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Active Assignment Weekly: Mar 1 - Mar 8: Fairy Tales.
WIT- Same shoot as the last but lightened the image. Some desaturation of color too.
Shot for Active Assignment Weekly, theme "Empty"
WIT
I spotted this plant in the Leiden University Botanical Garden. I no nothing about flora, so I cannot tell what it is. What I do know is that flowers are the reproductive organs of plants, and that the top one emptied it's seed into the atmosphere. In post I cropped the shot a bit, but no further actions.
Airbus A321 - MSN 1811
Status : Active
Registration : C-GJWO
Airline Air Canada
Country : Canada
Date : 1937 -
Codes AC ACA
Callsign : Air Canada
Web site : www.aircanada.ca
Serial number1811
Type321-211
First flight date27/08/2002
Test registrationD-AVZI
Plane age15 years
Seat configurationC20 Y154
Engines2 x CFMI CFM56-5B3/P
26/09/2002Air CanadaC-GJWO
Cabo Espichel lighthouse
Portugal
1790. Active; focal plane 168 m (551 ft); white flash every 4 s. 31 m (102 ft) tapered hexagonal stone tower with lantern and gallery, rising from a large 1-story keeper's complex. 4th order Fresnel lens in use. The lighthouse is covered with white tiles except for unpainted stone trim; lantern roof painted red. Fog horn (one 8 s blast every 31 s). Cabo Espichel is a very prominent cape about 27 km (17 mi) south of the Tagus. Monks of the monastery of Nossa Senhora do Cabo (Our Lady of the Cape) are said to have displayed navigational lights here as early as the 15th century. Serving as a landfall light for Lisbon, the lighthouse was long considered one of the more important in the country. The site is rather isolated; the lighthouse was not electrified until 1989, and it is still staffed by rotating crews of three keepers. Located atop a spectacular vertical cliff about 11 km (7 mi) west of Sesimbra. Site open; the navy's web page indicates that tours are sometimes offered on summer evenings.
www.unc.edu/~rowlett/lighthouse/prt.htm
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O farol do Cabo Espichel é um farol português que se localiza no cabo de mesmo nome, em Sesimbra, freguesia do Castelo, Distrito de Setúbal, Portugal.
Torre hexagonal de alvenaria e edifícios anexos.
Há notícias que já em 1430 a irmandade de N.S.ª do Cabo tinha instalado um farolim predecessor do actual farol.
A torre actual foi inaugurada em 1790, em 1865 era alimentado por azeite, mudando de combustível em 1886, quando a sua luz passou a ser alimentada por incandescência de vapor de petróleo e, muito mais tarde em 1926 por electricidade.
Em 1983 este farol tinha instalado um aparelho iluminante chamado de primeira ordem que emitia luz em grupos de quatro clarões brancos, em vez do antigo sistema de luz fixa. Com este novo sistema passou a ter um alcance luminoso de vinte e oito milhas náuticas (quarenta e cinco quilómetros).
A estrutura de apoio ao farol foi aumentada para os lados por volta de 1900.
Em 1947 entrou numa nova era no que diz respeito à iluminação. Foi montado um aparelho óptico aeromarítimo, que já tinha estado ao serviço do Farol do Cabo da Roca. Esta nova óptica dióptica - catadióptica chamada de quarta ordem, um modelo de grandes dimensões, apresenta trinta centímetros de distância focal, produzindo lampejos simples, agora com um alcance luminoso de quarenta e duas milhas náuticas (cerca de sessenta e sete quilómetros).
pt.wikipedia.org/wiki/Farol_do_Cabo_Espichel
20110911_7D_IMG_6198_CaboEspichel
Active Assignment Weekly: Hugging the Curves
After going for a walk and shooting many different things to potentially use for this weeks assignment, I decided my car has a lot of nice curves to it so why not use it.
Available for order in my Coco'sRetroCloset Etsy Shop
www.etsy.com/listing/163880510/vintage-style-cotton-6-str...
An ensemble of outdoor musical instruments for visitors to create music at the Active Garden, Gardens by the Bay.
An active region that was rotating out of view displayed a dazzling variety of dozens of spurts and eruptions in about 2.5 days (Apr. 19-21, 2014). The frames, taken in extreme ultraviolet light, show ionized Helium not far above the Sun's surface. All of the activity near this region was caused by intense magnetic forces in a powerful struggling with each other. Credit: Solar Dynamics Observatory/NASA.
Brown throated 3-toed sloths (Bradypus variegatus), the species most typically found in Costa Rica. Our sloth mom was surprisingly active and while we watch, she moved about the tree and even came lower down where we could more easily see her sweet baby.
Arenal Volcano National Park, Costa Rica.
Conservation status: least concern.
HMS ACTIVE F171
Class……………………………Type 21 Frigate
Builder………………………..Vosper Thornycroft Ltd., Southampton , Woolston yard
Yard number……………….4233
Laid down..………………….21 July 1971
Launched….…………………23 November 1972
Completed.………………….19 June 1977
Propulsion.…………………..2 shafts : COGOG system: 2 Rolls-Royce Olympus TM3B gas turbines (30 knots max) + 2 Rolls-Royce Tyne RM1A gas turbines (17 knots max)
Speed..…………………………30 knots
Range…………………………..4000 nm at 17 knots / 1200 nm at 30 knots
Fate
•23 September 1994: Decommissioned by RN
•23 September 1994: Transferred to Pakistan and renamed SHAH JAHAN
•12 January 2021: Torpedoed and sunk as a target during a live-firing drill in the Arabian Sea.
HMS ACTIVE on 31 July 1990 at Devonport, Plymouth
The Postcard
A postally unused Philco Series postcard with photography by Claude Harris Ltd.
On the back of the card the publishers have printed: 'Invest in Government Securities'.
The card was posted on Friday the 25th. July 1919 to:
Miss E. Hallam,
43, Oakfield Street,
Altrincham.
The message on the back of the card was as follows:
"Wishing you a very, very
happy birthday and many
more of them.
Love from
Phyllis".
Philco
The Philco Publishing Co. of 1-6 Holborn Place, London were active between 1905 to 1934. They published many different types of artist-signed cards and photo-based view-cards.
They are noted for three large sets representing Faith, Hope, and Charity.
Most of their cards were printed in Germany, although a set of real photo birthday greeting cards were manufactured in Italy.
Miss Gladys Cooper
Gladys Cooper's most noticeable characteristic is that she rarely if ever smiled when being photographed. In some publicity shots she actually looks quite annoyed.
Dame Gladys Constance Cooper, (18th. December 1888 – 17th. November 1971) was an English actress whose career spanned seven decades on stage, in films and on television.
Beginning as a teenager in Edwardian musical comedy and pantomime, she was starring in dramatic roles and silent films before the First World War.
She also became a manager of the Playhouse Theatre from 1917 to 1933, where she played many roles. From the early 1920's, Cooper was winning praise in plays by W. Somerset Maugham and others.
In the 1930's, she was starring both in the West End and on Broadway. Moving to Hollywood in 1940, Cooper found success in a variety of character roles; she was nominated for three Academy Awards, the last one as Mrs. Higgins in 'My Fair Lady' (1964). Throughout the 1950's and 1960's, she mixed her stage and film careers, continuing to star on stage until her last year.
Gladys Cooper - The Early Years
Cooper was born at 23 Ennersdale Road, Hither Green, Lewisham, London, the eldest of the three daughters of Charles William Frederick Cooper and Mabel Barnett.
Gladys Cooper spent most of her childhood in Chiswick, where her family moved when she was an infant.
Gladys made her stage debut in 1905 touring with Seymour Hicks in his musical 'Bluebell in Fairyland'. The young beauty was also a popular photographic model.
In 1906, she appeared as Lady Swan in London in 'The Belle of Mayfair', and then in the pantomime 'Babes in the Wood' as Mavis. The following year she became a chorus girl at the Gaiety Theatre, creating the small role of Eva in 'The Girls of Gottenberg'. That Christmas, she was Molly in 'Babes in the Wood'.
In 1908, she appeared in the musical 'Havana', followed the next year by 'Our Miss Gibbs', in which she played Lady Connie. She was then on tour again with Hicks, in 'Papa's Wife', before playing Sadie von Tromp in the hit operetta 'The Dollar Princess' at Daly's Theatre in 1909.
In 1911, she appeared in a production of 'The Importance of Being Earnest' and in 'Man and Superman'. Among several other plays, the next year she was Muriel Pym in 'Milestones' at the Royalty Theatre. A highlight of 1913 was Dora in 'Diplomacy' at Wyndham's Theatre. That year she also played the title role in 'The Pursuit of Pamela' at the Royalty.
In 1913 Cooper appeared in her first film, 'The Eleventh Commandment', going on to make several more silent films during the Great War and shortly afterwards. She continued full-time stage work, however, including appearances as Lady Agatha Lazenby in 'The Admirable Crichton' in 1916, and Clara de Foenix in 'Trelawny of the Wells'.
In addition, in 1917, Cooper became co-manager, with Frank Curzon, of the Playhouse Theatre, taking over sole control from 1927 until she left in 1933. During these years, she starred several times in 'My Lady's Dress'. She appeared in W. Somerset Maugham's 'Home and Beauty' in 1919, repeated Dora at His Majesty's Theatre in 1920 and elsewhere thereafter, and played numerous roles at the Playhouse Theatre.
Gladys Cooper - The Later Years
It was not until 1922, however, now in her mid thirties, that she found major critical success, in Arthur Wing Pinero's 'The Second Mrs. Tanqueray'. Early in her stage career, she was criticised for being too stiff. Aldous Huxley dismissed her performance in 'Home and Beauty', writing:
"She is too impassive, too statuesque,
playing all the time as if she were Galatea,
newly unpetrified and still unused to the
ways of the living world."
Evidently, her acting improved during this period, as Maugham praised her for:
"Turning herself from an indifferent actress
to an extremely competent one through her
common sense and industriousness".
For both the 1923 and 1924 Christmas shows at the Adelphi Theatre, Cooper played the title character in 'Peter Pan', while also playing several other roles at that theatre during those two years. She appeared in Maugham's 'The Letter' in London and on tour in 1927 and 1928, in 'Excelsior' in 1928, and in Maugham's 'The Sacred Flame' in 1929, also in London and on tour.
Among other roles, Cooper was Clemency Warlock in 'Cynara' (1930), Wanda Heriot in 'The Pelican' (1931), Lucy Haydon in 'Dr Pygmalion' (1932), Carola in 'The Firebird' (1932), Jane Claydon in 'The Rats of Norway' (1933), Mariella Linden in 'The Shining Hour' in 1934 and 1935, in London and New York City and on tour (at the same time making her first "talkie" film, 'The Iron Duke'), also playing Desdemona and Lady Macbeth on Broadway in 1935.
She was Dorothy Hilton in 'Call it a Day', again in both London and New York, from 1935 to 1936. A highlight of 1937 was Laura Lorimer in 'Goodbye to Yesterday' in London and on tour. In 1938, she played Tiny Fox-Collier in 'Spring Meeting' in New York, Montreal and Britain, as well as several Shakespeare roles and Fran Dodsworth in 'Dodsworth'. She repeated 'Spring Meeting' in 1939.
Cooper turned to film full-time in 1940, finding success in Hollywood in a variety of character roles, and was frequently cast as a disapproving, aristocratic society woman, although she sometimes played lively, approachable types, as she did in 'Rebecca' (1940).
She was nominated three times for an Academy Award for Best Supporting Actress for her performances as Bette Davis's domineering mother in 'Now, Voyager' (1942), a sceptical nun in 'The Song of Bernadette' (1943), and Rex Harrison's mother, Mrs. Higgins, in 'My Fair Lady' (1964).
In 1945, after playing the role of Clarissa Scott in the film 'The Valley of Decision' for Metro-Goldwyn-Mayer, she was given a contract with the studio. Her credits there included both dramatic and comedy films, including 'The Green Years' (1946), 'The Cockeyed Miracle' (1946) and 'The Secret Garden' (1949).
Other notable film roles were 'The Man Who Loved Redheads' (1955), 'Separate Tables' (1958) and 'The Happiest Millionaire' (1967) as Aunt Mary Drexel, singing "There Are Those".
Her only stage roles in the 1940's were Mrs. Parrilow in 'The Morning Star' in Philadelphia and New York (1942), and Melanie Aspen in 'The Indifferent Shepherd' in Great Britain (1948).
She returned to theatre (between films) more often in the 1950's and 1960's, playing in London and on tour in such roles as Edith Fenton in 'The Hat Trick' (1950); Felicity, Countess of Marshwood, in 'Relative Values' (1951 and 1953); Grace Smith in 'A Question of Fact' (1953); Lady Yarmouth in 'The Night of the Ball' (1954); Mrs. St. Maugham in 'The Chalk Garden' (1955–56), Dame Mildred in 'The Bright One' (1958); Mrs. Vincent in 'Look on Tempests' (1960); Mrs. Gantry (Bobby) in 'The Bird of Time' (1961); Mrs. Moore in a stage adaptation of 'A Passage to India' (1962); Mrs Tabret in 'The Sacred Flame' (1966 and 1967); Prue Salter in 'Let's All Go Down the Strand' (1967); Emma Littlewood in 'Out of the Question' (1968); Lydia in 'His, Hers and Theirs' (1969); and others.
She received two nominations for the Tony Award for Best Actress in a Play, for her roles in 'The Chalk Garden' and 'A Passage to India'.
She also had various television roles in the 1950's and '60's. These included, among others, three episodes of 'The Twilight Zone'. In the first, titled "Nothing in the Dark" (1962), she played an old lady who refuses to leave her flat for fear of meeting 'Death'. A young policeman (Robert Redford) is shot at her doorstep and persuades her to let him inside.
Her second appearance was in "Passage on the Lady Anne", which aired on the 9th. May 1963.
Her final episode was the 1964 "Night Call", where she portrayed a difficult, lonely old lady who is besieged by late-night phone calls. Cooper starred in the 1964–65 series 'The Rogues' with David Niven, Charles Boyer, Gig Young, Robert Coote, John Williams and Larry Hagman. The series lasted a single season of thirty episodes, most of which featured Cooper as the matriarch of a crime family.
In 1967, at the age of 79, she was appointed a Dame Commander of the Order of the British Empire (DBE). Her last major success on the stage was at the age of 82, in 1970–71 in the role of Mrs. St. Maugham in Enid Bagnold's 'The Chalk Garden', a role she had created on Broadway and in the West End in 1955–56.
Marriages of Gladys Cooper
Cooper was married three times. Her husbands were:
- Captain Herbert Buckmaster (1908–1921). The couple had two children: Joan (1910–2005), who was married to the actor Robert Morley, and John Rodney (1915–83).
- Sir Neville Pearson (1927–36). Sir Neville and Lady Pearson had one daughter, Sally Pearson, aka Sally Cooper, who was married (1961–86) to actor Robert Hardy.
- Philip Merivale (1937–1946), a fellow actor. The couple lived for many years in Santa Monica, California as permanent resident aliens. He died at age 59 from a heart ailment. Her stepson from this marriage was John Merivale.
Death of Gladys Cooper
Gladys lived mostly in England in her final years, and died from pneumonia at the age of 82 in Henley-on-Thames, Oxfordshire.
Woodrow Wilson
So what else happened on the day that Phyllis posted the card?
Well, on the 25th. July 1919, in Paris, delegates to the peace conference formally approved the establishment of a Commission on the League of Nations. United States president Woodrow Wilson insisted on chairing the commission.
The League's task was simple - to ensure that war never broke out again. In this respect the League was a total failure.
Taken for Active Assignment Weekly: November 23-30 "Architecture"
I love interesting architecture, although it is not something I typically photograph, so this assignment was really enjoyable for me. I love that this group consistently takes me out of my photographic comfort zone.
Didn't have my camera with me, so I had to use my phone.
EOS 5D Mark III+SIGMA 24-35mm F2 DG HSM Art
* If this photo might have problem, there is a possibility of removal.
* If you have requests or comments, please describe these in photo comment space.
Active Weekly Assignment (Mar. 1-8, 2021) - "There is a number in my photo"
For this assignment, I wanted to find some numbers outside rather then arranging something at home. My girlfriend had the idea that the single spaces in parking decks are often numbered, so I made a tour through the different parking decks in my town (turns out only half of them actually have numbers).
There are only two numbers but at least they consist of six digits, I hope that counts :).
Post-processing: Apart from cropping and the obvious conversion to b&w I adjusted the brightness, mostly by playing around with the "filmic rgb" and "tone equalizer" modules of Darktable which I learned about just recently and are trying to master now.
Maker: Abraham Bogardus (1822-1908)
Born: USA
Active: USA
Medium: advertisement
Size: 3.25" x 5"
Location: USA
Object No. 2016.721b
Shelf: E-52-MISC-US
Publication:
Other Collections:
Provenence:
Notes: ABRAHAM BOGARDUS (1822 - 1908). "...circa 1845 he learned the daguerreotype process from George W. Prosch in New York City. In 1846 he opened a daguerreian gallery at 363 Broadway, New York City... From 1847 to 1852, he was listed as daguerreotypes at 217 Greenwich Street... In 1849, he also operated a branch gallery at 126 Washington Street, Newark, N.J.; in 1850 - 1851, the branch gallery was listed at 8 Clinton Street, Newark, N.J.... In 1851, Bogardus relocated his New York CIty gallery to 229 Greenwich Street. From 1852 - 1860 he was listed there... In 1862, he refitted the old Root Gallery at 363 Broadway. In 1869 he moved to a new studio at 1153 Broadway, but still maintained the 363 Broadway address as well. From 1868 to 1874 he served as the first president of the National Photographic Association. In 1871 he was listed in partnership with the Bendann Brothers of Baltimore, Md. at 1153 Broadway in New York. The partnership was dissolved in 1873... In 1873 Bogardus made daguerreotypes of band note designs for the American Bank Note Co.... In 1887, he resigned from photography... Bogardus recalled he made and sold some 200,000 daguerreotypes during his 15 to 17 years as a practical daguerreotyper..." (source: Craig's Daguerreian Registry by John Craig)
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Pampers active baby Your baby enjoys his newly found freedom of movement – he is now able to crawl up to 1000m in only half an hour. To allow him to go so far, P&G's created Pampers Active Fit with Comfort Stretch. A diaper, that flexes to fit where your baby needs it most.
Langley Junction the former Junction of the Erewash Canal with the now now only partially existent Cromford Canal and Nottingham Canal in Langley Mill, Derbyshire.
The Erewash Canal was created following an act of parliament in 1777 with John Varley appointed as engineer and John and James Pinkerton the main contractors, it was completed in 1779 at a cost of £21,000 (£2,252,740 in modern money). It was a commercial success from the start mainly used to transport coal.
The canal's success kept it going far longer than many of its contemporaries in the face of competition from the railways. When the Grand Union Canal Company took over the running of the Erewash in 1932 it was still a going concern. The canal was nationalised in 1947. By this time the closure of feeder canals resulted in a loss of trade and competition from other forms of transport was making itself felt and the last commercial narrowboat delivered its cargo in 1952. In 1962 the British Transport Commission closed the top section of canal. However, it was kept in water to supply the lower half of the canal and it remained navigable.
In 1968 the Erewash Canal Preservation & Development Association (ECP&DA) was formed in response to a threat by the British Waterways Board to close the canal. One of the ECP&DA's achievements was the re-opening of the Great Northern Basin at Langley Mill. This canal basin was the point at which the Cromford, Erewash and Nottingham Canals met. The Langley Mill Boat Company formed in 1974 and based at the Great Northern Basin has cleared and put back into water a short section of the Cromford Canal connected to the basin.
Today the Erewash Canal is fully open and is actively used by pleasure cruisers. The towpath, which follows the eastern bank, carries Route 67 of the National Cycle Network between the Lawrence Street access and Stanton Lock where the cycle route diverges to follow the Nutbrook Valley. The canal is also regularly restocked with fish for anglers, and along the eastern tow path dozens of anglers are often seen.
Unidentified
EVIDENCE
Provenance evidence: Inscription
Location in book: Inside Back Cover
Transcription: Ptolemaeus, Claudius/Incun. 1478 .P855 Rosenwald Coll
COPY
Repository: Library of Congress
Call number: Incun. 1478 .P855 Rosenwald Coll
Collection: Rosenwald Collection
Copy title: Geographia. Latin/Cosmographia/Claudii Ptholemei Alexandrini philosophi Cosmographia.
Author(s): Ptolemy, active 2nd century.
Published: Rome, 10 Oct. (VI Idus Octobris) 1478.
Printer/Publisher: Arnoldus Buckinck
FIND IN POP
Incun. 1478 .P855 Rosenwald Coll
The active pool in the Ft. Worth Water Gardens. The park reopened to the public on March 4, 2007 after being shut down for nearly three years when four people drowned in 2004. While closed, the Water Gardens went through both safety and aesthetic renovation. It's beautiful and the sound is soothing -- I recommend stopping by if you're ever downtown.
(Other than cropping and white balance, this hasn't been Photoshopped.)
Ft. Worth, TX.
The active runway.
Event: Diane Raulston Swimwear (Fashion Show)
Location: Equinox Gym, 33rd & Park Ave, NYC
Date: March 18, 2008
Models: Brooke, Dawn, Julia, Anastasia, and Gwen
Make-Up by Asif Zaidi
For more information on Diane Raulston and her collection visit:
Revenge Fashion Magazine
A passion for empowerment™
www.RevengeFashionMagazine.com
Vic Juggling
Earth Hour at the 3 Finger Club LOHHAS Lifestyle Lounge
*********** Be Part Of the Solution: ****************
Share "3 Finger Wednesday" with everyone you care about -
www.sustainabilitysymbol.com/what-are-3-finger-wednesdays/
MORE INFO: www.WorldSustainability.Org
**************************************************
Lights were out between 8:30 and 9:30 while we told stories and discussed our Lifestyle Of Health, Happiness And Sustainability (LOHHAS) using the 3 Finger "Peace Plus One" Sustainability Salute to remind us about Peace, Harmony and Balance between Society, Environment and Economy
People were the best jugglers of "Society, Environment, Economy" balls won "EARTH HOUR 60" T-Shirts WOW \!/O\!/
Photo Courtesy of the McMaster Institute for Sustainable Development in Commerce
all participants in the Earth Hour Discussion got a copy of "Letter to Maddie" featured below:
We Screwed Up
A Letter of Apology to My Granddaughter
By Chip Ward
[Note: I became politically active and committed on the day 20 years ago when I realized I could stand on the front porch of my house and point to three homes where children were in wheelchairs, to a home where a child had just died of leukemia, to another where a child was born missing a kidney, and yet another where a child suffered from spina bifida. All my parental alarms went off at once and I asked the obvious question: What’s going on here? Did I inadvertently move my three children into harm’s way when we settled in this high desert valley in Utah? A quest to find answers in Utah’s nuclear history and then seek solutions followed. Politics for me was never motivated by ideology. It was always about parenting.
Today my three kids are, thankfully, healthy adults. But now that grandchildren are being added to our family, my blood runs cold whenever I project out 50 years and imagine what their world will be like at middle age -- assuming they get that far and that there is still a recognizable “world” to be part of. I wrote the following letter to my granddaughter, Madeline, who is almost four years old. Although she cannot read it today, I hope she will read it in a future that proves so much better than the one that is probable, and so terribly unfair. I’m sharing this letter with other parents and grandparents in the hope that it may move them to embrace their roles as citizens and commit to the hard work of making the planet viable, the economy equitable, and our culture democratic for the many Madelines to come.]
March 20, 2012
Dear Maddie,
I address this letter to you, but please share it with Jack, Tasiah, and other grandchildren who are yet unborn. Also, with your children and theirs. My unconditional love for my children and grandchildren convinces me that, if I could live long enough to embrace my great-grandchildren, I would love them as deeply as I love you.
On behalf of my generation of grandparents to all of you, I want to apologize.
I am sorry we used up all the oil. It took a million years for those layers of carbon goo to form under the Earth’s crust and we used up most of it in a geological instant. No doubt there will be some left and perhaps you can get around the fact that what remains is already distant, dirty, and dangerous, but the low-hanging fruit will be long-gone by the time you are my age. We took it all.
There’s no excuse, really. We are gas-hogs, plain and simple. We got hooked on faster-bigger-more and charged right over the carrying capacity of the planet. Oil made it possible.
Machines are our slaves and coal, oil, and gas are their food. They helped us grow so much of our own food that we could overpopulate the Earth. We could ship stuff and travel all over the globe, and still have enough fuel left to drive home alone in trucks in time to watch Monday Night Football.
Rocket fuel, fertilizer, baby bottles, lawn chairs: we made everything and anything out of oil and could never get enough of it. We could have conserved more for you to use in your lifetime. Instead, we demonstrated the self-restraint of crack addicts. It’s been great having all that oil to play with and we built our entire world around that. Living without it will be tough. Sorry.
I hope we develop clean, renewable energy sources soon, or that you and your generation figure out how to do that quickly. In the meantime, sorry about the climate. We just didn’t realize our addiction to carbon would come with monster storms, epic droughts, Biblical floods, wildfire infernos, rising seas, migration, starvation, pestilence, civil war, failed states, police states, and resource wars.
I’m sure Henry Ford didn’t see that coming when he figured out how to mass-produce automobiles and sell them to Everyman. I know my parents didn’t see the downside of using so much gas and coal. The all-electric house and a car in the driveway was their American Dream. For my generation, owning a car became a birthright. Today, it would be hard for most of us to live without a car. I have no idea what you’ll do to get around or how you will heat your home. Oops!
We also pigged out on most of the fertile soil, the forests and their timber, and the oceans that teemed with fish before we scraped the seabed raw, dumped our poisonous wastes in the water, and turned it acid and barren. Hey, that ocean was an awesome place and it’s too bad you can’t know it like we did. There were bright coral reefs, vibrant runs of red salmon, ribbons of birds embroidering the shores, graceful shells, the solace and majesty of the wild sea…
…But then I never saw the vast herds of bison that roamed the American heartland, so I know it is hard to miss something you only saw in pictures. We took lots of photos.
We thought we were pretty smart because we walked a man on the moon. Our technology is indeed amazing. I was raised without computers, smart phones, and the World Wide Web, so I appreciate how our engineering prowess has enhanced our lives, but I also know it has a downside.
When I was a kid we worried that the Cold War would go nuclear. And it wasn’t until a river caught fire near Cleveland that we realized fouling your own nest isn’t so smart after all. Well, you know about the rest -- the coal-fired power plants, acid rain, the hole in the ozone...
www.tomdispatch.com/images/managed/fear2.gifThere were plenty of signs we took a wrong turn but we kept on going. Dumb, stubborn, blind: Who knows why we couldn’t stop? Greed maybe -- powerful corporations we couldn’t overcome. It won’t matter much to you who is to blame. You’ll be too busy coping in the diminished world we bequeath you.
One set of problems we pass on to you is not altogether our fault. It was handed down to us by our parents’ generation so hammered by cataclysmic world wars and economic hardship that they armed themselves to the teeth and saw enemies everywhere. Their paranoia was understandable, but they passed their fears on to us and we should have seen through them. I have lived through four major American wars in my 62 years, and by now defense and homeland security are powerful industries with a stranglehold on Congress and the economy. We knew that was a lousy deal, but trauma and terror darkened our imaginations and distorted our priorities. And, like you, we needed jobs.
Sorry we spent your inheritance on all that cheap bling and, especially, all those weapons of mass destruction. That was crazy and wasteful. I can’t explain it. I guess we’ve been confused for a long time now.
Oh, and sorry about the confusion. We called it advertising and it seemed like it would be easy enough to control. When I was a kid, commercials merely interrupted entertainment. Don’t know when the lines all blurred and the buy, buy, buy message became so ubiquitous and all-consuming. It just got outta hand and we couldn’t stop it, even when we realized we hated it and that it was taking us over. We turned away from one another, tuned in, and got lost.
I’m betting you can still download this note, copy it, share it, bust it up and remake it, and that you do so while plugged into some sort of electrical device you can’t live without -- so maybe you don’t think that an apology for technology is needed and, if that’s the case, an apology is especially relevant. The tools we gave you are fine, but the apps are mostly bogus. We made an industry of silly distraction. When our spirits hungered, we fed them clay that filled but did not nourish them. If you still don’t know the difference, blame us because we started it.
And sorry about the chemicals. I mean the ones you were born with in your blood and bones that stay there -- even though we don’t know what they’ll do to you). Who thought that the fire retardant that kept smokers from igniting their pillows and children’s clothes from bursting into flames would end up in umbilical cords and infants?
It just seemed like better living through chemistry at the time. Same with all the other chemicals you carry. We learned to accept cancer and I guess you will, too. I’m sure there will be better treatments for that in your lifetime than we have today. If you can afford them, that is. Turning healthcare over to predatory corporations was another bad move.
All in all, our chemical obsession was pretty reckless and we got into that same old pattern: just couldn’t give up all the neat stuff. Oh, we tried. We took the lead out of gasoline and banned DDT, but mostly we did too little, too late. I hope you’ve done better. Maybe it will help your generation to run out of oil, since so many of the toxic chemicals came from that. Anyway, we didn’t see it coming and we could have, should have. Our bad.
There are so many other things I wish I could change for you. We leave behind a noisy world. Silence is rare today, and unless some future catastrophe has left your numbers greatly diminished, your machines stilled, and your streets ghostly empty, it is likely that the last remnants of tranquility will be gone by the time you are my age.
And how about all those species, the abundant and wondrous creatures that are fading away forever as I write these words? I never saw a polar bear and I guess you can live without that, too, but when I think of the peep and chirp of frogs at night, the hum of bees busy on a flower bed, the trill of birds at dawn, and so many other splendorous pleasures that you may no longer have, I ache with regret. We should have done more to keep the planet whole and well, but we couldn’t get clear of the old ways of seeing, the ingrained habits, the way we hobble one another’s choices so that the best intentions never get realized.
Mostly I’m sorry about taking all the good water. When I was a child I could kneel down and drink from a brook or spring wherever we camped and played. We could still hike up to glaciers and ski down snow-capped mountains.
Clean, crisp, cold, fresh water is life’s most precious taste. A life-giving gift, all water is holy. I repeat: holy. We treated it, instead, as if it were merely useful. We wasted and tainted it and, again in a geological moment, sucked up aquifers that had taken 10,000 years to gather below ground. In my lifetime, glaciers are melting away, wells are running dry, dust storms are blowing, and rivers like the mighty Colorado are running dry before they reach the sea. I hate to think of what will be left for you. Sorry. So very, very sorry.
I’m sure there’s a boatload of other trouble we’re leaving you that I haven’t covered here. My purpose is not to offer a complete catalog of our follies and atrocities, but to do what we taught your parents to do when they were as little as you are today.
When you make a mistake, we told them, admit it, and then do better. If you do something wrong, own up and say you are sorry. After that, you can work on making amends.
I am trying to see a way out of the hardship and turmoil we are making for you. As I work to stop the madness, I will be mindful of how much harder your struggles will be as you deal with the challenges we leave you to face.
The best I can do to help you through the overheated future we are making is to love you now. I cannot change the past and my struggle to make a healthier future for you is uncertain, but today I can teach you, encourage you, and help you be as strong and smart and confident as you can be, so that whatever the future holds, whatever crises you face, you are as ready as possible. We will learn to laugh together, too, because love and laughter can pull you through the toughest times.
I know a better world is possible. We create that better world by reaching out to one another, listening, learning, and speaking from our hearts, face to face, neighbor to neighbor, one community after another, openly, inclusively, bravely. Democracy is not a gift to be practiced only when permitted. We empower ourselves. Our salvation is found in each other, together.
Across America this morning and all around the world, our better angels call to us, imploring us to rise up and be as resilient as our beloved, beautiful children and grandchildren, whose future we make today. We can do better. I promise.
Your grandfather,
Chip Ward
Sub-Lieutenant Danielle Turner a Maritime Surface and Sub-Surface Officer checks a vessels bearing from Her Majesty's Canadian Ship Charlottetown's bridge during Operation ACTIVE ENDEAVOUR with, Standing NATO maritime Group 1 in the Mediterranean Sea on February 5, 2012.
L’Enseigne de vaisseau de 1re classe Danielle Turner, officier des opérations maritimes de surface et sous-marines, vérifie l’azimut sur la passerelle du Navire canadien de Sa Majesté CHARLOTTETOWN lors de l’opération Active Endeavour dans la mer Méditerranée, avec le 1er Groupe de la Force navale permanente de réaction de l’OTAN, le 5 février 2012.
Photo : Cpl Ronnie Kinnie
HS2012-0071-095
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Boom 2014
Photo-Reports by Wolfgang Sterneck
A Reality called Boom - Rhythms @ Boom 2014 *
www.flickr.com/photos/sterneck/sets/72157646523564525
A Reality called Boom - Visions @ Boom 2014 *
www.flickr.com/photos/sterneck/sets/72157646103367017
A Reality called Boom - Spiral Dance @ Boom 2014 *
www.flickr.com/photos/sterneck/sets/72157646505988761
Wolfgang Sterneck:
In the Cracks of the World
Photo-Reports : www.flickr.com/sterneck/sets
Articles (german / english) : www.sterneck.net
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Boom-Festival
04.08.-11.08.2014
Boom-Festival
Idanha-a-Nova Lake - Portugal
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BOOM VISION
Boom is not only a festival, it is a state of mind. Inspired by the principles of Oneness, Peace, Creativity, Sustainability, Transcendence, Alternative Culture, Active Participation, Evolution and Love, it is a space where people from all over the world can converge to experience an alternative reality.
Boom is a festival dedicated to the Free Spirits from all over the world. It is the gathering of the global psychedelic tribe and of whoever feels the call to join in the celebrations!! Boom is a weeklong unpredictable and unforgettable adventure. It takes place, every two years, during August Full Moon, on the shores of a magnificent lake in the sunny Portuguese inland and every one is invited!
BOOM IS A MODEL OF ENVIRONMENTAL AWARENESS
An environmentally conscious event is a way to offer a concrete example that it is possible to live on this Planet in respect of Mother Earth and of one another. This is possible through a deep understanding of the cycles of life and humanity’s place within these cycles. Permaculture is a brilliant example of how such understanding can be turned into practice.
Boom’s pioneering Environmental Program applies the principles of Permaculture to every single aspect of the Festival production. Moreover Boom widely promotes knowledge and practices of sustainability through lectures, workshops and… practical example!
100% compost toilets (still to this day the only large event in the world to reach this result!); 100% on-site water treatment facilities, off-the-grid energy solutions, bio-construction, permaculture gardens, vegetable oil for the generators… these are just a few of the ground breaking projects that have granted Boom the most prestigious international prizes in environmental efficiency.
For further details please visit the environmental program page.
BOOM BELIEVES IN A BORDERLESS WORLD
Since its beginning in 1997, Boom is the home of the global nomadic tribe. Since then, it has grown organically by word of mouth into an incredibly culturally diverse festival, attracting people from 116 nationalities (2012). Boom is the celebration of the Earth’s multicolored Oneness. EVERY ONE is invited and EVERY ONE is called to consciously co-create a positive reality of Love and Peace, for us and for the next generations. We Are One!
BOOM BELIEVES IN TRANSCENDENCE THROUGH MUSIC
At Boom music is sacred. The dancefloors are temples where to transcend ordinary states of perception and the limitations of our egos. Through dance and music, we can reconnect to our own individual divine essence, while in synch with the beating heart of the whole tribe. All in One!
Scattered across four stages, music at Boom is as diverse as it gets: electronic, acoustic, classic, any style is welcome and represented in a different area, live concerts, djs sets, solo artists, bands… Boom started as a psytrance festival and has developed into an inclusive gathering, unveiling the surprising diversity of quality underground soundscapes.
Psytrance culture remains one of the inspiring sources of Boom's vision and intention. And Boom remains as a testimony of the evolutionary potentials of such a culture.
Check the pages of the single areas for details on the different visions.
BOOM ACTIVATES TRANSFORMATION
Boom’s ultimate aim is to facilitate individual and collective transformation. The Boom experience has been conceived to activate the vital force directing every being towards the fulfillment of its highest potential. To reach this ambitious goal, Boom relies on the continuous exchange of radically innovative knowledge and practices by countless Boomers, musicians, artists, teachers, visionaries, healers, farmers, ecologists, wisdom keepers, researchers, scientists, activists
Besides the music stages and the countless art installations scattered all over the site, the other areas where Boom channels transformation are the Liminal Village, the Healing Area and the Visionary Art Museum. Here our hearts, bodies and minds can receive a full download of information through workshops, presentations, rituals and meditations Check the single areas’ pages for more details.
NO TO CORPORATE SPONSORS, CORPORATE LOGOS AND VIPs, YES TO INDEPENDENCE, SOLIDARITY AND CREATIVITY!!!
Boom is an autonomous zone of cognitive liberty and therefore is and will always be free from corporate sponsorship and logos. Boom is funded by the financial support of the thousands of people that buy the tickets and come to the festival.
Boom does not believe in VIP areas and special treatments, since every Boomer is a VIP! Boom adheres to the principle of ’thinking outside the box’, for the co-creation of novel ways of viewing reality and acting for its evolutionary unfolding.
www.boomfestival.org/boom2014/news/boom-vision
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BOOM-VISION
Die Boom ist nicht nur ein Festival – Sie ist ein Lebensstil
Es sind kleine Momente, in denen das Lernen stattfindet. Jene Momente in denen du versteht wie wichtig es ist, Fünfe einfach mal gerade sein zu lassen. Und jene Momente in denen dir klar wird, dass du es an anderen Stellen genauer nehmen musst. Diese kleinen Momente prägen dich, deine Einstellung und dein Handeln – und mit dir die Grundlage für große Veränderungen. Genau hier setzt die Idee der Boom an: Als schillernder Kristallisationspunkt einer Neo-Stammeskultur möchte sie inspirieren. Und zwar durch jene magische Erfahrung, die zwischen zeitgenössischer Musik, visionärer Kunst und intellektuell-spirituellem Input entsteht.
Veränderung fängt bei dir an, bei deiner Weltanschauung. Du bist der Flügelschlag des Schmetterlings, der am anderen Ende der Welt einen Wetterumschwung bewirkt. Lerne, deine Flügel zu gebrauchen!
Zu diesem Zweck kippen wir das Schubladensystem, das unseren Alltag bestimmt, einfach mal komplett aus. Und zwar mitten hinein in die sonnige, unverdorbene, nuklearfreie Natur Portugals. Dann nehmen wir uns 7 Tage lang Zeit, um spielerisch neue Denkwege und Handlungsweisen, um eine neue Ordnung zu erkunden. Das ist unsere Vision von psychedelischer Kultur und sie wollen wir aktiv vortreiben.
Auf unserer Webseite findet ihr ausführliche Informationen zu den freien Künsten, den multidimensionalen Installationen und den kreativen Liebensbomben, die auf unsere temporäre autonome Zone regnen werden.
Boom ist eine Lebenseinstellung – und sie lebt in euch, liebe Boomer!
INTERKULTURELL
Andere Länder, andere Lebensstile. Auf der Boom kannst du erleben wie inspirativ diese einfache Tatsache ist. Und zwar in konzentrierter Form: Im Jahr 2012 reisten Stammesangehörige aus 116 verschiedenen Ländern an, um in ihrer multikulturellen Mischung eine durchweg positive Vision für die Zukunft zu manifestieren: We Are One – Wir sind eins!
NATUR
Die Kulisse für unser Stammestreffen gestaltet die wohl besten Dekorateurin überhaupt: Mutter Natur. Jene jahrhundertealte iberische Baumlandschaft der umliegenden Hügel, versonnene Gärten und der weitläufige See, in dem sich die Magie des August-Vollmonds spiegelt, schaffen ein einzigartiges Panorama.
STRAND
Nachdem du dich in schwitzende Trance getanzt hast oder wenn dir die Wärme des portugiesischen Sommers zuviel werden sollte: Die nötige Erfrischung ist maximal ein paar hundert Meter entfernt - egal wo du gerade bist. Der große See bestimmt nicht nur das Bild der Boom, sondern auch ihre Stimmung. Wie beim Strandurlaub kannst du jene fließende Ruhe des Wassers aufsaugen, die dich sanft umspült.
DESIGN FÜR DEN GEIST
Das Liminal Village bietet Gelegenheit, dir dein Oberstübchen neu einzurichten: Mit Lebensphilosophie und praktischem Wissen. Im intellektuellen Brennpunkt der Boom finden Vorträge und Diskussionen zu Themen wie Aktivismus, Psychedelik, Freie Kultur, Rituale der Ahnen, Mythologie, Ökologie, Traumlandschaften, Permakultur, Trance, Heilige Pflanzen oder Alternative Medizin und Wissenschaft statt. Dazu waren in den letzten Jahren Referenten wie Vandana Shiva, Alex Grey, Daniel Pinchbeck, Graham Hancock, Robert Venosa, Erik Davis und Shipibo Don Guillermo Arevalo zu Gast. Ein Filmprogramm zur neuen, planetarischen Kultur bietet noch mehr Stimulation auf intellektueller Ebene.
PSYCHEDELISCHES KUNSTMUSEUM
Was ist psychedelische Kunst, was visionäre? Will sie die Eindrücke einer psychedelischen Erfahrung wiedergeben? Will sie ähnliche Emotions- und Assoziationsstrukturen auslösen wie eine Vision? Mach dir selbst ein Bild! In atemberaubender Vielfalt präsentieren einige der talentiertesten Maler von allen Kontinenten des Planeten ihre bewusstseinserweiternden Werke.
INSTALLATIONEN
Bildende Kunst stößt die Pforten unserer Wahrnehmung weit auf und eröffnet uns so die Sicht auf Aspekte unserer Realität, welche normalerweise hinter dem Grauschleier des Alltags verborgen liegen. Um dich mitten hinein in dieses ästhetisch-surreale Paralleluniversum zu katapultieren, kommen überall auf dem Gelände Medien wie Malerei, Bildhauerei, Land Art oder Video zum Einsatz. Sie lassen deine Reise über die Boom zu einer Reise in eine außerirdische Welt von fremdartiger Schönheit werden.
MUSIK
Über verschiedene Tanzplätze verteilt verwirklicht die Boom ihre psychedelische Vision im Spektrum der hörbaren Frequenzen. Dabei entstehen viele verschiedene Rhythmus- und Harmonie-Texturen die alle darauf abzielen, deine Synapsen zu kitzeln, deine Fantasie zu stimulieren und dich zu beflügeln. Die Klanglandschaften der Boom erstrecken sich auf Genres wie Psytrance, Progressive, Dub, Bass Music, Dubstep, World Music, Glitch, Nu Funk, IDM, Cosmic oder Psy Brakes. In ihrer Gesamtheit schwingen sie sich zum kosmischen Groove der universellen Liebe auf!
TANZTEMPEL
Mit jedem Herzschlag der Boom bebt das portugiesische Hinterland. Im monumentalen Tanztempel verschmelzen utopische Zukunftsvisionen und das archaische Ritual des Stammenstanz zu einer einzigartigen Trance-Erfahrung. Um euer Bewusstsein dorthin zu schicken, wo Worte zu Hülsen und Bedeutungen zu Variablen werden, haben wir einige der besten DJs, Liveacts und Tribal Bands eingeladen, uns mit extralangen Sets zu verzaubern. Denn Qualität ist wichtiger ist als Masse. Mit viel Liebe zum Detail planen wir eine Reise durch jene multidimensionale Welt namens Psy, wobei wir in Regionen wie Dark, Twilight, Forest, Tribal, Prog, Full-On, Groovy Full-On, Goa und Nu-Goa vorstoßen.
Die Grundidee der Boom unterscheidet sich ganz erheblich von der einer kommerziellen Massenproduktion. Wir möchten raus aus dem Schattenreich des Egoismus, hinein in eine kollektive Erfahrung. Mithilfe von DJs, VJs, Dekorateuren, Designern und -am allerwichtigsten- mithilfe von euch, den Boomern. Auf dass wir unsere multikulturelle kreative Energie zu einer wahrhaft großen Erfahrung vereinen: Wir sind eins!
UMWELT
Auf der Boom werden die Erkenntnisse und Prinzipien der Permakultur in ein Festival umgesetzt. So wird ganz konkret erfahrbar: Auch große, internationale Menschenansammlungen lassen sich mit maximalem Respekt vor unserer heiligen Mutter Natur vereinbaren. Dieser Ansatz wurde in den Jahren 2008 und 2010 mit dem Greener Festival Award ausgezeichnet, 2010 und 2012 außerdem mit dem European Festival Award.
Auf der Boom kommen ausschließlich Komposttoiletten zum Einsatz. Das Nutzwasser wird mithilfe von Pflanzen zu 100% wiederaufbereitet. Es gibt kostenlose Taschenaschenbecher. Für die Generatoren wird gebrauchtes Pflanzenöl verwendet. Außerdem nutzen wir Technologien wie Solarenergie, Windräder, Biobau und ökologische Abwasserentsorgung, die jedes Jahr weiterentwickelt werden. Auch hier gilt: Die Boom seid ihr, die Boomer. Tragt bitte dazu bei, dass sie ein nachhaltiges Festival ist. Respektiert Mutter Natur und hinterlasst keinen Müll!
SPIRITUALITÄT
Anreize für spirituell-sozialen Aktivismus, die sich in Form von Yoga, Ayurveda, Tai Chi, Kung Fu, Watsu, Therapien, alternativen Heilmethoden und ganzheitlichen Lehren manifestieren. Auch das ist ein zentraler Aspekt unserer Vision. Denn die Harmonie zwischen Geist und Körper ist ein erster Schritt in Richtung globale Harmonie.
INFRASTRUKTUR
Freies Wasser. Freies Camping. Freier Wohnmobil-Park. Babyboom für die jüngsten Boomer (bring deine Familie mit zur Boom!) Freie medizinische Versorgung. Freies WIFI. Schließfächer. Boom-Busshuttle von den Flughäfen Lissabon und Madrid. 100% Komposttoiletten. 100% Aufbereitung des Duschabwassers mithilfe von Pflanzen. Ayurvedische Apotheke. Spezielle Einrichtungen für Behinderte. Lebensmittelgeschäft. Gemeinschaftsküchen. Und vieles, vieles mehr!
LOGO-FREIE ZONE
Die Boom finanziert sich einzig und allein über den Ticketverkauf, sie ist frei von jeglichem Firmen-Sponsoring und wird es immer sein. Auch in dieser Hinsicht möchten wir einen Freiraum schaffen, in dem sich der menschliche Geist unbefangen ausbreiten und entfalten kann.
Obwohl das Boom Team den Rahmen schafft – das eigentliche Erlebnis, die eigentliche Inspiration und der eigentliche Geist lebt in euch. Denn ihr seid die Energie, ausgehend von euch kann sich diese Welt ändern.
BESONDERE BEDÜRFNISSE
Wir möchten die Einrichtungen und Angebote für Behinderte weiterentwickeln. Wenn du oder jemand deiner Freunde behindert ist, sendet uns bitte bis Juni 2014 eine Email um optimale Bedingungen zu garantieren: specialneeds@boomfestival.org
FLEXIBLE EINTRITTSPREISE
Unser globaler Stamm ist in vielen verschiedenen Ländern zuhause, in denen ganz unterschiedliche Einkommensverhältnisse herrschen. Außerdem leben wir in Zeiten des finanziellen Abschwungs. Wir waren sehr betroffen als wir nach der Boom 2012 hörten, dass einige Menschen schlichtweg nicht genug Geld aufbringen konnten um Teil der kollektiven Erfahrung zu sein. Deshalb haben wir uns entschieden, auf diese Tatsache mit einem flexiblen Eintrittsmodell zu reagieren. Es gibt spezielle Ticketpreise für Länder außerhalb der Europäischen Union, der USA, Kanada, Australien, Neuseeland und Japan. Außerdem für jene Länder, die aktuell die ökonomischen Spekulationen der Rating-Agenturen und der IMF durchlaufen: Portugal, Irland, Griechenland und Spanien. Diese Tickets sind nur bei den Boom Botschaftern des jeweiligen Landes erhältlich, nicht über die Webseite der Boom.
www.boomfestival.org/boom2014/multilingual/deutsch
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