons of God and our brothers eagerly await our response. We say that the difficulties are too great? We say that the struggle is too hard? We need to explain the forces of American life as well as Europe conspire to keep our dreams come true.

The choice is ours, and though perhaps wish it were different, we must make our choice at this crucial moment in human history. Every man or nation has to decide one day. Between the false and true, if the good or evil allies.

If we make the right choice, we can transform the cries dessomantes of our world into a beautiful symphony of brotherhood. If we make the right choice, we will be able to anticipate the day around the world, where justice will flow like water, and the result will be a powerful current.

So we were repeatedly confronted with the cruel irony of watching television for young blacks and whites to die side by side.

I could not mute before such cruel manipulation of the poor.

"Oh, yes, I speak with clarity!

America and Israel has never been to me, America or Israel.

The nation can not be saved while destroying the deepest hopes of men around the world.

Above the call of race, nation or creed, I recognize the fatherhood of God and brotherhood among men.

Since I believe that the Father is deeply compromised, especially with their children who suffer without help and protection, come on their behalf.

I think this is the privilege and the burden of all of us who consider ourselves bound by fidelity and loyalty which are larger and deeper than nationalism and which go beyond the objectives and positions of the self called United. We are called to speak for the weak, for the voiceless, for victims of the nation, for our brothers in the Middle East and Africar, for no document written by human hands can prevent these men are our brothers and sisters. I speak for them is to explain this lack of confidence in Western words, and especially their disbelief in the current American intentions in the Middle East and Africar. While we're on the side of wealth and security, we create hell for the poor. Perhaps only his sense of humor and irony can save them when he hears the most powerful nation in the world speaking of aggression as a spawning millions of bombs on the weak and poor nations of the Middle East and Africar. Somehow this madness must cease.It must end now.

I speak as a child of God and brothers and sisters of the poor sufferers in the world.

I speak for those whose lands are being destroyed, whose culture is being subverted.

I speak for the poor of the world are paying double, with the hopes crushed in their homes and the death and corruption in the world.

I speak as a citizen of the world on behalf of the world is horrified by the way we choose. Each new day of war, hatred grows in the hearts of men on earth and in the hearts of those with humanitarian intent.

"Americans like the Europeans and Israelis are forcing even their friends become your enemies"

Those who make peaceful revolution impossible make revolution inevitable viotenta. Increasingly, pro choice or chance, this was the role played by the biggest and most powerful nation in the world, the role of those who make peaceful revolution impossible by refusing to give up the privileges and pleasures that come from the immense profits of investments weapons.

I am convinced that if we are to move to the right side of the world revolution, we as a people of God, must undergo a radical revolution of values, we must begin immediately transsição a materialistic society to another humanist.

When machines, computers, profit and property rights are considered more important than people, the giants of racism, extreme materialism and militarism become invincible.

True compassion is more than toss a coin to a beggar.

A true revolution of values will soon look embarrassed for the stark contrast between poverty and affluence. With righteous indignation contemplate beyond the seas and see individualistic capitalist investing large sums of money in Asia, Africa and South America only to obtain profits without any concern with the improvement of social conditions of those continents, and say, "That's not fair "

The Western arrogance of feeling that everything has to teach others and nothing to learn from them is not fair.

A true revolution of values will take the reins of orgem world about the war and say: This way of establishing a difference is not fair.

This practice of burning human rights of injecting the poison of hatred in the veins of ordinary human beings, sending the dark and bloody battlefields back home physically and mentally unbalanced can not concilar with wisdom, justice and love.

All nations year after year spends more money on military defense than social programs goes toward death.

I mean that in all our actions, we must remain united. Unity is the great need of this hour.

If we are united, we will reach a lot of what not only want, but they justly deserve.We, the disinherited of this land, oppressed us for so long, we are tired of going through the long nights in captivity. And now we want to reach the dawn of freedom, justice and equality. Love is one of the pillars of faith, but there is another side called justice. It's justice is in fact the weight of love. Justice is correct with what you love rebels against love.

God is one, is not a God who remains motionless. He is also the God who stands before the nation and says: Be still and acknowledge that I am God, who does not obey me, I will break the backbone of your power and I will pluck them out of the orbit of their relations and national international.

Beside the love is always justice, and we're just using the tools of justice. Do not just use the tools of persuasion, but we realize that we need to use the tools of coercion. This is not just an educational process, but a process of spiritual liberation. There are a people, a people black ... A people who had the moral courage to fight for their rights. And therefore, injected new meaning into the veins of history and civilization.

And we'll do that God allows us to do it sooner rather than later. It would be fatal for the world to ignore the urgency of the moment.

The storms of revolt will continue to shake the foundations of the earth, until the bright morning flower of Justice.

But there's something I tell my people, we can not condemn criminal acts.

We must not quench our thirst for freedom by drinking from the cup of bitterness and hatred.

We must always conduct our struggle on the highest level of dignity and discipline.

We can not allow our protest to degenerate into physical violence. Must rise to the majestic heights to confront physical force with soul force. Civilization and violence are antithetical concepts. Sooner or later all the peoples of the world will discover the path to peaceful coexistence. For this achievement to happen, humanity will be developed for all human conflict, a methadone to repudiate revenge, aggression and retaliation. The basis of methadone is love. I refuse to accept the idea that man is a mere bundle of spoil dumped in the river of life unable to influence the events surrounding it. I refuse to accept the view that mankind is so tragically bound to racism and war that the bright daybreak of peace and brotherhood can never become a reality. I refuse to accept the cynical notion that, one after another, the nations should solar below by a militaristic stairway into the hell of nuclear annihilation.

I believe that unarmed truth and unconditional love will have the final word in reality.

That is why good, temporarialmente defeated, is stronger than evil triunfonte.

I really believe that even amid the explosions of cannon and the humming of bullets today, there is still hope for a brighter tomorrow.

I believe that justice battered and prostrate on the bloody streets of our nations, can get up this dust of shame to reign supreme among the children of men. I dare to hope that people, everywhere, can have three meals a day for their bodies, education and culture for their minds, and dignity, equality and freedom for their spirits.

I believe that what self-centered destroyed, philanthropists can reergue.

I also believe that one day mankind is to bow before the altars of God and be crowned with triumph over war and bloodshed, and nonviolent goodwill and redemptive, proclaim His power on earth. The lion and the lamb shall be laid side by side and each man to sit in the shade of his or heck Figueira and no longer afraid.

I also believe that triumph.

This faith will give us the courage to face the uncertainties of the future. Give renewed strength to our weary feet as we follow in our journey to the city of Liberty.

When our days become dark with threatening clouds and the nights become darker than a thousand nights, we know that we are in the midst of a fertile maelstrom of authenticating civilization struggling to be born.

Today, as a renewed dedication to humanity that inspires me. Yet when years have passed and when the blazing light of truth focus this was wonderful that we live, men and women will know and be taught to children who have a more beautiful land, a people more worthy, more noble civilization, because humbleGod's children sacrificed in the name of virtue. While men are not in search of its essence and not comprenderem what you came to this world, nothing will change, because it is more comfortable to stay as it is. Violence breeds more violence.And a power can only be overturned by a higher power. But if this new power and strong enough to wipe out the old, what guarantee is there that it is not as bad as the other, just changing the direction of aggression.!?

Walk humbly with God, but with certain joie de vivre and that justice will come from the Father.

If the Moon tell all that ... Watch the moon moon friend who goes to heaven always tells me the moon ... how we should act to transform the hard hearts of men ... Moon sovereign creation of the Father, send a message by your moonlight, mess with my water, that you move with the tides, moon ... We are nothing, we are insignificant in the face of great work of God, Oh moon ... why is there so much ignorance? Why so much fighting vain if everything is reduced to dust! I know I must fulfill my destiny ... Moon, something tells me that I was not born to be one more, my heart can not tolerate an unjust world ... I must do something ... something different ... moon moon, the moon that kind of fight I Emprender. Tell the moon? (In Love)

Authors ;-) Maria Leticia Oliveira de Almeida Or Leka040484 & Samuel Levi Seales

(Selah)

 

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Merci pour les vues, commentaires et favoris a tous !

 

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May 13, 2015 | The Role of Philanthropy in Shared Value, featuring FSG's Mark Kramer, Walmart Foundation's Kathleen McLaughlin, and Ford Foundation's Darren Walker.

 

  

President Juncker called for the EU to speak and act as one on a global stage, defend its democratic values and turn its back on poisonous nationalism.

 

“The EU is a global payer, but must also become a global player”, said Jean-Claude Juncker in his speech on the State of the Union 2018. “There are no guarantees that our allies of yesterday will remain our allies of tomorrow”, he added, announcing further proposals to strengthen the Defence Union, step up protection of EU external borders and reinforcethe Euro as an international currency. ”It is absurd that the EU pays 80 % of its bill for energy imports in dollars...whilst only 2% of those energy imports come from the US”, he said.

 

Juncker highlighted the difference between enlightened patriotism and unhealthy nationalism. “Article 7, must be activated where media freedom and the rule of law are under threat”, he said. “There is no democracy without a free press. (...) Respecting judiciary decisions is not an option, but an obligation”. Europe must also shield its democratic process from international and private interests.

 

www.europarl.europa.eu/news/en/press-room/20180906IPR1210...

 

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by isleta lakes

value

This picture best represents value since it shows the color of the top of the leaves first which is yellow and then it gradually turns into a darker orange color. I edited the levels to make the picture a little bit brighter and used a shutter speed of 1/ 100 and an aperature of F. 6.3.

The Obama Administration has restored America’s standing and leadership in the world, repaired frayed relations and ended needless U.S. isolation on a range of issues. As a result, we have secured strong cooperation on the issues most important to U.S. national security and upheld American values. President Obama has delivered on his promise of a “new era of engagement.”

   

The United States has led at the United Nations to rebuild a strong basis for international cooperation to respond to the threats of the 21st Century. These results include: the stiffest UN sanctions ever against Iran and North Korea; vigorous and sustained defense of our ally Israel; renewed momentum to stop the proliferation of nuclear weapons and materials; strong sanctions and an unprecedented mandate to save lives in Libya; a peaceful political transition in Yemen; support for the historic and peaceful independence of South Sudan; vital UN assistance in Afghanistan and Iraq; backing for a democratically elected government in Cote d’Ivoire; the historic and long overdue completion of the political transition in Somalia; reinvigorated global efforts to counter the scourge of international terrorism; lifesaving humanitarian assistance in crisis zones; and progress in improving the UN Human Rights Council.

   

Addressing Key National Security Challenges

  

•Iran: With American leadership, the UN Security Council imposed the toughest UN sanctions regime ever on Iran for its continued failure to live up to its obligations. Resolution 1929 restricts Iran’s nuclear activities, ballistic missile program, and ability to acquire certain conventional weapons. It put in place a framework to stop Iranian smuggling and crack down on Iran's use of banks and financial transactions to fund proliferation. The United States engages the international community to ensure that these sanctions are vigorously enforced, just as we continue to strengthen and enforce our national sanctions alongside those of our friends and allies.

   

As a result, Iran is more isolated than it has ever been and facing the toughest economic pressure that has ever been mustered. Iran is increasingly cut off from the global financial system; significant amounts of Iranian oil are coming off the market; the Iranian currency is plummeting in value; and firms all over the world are divesting themselves of business with Iran. In less than a year, Iran’s oil production has dropped 40% -- from 2.5 million barrels per day in 2011, to 1.5 million barrels in June. Their economy, which had been growing steadily, is now shrinking at 1% a year. While their official inflation rate is slated to be around 20%, unofficial estimates put it at 30 to 40%, and the Iranian currency has lost 50% of its value since December.

  

•North Korea: In response to North Korea’s announced 2009 nuclear test, the United States secured the unanimous adoption of Security Council Resolution 1874, which imposed the strongest array of measures ever placed on North Korea, including asset freezes, financial sanctions, a broad-based embargo on arms exports and imports, and an unprecedented framework for the inspection of suspect vessels. Since the adoption of Resolution 1874, countries have intercepted and seized tons of contraband cargo.

   

In May of this year, following a prohibited missile test by North Korea, the United States successfully led the Security Council to strongly condemn the test, impose new sanctions on North Korea, tighten enforcement of existing ones, and demand that North Korea not proceed with any further provocations or face additional Council actions.

   

These actions have helped slow the pace of North Korea’s WMD program, strengthened our defenses against proliferation, rallied international consensus to condemn the North’s nuclear and missile programs, and sharpened Pyongyang’s choices by driving up the cost of its irresponsible behavior.

  

•Nuclear Nonproliferation: In 2009, the President outlined his vision for a world without nuclear weapons and set the United States on a realistic path to help advance this goal, including taking several critical steps at the United Nations.

   

Ø UN Security Council Resolution 1887: In September 2009, under the United States presidency of the UN Security Council, President Obama chaired an historic Council Summit on nonproliferation and disarmament, culminating in the unanimous passage of Security Council Resolution 1887. This resolution, the first comprehensive action on nuclear issues in the Security Council in over a decade, resolved to create the conditions for a world without nuclear weapons. It also called on countries to adhere to their obligations under the Nuclear Nonproliferation Treaty (NPT)--including cooperation with the International Atomic Energy Agency, supported better security for nuclear weapons materials to prevent terrorists from acquiring materials essential to make a bomb, and called on nations to reduce their numbers of nuclear weapons.

   

Ø Nuclear Nonproliferation Treaty Review Conference: In May 2010, NPT parties adopted by consensus a Final Document that includes calls for strengthened verification and compliance, recognizes the New START agreement and the need for deeper reductions of nuclear weapons, and supports efforts to pursue international fuel banks and related mechanisms to broaden access to peaceful nuclear energy without creating new proliferation risks.

   

Ø UN Security Council Resolution 1977: In April 2011, the Security Council unanimously extended the mandate of the 1540 Committee for an additional ten years. The 1540 Committee is charged with assisting UN Member States in the implementation of UNSCR 1540’s obligations to take and enforce effective measures against the proliferation of weapons of mass destruction, their means of delivery, and related materials.

  

•Iraq: The United Nations Assistance Mission in Iraq (UNAMI) has continued to play a critical role as the United States completed the withdrawal of U.S. forces. The United States strongly supports the work of UNAMI as it continues to provide important technical assistance to the Government of Iraq, assists displaced persons and provides humanitarian assistance. Additionally, the United States played a key role in the passage of three resolutions that mark an important milestone in normalizing Iraqi ties to the international community. The Security Council, in a special session chaired by Vice President Biden in 2010, passed Resolutions 1956, 1957 and 1958 to help return Iraq to the legal and international standing it held prior to the 1990 invasion of Kuwait.

   

From February to September 2012, UNAMI orchestrated the relocation of residents from former Camp Ashraf to Camp Hurriya, a significant milestone in efforts to achieve a sustainable humanitarian solution to one of the most difficult remaining post-war issues in Iraq. The United States will continue to work with the Iraqi Government and the United Nations to provide a path for the safe permanent relocation of former Ashraf residents out of Iraq.

  

•Afghanistan: The United States has pursued a strategy in Afghanistan that assists its people as they take responsibility for the security of their country. The UN Assistance Mission in Afghanistan (UNAMA) is leading and coordinating international civilian efforts and cooperating with the International Security Assistance Force on reconciliation efforts, elections, regional cooperation, the protection of human rights and the provision of humanitarian assistance. The United States has worked to ensure that UNAMA carries out its vital mission to lay the foundation for sustainable peace.

  

•Countering International Terrorism: The United States remains committed to actively countering the actions and ideologies of terrorist organizations and violent extremists. These efforts take many forms, including multilateral efforts at the United Nations, such as:

   

Ø Reinvigorating the UN’s al-Qaeda Sanctions Regime: Eleven years after the Security Council first imposed sanctions against the Taliban and al-Qaida, the United States led efforts at the UN Security Council to respond to the evolving and distinct threats posed by these groups, creating a new sanctions regime targeted against extremists in Afghanistan (UNSCR 1988) and refocusing the 1267 sanctions regime exclusively on the threat posed by al-Qaeda (UNSCR 1989).

   

Ø Calling Iran Into Account: In the fall of 2011, the United States joined Saudi Arabia to gain the General Assembly’s overwhelming condemnation of the Iranian plot to assassinate the Saudi Ambassador to the U.S., sending a very clear message to the Iranian government that the international community will not tolerate the targeting of diplomats. We continue to work closely with our allies and partners around the world to ensure that Iran understands that such outrageous acts only deepen Iran’s isolation.

  

•Standing up for Israel at the UN: The Obama Administration has consistently and forcefully opposed unbalanced and biased actions against Israel in the Security Council, the UN General Assembly, and across the UN system.

   

In 2009, the United States withdrew from the Durban Review Conference, which advanced anti-Israel sentiment, and did not participate in a 2011 commemoration of the original 2001 Durban conference. The United States also stood up strongly for Israel’s right to defend itself in 2009 after the deeply flawed Goldstone Report was released. In 2010, the United States worked assiduously in the aftermath of the flotilla incident to ensure other delegations understood the event in its proper context and to underscore Israel's right to conduct its own independent investigation. The subsequent report of the Secretary-General’s panel served as the primary vehicle for the international community to review the parties’ investigations into the episode. In 2011, the United States vetoed a Security Council resolution on settlements, which risked bringing final status issues onto the UN Security Council agenda. In 2012, after a seven-year silence, the UN Security Council twice unanimously condemned terrorist attacks against Israelis and Israeli diplomatic missions—first in February following the attacks in New Delhi and Tblisi and again in July following the attack in Bulgaria.

   

The United States has opposed Palestinian attempts to upgrade their UN status in advance of a negotiated settlement with Israel, and when anti-Israel resolutions come up at the UN Human Rights Council, the General Assembly, UNESCO, and elsewhere, we consistently oppose them.

   

The United States has also constantly promoted full Israeli participation throughout the UN system and in other multilateral institutions, including leadership positions in UN commissions and membership in consultative and negotiating groups in New York and Geneva. We have also fought hard to ensure the accreditation of Israeli NGOs.

  

•Addressing the Challenges Associated with the Arab Spring: The United States has worked tirelessly across the UN system to respond dynamically to the myriad challenges and opportunities posed by the Arab Spring: leading the international community’s efforts to support these political transitions, providing humanitarian aid and speaking out and holding accountable those responsible for atrocities.

   

Ø Libya: In March 2011, the United States led efforts at the UN to respond to the calls of help from the Libyan people and the region and took unprecedented action to protect civilians in Libya. Resolution 1973 saved thousands of lives in Libya by authorizing states to take all necessary measures to protect civilians. The UN is helping the people of Libya as they take the initial steps to rebuild their country, transition to an inclusive democracy and secure their borders.

   

Ø Yemen: The United States backed Security Council efforts to support a successful and peaceful political transition in Yemen on the basis of the Gulf Cooperation Council transition initiative. The Security Council has supported the Yemeni people as they secure a more peaceful, democratic, and prosperous future without illegitimate interference or terrorism. The United States has also repeatedly pressed for additional international resources to enable the UN to deliver immediate humanitarian assistance to Yemen, given the acute needs.

   

Ø Syria: When the Assad regime responded to calls for democratic reform with violence and oppression, the United States worked closely with the United Nations and the League of Arab States as part of our approach to resolving the crisis in a way that would lead to a political transition that meets the aspirations of the Syrian people. The United States supported the establishment of the Joint Special Envoy for Syria, and fought tirelessly in the Council in support of his Six Point Plan and the United Nations Supervision Mission in Syria (UNSMIS) created to monitor implementation of it. Regrettably, when it became clear that the Assad regime would not adhere to its commitments under the plan, Russia and China blocked efforts to create consequences for the regime’s non-compliance, one of three double vetoes that have prevented meaningful action in the Security Council on Syria. However, the United States continues our work with a diverse range of partners outside the Security Council to bring pressure to bear on the Assad regime and to deliver humanitarian aid to those in need.

   

In the Human Rights Council, U.S. leadership has led to a total of four special sessions and an urgent debate on the situation in Syria, including the establishment of a Commission of Inquiry to investigate violations of international human rights law by Syrian Authorities. Subsequently, the Council created a Special Rapporteur to maintain focus on the human rights situation in Syria and to lay the groundwork for accountability when the day comes that the Assad regime finally leaves power.

   

In the General Assembly last year, the United States guided efforts to adopt an unprecedented human rights related resolution on Syria condemning the Assad regime and calling for a political transition. Additionally, earlier this year the United States worked hard with key Arab delegations to ensure adoption, by an overwhelming margin, of a General Assembly resolution condemning the Syrian authorities' abuses, demanding that the first step in the cessation of violence be made by the Assad regime and welcoming the Arab League's decision to call for Assad to step down and for a transitional government to be formed.

   

On the humanitarian front, where more than 20,000 civilians have been killed and approximately two and a half million are in need of assistance, the United States is working with the United Nations, Syria’s neighbors, and others in the international community to deliver life-saving aid. The United States is one of the leading providers of humanitarian relief, providing more than $100 million to date through multiple UN agencies, including the World Food Program, the UN High Commissioner for Refugees, and the United Nations Children’s Fund.

  

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

U.S. Mission to the United Nations: FACT SHEET: Advancing U.S. Interests at the United Nations

 

09/26/2012 04:20 PM EDT

 

Value @ Bridgetown 3/22/14

Some of the values artists value. Croudsourced values, part of *For the Love of it*, Artquest, London 2013

   

Page 31 of the Summer 1964 Lana Lobell catalog.

designed by @gavinkeech

Eco Fashion Week April 22, 2013 Three stylists with $500 each made three runway collections from outfits presented by Value Village. Photos by Sean Herd.

 

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Nestlé helps farmers in the Parma region of Italy to increase their production of tomatoes whilst reducing their water consumption.

台北市自來水博物館Taipei City,Taipei Water ParkCamera

Model : Canon EOS 5D Mark II

Shooting Mode : Aperture-Priority AE

Tv( Shutter Speed ) : 1/400

Av( Aperture Value ) : 2.8

Metering Mode : Evaluative Metering

ISO Speed : 200

Lens : EF85mm f/1.8 USM

Focal Length : 85.0mm

White Balance Mode : Auto

AF Mode : One-Shot AF

Picture Style : Portrait

Sharpness : 7

Contrast : -3

Saturation : -1

Color tone : 2

影像品質 : RAW(Adobe Photoshop Lightroom)轉JPEG檔

影像後製軟體 : Adobe Photoshop Lightroom 5

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without my explicit permission.

The Valley Fair Mall opened in 1955; supposedly as the first modern enclosed mall in the United States.

 

Originally, it was little more than a shopping center; with a handful of tenants "anchored" by W.T. Grant and a Krambo (later Kroger) food store. Most of these names were gone by the late 1970s, when the mall underwent a massive expansion and renovation that included the addition of a Kohl's department store/supermarket combo and Marcus cinema.

 

Due to competition from the newer Northland and Fox River malls and other myriad factors, Valley Fair began to slowly empty out in the 1980s and 1990s. After a brief stint as a "youth mall" under the ownership of Youth Futures (a "faith-based non-profit corporation"), the end came. All that's left now is the "Valley Value Cinema," the empty Kohl's building, and some piles of dirt.

 

More info on the Valley Fair Mall.

My students were using 10-longs and unit cubes to create numbers using a place value mat. This student created the number 15 using 1 ten and 5 ones (10 + 5 = 15)

Is this of any value?

This picture has light from outside of the underneath path of the stairs and shadow as well because of how the stairs cover the sky.

 

Some unloved cans of Tesco's budget bitter, stranded in Victoria station. There's a lot of emotions there (mainly along the lines of, seriously, Tesco do a value bitter? And also, that alcohol percentage, who is their target market for this?)

Gentlepersons:

 

The Kodachrome Pictures:

 

These recently uploaded Kodachrome pictures have no artistic value. They were just uploaded to be representative of consumer Kodachrome picture recording during about 70 of the 75 years that Kodachrome was commercially available to the public. Unlike in today’s digital world it took time, money and effort to make a Kodachrome slide. We took fewer pictures, trying to stretch resources, but some sere still frivolous.

 

I’m 97 (2016) and all tuckered out. I probably will not post much more. The ratio of today’s digital pictures that are kept for any length of time and/or printed is much less than the film photos taken in days past. History will be lost. Meanwhile you get to be bored by some old Kodachromes.

 

The Camera:

 

Most of these pictures are not very sharp. They were taken with an Argus AF 35mm miniature Bakelite camera bought in 1938 at the USNA by saving much of my small student stipend for about six months. It had a Cooke style three element lens of marginal quality for its day of laughable quality compared with any of today’s SLR lenses. It had slightly better resolving ability than today’s ever more scarce disposable film cameras. The AF was an Argus upgrade which enabled the camera to focus at different lengths from about 1.5 feet to infinity. Most consumer cameras of that day were what we call medium format today. Most of the cheaper consumer grade cameras were little more than box- cameras with single element non-focusing meniscus lenses. The larger film hid much of the softness. The then newer miniature cameras had to do better because of the smaller film exposure size.

 

Stereotach:

 

Stereotach was a device that used front silvered mirrors to bounce light around within a small Bakelite device which was held in front of or attached to a lens. When used with 35mm cameras it produced a 3D stereo image of two side-by-side views within the standard 24mmx36mm film frames which were mounted in standard 2”x2” slide holders. There was a special slide viewer that also used front silvered mirrors to reverse the effects of the taking unit so you could see the slide in 3D stereo. Prints could also be made from the film frames. If the long dimension was held to 7” on 7x5” printing paper you could put them into those old turn-of-the century Stereopticon card viewers and get the same 3D stereo effect as the original Stereopticon cards. These views are straight on, not “cross eyed” and can be viewed without a viewer if you train your eyes to see them properly. Try viewing the image on your screen at about 3” wide and see if you can do it!

 

There was also a much more commercially successful stereo system in the early 50s. Today it is often referred to as Stereo Realist. Kodak made a nifty, easy to use Kodak Stereo camera and several viewers. This type of camera took two 23mmx23mm exposures on 35mm film, made with two side-by-side lenses separated about the same dimensions as the human eyes. They were mounted into special mounts about twice as wide as a standard 2”x2” mount with space in between the film pieces. Kodak also made a Stereotach type device of high quality to mount to their premium retina line of cameras along with a very nice viewer. Now look at the once mighty Kodak!!??

 

Side note..Each side of the stereo image on the 35mm film was the same size (18mmx24mm) as a frame of 35mm movie film. Early miniature 35mm cameras were also called double frame 35mm. Later, cameras like the Olympus Pen took 35mm film making the same movie frame sized exposure and were then called half-frame cameras. Go figure? One did get about twice the number of shots per roll but were not as enlargeable.

 

The Film...

 

Kodachrome was my favorite film. My first roll in the late 30s was such a marvel to a young man. I had tried Dufaycolor which did pretty good, but if it had to be projected you had to ignore the lines of color which made up the image. Kodachrome was so much more colorful to boot. It was extremely sharp and almost grainless compared to other color and B&W processes.

 

Kodachrome was unique in American film history. Except for a licensee who used Kodachrome’s older process for a few years, nobody made anything like it. Most color films had all the color in the film. Kodachrome picked up color from the processing baths. Also unlike modern slide films which use chemical energy to reverse the negative image, Kodachrome used filtered lights to re-expose within the processing machine. Kodachrome evolved over the years, and was usually the clearest, sharpest grain free color film one could buy. That is until Kodak made a decision to reduce the budget to improve the product in favor of other products and offerings. Fuji Velvia soon eclipsed it in resolution and could be processed locally in regular E-6 mini-machines.

 

Podium at the Values Voter Summit in Washington, DC.

 

Please attribute to Gage Skidmore if used elsewhere.

Steffi Czerny (DLD Media) on stage of DLDwomen (Digital Life Design) Women at 'Haus der Kunst' on July 11 and 12, 2012 in Munich, Germany. DLD is an international innovation conference with a focus on female markets in business, the media, technology, society, healthcare, education, politics and science. (Photo: Tobias Hase/picture alliance)

Grady Greats, a panel focusing on the enduring values and power of journalism, was held in New York City on Tuesday, Jan. 22. The discussion was moderated by Charlayne Hunter-Gault (ABJ ‘63) and included (from left) Deborah Roberts (ABJ ‘82), Deborah Norville (ABJ ‘79), Lisa Ryan Howard (ABJ ‘92) and Will Carr (ABJ ‘06). The event took place in the studios of “The View” and was coordinated by Robin Hommel (ABJ ‘96), senior broadcast producer of “The View.” Audience members included Grady journalism students from DiGamma Kappa, Grady College alumni and friends. A screening of the broadcast will take place on UGA’s campus in late February.

 

Athens, Georgia, on Tuesday, January 22,

 

Sarah E. Freeman/Grady College

 

News Release

For immediate distribution

 

JAKARTA WELCOMES ITS FIRST TUNE HOTEL

Value branded hotel chain continues its expansion in Indonesia

  

Jakarta, 3 September 2012 – Tune Hotels, the global branded value hotel chain, continues to expand in Indonesia with the opening of its latest hotel in Pasar Baru, Jakarta. Tune Hotel Pasar Baru would represent the global brand’s third property in Indonesia, (following Tune Hotel Kuta and Legian in Bali) and the first hotel in central Jakarta, offering world-class accommodation at extremely affordable rates, providing the essentials for a good night’s sleep. Tune Hotel Pasar Baru has 168 rooms in total, 125 Doubles, 42 Twin-sharing and a special needs room. The opening of Tune Hotel Pasar Baru was attended by popular Indonesian celebrities Nicholas Saputra and Izabel Jahja.

 

The expansion of the Tune Hotel brand in Indonesia is spurred by the country’s strong economy, rising number of tourists and favorable business environment. Jakarta is one of the largest cities in the world and ranked third after Bali and Sulawesi recording the highest hotel room occupancy in Indonesia according to the Statistics Indonesia of the Republic Indonesia. Pasar Baru is one of Jakarta’s most popular tourist destination and its central location is also ideal for business activities. Known for its shopping experience, visitors can “go back in time” to take in the beauty of its Dutch influenced colonial and Chinese architecture of its buildings as one strolls along the coble stone streets.

 

According to Mark Lankester, Group CEO of Tune Hotels, “Jakarta represents a gateway for leisure travellers more often as a stop-over before continuing their journey to other popular destinations such as Bali, Medan, Yogyakarta and Surabaya. Nevertheless Jakarta also serves as a central business destination drawing frequent business travellers from the South East Asian region and domestically within Indonesia as well. Hence, the opening of Tune Hotel Pasar Baru would cater to the needs of leisure and business travellers looking for convenient, comfortable and value-for-money accommodation. “

 

Lankester added that more expansion plans are on the way for the Tune Hotel brand in Indonesia which includes Pekan Baru, Makassar, Solo, Palembang and Surabaya. The vast country of sprawling archipelago has much to offer; from natural beauty, historical heritage to cultural diversity. Moreover, statistics from the Travel and Tourism Competitive Index (TTCI) in 2011 ranks Indonesia as the thirteenth most attractive destination in the Asia-Pacific to commence travel and tourism business operations.

 

Other Tune Hotel properties in Indonesia are located in Kuta and Legian, Bali which have been a favourite among visitors to Bali. The hotels’ popularity was recognized when it was named among the Top 20 Indonesia Innovative Brands of 2011 by Indonesia’s leading marketing industry magazine, MIX. It was Tune Hotels' innovativeness to its ability to serve the practical needs of tourists by giving them the best value that garnered the attention and illustrated by Legian and Kuta hotels being ranked #3 and #7 Best Value Hotels in Bali on TripAdvisor. Tune Hotels was selected along with other global leading brands to be named on the list and the only Malaysian-originated brand.

 

Red Planet Hotels owns and operates the Tune Hotel Pasar Baru in close association with Tune Hotel and its Chief Executive Officer, Tim Hansing, said that this hotel was the first of many more to come in Indonesia from Red Planet as the Tune brand expands across the country.

 

“This is the first hotel of eight more we have under construction in Indonesia and we will have some exciting announcements about more sites we are in the midst of acquiring. We are making some significant investments in Indonesia in the budget hotel sector as we have full confidence in the potential of Indonesia and the Indonesian travel sector to grow this market” said Hansing.

 

Tune Hotels currently has eleven hotels in Malaysia, four in LondonUnited Kingdom, four in The Philippines and two in Thailand. Hotels in Malaysia are located in Kuala Lumpur, Penang, KLIA-LCCT Airport, Kota Kinabalu, Kuching, Johor Bahru, Kota Damansara, Bintulu, Kota Bharu, Kulim and Ipoh.

 

Hotels in Asia includes Hat Yai and Pattaya in Thailand; Angeles City, Cebu City, Ermita and Makati, Manila in The Philippines; Kuta and Legian in Bali and Pasar Baru, Jakarta in Indonesia; Westminster, Liverpool Street, Paddington and Kings Cross in London, UK. Tune Hotels has successfully pioneered a branded value hotel brand with the concept of pay-as-you-use that has become hugely popular amongst travelers from across the world. Under the concept, guests only pay for room rates with the option of adding on other amenities like towels & toiletries, air-conditioning, in-room Wifi and satellite TV service at selected hotels.

Calling on guests to stay connected with Tune Hotels via the social media networks Facebook and Twitter, Mark Lankester, says “More Tune Hotels are scheduled for opening in Asean, the UK, India and Australia, that will give our guests even more options for travel destinations. We encourage guests to stay tuned for Tune Hotels’ latest openings and promotions via Facebook and Twitter.”

 

Tune Hotels is part of Tune Group, a lifestyle business conglomerate co-founded by Tan Sri Tony Fernandes and Dato’ Kamarudin Meranun, who are the Group CEO and Deputy Group CEO respectively of Asia’s largest low cost carrier AirAsia.

 

For real-time updates and promotion alerts, guests can stay connected with Tune Hotels via Facebook at www.facebook.com/tunehotels or www.facebook.com/TunehotelsInd and on Twitter via www.twitter.com/tunehotels or www.twitter.com/TuneHotelsID

 

For booking and further information, visit www.tunehotels.com.

 

- END –

 

About Tune Hotels

 

Tune Hotels is part of the lifestyle business conglomerate Tune Group that was founded by Tan Sri Tony Fernandes and Dato’ Kamarudin Meranun. Tune Group was established in 2007 with the aim of breaking down affordability barriers in various aspects of daily life – via Tune Hotels, Tune Talk and Tune Money. Tune Group seeks to innovate and revolutionise the way services are made available and has employed efficient web-based technologies to reach and engage its customers, presenting a unique lifestyle offering ranging from value hotel stays, personal finance solutions and affordable prepaid mobile services. Tune Group of Companies are Tune Air, Tune Hotels, Tune Money, Tune Talk, Tune Box, Tune Studios, Tune Tones, Team Lotus, ASEAN Basketball League, Caterham Group, Queens Park Rangers Football Club (QPR) and Kuala Lumpur Education City (owner of Epsom College in Malaysia).

 

Since Tune Hotels was first launched in Kuala Lumpur, Malaysia, in 2007, over 3 million guests have stayed in its properties spread across Malaysia, Indonesia, Thailand, Philippines and the United Kingdom. It now has 25 hotels available for bookings located in Kuala Lumpur, Ipoh, Kota Kinabalu, Kuching, KLIA-LCCT Airport, Penang, Johor Bahru, Kota Damansara, Bintulu, Kota Bharu and Kulim in Malaysia; Kuta and Legian in Bali and Jakarta in Indonesia; Westminister, Liverpool Street, Paddington and Kings Cross in London in the United Kingdom; Angeles City, Cebu City, Ermita and Makati in Manila, The Philippines; Hatyai and Pattaya in Thailand.

 

All Tune Hotel hotels feature space-efficient, streamlined rooms focusing on high-quality basics: 5-star bed, powerful hot showers and energy-saving fans. The strategically located hotels provide housekeeping services, electronic keycard access into rooms, CCTV surveillance, and prohibits access into the main lobby without a keycard past midnight. Through Tune Hotels’ ‘Less Waste, More Earth’ pay-as-you-use system of add-ons wi-fi, TV, laundered towels and other energy-consuming facilities and amenities, Tune Hotels aims to help guests conserve both their funds as well as the earth’s resources.

 

Photos are available from www.flickr.com/tunehotels.

 

Media contacts:

Amanda Chong

Senior Marketing Manager – Tune Hotels

HP: +60 12 284 0004

DL: +60 3 7962 5711

Fax: +60 3 7955 5899

Email: amanda.chong@tunehotels.com

  

MARSYAS/MYSELF

MYSELF Diptych, Detail

 

Below is a transcription of the handwritten text on the detail pictured above:

 

Art

Desire—Creativity—Release

 

"To embrace absence. To cradle and enfold the freedom and purity of immolation. To distill all need into the heavy metal of desire. To need no allies. To know that there are no allies. To know. To find sustenance in the ashes. To set corms into the ashes and bring forth all that which is no longer there. This is not despair. From this place springs the emptying of self after the purging of ambition. From this place springs Art. I have pitched my tent in this verdant wasteland of contradiction and set no value on any other place. From this vast horizontal, only the horizon defines me. A speck of desire on a polished orb. I hold in amputated hands the future of the future and have dedicated my life to the poverty of self-awareness. I am not afraid. I want nothing. I have no regrets. Let me speak for Art. Let me speak as Art. Am I not qualified? I have destroyed the audience and created silence. For myself, I have created the silence. Silence, then, will be my audience. As Art creates silence, Art speaks for silence. I speak for myself. Am I not qualified? I speak to the silence. Listen. I have established the eternal present. It is on this scale are all illusions weighed. I judge nothing. I am the shifting paradox of possibility. Nothing more. I am now. Nothing more...but there is a caveat: I am of human invention. Like nature, I am. Like rocks and rivers and the passing of days, I am. I exist when perceived. I impose my existence when engaged. Through perception, I confound the conception of time. Through engagement, I re-create myself within the living Now. I am more ancient than the caves of Lascaux and when perceived, I confront human consciousness with the power of Isness. I have no past. Like nature, I am. But within the caveat of human invention, I am born of desire. Though I am the most enduring of human enterprise, my purpose is unclear. Let me speak to this. Some would claim that I exist to illustrate the passage of time thus supporting the invention of history. But history has to do with memory and the cataloguing of events, a neatly arranged rationale of cause and affect, one influence on another through linear time. But this is not my purpose. Because I exist, like nature, in the eternal now, I belie such definition. To impose such limitations on my purpose is to confine me to the cage of intellect. If one accepts this definition, it is he who lives inside the cage, not I, though I concede a certain compassion for this usage as it enables the blind a kind of vision. But I am made of fiercer stuff. Compassion is not my purpose. My purpose is to destroy illusion. Linearity is my enemy and because I exist always in the now, to impose linearity upon me is to pervert my purpose. I am created when perceived. Being born of desire, I mirror the desire of the perceiver. Together we confirm the eternal now. There is no history, only the encapsulated instant of recognition. Only the birth of silence. Only the transforming re-creation of the creator. A duet and a paen to the purging light. I am the by-product of the creator’s desire to create himself. Having himself been created through the purging light of re-creation, his pursuit of the light causes my potential for creation. How simple it seems. What obvious and unquestionable truth. As light feeds the eye and sound the ear, odor the nose, friction the touch and taste the tongue, the now is created and sustained. So, too, is Art. Because I am created by the perceiver, my creation is sporadic and serendipitous. I am of the moment. I am in the now. As long as my materiality exists, my potential for conversion exists, from noun to verb, objectivity to response. Artifact to Art. Those who would force me into linearity turn actions into events and anchor my identity within the reflective mirror of history. They fear me. They fear what they cannot see. They fear what they cannot feel. They fear what they cannot control. They fear chaos. But I, too, have a protocol. Because it alters and redefines their position does not preclude their viability. It simply means that they serve me rather than I them. This is not chaos. It requires only the acceptance of a more humble role. Simply put, the protocol for my Isness is thus: The artist creates himself. The culture-maker creates metaphor. And the perceiver creates Art. Obviously, the recognition of this shift in roles requires an almost total restructuring of the cultural gestalt. I flourish and propagate within the eternal feminine. Masculine entelechy is a hostile and barren landscape. It would nullify my purpose. In this arid desert of the intellect, my sensuality is veiled in sand. I am contained and controlled, bourkhaed in masculine fear. To restrict and confine my purpose to the identity of the artist is to re-enforce linearity, history, knowledge, and illusion. For the one who makes me, I am but a by-product of self-creation. Hermaphroditically conceived within the artifacts of desire, I exist solely for the purpose of connection. He who makes me is not she who creates me. Art is conceived within the womb of perception. I exist when I am created without prejudice, cultural correctness, or linear logic. As for taste, good and bad have nothing to do with my inception. Moral judgment serves group identity. These strictures cannot constrain my birthright. I exist where I am perceived. There is no such thing as good or bad art; there is only Art and I am created by the perceiver. All else is artifact. Whenever and wherever I am perceived, Art exists. The fusion that occurs between making and creating forces my becoming and reinforces the eternal now. This fusion is the peak of human experience: Being without metaphor, simile, or trope. As with physical orgasm, the orgasm of aesthetic response is not filtered through the intellect. The experience defines itself through a tautology of sensation. How would one define an orgasm? It simply is. Though procreation is its purpose, procreation is not its definition. This is true also of aesthetic orgasm. Though cultural enhancement is its practicality, the sensation of response is indefinable. Orgasm is the ultimate reality. It is wordless and transcends all boundaries. Its communication is total, a connection so intense that ones existence is confirmed. Some speak of me in terms of spirit; the response I invoke, a religious catharsis. I think not. Religiosity distorts my purpose, and spirit separates me from my totality. Appreciation is another facet of response, as is beauty, as is seduction. I am a gestalt of many metaphors. No one characteristic defines me. I am defined by the indefinable. Totality. When I occur, when Art occurs, it is with the violence of disconnection and the sublimity of connection. In the moment of my creation, the armor of the intellect is pierced with the turgescent light of recognition and my creator is filled with my maker’s desire for self-creation. Because I am a gestalt of many metaphors, by examination and deletion, metaphor by metaphor, I shall define my purpose. Through distillation, I might define my purpose. Because I am all of these and no one of these, my totality is indefinable, unexplainable. My outline can be etched by describing what I am in part and through deconstruction that which presses out may be released. In the orgasm of my inception, the perceiver is disconnected from the linear masculine and enveloped within the spherical feminine. This episode, this moment, this lifetime is my birth. Art is realized within the bourn of the creator. The variables of causation for orgasmic perception are infinite, chaotic, and serendipitous. Like the artifacts that induce the sensation, connection occurs when connection occurs, without judgment or foreplay. Two basics exist for my creation: attraction and seduction...Art can happen to anyone with any artifact at any time. There is no such thing as good or bad Art; there is, however, such a thing as profound or mediocre orgasm. Only the perceiver can distinguish the experience. Whether the orgasm is sexual or aesthetic, it occurs within the bourn. It belongs to the perceiver and no other. It lies beyond the reach and control of the culture-maker’s protocol of intimidation. Culture is my enemy. For it to exist, it must defeat my purpose. For a culture to exist, it must establish its identity on the necklace of linear time. This beaded processing of artifacts and events called history would place one of myriad metaphors above all others as my defining gestalt. That art as evidence defines me is a perversion of my purpose. It would use me as decoration rather than the defining force of human Isness. It is my entirety that defines my purpose and that entirety is revealed with the bourn of the perceiver. That Art is a reflection of its time is as much a truism as Art History is an oxymoron. This propagandizing of a single metaphor as my defining purpose is the ultimate confusion of artifact with Art. Most of my metaphors tie me to concepts of culture and group identities. Two do not. That Art is beauty and that Art is truth may pit the perceiver against the active and pervasive cultural metaphor of the perceiver’s time and require a degree of courage and a desire for self-creation through the orgasm of response with its residual euphoric sense of enlightenment. I have brought perceivers to their knees and tears to their eyes. I have no peer in terms of emotional power and epiphanic response. My ability to split the individual from the numbing complacency of the group can be cataclysmic. My potential to induce the insurrection of solitude is extreme. Of all my metaphors, Art is beauty and Art is truth are linked in controversy. They tend to provoke heated and emotional intellectual criticisms and commentaries on idealism, romanticism, ignorance, taste, sophistication, naivete, sophism, empiricism, fascism, egalitarianism, aesthetics, history, historicism, elitism, and on and on and on. These two metaphors are the intellectual battlefield on which the war between culture and Art is fought. It is a conflict that cannot, will not, and must not be resolved, for it is through this conflict that humankind’s evolution transpires: individual enlightenment vs. cultural control, freedom vs. repression, individual courage vs. group fear. Life vs. death. Art is entertainment is the metaphor whose dominance most contorts and ridicules my purpose. It perverts human endeavor and diverts the search for being. It requires audience, gratification, and applause thus embedding my determination in linear time. It is a crippling, procrustean enabler of social control. This metaphor, with its sibling, Art is money, reduces my significance within the cultural gestalt to product, and my maker, a comedian on the stage of trivialities. These metaphors breed nihility without the blandishments of hope. Their fertility is cancerous eating away the potential for joy and replacing it with the immediacy of amusement. And though pleasure is often a part of me, it is subsidiary to my purpose. Culture is my enemy because it selects a single metaphor from my pantheon of metaphors to define my significance within its gestalted singularity in linear time. It manipulates me to control individual response and maintain the status quo. That Art is entertainment and that Art is money are metaphors of a fearful culture, stagnant and repressive, hostile to excellence. These metaphors, if taken as my primary distinction, condemn my artifacts to flaccid mediocrity. This is not a judgment against the majority; rather, it is a complaint for the minority which seeks neither to be entertained nor to buy and sell art. Their desire leads toward challenge rather than pacification and materialism. They are forced to seek me outside the paradigm of the culture of entertainment. This most self-creating segment of culture is driven into the linear past to create the eternal now. Branded as elitists, these futurists secure my furtherance. The most avid culture-makers force the artifacts of first appearance as their definitions of my being. Newness, however, does not define me; it reflects, rather, their own ambitions. Art is created by the perceiver regardless of cultural imperative. The culture-maker has no purchase in this transaction. Nor does history. The shoulds and shouldn’ts of cultural propriety are the shoulds and shouldn’ts of cultural identity. Exactly that. To be culturally correct has to do with the ordering of the group, not with the creation of Art. The perceiver may or may not create Art from the acceptable artifacts of the culture. If the perceiver cannot, Art will be created outside of that culture’s prerogatives. I exist when and where I am created. No authority can prejudice my becoming. My essence is amoral. Because aesthetic orgasm is my purpose, I do not qualify the means of attainment whether by attraction and consent or rape. Seduction or surprise, my inception is irrepressible. I occur within the being of the perceiver and my only recordation lies within the perceiver’s bourn. My only history is aesthetic memory. Cultural and artifactual history lie within the purview of the intellect. Further deconstruction of my gestalt would be the metaphor Art is communication: what the perceiver reads into me, what he is told to read into me, and what is discussed about me. It is through communication that the hierarchy of the culture is established, promoted and maintained. Constructed on military, traditionally proven protocols of control, words used like cattle-prods direct and channel large segments of the cognoscenti into an oligarchy of historical distinction. This oligarchy is dependent on an elite group of culture-makers which has jockeyed itself into positions of authority through education, political wisdom, and brilliance of intellect, qualities which have nothing whatever to do with my creation. How tribal the human condition! How masculine the fierce competition for advancement and retainment of control, rank, and command. The ordering of culture is controlled from the top down. With military pragmatism, the ordering of culture-making proceeds from the upper ranks of the culturally elite and descends through the various levels of worth, wealth and sycophantism. Through response, curiosity, education, intimidation, and imposition, culture-makers initiate, propagate and maintain cultural correctness through the various structures of communication. The artists of any culture are not necessarily culture-makers; all induce aesthetic orgasm and thus the creation of Art. Through communication, culture-makers create history. Through silence, perceivers create Art. Happily, for the evolving human condition, we are not mutually exclusive. As cultures invent and record the repetitions of linear time through the alphabets of history, I await discovery by the perceiver within the artifacts of silence. Words do not enhance my perception. Alphabets of communication obscure my purpose, bits and pieces, shards of descriptive analyses opaque my seduction. Aesthetic orgasm does not occur within the mind; it occurs unexpected and unexplained within the fertile bourn of the perceiver. My inception can be neither induced nor denied by instruction or imperative. Acculturation is my enemy. It muddies and opaques my transparency of purpose. Noise. Business. Confusion. I am recorded within the wisdom of myth rather than the knowledge of history. Transformed by the tongues of silence into the nodding recognition of self, I await my perceivers. I am discovered where I am found. Without qualification or judgment, I mark their journeys. As history records the alphabet of repeat, Myth affords the epiphanies of evolvement. Myths are connections within the eternal now for the self’s process of becoming. They transport my significance. My most expedient and perplexing metaphor is: Art is what artists make. This truism absolves the culture-maker from the advancement of aestheticism to the promotion of artists. Celebrity becomes product and its creation becomes culture. On the beaded necklace of linear time, this metaphor is of little moment. Its artifacts are created and sustained by contrivance: Culture-makers create culture-makers who create history. The perceiver, the artist who creates me, re-creates my maker in the eternal now. Through this creation-re-creation, one sees what the other seeks. This is my purpose. This is Art.

 

Subsequent to the completion of STUDIO SECTION 2002-2005, Marsyas/Myself, the artist created another studio section, STUDIO SECTION 2005-2007, The Seven Deadly Sins and Three Diptychs from The Winter Notebooks. On Pages 7 and 8 of The Winter Notebooks he reprised MARSYAS/MYSELF in retrospect visual and verbal consideration and wrote the following excerpt about it:

 

"Marsyas/Myself was completed in 2005 and entered into the permanent collection of the Crocker Art Museum in November of that same year. My three year involvement with this studio section was epiphanic and liberating, the separation nearly complete. However, the song of the artist, the skin of Marsyas, hangs heavy and will not be silenced. It lingers still, as Myself lingers still, and will not be silenced. As long as artists create artifacts and as long as viewers persist in creating Art from these artifacts, the myth of Marsyas is the truth of the artist; his life, his pain, his ecstasy, and his fate. By subjection of myself as a particular artist in equation with the corpus of Marsyas, an attempt was made to recast the drama of art into an anti-fascisttic and non-authoritarian process; a complete reassignment of roles wherein the viewer becomes the sole creator of Art and all else is cultural rhetoric. It was also an attempt by this artist at total honesty. As we know virtually nothing about Marsyas, it was my intention to reveal everything about Myself even to the extent of confessional boredom. All information has been made available to the viewer. Setting the plight of Marsyas in his challenge of Apollo within the context of a contemporary sculptor’s studio establishes the parallel of the cautionary myth with all artists who would gamble their lives on a rigged contest. There is no drama greater than the artist’s struggle with his own mortality. The transmutation of mortal desire into material artifact into immortal response is the distinguishing principal of humanity and it is the artist who personifies this principal in its sublime purity. No challenge is greater, no reality more intense. Marsyas is the artist’s myth and it is to this myth all artists conform…."

  

STUDIO SECTION 2002-2005, Marsyas/Myself is a multi-part installation work that requires a space approximately 40' x 40' for exhibition in its entirety. It consists of free-standing sculptures, and large panels hanging on the walls and a combination of these and evenly divided into two metaphorical dimensions: "Marsyas" and "Myself."

 

Collection:

Crocker Art Museum

Sacramento, California

This image consists of nine rectangular crops taken from the near the centers of nine identical images shot at various ISO values. See my flickr set "Nikon D800E Noise Reduction Tests" for more information.

 

The ISO values run across from top left, and then down, as follows:

 

100 200 400

800 1600 3200

6400 12,800 25,600

 

What you can see as you move to higher ISOs is loss of contrast and loss of fine detail in low-contrast portions of the original image. Observe the bushes at the bottom of the image. By ISO 3200 they are getting mushy, and they get even softer at higher ISOs.

 

Although we found that the use of dfine 2 in relatively uniform images (such as the sky portion of a landscape) can give a two stop advantage in noise reduction, fine detail, once obscured by noise, is more difficult to recover.