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The two of us, of very different age groups, capture the action on this O-gauge layout, part of the Tampa Train Day 2023 celebrations at Tampa Union Station.
Lance Cpl. Christopher Willis, a Squad Automatic Weapon gunner with Golf Company, 2nd Battalion, 3rd Marine Regiment, snaps pictures of merchants at Khalaj Bazaar, Garmsir District, Helmand province, Afghanistan, on “Bazaar Friday,” Feb. 25. On Fridays, Khalaj Bazaar draws an average of about 3,000 villagers who gather to buy and sell livestock, meat, poultry, textiles, and various wares. The bazaar draws traders from as far as Herat province, in Western Afghanistan. (U.S. Marine Corps photo by Sgt. Jesse Stence/Released)
My photographer friend, Wheaton Mahoney snapped a picture of me last week at an event at our kids school.
model: Krissy
inspired by the late great Dan Fogelberg.
Captured angel aching to make your break
Your freedom's at stake
You better fly now
France, Summer 1944. A German convoy heads towards the Allied Beacheads. A Dingo Scout Car captured from the British leads two Tiger heavy tanks.
Memorial Day Service at Old St Paul's, Wellington - May 30, 2011.
Related:
Remarks by the President at a Memorial Day Service
Arlington National Cemetery
Arlington, Virginia
11:25 A.M. EDT
THE PRESIDENT: Thank you. Thank you so much. Please be seated.
Thank you, Secretary Gates, and thank you for your extraordinary service to our nation. I think that Bob Gates will go down as one of our finest Secretaries of Defense in our history, and it’s been an honor to serve with him. (Applause.)
I also want to say a word about Admiral Mullen. On a day when we are announcing his successor as Chairman of the Joint Chiefs of Staff, and as he looks forward to a well-deserved retirement later this year, Admiral Mullen, on behalf of all Americans, we want to say thank you for your four decades of service to this great country. (Applause.) We want to thank Deborah Mullen as well for her extraordinary service. To Major General Karl Horst, the commanding general of our Military District of Washington; Mrs. Nancy Horst; Mr. Patrick Hallinan, the superintendent of Arlington National Cemetery, as well as his lovely wife Doreen. And to Chaplain Steve Berry, thank you for your extraordinary service. (Applause.)
It is a great privilege to return here to our national sanctuary, this most hallowed ground, to commemorate Memorial Day with all of you. With Americans who’ve come to pay their respects. With members of our military and their families. With veterans whose service we will never forget and always honor. And with Gold Star families whose loved ones rest all around us in eternal peace.
To those of you who mourn the loss of a loved one today, my heart breaks goes out to you. I love my daughters more than anything in the world, and I cannot imagine losing them. I can’t imagine losing a sister or brother or parent at war. The grief so many of you carry in your hearts is a grief I cannot fully know.
This day is about you, and the fallen heroes that you loved. And it’s a day that has meaning for all Americans, including me. It’s one of my highest honors, it is my most solemn responsibility as President, to serve as Commander-in-Chief of one of the finest fighting forces the world has ever known. (Applause.) And it’s a responsibility that carries a special weight on this day; that carries a special weight each time I meet with our Gold Star families and I see the pride in their eyes, but also the tears of pain that will never fully go away; each time I sit down at my desk and sign a condolence letter to the family of the fallen.
Sometimes a family will write me back and tell me about their daughter or son that they’ve lost, or a friend will write me a letter about what their battle buddy meant to them. I received one such letter from an Army veteran named Paul Tarbox after I visited Arlington a couple of years ago. Paul saw a photograph of me walking through Section 60, where the heroes who fell in Iraq and Afghanistan lay, by a headstone marking the final resting place of Staff Sergeant Joe Phaneuf.
Joe, he told me, was a friend of his, one of the best men he’d ever known, the kind of guy who could have the entire barracks in laughter, who was always there to lend a hand, from being a volunteer coach to helping build a playground. It was a moving letter, and Paul closed it with a few words about the hallowed cemetery where we are gathered here today.
He wrote, “The venerable warriors that slumber there knew full well the risks that are associated with military service, and felt pride in defending our democracy. The true lesson of Arlington,” he continued, “is that each headstone is that of a patriot. Each headstone shares a story. Thank you for letting me share with you [the story] about my friend Joe.”
Staff Sergeant Joe Phaneuf was a patriot, like all the venerable warriors who lay here, and across this country, and around the globe. Each of them adds honor to what it means to be a soldier, sailor, airman, Marine, and Coast Guardsman. Each is a link in an unbroken chain that stretches back to the earliest days of our Republic -- and on this day, we memorialize them all.
We memorialize our first patriots -- blacksmiths and farmers, slaves and freedmen -- who never knew the independence they won with their lives. We memorialize the armies of men, and women disguised as men, black and white, who fell in apple orchards and cornfields in a war that saved our union. We memorialize those who gave their lives on the battlefields of our times -- from Normandy to Manila, Inchon to Khe Sanh, Baghdad to Helmand, and in jungles, deserts, and city streets around the world.
What bonds this chain together across the generations, this chain of honor and sacrifice, is not only a common cause -- our country’s cause -- but also a spirit captured in a Book of Isaiah, a familiar verse, mailed to me by the Gold Star parents of 2nd Lieutenant Mike McGahan. “When I heard the voice of the Lord saying, ‘Whom shall I send? And who will go for us?’ And I said, ‘Here I am. Send me!”
That’s what we memorialize today. That spirit that says, send me, no matter the mission. Send me, no matter the risk. Send me, no matter how great the sacrifice I am called to make. The patriots we memorialize today sacrificed not only all they had but all they would ever know. They gave of themselves until they had nothing more to give. It’s natural, when we lose someone we care about, to ask why it had to be them. Why my son, why my sister, why my friend, why not me?
These are questions that cannot be answered by us. But on this day we remember that it is on our behalf that they gave our lives -- they gave their lives. We remember that it is their courage, their unselfishness, their devotion to duty that has sustained this country through all its trials and will sustain us through all the trials to come. We remember that the blessings we enjoy as Americans came at a dear cost; that our very presence here today, as free people in a free society, bears testimony to their enduring legacy.
Our nation owes a debt to its fallen heroes that we can never fully repay. But we can honor their sacrifice, and we must. We must honor it in our own lives by holding their memories close to our hearts, and heeding the example they set. And we must honor it as a nation by keeping our sacred trust with all who wear America’s uniform, and the families who love them; by never giving up the search for those who’ve gone missing under our country’s flag or are held as prisoners of war; by serving our patriots as well as they serve us -- from the moment they enter the military, to the moment they leave it, to the moment they are laid to rest.
That is how we can honor the sacrifice of those we’ve lost. That is our obligation to America’s guardians -- guardians like Travis Manion. The son of a Marine, Travis aspired to follow in his father’s footsteps and was accepted by the USS [sic] Naval Academy. His roommate at the Academy was Brendan Looney, a star athlete and born leader from a military family, just like Travis. The two quickly became best friends -- like brothers, Brendan said.
After graduation, they deployed -- Travis to Iraq, and Brendan to Korea. On April 29, 2007, while fighting to rescue his fellow Marines from danger, Travis was killed by a sniper. Brendan did what he had to do -- he kept going. He poured himself into his SEAL training, and dedicated it to the friend that he missed. He married the woman he loved. And, his tour in Korea behind him, he deployed to Afghanistan. On September 21st of last year, Brendan gave his own life, along with eight others, in a helicopter crash.
Heartbroken, yet filled with pride, the Manions and the Looneys knew only one way to honor their sons’ friendship -- they moved Travis from his cemetery in Pennsylvania and buried them side by side here at Arlington. “Warriors for freedom,” reads the epitaph written by Travis’s father, “brothers forever.”
The friendship between 1st Lieutenant Travis Manion and Lieutenant Brendan Looney reflects the meaning of Memorial Day. Brotherhood. Sacrifice. Love of country. And it is my fervent prayer that we may honor the memory of the fallen by living out those ideals every day of our lives, in the military and beyond. May God bless the souls of the venerable warriors we’ve lost, and the country for which they died. (Applause.)
END 11:37 A.M. EDT
Early morning photographer on Wellington waterfront; early flight north from Wellington Airport and Paul Dibble's Fruits of the Garden greet the dawn.
Railway Department capture of marketing staff at professional training course (Railway Dept No.1075, c1984).
View the original image at Queensland State Archives:
The writing says: German Self propelled artillery gun “Ferdinand”, captured with it’s crew by fighters of 129 division.
As we were leaving the History Center florists were busily filling the ballroom and lobby with flowers for an after hours private wedding reception.
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"From curated gardens to native Piedmont forest, no other place in Atlanta captures the variety of landscapes that have shaped our city’s history."
www.atlantahistorycenter.com/buildings-and-grounds/goizue...
Goizueta Gardens is a 33-acre landscape encompassing nine distinct gardens—including preserved woodland, diverse plant collections, and heritage-breed animals.
Olguita’s Garden: - This ornamental garden is in bloom throughout the year, with a rich tapestry of flowering and foliage plants selected for color, fragrance, texture, and an English garden aesthetic. The garden spans the entire rear façade of the Atlanta History Museum, encompassing an amphitheater for seating. Double borders lead to Neel Reid-designed columns, encircling a reflective water feature. This garden celebrates the life of Goizueta Gardens honoree Olga “Olguita” C. de Goizueta.
Smith Farm Gardens: - Explore a variety of heirloom plants, flowers, and animal breeds at Smith Farm. The landscape represents Smith Farm in its early era, with historic varieties of crops in the fields, the enslaved people’s garden, the kitchen garden, and a swept yard by the house planted with heirloom flowers such as love-lies-bleeding (Amaranthus sp.) and rose campion (Lychnis coronaria). Surrounding the farm’s outbuildings are naturalistic, native plantings. Heritage-breed sheep, goats, chickens, and turkeys are representative of the types of livestock found on this type of farm.
Smith Farm tells the story of Georgia farm life and enslavement at Atlanta’s oldest surviving farmhouse. The farm accurately represents a working slaveholding farm of the Atlanta area in the 1860s with historic buildings moved here for preservation. The landscape represents Smith Farm in its early era, with historic varieties of crops in the fields, the enslaved people’s garden, the kitchen garden, and a swept yard by the house planted with heirloom flowers such as love-lies-bleeding (Amaranthus sp.) and rose campion (Lychnis coronaria). Surrounding the farm’s outbuildings are naturalistic, native plantings. Heritage-breed sheep, goats, chickens, and turkeys are representative of the types of livestock found on this type of farm.
Entrance Gardens - The Entrance Gardens and 60-foot Tree Table are the newest additions to our campus and span eight acres, welcoming guests all year long.
Inspired by the New Perennial Movement and a desire to create a sustainable urban landscape, this series of unique garden spaces feature sweeping perennial beds and pollinator-attracting plants. Special care has been taken to incorporate and emphasize native plants.
The New Perennial Movement, an evolution of the Dutch Wave and the New American Garden, inspired the Entrance Gardens’ design. Unique amongst the more traditional Atlanta styles including classic boxwood and mixed border aesthetics, this style of garden is meant to emulate the American prairie. Well known examples of the New Perennial Movement in the U.S. include New York City’s High Line and the Lurie Garden in Chicago’s Millennium Park.
The style is typified by a natural, sweeping color story created by the interwoven placements of mass perennial plantings, with emphasis on grasses. As the gardens grow over the next few years, there will be no bare ground to be seen, creating a seamless landscape. Unlike our usual American habit of tidying up gardens, the Entrance Gardens will not be universally cut back in fall. Instead, plants will be left standing all winter as they would in the wild—encouraging moisture retention in the soil, preventing erosion, and providing habitat for wildlife.
The plant selection and management of this style of garden is rooted in responsible stewardship of the environment. The plants selected do not require extra fertilization or other chemical inputs because they are carefully matched to the variety of soil and light conditions presented in these gardens.
Over half of the 10,000 plants that have been placed in the Entrance Gardens so far are native to Georgia, including uncommon species that deserve wider recognition and use in gardens. Goizueta Gardens staff researched plants that support high numbers of pollinators to be used in large quantities. The result is a garden buzzing with pollinators—which also means it will attract birds who eat insects and rely on insect larvae for their young.
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Captured 13 Sep 2019, 00:07 hrs ET, Springfield, VA, USA. Bortle 8 skies, MallinCam DS10c camera, 8 inch SCT f6.1, E 2 sec, G 60, stack 30, no filter.
Clouds: partly cloudy
Seeing: 30
Transparency: 30
FOV: 36 x 48 arcmin, image cropped
Moon phase: 29%
Appearance: light blue disc.
Apparent magnitude: +8
Size: 2.3 arcsec
Note: The adjacent star-like object is likely Neptune's largest moon Triton. Max separation is 9-16 arcsec and apparent magnitude is +13.5. Triton orbits Neptune every 5.9 days. Neptune has 14 known moons. Also, the haze around the globe in the image is most likely an artifact, vice the faint ring system.
from Wikipedia
Neptune is the eighth and farthest-known planet from the Sun. In the Solar System, it is the fourth-largest planet by diameter, the third-most-massive planet, and the densest giant planet. It is 17 times the mass of Earth, slightly more massive than its near-twin Uranus. Neptune is denser and physically smaller than Uranus because its greater mass causes more gravitational compression of its atmosphere. The planet orbits the Sun once every 164.8 years at an average distance of 30.1 AU (4.5 billion km; 2.8 billion mi). It is named after the Roman god of the sea and has the astronomical symbol ♆, a stylized version of the god Neptune's trident.
Neptune is not visible to the unaided eye and is the only planet in the Solar System found by mathematical prediction rather than by empirical observation. Unexpected changes in the orbit of Uranus led Alexis Bouvard to deduce that its orbit was subject to gravitational perturbation by an unknown planet. After Bouvard's death, the position of Neptune was predicted from his observations, independently, by John Couch Adams and Urbain Le Verrier. Neptune was subsequently observed with a telescope on 23 September 1846 by Johann Galle within a degree of the position predicted by Le Verrier. Its largest moon, Triton, was discovered shortly thereafter, though none of the planet's remaining 13 known moons were located telescopically until the 20th century. The planet's distance from Earth gives it a very small apparent size, making it challenging to study with Earth-based telescopes. Neptune was visited by Voyager 2, when it flew by the planet on 25 August 1989; Voyager 2 remains the only spacecraft to visit Neptune. The advent of the Hubble Space Telescope and large ground-based telescopes with adaptive optics has recently allowed for additional detailed observations from afar.
Like Jupiter and Saturn, Neptune's atmosphere is composed primarily of hydrogen and helium, along with traces of hydrocarbons and possibly nitrogen, though it contains a higher proportion of "ices" such as water, ammonia and methane. However, similar to Uranus, its interior is primarily composed of ices and rock; Uranus and Neptune are normally considered "ice giants" to emphasize this distinction. Traces of methane in the outermost regions in part account for the planet's blue appearance.
In contrast to the hazy, relatively featureless atmosphere of Uranus, Neptune's atmosphere has active and visible weather patterns. For example, at the time of the Voyager 2 flyby in 1989, the planet's southern hemisphere had a Great Dark Spot comparable to the Great Red Spot on Jupiter. These weather patterns are driven by the strongest sustained winds of any planet in the Solar System, with recorded wind speeds as high as 2,100 km/h (580 m/s; 1,300 mph). Because of its great distance from the Sun, Neptune's outer atmosphere is one of the coldest places in the Solar System, with temperatures at its cloud tops approaching 55 K (−218 °C; −361 °F). Temperatures at the planet's centre are approximately 5,400 K (5,100 °C; 9,300 °F). Neptune has a faint and fragmented ring system (labelled "arcs"), which was discovered in 1984, then later confirmed by Voyager 2.
Various Artists
Wednesday 6 - Friday 8 November, Check listing for times
Various Locations
Various Locations
Street Talks is a series of quickfire public talks, part of the Re@ct: Social Change Art Technology Symposium. Rather than your typical poster session, these talks will take place on the streets of Dundee in various locations. Free speech is essential to political and social change – these artists are quite literally taking it to the streets to share their creative practices.
Luisa Charles & Elke Reinhuber –Wednesday 6th November, 2pm, Slessor Gardens
Luisa Charles – discusses the intersections of disability and design, and how novel bespoke design practices could offer a solution to designing for all needs, where universal design could not. These design ideologies, that include co-design, individual centred design, mass customisation, and mass personalisation, are exemplified by case studies from pop culture design media, such as the Fixperts and BBC’s Big Life Fix. She analyses the social, technological, and economical shifts that are required for these practices to become mainstream, and the capability of bespoke design to cause enough disruption within the design economy to create a shift in capitalism.
Elke Reinhuber – The Urban Beautician moved recently from the speckless city state of Singapore, where she already developed her retirement plans, across the South China Sea, to protest-ridden Hong Kong. There, she observed how much effort the cleaners put up to keep these megapolises scrubbed and tidy. As they are frequently overlooked, the Urban Beautician captured some of them during their relentless daily routine. While they have adapted themselves to their particular duties, their skills are hardly ever honoured or even acknowledged. Paying homage to their Sisyphean challenge, they can be positioned now anywhere through Augmented Reality and venerated as perpetualised sculptures of our everyday heroes.The Urban Beautician tries to improve neglected details in our urban environment with interventions in public space and performances to camera. Since more than a decade she cares for things most people are oblivious to.
Ibarieze Abani and Daisy Abbott & Anders Zanichkowsky – Thursday 7th November, 1:30pm, Albert Square, by McManus Gallery Steps
Ibarieze Abani and Daisy Abbott – Transmedia storytelling uses multiple delivery channels to convey a narrative in order to provide a more immersive entertainment experience (Jenkins, 2009). Transmedia activism can be very broadly defined as using storytelling to “effect social change by engaging multiple stakeholders on multiple platforms to collaborate toward appropriate, community-led social action” (Srivastava, 2009). Activism depends on participation and collaboration within a community to avoid unsustainable or inappropriate top-down interventions. A similar concept, transmedia mobilization, uses transmedia storytelling to engage “the social base of a movement in participatory media making practices across multiple platforms” (Constanza-Chock, 2013) and also requires interaction from diverse voices from within the community.
Anders Zanichkowsky –“I Am in Your Hands: Smartphones and the erotics of the future”Social media artist and queer anarchist Anders Zanichkowsky will present excerpts and reflections from his current Grindr project, “Queen of Hearts,” as well as other recent projects reading Tarot cards on hookup apps and go-go dancing for a remote audience on Instagram. During this talk, Anders will use the same social media platforms that are the subject of his presentation, inviting you into the theory behind the work, and into the work itself. Equal parts cultural criticism, performance art, and experimental public speaking, this street talk will level the hierarchy of physical presence over virtual appearance, and scandalously suggest how thirst traps and sexting with strangers can indeed point us towards a radical future of queer intimacy and counterculture.
Mohammad Namazi & Matteo Preabianca – Friday 8th November, 1:30pm, Wellgate Centre, Victoria Road entrance
Mohammad Namazi – An Archive of Audio Disobedience, intervenes into the public realm, and collaborates with individuals, to construct a live-event. The event manifests through utilising a net-based sound archive, capable of involving participants in a collective form of sound-action, -publication, -demonstration, -performance, and -play.
The archive comprises various audio effects, sound segments, words, and computer-generated speeches – to stage a critical symphony, rooted in and derived from, socio-political concerns.
Matteo Preabianca – Mantra Marx is the eighth album for the NonMiPiaceIlCirco! Project. NonMiPiaceIlCirco! is a musical project that has been on since 2004, the year of the first album. Since then, the line-up has been in a constant change, with Matteo Preabianca the only member from the beginning. So they took The Capital from the shelf to read again. But who remembers it, especially young people? Let’s get rid of guitars and songs to give a didactic approach to the music. 25 tracks, one for each of the First Book’s 25 chapters. They use the lyrics as Hinduist mantras, where repetition is the key for a deep understanding of our life, and Marx as well. Its music, besides being lo-fi and badly made, is just an excuse. The lyrics are a summarized version of the aforementioned book, spoken by 25 different Mandarin native voices, completely unaware of the reason behind the recording. Still time to die as a Marxist(?). Developed and recorded in China.
About the Artists
Daisy Abbott is an interdisciplinary researcher and research developer based in the School of Simulation and Visualisation at The Glasgow School of Art. Daisy’s current research focusses on game-based learning, 3D visualisation, and issues surrounding digital interaction, documentation, preservation, and interpretation in the arts and humanities. She also collaborates with artists on works aiming to explore the nature of digital interactivity and digital art.
Luisa Charles is an interaction designer, multidisciplinary artist, and filmmaker. Having been exhibited in the Science Museum, Science Gallery London, London Design Festival, and various film festivals, amongst others, her work spans many themes across science and technology, social politics, and personal narratives. She specialises in installation design and physical computing, experience design, fabrication, and videography, and her work often comes under the umbrella of speculative and critical design. Her work focuses heavily on research processes, and forms itself organically through investigation and experimentation.
Ibarieze Abani is a recent Masters graduate in Serious Games and Virtual Reality at the Glasgow School of Art, where she has carried out projects about cultural heritage, gender inequality, transmedia storytelling and climate policy. She is an advocate of the capabilities of interactive digital media as a tool for opening up dialogues surrounding large scale themes such as climate justice, social justice and intersectionality. She has a keen interest in working with people using digital media to make meaningful and tangible differences on a societal scale.
Mohammad Namazi (b. 1981. Tehran) is an artist, educator and researcher based in London. Mohammad works through means of de-construction, collaboration, process, unlearning, and telematics systems within social and cultural realms. The studio operates as a research-lab for inter-disciplinary projects that can span video, sound, liveevents, graphics, photography, sculptural structures, and internet-based projects. He received his doctorate from UAL research in 2019, and currently teaches as visiting lecturer at Wimbledon, and Chelsea College of Arts. Mohammad is a member of research cluster Critical Practice.
Matteo Preabianca- Music and Languages…Music and Languages? How come? Matteo starts playing violin when he was a child, but he did not like it, especially when he tried to beat it on the table. It did not make any good sound. So, better drumming, right? Meanwhile playing and spending a lot his mum’s money to buy records he realised even speaking other languages was not so bad. Especially when he invented his own. Step by step, he turned into a music and languages teacher.
Elke Reinhuber is not your average artist, because she became a specialist on choice, decision making and counterfactual thoughts in media arts. Currently, Reinhuber teaches and researches at the School of Creative Media, CityU Hing Kong and is affiliated with the School of Art, Design and Media at NTU in Singapore. In her artistic practice, she investigates on the correlation between decisions and emotions and explores different strategies of visualisation and presentation, working with immersive environments, mixed reality, imaging technologies and performance. In addition, her alter ego, the ‘Urban Beautician’ is pursuing a life which Elke didn’t follow.
Anders Zanickowsky is an American artist and activist who uses platforms like Grindr and Instagram as actual sites for performances about desire, uncertainty, and vulnerability. He is committed to José Esteban Muñoz’s concept of queer futurity in which artists refuse the oppressive confines of the present and reach instead towards what can only be imagined. He has an MFA from the University of Wisconsin-Madison (2019) and was a resident with The Arctic Circle program in Svalbard (2016). Since 2008 he has worked in movements for housing justice, prison abolition, and HIV/AIDS.
Photography Kathryn Rattray