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HAEGUE YANG
IN THE CONE OF UNCERTAINTY
NOV 2,2019-APR 5,2020
In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.
The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.
Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.
Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.
Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.
A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.
Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.
Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.
Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).
Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).
Inspired by the consistently sold-out Writing for Film & Television Summer Intensive Program, the Two-Weekend Intensive was designed for aspiring film and television writers with busy weekday schedules. Over the course of two weekends, participants learn a variety of screenwriting tools, techniques, and exercises that closely represent what students learn in the one-year Writing for Film & Television program.
Find out more about VFS’s one-year Writing for Film & Television program at vfs.com/writing.
The Bahraini Dinar (دينار) is consistently one of the world's most valued currencies, often times second only to the Kuwaiti Dinar. Because it is such a valuable currency, it is one of the few to be subdivided into 1000 units, which are called fils (فلس).
Muharraq (or المحرق in Arabic) is Bahrain's third largest city and served as its capital until 1932 when it was replaced by Manama. The population of Muharraq in 2012 was 176,583.
The city is located on Muharraq Island and has long been a center of regional culture. Bahrain International Airport is also located on the island. Adjacent to Muharraq are the man-made Amwaj Islands, known for their large buildings, hotels and beaches. Muharraq is home to Muharraq Club, which is Bahrain's most successful football club. It is home to the famous Siyadi House. The city is also known for its souq (traditional market) and as a home of traditional arts and music.
Information from: en.wikipedia.org/wiki/Muharraq
"-Beyonce Knowles,Etta James, Donto James and Music Manager Kathleen Checki,."
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HAEGUE YANG
IN THE CONE OF UNCERTAINTY
NOV 2,2019-APR 5,2020
In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.
The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.
Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.
Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.
Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.
A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.
Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.
Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.
Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).
Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).
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Wolfenfiiiiiiiine
Game: Wolfenstein 2: The New ColossusDeveloper: Machine GamesPublisher: Bethesda SoftworksReviewed on: PS4 (Review copy provided)
Captain ‘BJ’ Blazkowicz, star of Wolfenstein’s newest reboot, is not a great protagonist on paper. He has an annoyingly square head, like a child’s drawing of Superman, and consistently speaks so gruffly as to be borderline unintelligible, as if words just get tangled up in all his testosterone. It’s like Solid Snake and Christian Bale’s Batman had a really phlegmy child. He’s nothing new. Big, handsome white guys with guns and difficulty conveying emotions are not original in the world of videogames.
Ol’ BJ has one redeeming feature though. He properly hates Nazis, like an X-rated Captain American pre-heel turn. I don’t mean ‘nazi’ in the way your mate Karen from Twitter uses it to describe everyone who disagrees with her because she once followed a vegan account for a week and thinks she’s basically a communist for voting Labour. I don’t even mean a pejorative term for people who point out you can’t use basic English so you try to cover up for it by comparing your corrector to the literal third reich. No, I mean proper Nazis.
It used to always be that Nazis were a pretty stock villain. You knew where you were with a Nazi. Even Britain, a country that can’t make a single decision that doesn’t send us further down shit creek at the moment, used to be united behind one thing; Nazis are shit, mate. Recently things got a bit muddied, though. Nazis got twitter and tiki torches and started acting like they were real people who should be listened to. Some people got confused by this; are Nazis human after all? Should we hear them out?
But Nazis aren’t for listening to, lads. Nazis are for punching.
Enter Wolfenstein 2: The New Colossus. Much of the build-up to this has been Bethesda happily trolling alt-right mouth-breathers online through their promo materials and trailers, so much so that these stings may have even stolen some attention away from the game itself. The rebooted Wolfenstein series is not only here to remind everyone what Nazis are for, though. I fully expected predecessor The New Order to be a by-numbers FPS, like CoD: Steampunk Edition. What I found instead was a game full of fun ideas and set-pieces with a strong identity, trying it’s best to do something with a fairly tired genre. Picking up directly after this, The New Colossus sees our man BJ not feeling exactly 100%. He’s frail, literally in a wheelchair at one point, and having quite a serious think about death and that.
I want to start with the less enjoyable parts of the game. This is because Wolfy 2 is indeed (spoiler alert) a great experience worthy of attention; a single player game (something that’s practically on the endangered species list these days) that isn’t demanding any money from you during the gameplay, and with a strong story and excellent characters.
First of all… the game is hard. Some of this is undoubtedly intentional; Blazkowicz believes he is on his way out from the off, and he’s a weaker soldier for it for a significant part of the game. Find yourself in a room full of Nazis and it’s easy to come a cropper unless you’re super careful with cover, which is at odds with the game constantly urging you on to be gung-ho and batter every Nazi as soon as they appear. The aforementioned wheelchair section, in which your turning speed is reduced and you’re not able to hold a gun ready at all times, is the FIRST SECTION. At least give us a warm-up here, guys. Without ruining things, he does regain some of his old strength in later parts, but by then the enemies have gotten a little stronger as well.
Some of those enemies are far tougher than they have any right to be, too. Despite wearing minimal armour, some standard-issue assailants can take a serious amount of bullets before they take a nap, while some of the bigger behemoths are total bullet sponges. Add into that the airborne drones that dart around unpredictably during every mass brawl and things can get frustrating quite quickly, even on a lower difficulty setting. To confuse things further, the game decides not to opt for the mechanic most of it’s cousins use these days; slowing down time while you choose your next gun on the weapon wheel selector. That said, you can now use the weapon wheel to dual-wield whatever you’re carrying, which is a nice touch, but a few seconds grace to navigate the sometimes sticky gun selector would have been quite nice, thanks.
What’s great about those enemies, though, is how you can just completely avoid some of them. On occasion, you’ll be confronted by a huge, Nazi behemoth robot, only to realise you can run away from it easily because they’re big and slow. I really liked having the choice that most people would probably make when confronted with a 20ft right-wing robot; to get out of there and leave it to whatever it was doing before you turned up.
The stealth doesn’t quite add up, either. On occasion while sneaking up behind a grunt they’d turn at the very last second, and spot me for all of a millisecond before I busted them up with my hatchet, which is an animation triggered by a single button press. Yet in that wordless moment they would somehow be able to raise an alarm that summons Nazis faster than a woman having an opinion online. It didn’t really wash, and seems quite unforgiving in what was already quite a tricky experience. Despite it’s protestations, Wolfy 2 is definitely a shooter; the stealth is there, but it may as well not be.
Finally, there is BJ’s vocal cords. He’s so low and gruff it’s unintentionally comical; mid-action quips and lines may as well just be fucking gargled for all the sense they make, particularly when fighting for decibels against the game’s improbably loud techno soundtrack. When the scenes arise in which the mother of his unborn children says she can’t understand him, I think she means emotionally, but she may well be talking about his appalling annunciation. Stop mumbling, you square-headed prick.
But that is the negative done with. I promise. It’s all downhill from here, or uphill depending on how you read that analogy. Because the characters and casting (even BJ with his RIDICULOUS voice) are wonderful. Following on from my time in The New Order, I chose the Fergus timeline, and was thrilled to have the hardest yet most nonchalant Scotsman (quite the achievement) in all of videogames back in my life. All of the main cast are voiced and acted beautifully, and the culmination of every caustic first meeting is a solid group of personalities you’ll miss once the credits roll.
Frau Engel takes the role of main target this time. Right from the first encounter she’s established as a completely hateful psychopath, and this is where the new Wolfy’s have always done brilliantly. They’re more than adept at eliciting the perfect emotional response; rather than being presented with cookie-cutter villains who you have to kill because the developers say so, you *really* want to take these people down, and that’s the difference between being propelled through a game rather than being dragged through it. This is built upon even further with flashbacks to BJ’s childhood, one of which was distressing in a way only cruelty to animals can be. These flashback sections are surprisingly good; rather than being poorly-aimed schmaltz they’re well acted and often funny insights into what made BJ the world’s premiere Nazi killer. Indeed, there’s even delightful new characters being introduced 4/5 of the way through, a particular favourite introduction of mine involving a fist-fight and a sniping session to the sounds of jazz clarinet.
And even beyond the characters themselves, the game oozes personality all over the gaffe. Set in an alternative reality where Hitler and his gang of pricks won the second world war, forcing the USA to surrender by way of an atom bomb, it’s a little steam-punk in places, the mesh of an old world with as-yet unknown technology. Feeling somewhat under the weather, Blazkowicz can only get around by the aid of a suit of armour that looks like something from Silent Hill in 2049. There are big, far-right robots that resemble Warhammer’s Ultramarines to contend with on a regular basis. The game is also bizarrely crude and humorous at points, something much needed in amongst all the dying and reflections on mortality. Fairly happy to have you wading through hoards of genocidal maniacs one minute and make obscene references the next, it’s a jarring sense of humour that is too rarely seen in the often po-faced world of FPS. The diaries and passing dialogue you find amongst the environments is often hilarious and most importantly brief; nobody wants to read a four page extract from a journal during a shoot-em-up, but a brief excerpt here and there to build the world is largely welcome.
The problem with the world of Wolfenstein 2 is that the good bits make the bad bits far more apparent. For example, an area many of you may have seen is the Roswell town setting. Y’know, it’s the bit from the footage where everything looks like a perfect 50’s sitcom town, all Cadillacs and ice cream parlours. But in amongst that facade, there are Nazis and KKK members rolling around, sewn in amongst everything like shit in a flan. It’s an area I;d have loved to have spent more time in, but alas, immediately from this part you’re sent packing off to yet more tunnels and grey corridors, and that’s a running theme throughout; corridors and murky, dull areas. The locales do indeed ‘go places’ and by the time the finale rolls around you’ll have laid out Nazis in quite a surprising range of places, but more often than not these are a bit standard-looking. Nevertheless, MachineWorks produces a couple of surprising ways to navigate these environments at least. Rather than showing its hand right at the start, it’s over halfway through the game before you’re suddenly thrown something of a curve ball which results in BJ’s skills expanding.
VERDICT
What we have here, then, is a game contrary to the developing trend. Whereas for other big developers, the main focus is on perfecting open world environments, online communities and loot boxes *vomits*, Wolfenstein flies in the face of that. It’s a contained single-player game that’s real strength is story and personality, but also has solid and satisfying gun-feel and cathartic shooting. There are numerous set-pieces to bring a smile to your face that show real invention, all of which adds up to mean this is well worth checking out, particularly if you want to fuck up some Nazis.
And if you don’t? Well, you definitely wouldn’t want to be on the wrong side of Captain Blazkowicz…
9/10
The post Wolfenstein 2: The New Colossus Review (In Progress) appeared first on Next-Gen Gaming Blog.
Wolfenstein 2: The New Colossus Review (In Progress) published first on ift.tt/2zb23eR
Inspired by the consistently sold-out Writing for Film & Television Summer Intensive Program, the Two-Weekend Intensive was designed for aspiring film and television writers with busy weekday schedules. Over the course of two weekends, participants learn a variety of screenwriting tools, techniques, and exercises that closely represent what students learn in the one-year Writing for Film & Television program.
Find out more about VFS’s one-year Writing for Film & Television program at vfs.com/writing.
FedEx has pretty consistently sent one A300 to Orange County every afternoon for the last few years, but its route has varied; today, it's flight FX 1369 from Oakland (OAK.)
Very rare tilting Great Helm, probably Bruges or Brussels, circa 1490-1500, adapted for a funerary achievement. In the heavily patinated condition consistent with armour preserved in churches, with tall finely formed skull rising to a low medial ridge extending rearwards to the base of the nape, the base drawn out in a blunt point over the top of the spine, studded with domed lining rivets, pierced for visor pivots, and pierced for a crest, now carrying a hook for funerary suspension, the visor of heavy guage construction now riveted static, the front formed with a blunt prow, full length medial ridge, basal flange, the lower edge of the sight projecting forward of the upper edge, and cut with a single rectangular ventilation port on the right. H: 35 cm - L: 28 cm - W.: 23 cm - Wt.: 4650 g. Provenance: Sotheby's London, 21 May 1974, lot 186 (illustrated). A similar Great Helm was displayed over the tomb of John Darell, dead in 1438, in Little Chart church, Kent. Another in St. Botolph's church at Lullingstone, Kent, is almost certainly that of Sir John Pechy, dead in 1522. On the basis of a comparable etched armet for the field made in the Royal Armoury at Greenwich, Sir James Mann concluded that this helm, as well as all others of this type, was of English manufacture. More recently, an armourer's mark struck twice, a crowned H, was noticed on Sir John Pechy's helm. Claude Blair suggested that it could be the mark of "Han" or "Hans" Jehan Watt of Brussels, chief supplier of armour between 1495 and 1508, according to the Burgundian Treasurer's accounts. This mark is also found on an armour for the Joust Royal, made around 1500 either for the Emperor Maximilian I or for his son Philip, and on a cuirass made for Philip IV (The Handsome), Duke of Burgundy, each preserved in the Imperial Armoury at the Kunsthistorishes Museum, Vienna (No. S.II and A109a). A tilting helm for the Jousts of Peace or Joust Royal, struck with the same armourer's mark, is in the Royal Armouries Leeds (IV. I); its skull is of an identical design to the present example. The attribution of this tilting helm to the armourers' workshops of Bruges or Brussels is supported by the similarity of its shape with documented examples, and by the historical fact that English armourers of this period did not have an international reputation; this was acquired only in the early 16th century through the works of the Royal Almain Armoury at Greenwich. At the end of the 15th and the beginning of the 16th century, the English wealthy aristocracy was seeking its armour in Northern Italy and Southern Germany, and also from the famous Burgundian workshops. See, LAKING, Guy, A Record of European Arms and Armour, London 1920, vol. II, p. 153, ill.491a & volume V p.195. MANN, James, Two helmets in St Botolph's Church, Lullingstone, Kent, The Antiquaries Journal, April 1932 (vol. XII, No.2), pp.136-141, pl. XXVII. BLAIR, Claude, The Lullingstone Helm, The Antiquaries Journal, 1998 (vol. 78). DUFTY, Arthur Richard, European Armour in the Tower of London, 1968, pl. LXXXIII. SOUTHWICK, Leslie, The Great Helm in England, Arms and Armour Journal of the Royal Armouries, vol.3, No. 1, Spring 2006, pp. 5-77, fig. 47 p.54 & fig. 58 p.64.
Nowadays the helm can be seen in the Château Castelnaud, Dordogne, France.
As many will have noticed, there is one photographer featured more consistently and more frequently here than any other. But I don't think there have ever been six images by Bogna Kuczerawy in a single mosaic of mine before. The Girl - #36, a welcome return of an image first seen in her deleted account, is a wonderful example of her melancholy, vulnerable mode. I would say one of the new images - exQuizzite, #1 - is in a similar vein, as far as the mood of the photo goes. It also shows, in a starker style than usual (and one which some may not associate with the soubriquet 'Exquizzite' so much as her richer, more colourful work) her subtle way with texture and toning. Every spot, every streak, every blur is perfectly judged.
closing of the doors, one of the four photos at the centre of the mosaic, and a reworking of a previous photo, shows her applying that same subtlety in (gorgeously golden) colour. I alluded to water last time, an image which, despite Q's uncertainty about posting, has now received some 500 faves, and understandably so. parallel world, parallel lives is an excitingly different image, and a perfect example of Quizz's range. What I find striking about this is the fact that we're only seeing the subject behind and (reflected) in glass, with an intriguing vista of lit rooms showing up between the open glass doors. I want to pose for Gian Paolo Tomasi prompted this comment from me: such sweet music surely being played from a single pluck of that tautened thread - toes doing wiggly things to the notes, warbling them and warping them - the face feeling the melody.I wanna download that tune! - Q's own caption said, "There is a lot of going on in here, but i'm into some project that expands my love for baroque and rococo style."
So it's been a good week for Quizz fans :)
Indeed, she posted a further image which doesn't get included here. It is, after all, a good idea to save things for times of famine.
The title of this mosaic is taken from the caption to a double flat in Bishop #6, by Gary Isaacs:
here’s my recollection of a conversation with Melinda while we were layed up
in Bishop and i was working on the lap top
m: why do you do all that stuff to your photographs?
g: i don’t know i guess i like the way it makes them look, maybe i think it makes
them look more like the way I feel.
m: maybe you should try cleaning up your diet and smoking less
You will have gatherted from looking at these mosaics that it is quite rare for a completely untouched straight-from-camera photo to find its way here. There are, I suppose, no more than a couple in this particular mosaic. So it is the 'stuff'' that Gary and the other photographers featured here do that is being celebrated in this selection. The other Gary Isaacs photo here - south out of Elko #5, shows him doing his stuff to perfection.
I had been faveing photos for a while before starting these achukapick mosacis, so I've included here two of my favourite photos from a while ago - both wonderful bnw's: #13, a quintessential Cartier-Bresson moment, and #30, a superb photo by a very very good photographer.
I find #26, a photo of a young child by a swimming pool at night, really touching and atmospheric, and can't understand why mine is the only comment. [I am equally surprised there is currently no other comment on this marvellous misty morning photo #8.] Also highly touching is the photo right next to it Self Portrait Artist Interruptedby Haggis Chick, in which her daughter is seen mock-copying a model's pose, while the two of them sit on the bedhead. It's a lovely capture of an adoring, emulating daughter, who has obviously seen the look her mother does many times and knows it to a T. There are two other truly wonderful, lovable examples of children's expressions here. shhhhhhhhh and rugby for girls #34 and #35, both by Edward Olive. I don't have any words of analysis for them. I simply adore them!
Pretty adorable too is Red knot by Tampen #14. Just look at the expression and gesture of the younger boy.
Click on this photo #25 by eiikii and marvel at the toytown atmosphere created by the colour cast. The effect is very strange and mesmerising. As is the mood in As Yet #28 by Scarlet Pimp.
Elsewhere in the mosaic there are some truly remarkable portraits.
About Today #33 by SkyShaper is a fine and finely moving example of colour portraiture.
To all the photographers here, and to those others I visit regularly and whose work delights and inspires, thank you thank you for the stuff you do.
1. exQuizzite, 2. 4c5dc39b5-33db-4e43-a3dc-1b1616ff81f9, 3. Untitled, 4. cube, 5. south out of Elko 3/4/08, 6. a double flat in Bishop 3/14/08, 7. 07-03-1981-My Birthday!!!, 8. Untitled, 9. spring around the corner, 10. Untitled, 11. gaze after #1, 12. Untitled, 13. A day of summer, 14. Red knot, 15. water, 16. parallel world, parallel lives, 17. Pink and read, 18. Ксюшка, 19. My puppets ( Session 4 ), 20. The rehearsal, 21. I want to pose for Gian Paolo Tomasi, 22. closing of the doors, 23. imagine, 24. a visit, 25. Untitled, 26. Untitled, 27. Self Portrait Artist Interrupted, 28. As Yet, 29. room #16, 30. im such a cool girl, 31. Dreyer, 32. wedding rehearsal, 33. ABOUT TODAY, 34. shhhhhhhhh, 35. rugby for girls, 36. The Girl
Created with fd's Flickr Toys.
Joel Parkinson Leads ASP Top Stars in Assault on Rip Curl Pro Bells Beach Round 1
BELLS BEACH, Victoria/Australia (Wednesday, April 20, 2011) – Today marks the commencement of the 50th Anniversary of competition surfing at Bells Beach as Round 1 of the 2011 Rip Curl Pro Bells presented by Ford Ranger got underway in clean four-to-six foot (1.5 - 2 metre) surf.
The Rip Curl Pro Bells Beach, the second stop on the 2011 ASP World Title season, enjoyed consistent surf throughout the day as the world’s best surfers unleashed a barrage of high-performance ripping on the classic canvas of Bells Beach.
Joel Parkinson (AUS), 30, 2009 Rip Curl Pro Bells Beach Champion put in a sensational performance this afternoon, electing to sit up at Rincon to secure the day’s highest scores.. Parkinson locked in the highest wave score and the highest heat score of the opening day of competition scoring 17.74 (out of a possible 20.00) to advance directly through to Round 3 of competition.
"I fell off twice on the bowl," Parkinson said. "It was really hard to ride. Then CJ (Hobgood) went across to Rincon and got a score, so we followed him over and it worked out for me. It's great to get that opening heat win, especially at Bells. You never know what conditions you're going to get in a heat, so to be able to skip round two and maybe get a day off is a huge advantage."
Kelly Slater (USA), 39, reigning 10-time ASP World Champion and defending event winner, was clinical in his attack in his Round 1 heat. Slater had his fellow competitors Adam Robertson (AUS), 28, and Kai Otton (AUS), 31, on the ropes only minutes into the heat, scoring an impressive 16.00 (out of a possible 20.00) on his opening two rides.
"I don't free surf out at Bells a whole lot," Slater said. "When the waves are good the comp is on and outside of that it's pretty crowded. So I'm still learning with each heat out there still, surfing against a guy like Robbo (Adam Robertson) you've got to watch where he's sitting, how far our and how deep."
Mick Fanning (AUS), 29, currently equal 13th in the hunt for the 2011 ASP World Title, went into today’s competition with renewed vigor after a shock early exit at the last event on the Gold Coast. The past two-time ASP World Champion came out and dominated his Round 1 battle over Tiago Pires (PRT), 31, and Gabriel Medina (BRA), 17.
"I'm stoked to get a good start," Fanning said. "It's been 10 years since I won here as I wildcard, I got close last year but Kelly Slater got me in the final. You want to win every event, but being the 50th Anniversary and so much history at this event, it's like the Wimbeldon of surfing, it's a hard one to win but it's the one everyone wants."
Alejo Muniz (BRA), 21, led today’s rookie charge, continuing his sensational run after the and equal 5th on the Gold Coast, and dispatching of fellow Brazilian Ranoi Monterio (BRA), 28, and Australian Adrian Buchan (AUS), 28 in this morning’s opening round heat.
"It's so good out there!" Muniz said. "This is my first time surfing at Bells and it's the most amazing place. It's got perfect rights, and it's the kind of wave that I love to surf. It's the best place ever, best waves, best weather and I love surfing in wetsuits."
Jeremy Flores (FRA), 22, bounced back after missing the Quiksilver Pro Gold Coast with a knee injury, to score a comprehensive win over Taylor Knox (USA), 39, and Cory Lopez (USA), 34.
"I wasn't very confident before the heat," Flores said. "But I got that first wave and did a big turn at the end and got a good score. I think that's what you need to do these days, finish the wave strong. My knee still isn't 100%, but I went for it and it's good to win. Big thanks to everyone at the Gold Coast Suns Football Club for helping with my knee, it's feeling much better now."
Stu Kennedy (AUS), 21, scored a last minute wildcard into the event and caused the upset of the day, eliminating 2010 ASP World Title runner-up Jordy Smith (ZAF), 23, and Dusty Payne (HAW), 22.
"I've been coming here for years," Kennedy said. "I won a Pro Junior here in 2008 and I know where to sit. I don't think Dusty and Jordy know the break as well as I do so that helps. I've been up since 3am because I'm jet-lagged from coming home from Scotland. I woke up with a bunch of energy it's my shaper's birthday so I woke him up at 5am to go surfing. I had to win my heat for him for his birthday."
When men’s competition resumes, up first will be 2010 ASP World Runner-Up Jordy Smith (ZAF), 23, up against Trials Winner Adam Robertson (AUS), 28, in the opening heat of Round 2.
Following the completion of the men’s Round 1 today, the ASP Top 17 hit the water for Round 1 of the Rip Curl Women’s Pro Bells Beach presented by Ford Fiesta.
Stephanie Gilmore (AUS), 23, reigning four-time ASP Women’s World Champion and defending three-time Rip Curl Women’s Bells Beach winner, returned to her winning ways today, after bowing out early at the last event, the Roxy Pro Gold Coast.
"My first two years on tour I didn't have great results on the Gold Coast," Gilmore said. "I always bounced back at this event and then finished the year well, so hopefully I'll do that again this year. The Gold Coast was a fine showing of what women's surfing is up to now and everyone has to try and keep up. It really pushes me and I think anyone who wins an event from now on will be a very deserving winner because of that fact."
Pauline Ado (FRA), 19, the French rookie caused the upset of the women's event, defeating current ASP World Title front runner Carissa Moore (HAW), 18, in a nail biter of a heat.
"I'm really happy, I had a lot of fun out there," Ado said "I got one of my good waves in the first few seconds so after that I felt confident and knew I could be more selective and wait for the right wave. A heat against Carissa is always a tough one, so I'm really stoked to win."
When women’s competition resumes, up first will be Paige Hareb (NZL) and Jessi Miley-Dyer (AUS) in the opening heat of Round 2.
Event organizers will reconvene tomorrow morning at 7am to assess conditions for a possible 7:30am start.
Highlights from the Rip Curl Pro Bells Beach presented by FORD will be webcast available via www.live.ripcurl.com and broadcast live on Fuel TV in Australia and ESPN in Brazil.
For more information, log onto www.aspworldtour.com
RIP CURL PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Alejo Muniz (BRA) 13.23, Adrian Buchan (AUS) 11.26, Raoni Monteiro (BRA) 7.37
Heat 2: Adam Melling (AUS) 14.50, Josh Kerr (AUS) 12.30, Taj Burrow (AUS) 11.00
Heat 3: Heitor Alves (BRA) 14.36, Bobby Martinez (USA) 14.14, Owen Wright (AUS) 10.60
Heat 4: Mick Fanning (AUS) 15.60, Tiago Pires (PRT) 11.07, Gabriel Medina (BRA) 9.27
Heat 5: Stu Kennedy (AUS) 11.70, Dusty Payne (HAW) 10.50, Jordy Smith (ZAF) 9.00
Heat 6: Kelly Slater (USA) 16.00, Kai Otton (AUS) 10.13, Adam Robertson (AUS) 8.53
Heat 7: Jeremy Flores (FRA) 13.17, Cory Lopez (USA) 5.83, Taylor Knox (USA) 4.67
Heat 8: Michel Bourez (PYF) 12.60, Kieren Perrow (AUS) 10.20, Gabe Kling (USA) 3.50
Heat 9: Matt Wilkinson (AUS) 14.60, Damien Hobgood (USA) 11.23, Daniel Ross (AUS) 11.07
Heat 10: Joel Parkinson (AUS) 17.74, C.J. Hobgood (USA) 11.44, Bede Durbidge (AUS) 8.17
Heat 11: Adriano de Souza (BRA) 14.60, Chris Davidson (AUS) 10.83, Julian Wilson (AUS) 9.83
Heat 12: Patrick Gudauskas (USA) 13.40, Jadson Andre (BRA) 9.43, Brett Simpson (USA) 8.93
RIP CURL PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Jordy Smith (ZAF) vs. Adam Robertson (AUS)
Heat 2: Owen Wright (AUS) vs. Gabriel Medina (BRA)
Heat 3: Taj Burrow (AUS) vs. Bobby Martinez (USA)
Heat 4: Adrian Buchan (AUS) vs. Josh Kerr (AUS)
Heat 5: Damien Hobgood (USA) vs. Raoni Monteiro (BRA)
Heat 6: Bede Durbidge (AUS) vs. Cory Lopez (USA)
Heat 7: Brett Simpson (USA) vs. Gabe Kling (USA)
Heat 8: Jadson Andre (BRA) vs. Daniel Ross (AUS)
Heat 9: Chris Davidson (AUS) vs. Julian Wilson (AUS)
Heat 10: C.J. Hobgood (USA) vs. Kai Otton (AUS)
Heat 11: Kieren Perrow (AUS) vs. Dusty Payne (HAW)
Heat 12: Taylor Knox (USA) vs. Tiago Pires (PRT)
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Sofia Mulanovich (PER) 12.93, Chelsea Hedges (AUS) 8.70, Jessi Miley-Dyer (AUS) 8.66
Heat 2: Silvana Lima (BRA) 14.94, Laura Enever (AUS) 8.84, Melanie Bartels (HAW) 7.54
Heat 3: Pauline Ado (HAW) 14.60, Carissa Moore (HAW) 14.44, Nikki Van Dijk (AUS) 10.63
Heat 4: Stephanie Gilmore (AUS) 16.30, Courtney Conlogue (USA) 9.00, Bethany Hamilton (HAW) 6.50
Heat 5: Sally Fitzgibbons (AUS) 16.10, Alana Blanchard (HAW) 12.83 Paige Hareb (NZL) 7.47
Heat 6: Coco Ho (HAW) 12.90, Tyler Wright (AUS) 12.00, Pauline Ado (FRA) 6.37
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Paige Hareb (NZL) vs. Jessi Miley-Dyer (AUS)
Heat 2: Laura Enever (AUS) vs. Melanie Bartels (HAW)
Heat 3: Carissa Moore (HAW) vs. Nikki Van Dijk (AUS)
Heat 4: Chelsea Hedges (AUS) vs. Bethany Hamilton (HAW)
Heat 5: Tyler Wright (AUS) vs. Alana Blanchard (HAW)
Heat 6: Courtney Conlogue (USA) vs. Rebecca Woods (AUS)
Photo ASP/Scholtz
Singapore Zoo ranks consistently (after San Diego Zoo) as one of the best in the world.
There are currently about 300 species of animals across 28 hectares of lush rainforest. This is possible without a feeling of crowding because of the layering, with lemurs wandering freely, and orangutans and gibbons swinging high above the ground while the visitors watch from below. This concept is epitomised in the Fragile Forest, a 20,000 cubic metre bio-dome that mimics a tropical rainforest teeming with life at every level.
For the story, please visit: www.ursulasweeklywanders.com/travel/teeth-claws-and-colou...
I haven’t been consistently posting weekend outfits, but you aren’t missing much. One day out of two, I’m probably wearing this overall dress.
Sweater and leggings, Old Navy. Overall dress, Hydraulic Denim (thrifted). Boots, Steve Madden. Sunglasses, Meow Meow. Earrings, vintage.
I was a little hesitant to wear my “Farmer Wawa” outfit to the mall, particularly to browse shoes at Nordstrom, but I got over that. I may have felt a little out of place as we bounced from store to store, but realized I had tapped into some sort of hick chic Zeitgeist when I entered Madewell for the first time. Not only was there another shopper in overalls (shorties), but the store was selling full length pairs. I loved the tomboy aesthetic of the place. I had only known of Madewell’s reputation for quality tees and denim, not it’s preppy-rugged styles. The prices are a little ridiculous, but I dig the inspiration (and the clearance section).
Harpobittacus australis
Family: Bittacidae
Order: Mecoptera
Location is consistent with Harpobittacus australis which has a distribution across southern regions of Australia.
Common name is the Australian Scorpionfly in the Hangingfly family of Bittacidae. They are unique in having raptorial hind legs which they use for holding prey. Male present insect prey to female as nuptial gifts.
Character(s) used for identification: Slender elongate body and legs. Red and black colouration. Long, narrow wings with 30-50mm span. Wings are brown tinged and held roof-like above the abdomen. Head is hypognathous with the clypeus, labrum and other mouthparts forming a rostrum. Large compound eyes. Ocelli present. Cervix (neck) membranous, somewhat elongate. Pronotum saddle-like, wider than long and with transverse ridges. Long slender legs which are used for their characteristic ‘hanging’ pose on branches. Coxae are elongate. Hind legs have raptorial tarsal segments.
It was seen here apparently feeding on the Tick Bush flowers (Kunzea), but it was probably looking for an opportunity to feed on insect prey too.
The following is an interesting video by Denis Crawford:
www.youtube.com/watch?v=m5NpN8Vn2Bw
PB070058-2
What exists? One possible answer is that any self-consistent system exists, not just as a mathematical possibility but as concrete reality. This materialistic Platonism is a logical consequence of functionalism.
If it holds, then every mathematical system corresponds to a universe (or family of universes). Some are tiny and cramped, like the algebra of 0 and 1. Others are as vast - or vaster – than ours.
But the set of all such systems is also a system, encompassing them all (and being part of itself).
This set of sets is the True God. It is not a being, it does not act - it just is everything in the ultimate sense. It includes uncountable (in the literal mathematical sense of the word) universes with lesser deities. Most of its component worlds are barren or pure chaos, but some are filled with complexity of any level. And just like all natural numbers can be generated using a short program while
individual numbers hold enormous complexity (in the algorithmic complexity sense), so the Set is ultimately trivially simple while holding infinite complexity within itself. God is Unity and Perfection.
But this pleroma of possibility is also the ultimate chaos. Most (again, in a very strong mathematical sense) worlds are inconsistent chaos, where anything is possible and everything happens and not-happens at once. The Set is not just the God of All Gods, but also the idiot god Azathoth dancing at the core of chaos - there is no planning, no thought, no higher meaning, and no consistency.
Azathoth and the Logos are the same.
The Gnostics were wrong. All the meaning exists within the subsystems of the great Set, not in the Set as a whole. Ascending into the pleroma reduces one to a tautology. It in the fall into matter - specialisation within a local system with limited axioms - where possibilities appear and goals can be achieved.
Ultimates. Meaning and nonsense. Consistency and inconsistency. Infinites. Existence itself.
Very rare tilting Great Helm, probably Bruges or Brussels, circa 1490-1500, adapted for a funerary achievement. In the heavily patinated condition consistent with armour preserved in churches, with tall finely formed skull rising to a low medial ridge extending rearwards to the base of the nape, the base drawn out in a blunt point over the top of the spine, studded with domed lining rivets, pierced for visor pivots, and pierced for a crest, now carrying a hook for funerary suspension, the visor of heavy guage construction now riveted static, the front formed with a blunt prow, full length medial ridge, basal flange, the lower edge of the sight projecting forward of the upper edge, and cut with a single rectangular ventilation port on the right. H: 35 cm - L: 28 cm - W.: 23 cm - Wt.: 4650 g. Provenance: Sotheby's London, 21 May 1974, lot 186 (illustrated). A similar Great Helm was displayed over the tomb of John Darell, dead in 1438, in Little Chart church, Kent. Another in St. Botolph's church at Lullingstone, Kent, is almost certainly that of Sir John Pechy, dead in 1522. On the basis of a comparable etched armet for the field made in the Royal Armoury at Greenwich, Sir James Mann concluded that this helm, as well as all others of this type, was of English manufacture. More recently, an armourer's mark struck twice, a crowned H, was noticed on Sir John Pechy's helm. Claude Blair suggested that it could be the mark of "Han" or "Hans" Jehan Watt of Brussels, chief supplier of armour between 1495 and 1508, according to the Burgundian Treasurer's accounts. This mark is also found on an armour for the Joust Royal, made around 1500 either for the Emperor Maximilian I or for his son Philip, and on a cuirass made for Philip IV (The Handsome), Duke of Burgundy, each preserved in the Imperial Armoury at the Kunsthistorishes Museum, Vienna (No. S.II and A109a). A tilting helm for the Jousts of Peace or Joust Royal, struck with the same armourer's mark, is in the Royal Armouries Leeds (IV. I); its skull is of an identical design to the present example. The attribution of this tilting helm to the armourers' workshops of Bruges or Brussels is supported by the similarity of its shape with documented examples, and by the historical fact that English armourers of this period did not have an international reputation; this was acquired only in the early 16th century through the works of the Royal Almain Armoury at Greenwich. At the end of the 15th and the beginning of the 16th century, the English wealthy aristocracy was seeking its armour in Northern Italy and Southern Germany, and also from the famous Burgundian workshops. See, LAKING, Guy, A Record of European Arms and Armour, London 1920, vol. II, p. 153, ill.491a & volume V p.195. MANN, James, Two helmets in St Botolph's Church, Lullingstone, Kent, The Antiquaries Journal, April 1932 (vol. XII, No.2), pp.136-141, pl. XXVII. BLAIR, Claude, The Lullingstone Helm, The Antiquaries Journal, 1998 (vol. 78). DUFTY, Arthur Richard, European Armour in the Tower of London, 1968, pl. LXXXIII. SOUTHWICK, Leslie, The Great Helm in England, Arms and Armour Journal of the Royal Armouries, vol.3, No. 1, Spring 2006, pp. 5-77, fig. 47 p.54 & fig. 58 p.64.
Nowadays the helm can be seen in the Château Castelnaud, Dordogne, France.
Joel Parkinson Leads ASP Top Stars in Assault on Rip Curl Pro Bells Beach Round 1
BELLS BEACH, Victoria/Australia (Wednesday, April 20, 2011) – Today marks the commencement of the 50th Anniversary of competition surfing at Bells Beach as Round 1 of the 2011 Rip Curl Pro Bells presented by Ford Ranger got underway in clean four-to-six foot (1.5 - 2 metre) surf.
The Rip Curl Pro Bells Beach, the second stop on the 2011 ASP World Title season, enjoyed consistent surf throughout the day as the world’s best surfers unleashed a barrage of high-performance ripping on the classic canvas of Bells Beach.
Joel Parkinson (AUS), 30, 2009 Rip Curl Pro Bells Beach Champion put in a sensational performance this afternoon, electing to sit up at Rincon to secure the day’s highest scores.. Parkinson locked in the highest wave score and the highest heat score of the opening day of competition scoring 17.74 (out of a possible 20.00) to advance directly through to Round 3 of competition.
"I fell off twice on the bowl," Parkinson said. "It was really hard to ride. Then CJ (Hobgood) went across to Rincon and got a score, so we followed him over and it worked out for me. It's great to get that opening heat win, especially at Bells. You never know what conditions you're going to get in a heat, so to be able to skip round two and maybe get a day off is a huge advantage."
Kelly Slater (USA), 39, reigning 10-time ASP World Champion and defending event winner, was clinical in his attack in his Round 1 heat. Slater had his fellow competitors Adam Robertson (AUS), 28, and Kai Otton (AUS), 31, on the ropes only minutes into the heat, scoring an impressive 16.00 (out of a possible 20.00) on his opening two rides.
"I don't free surf out at Bells a whole lot," Slater said. "When the waves are good the comp is on and outside of that it's pretty crowded. So I'm still learning with each heat out there still, surfing against a guy like Robbo (Adam Robertson) you've got to watch where he's sitting, how far our and how deep."
Mick Fanning (AUS), 29, currently equal 13th in the hunt for the 2011 ASP World Title, went into today’s competition with renewed vigor after a shock early exit at the last event on the Gold Coast. The past two-time ASP World Champion came out and dominated his Round 1 battle over Tiago Pires (PRT), 31, and Gabriel Medina (BRA), 17.
"I'm stoked to get a good start," Fanning said. "It's been 10 years since I won here as I wildcard, I got close last year but Kelly Slater got me in the final. You want to win every event, but being the 50th Anniversary and so much history at this event, it's like the Wimbeldon of surfing, it's a hard one to win but it's the one everyone wants."
Alejo Muniz (BRA), 21, led today’s rookie charge, continuing his sensational run after the and equal 5th on the Gold Coast, and dispatching of fellow Brazilian Ranoi Monterio (BRA), 28, and Australian Adrian Buchan (AUS), 28 in this morning’s opening round heat.
"It's so good out there!" Muniz said. "This is my first time surfing at Bells and it's the most amazing place. It's got perfect rights, and it's the kind of wave that I love to surf. It's the best place ever, best waves, best weather and I love surfing in wetsuits."
Jeremy Flores (FRA), 22, bounced back after missing the Quiksilver Pro Gold Coast with a knee injury, to score a comprehensive win over Taylor Knox (USA), 39, and Cory Lopez (USA), 34.
"I wasn't very confident before the heat," Flores said. "But I got that first wave and did a big turn at the end and got a good score. I think that's what you need to do these days, finish the wave strong. My knee still isn't 100%, but I went for it and it's good to win. Big thanks to everyone at the Gold Coast Suns Football Club for helping with my knee, it's feeling much better now."
Stu Kennedy (AUS), 21, scored a last minute wildcard into the event and caused the upset of the day, eliminating 2010 ASP World Title runner-up Jordy Smith (ZAF), 23, and Dusty Payne (HAW), 22.
"I've been coming here for years," Kennedy said. "I won a Pro Junior here in 2008 and I know where to sit. I don't think Dusty and Jordy know the break as well as I do so that helps. I've been up since 3am because I'm jet-lagged from coming home from Scotland. I woke up with a bunch of energy it's my shaper's birthday so I woke him up at 5am to go surfing. I had to win my heat for him for his birthday."
When men’s competition resumes, up first will be 2010 ASP World Runner-Up Jordy Smith (ZAF), 23, up against Trials Winner Adam Robertson (AUS), 28, in the opening heat of Round 2.
Following the completion of the men’s Round 1 today, the ASP Top 17 hit the water for Round 1 of the Rip Curl Women’s Pro Bells Beach presented by Ford Fiesta.
Stephanie Gilmore (AUS), 23, reigning four-time ASP Women’s World Champion and defending three-time Rip Curl Women’s Bells Beach winner, returned to her winning ways today, after bowing out early at the last event, the Roxy Pro Gold Coast.
"My first two years on tour I didn't have great results on the Gold Coast," Gilmore said. "I always bounced back at this event and then finished the year well, so hopefully I'll do that again this year. The Gold Coast was a fine showing of what women's surfing is up to now and everyone has to try and keep up. It really pushes me and I think anyone who wins an event from now on will be a very deserving winner because of that fact."
Pauline Ado (FRA), 19, the French rookie caused the upset of the women's event, defeating current ASP World Title front runner Carissa Moore (HAW), 18, in a nail biter of a heat.
"I'm really happy, I had a lot of fun out there," Ado said "I got one of my good waves in the first few seconds so after that I felt confident and knew I could be more selective and wait for the right wave. A heat against Carissa is always a tough one, so I'm really stoked to win."
When women’s competition resumes, up first will be Paige Hareb (NZL) and Jessi Miley-Dyer (AUS) in the opening heat of Round 2.
Event organizers will reconvene tomorrow morning at 7am to assess conditions for a possible 7:30am start.
Highlights from the Rip Curl Pro Bells Beach presented by FORD will be webcast available via www.live.ripcurl.com and broadcast live on Fuel TV in Australia and ESPN in Brazil.
For more information, log onto www.aspworldtour.com
RIP CURL PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Alejo Muniz (BRA) 13.23, Adrian Buchan (AUS) 11.26, Raoni Monteiro (BRA) 7.37
Heat 2: Adam Melling (AUS) 14.50, Josh Kerr (AUS) 12.30, Taj Burrow (AUS) 11.00
Heat 3: Heitor Alves (BRA) 14.36, Bobby Martinez (USA) 14.14, Owen Wright (AUS) 10.60
Heat 4: Mick Fanning (AUS) 15.60, Tiago Pires (PRT) 11.07, Gabriel Medina (BRA) 9.27
Heat 5: Stu Kennedy (AUS) 11.70, Dusty Payne (HAW) 10.50, Jordy Smith (ZAF) 9.00
Heat 6: Kelly Slater (USA) 16.00, Kai Otton (AUS) 10.13, Adam Robertson (AUS) 8.53
Heat 7: Jeremy Flores (FRA) 13.17, Cory Lopez (USA) 5.83, Taylor Knox (USA) 4.67
Heat 8: Michel Bourez (PYF) 12.60, Kieren Perrow (AUS) 10.20, Gabe Kling (USA) 3.50
Heat 9: Matt Wilkinson (AUS) 14.60, Damien Hobgood (USA) 11.23, Daniel Ross (AUS) 11.07
Heat 10: Joel Parkinson (AUS) 17.74, C.J. Hobgood (USA) 11.44, Bede Durbidge (AUS) 8.17
Heat 11: Adriano de Souza (BRA) 14.60, Chris Davidson (AUS) 10.83, Julian Wilson (AUS) 9.83
Heat 12: Patrick Gudauskas (USA) 13.40, Jadson Andre (BRA) 9.43, Brett Simpson (USA) 8.93
RIP CURL PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Jordy Smith (ZAF) vs. Adam Robertson (AUS)
Heat 2: Owen Wright (AUS) vs. Gabriel Medina (BRA)
Heat 3: Taj Burrow (AUS) vs. Bobby Martinez (USA)
Heat 4: Adrian Buchan (AUS) vs. Josh Kerr (AUS)
Heat 5: Damien Hobgood (USA) vs. Raoni Monteiro (BRA)
Heat 6: Bede Durbidge (AUS) vs. Cory Lopez (USA)
Heat 7: Brett Simpson (USA) vs. Gabe Kling (USA)
Heat 8: Jadson Andre (BRA) vs. Daniel Ross (AUS)
Heat 9: Chris Davidson (AUS) vs. Julian Wilson (AUS)
Heat 10: C.J. Hobgood (USA) vs. Kai Otton (AUS)
Heat 11: Kieren Perrow (AUS) vs. Dusty Payne (HAW)
Heat 12: Taylor Knox (USA) vs. Tiago Pires (PRT)
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Sofia Mulanovich (PER) 12.93, Chelsea Hedges (AUS) 8.70, Jessi Miley-Dyer (AUS) 8.66
Heat 2: Silvana Lima (BRA) 14.94, Laura Enever (AUS) 8.84, Melanie Bartels (HAW) 7.54
Heat 3: Pauline Ado (HAW) 14.60, Carissa Moore (HAW) 14.44, Nikki Van Dijk (AUS) 10.63
Heat 4: Stephanie Gilmore (AUS) 16.30, Courtney Conlogue (USA) 9.00, Bethany Hamilton (HAW) 6.50
Heat 5: Sally Fitzgibbons (AUS) 16.10, Alana Blanchard (HAW) 12.83 Paige Hareb (NZL) 7.47
Heat 6: Coco Ho (HAW) 12.90, Tyler Wright (AUS) 12.00, Pauline Ado (FRA) 6.37
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Paige Hareb (NZL) vs. Jessi Miley-Dyer (AUS)
Heat 2: Laura Enever (AUS) vs. Melanie Bartels (HAW)
Heat 3: Carissa Moore (HAW) vs. Nikki Van Dijk (AUS)
Heat 4: Chelsea Hedges (AUS) vs. Bethany Hamilton (HAW)
Heat 5: Tyler Wright (AUS) vs. Alana Blanchard (HAW)
Heat 6: Courtney Conlogue (USA) vs. Rebecca Woods (AUS)
Photo ASP/Scholtz
police barricades, Philadelphia, PA, tones tweaked in PS
I live in a city where a cop can consistently put helpless schmucks in the hosptial, have an extremely long and colorful history of IAD complaints, get suspended by IAD and a police board of inquiry for illegal physical force against an innocent civilian, and still go on to make detective.
It's a great system.
If it were the private sector, whoever designed it would have been fired long ago.
But since this is city government, public policy is decided by serving the most powerful constituency groups. The police union is a much more powerful and well-connected constituency group than the citizens of Philadelphia.
And apparently the police union here thinks a system that rewards officers found guilty of infractions by its own union members - who make up Internal Affairs and PBI's - with career advancement is what Honor, Integry and Service is all about.
No wonder so many out of town cops are chomping at the bit now that the city has relaxed it's residency requirement. It would seem that word has gotten out that here in Philadelphia you can basically fuck around with civilians all you want, Lynne Abraham's D.A office will not prosecute (she's prosecuted a total of 3 cops in the 18 years she's been a D.A.), the rate for complaints of physical abuse of civilians sustained by IAD is absurdly low (as low as 1 in 20 depending on the year), and if you get suspended odds are good that it will be turned around before a PBI (where witness often don't bother to show up and IAD complaints are overturned), or in arbitration (where the FOP has the most successful and experienced practitioner of this type of civil service law in the country most times going up against inexperienced paper pushers who never even set foot in law school) which in effect means you can get a paid vacation for breaking the stated rules of your own department, and the odds of it having any repecussion on your career are pretty low.
A job where actions have little chance of having any consequences? Sounds pretty sweet.
I guess that's what that the poltiicians who make the rules think Honor, Integrity, Service and good government is all about too. In the private sector, actions have consequences. But once it goes into the realm of this city's public sector, and you're playing with taxpayer's money rather than a private company's hard-fought financial assets - all bets are off. What does it matter that we provide sound services with citizen's tax dollars? They're capitive. They have to pay taxes no matter what we do. So why not just do what's politically expedient?
If someone wants to challenge that assertion, let's get a neutral third party to look at the personnel files for officers promoted to detective over the last 15 years and see how many officers with mutliple IAD complaints, sustained IAD complaints, sustained PBI complaints, actually went on to get promoted. If I'm wrong, what does the Philadelphia Police Department have to hide?
I'm not a cop-hater. My great uncle was a police captain here and have plenty of relatives in municial, country and state law enforcement on both sides of the river.
Right now, I have one of those, I don't know what you call them, one of those "High, I'm a relative of an FOP member, I'm sorry I did whatever you pulled me over for, but can you give me warning" cards in my wallet.
This is written out of a bias in favor good cops. Most cops are good cops who are ridiculously underpaid given what they have to do day in and day out.
It's also written out of an obvious bias against fuck-ups and systems that do not hold fuck ups to any serious conseqeunces.
That puts me on the side of rationality when it comes to thinking about good public policy. The people who want to defend the system, IMHO couldn't give a rats ass about reason or public policy. They care about politics. Big difference between politics and public policy.
Law enforcment is a tough job. Everyone makes mistakes. Stipulated.
But there are people who make mistakes and then there are repeat offenders that would lead a reasonable person to question whether or not individual X should be employed in law enforcement.
In Philadelphia, this question does not appear to get asked. It is an inconvenient question to ask. The only people who can be served by asking this question are the citizens of Philadelphia - and we're at the bottom of the food chain. We are in effect the least important components of the machine.
There are plenty of good cops in this city, but why do they get a bad wrap in come circles? They get an unnecessarily bad wrap (ACAB anyone?) due to actions of some individuals on the force who if you threw out the all of the illogical, dysfunctional horseshit of civil service contract law and got down to the simple simple question of "does individual X deserve continued employment by the city as a law enforcement officer" the answer would be a resounding no. No one in their right mind would want to continue to employ individual X in that position, and yet, it happens, and the only people who seem to give a shit about it are activists and members of activist groups representing the civilians who bear the brunt of the systematiuc dysfunction leading to abuse or random people like me who get bent out of shape by the inelegance of certain forms of stupidity.
City Council oversight of the police is a complete joke. Most politicians have basically abdicated their responsibility long ago. They know what side their bread is buttered on. In a fight over good public policy that serves the interests of the people they were elected to represent or backing from the police union, most are not just going to spread 'em for the police union they're going to ask "am I tight enough for you?"
Michael Nutter was one of the few people making any sense on this issue when he was a Councilman. Now he's mayor. We'll see how he handles the police contract that comes up for renewal this summer. Hopefully, the contract will be a start in breaking out of this absurd "once your a cop, you're a cop for life" fantasy that unfortunately has become the warped reality of public policy when it comes to police non-oversight for decades here in Philly.
And that's bad for good cops.
Because good cops are not served by having to operate under a system that places them on the same level as those "bad apple" repeat offenders when it comes to promotions and feel the negative repurcussions in the public realm.
Not every cop should be characterized as a cro-magnon ass-kicker who believes his badge makes him a member of a legalized street gang. Unfortunately, the actions of a few have made this generalization stand in some circles as what the Philadelphia Police Department is all about.
It's not. The PPD is about the cop who does their shift the best they can, does it without fanfare or press, and is an unappreciated member of the tine blue line that lets people like me walk around Center City after dark (with some degree of street smarts) without having to worry about about getting mugged.
Why should they catch the fallout from the repeated actions of peers who have proven they don't deserve to be in their ranks?
In the real world, where you have to prove your worth to your employer everyday, the fuck ups don't get ahead. They're fired or at minimum their chances for promotion are seriously diminished. That serves as an incentive to not fuck up and to do good work for your organization.
Apparently, when the employer footing the bills isn't a private employer, but the city and it's taxpayers, what would seem to be a pretty sound policy to weed out fuck ups apparently doesn't apply.
Why should anyone tolerate a police disciplinary and promotion policy that seems to put fuck ups on the same level as good, clean cops?
Again, let's look into this with an examination of police promotions over the last 15 years.
In the private sector, firing fuckups works in two ways. It serves as a disinsentive for remaining employees to not fuck up and actually rewards them come promotion time.
But what kind of message does that send to the good, hard-working cops on the force who really do believe in the notions of Honor, Service, and Integrity and have demonstrated that committment by putting their asses on the line with year and after of service and an and unblemished records?
It's nice you're not a fuck up, but in the end it doesn't really mean shit.
Appears to me that the good cops on the force are getting fucked over by this farcical notion that once your a Philly cop, your a cop for life - no matter how badly you fuck up that has somehow through the years morphed into an absurd truth.
It's a disservice to the good officers in this city and a disgrace to the officers who have fallen in the line of duty and gave their last breaths upholding the ideal of Honor, Integrity and Service that the Philadelphia Police Department and City Council allows this sham of a police discipline and promotion policy to continue.
The taxpayers deserve better.
The good, clean cops out there putting their lives on the line everyday deserve better.
The memory of those who have fallen in the line of duty DEMANDS the city does better.
Oh, and while we're talking about weeding out the fuck up cops and helping good cops get ahead, how about putting a line in the next contract that reads as follows:
"Any officer who in the course of an encounter with a civilian is found to have used force of sufficient nature to require a hospital visit will be forced to take a drug test at the precint house screening for illegal substances, including, but not limited to various forms of analbolic steroids."
That would be great public policy.
Steroids are illegal.
Why should we employ ANY individual in a law enforcement capacity breaking the law by using illegal substances?
Seems like a no-brainer that you find out who these folks are, adopt a one-and-done zero-tolereance policy, and terminate their employment.
Given the sensitivity of their position, which serves the greater public interest - drug screening after these types of use of force incidents v. an officer's right to conceal illegal drug use and engage in the use force against civilians while under the effects of illegal substances?
If I'm a good cop who's not out there juicing up, wouldn't it be in my best interest to see the guys who are breaking the law fired from the department? That promotion can go to me or someone with a history of illegal drug use. Who in their right mind would support the individual breaking the law?
And to those who think this is a canard consider the following:
"Gene Sanders, a police psychologist in Spokane, has estimated that 25% of officers in urban settings take steroids, many as a defense against street criminals. 'How do I deal with people who are in better shape than me and want to kill me?' Sanders told ABC News as a way of explaining steroid use by the thin blue line."
So we're going to screen baseball players for steroids. And the consequences are what? More home runs?
But we're not going to screen the people out there carrying guns and nightsticks where the consequences of impaired judgment caused by the effect of illegal substances is far more serious - in some cases deadly serious.
How much sense does that make?
Drug screening is a routine part of the private sector.
It should be a routine part of the public sector where illegal drug use has serious consequences on civilian populations.
In this case, only an FOP lawyer would argue that an officer's alleged right to privacy to conceal the use of illegal substances trumps the valid public interest such post-incident screenings would serve.
This is yet another way to do the right thing by helping good cops get ahead, and forcing bad cops to find alternate employment.
Very rare tilting Great Helm, probably Bruges or Brussels, circa 1490-1500, adapted for a funerary achievement. In the heavily patinated condition consistent with armour preserved in churches, with tall finely formed skull rising to a low medial ridge extending rearwards to the base of the nape, the base drawn out in a blunt point over the top of the spine, studded with domed lining rivets, pierced for visor pivots, and pierced for a crest, now carrying a hook for funerary suspension, the visor of heavy guage construction now riveted static, the front formed with a blunt prow, full length medial ridge, basal flange, the lower edge of the sight projecting forward of the upper edge, and cut with a single rectangular ventilation port on the right. H: 35 cm - L: 28 cm - W.: 23 cm - Wt.: 4650 g. Provenance: Sotheby's London, 21 May 1974, lot 186 (illustrated). A similar Great Helm was displayed over the tomb of John Darell, dead in 1438, in Little Chart church, Kent. Another in St. Botolph's church at Lullingstone, Kent, is almost certainly that of Sir John Pechy, dead in 1522. On the basis of a comparable etched armet for the field made in the Royal Armoury at Greenwich, Sir James Mann concluded that this helm, as well as all others of this type, was of English manufacture. More recently, an armourer's mark struck twice, a crowned H, was noticed on Sir John Pechy's helm. Claude Blair suggested that it could be the mark of "Han" or "Hans" Jehan Watt of Brussels, chief supplier of armour between 1495 and 1508, according to the Burgundian Treasurer's accounts. This mark is also found on an armour for the Joust Royal, made around 1500 either for the Emperor Maximilian I or for his son Philip, and on a cuirass made for Philip IV (The Handsome), Duke of Burgundy, each preserved in the Imperial Armoury at the Kunsthistorishes Museum, Vienna (No. S.II and A109a). A tilting helm for the Jousts of Peace or Joust Royal, struck with the same armourer's mark, is in the Royal Armouries Leeds (IV. I); its skull is of an identical design to the present example. The attribution of this tilting helm to the armourers' workshops of Bruges or Brussels is supported by the similarity of its shape with documented examples, and by the historical fact that English armourers of this period did not have an international reputation; this was acquired only in the early 16th century through the works of the Royal Almain Armoury at Greenwich. At the end of the 15th and the beginning of the 16th century, the English wealthy aristocracy was seeking its armour in Northern Italy and Southern Germany, and also from the famous Burgundian workshops. See, LAKING, Guy, A Record of European Arms and Armour, London 1920, vol. II, p. 153, ill.491a & volume V p.195. MANN, James, Two helmets in St Botolph's Church, Lullingstone, Kent, The Antiquaries Journal, April 1932 (vol. XII, No.2), pp.136-141, pl. XXVII. BLAIR, Claude, The Lullingstone Helm, The Antiquaries Journal, 1998 (vol. 78). DUFTY, Arthur Richard, European Armour in the Tower of London, 1968, pl. LXXXIII. SOUTHWICK, Leslie, The Great Helm in England, Arms and Armour Journal of the Royal Armouries, vol.3, No. 1, Spring 2006, pp. 5-77, fig. 47 p.54 & fig. 58 p.64.
Nowadays the helm can be seen in the Château Castelnaud, Dordogne, France.
Return to Forever is a jazz fusion group founded and led by keyboardist Chick Corea. Through its existence, the band has cycled through a number of different members, with the only consistent band mate of Corea's being bassist Stanley Clarke. However in 1972, after having become a disciple of Scientology, Corea decided that he wanted to better ;communicate; with the audience. This essentially translated into his performing a more popularly accessible style of music, since avant-garde jazz enjoyed a relatively small audience.
First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.
Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.
Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added.. Lenny White (who had played with Corea in Miles Davis's band) then replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded.
The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.
While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions joined.
Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.
The final album by this longest-lasting lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. Romantic Warrior continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.
After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola
Final album (1977)
The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.
Reunion (2008) The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty.
First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. This initial band consisted of singer (and occasional percussionist) Flora Purim, her husband Airto Moreira on drums and percussion, Corea's longtime musical co-worker Joe Farrell on saxophone and flute, and the young Stanley Clarke on bass. Within this first line-up in particular, Clarke played acoustic double bass in addition to electric bass. Corea's electric piano formed the basis of this group's sound, but Clarke and Farrell were given ample solo space themselves. While Purim's vocals lent some commercial appeal to the music, many of their compositions were also instrumental and somewhat experimental in nature. The music was composed by Corea with the exception of the title track of the second album which was written by Stanley Clarke. Lyrics were often written by Corea's friend Neville Potter, and were quite often scientology themed- though this is not readily apparent to those not involved in Scientology itself. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.
Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.
Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added. However, Gadd was unwilling to tour with the band and risk his job as an in-demand session drummer. Lenny White (who had played with Corea in Miles Davis's band) replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded (the first recording, featuring Gadd on drums, was never released and has since disappeared).
The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.
While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. After Bill Connors left the band to concentrate on his solo career, the group also hired new guitarists. Although Earl Klugh played guitar for some of the group's live performances, he was soon replaced by the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions.
Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.
The final album by this longest-lasting "classic" lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. "Romantic Warrior" continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.
After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola
Final album (1977)
The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.
Reunion (2008)
The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour
From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty
Joel Parkinson Leads ASP Top Stars in Assault on Rip Curl Pro Bells Beach Round 1
BELLS BEACH, Victoria/Australia (Wednesday, April 20, 2011) – Today marks the commencement of the 50th Anniversary of competition surfing at Bells Beach as Round 1 of the 2011 Rip Curl Pro Bells presented by Ford Ranger got underway in clean four-to-six foot (1.5 - 2 metre) surf.
The Rip Curl Pro Bells Beach, the second stop on the 2011 ASP World Title season, enjoyed consistent surf throughout the day as the world’s best surfers unleashed a barrage of high-performance ripping on the classic canvas of Bells Beach.
Joel Parkinson (AUS), 30, 2009 Rip Curl Pro Bells Beach Champion put in a sensational performance this afternoon, electing to sit up at Rincon to secure the day’s highest scores.. Parkinson locked in the highest wave score and the highest heat score of the opening day of competition scoring 17.74 (out of a possible 20.00) to advance directly through to Round 3 of competition.
"I fell off twice on the bowl," Parkinson said. "It was really hard to ride. Then CJ (Hobgood) went across to Rincon and got a score, so we followed him over and it worked out for me. It's great to get that opening heat win, especially at Bells. You never know what conditions you're going to get in a heat, so to be able to skip round two and maybe get a day off is a huge advantage."
Kelly Slater (USA), 39, reigning 10-time ASP World Champion and defending event winner, was clinical in his attack in his Round 1 heat. Slater had his fellow competitors Adam Robertson (AUS), 28, and Kai Otton (AUS), 31, on the ropes only minutes into the heat, scoring an impressive 16.00 (out of a possible 20.00) on his opening two rides.
"I don't free surf out at Bells a whole lot," Slater said. "When the waves are good the comp is on and outside of that it's pretty crowded. So I'm still learning with each heat out there still, surfing against a guy like Robbo (Adam Robertson) you've got to watch where he's sitting, how far our and how deep."
Mick Fanning (AUS), 29, currently equal 13th in the hunt for the 2011 ASP World Title, went into today’s competition with renewed vigor after a shock early exit at the last event on the Gold Coast. The past two-time ASP World Champion came out and dominated his Round 1 battle over Tiago Pires (PRT), 31, and Gabriel Medina (BRA), 17.
"I'm stoked to get a good start," Fanning said. "It's been 10 years since I won here as I wildcard, I got close last year but Kelly Slater got me in the final. You want to win every event, but being the 50th Anniversary and so much history at this event, it's like the Wimbeldon of surfing, it's a hard one to win but it's the one everyone wants."
Alejo Muniz (BRA), 21, led today’s rookie charge, continuing his sensational run after the and equal 5th on the Gold Coast, and dispatching of fellow Brazilian Ranoi Monterio (BRA), 28, and Australian Adrian Buchan (AUS), 28 in this morning’s opening round heat.
"It's so good out there!" Muniz said. "This is my first time surfing at Bells and it's the most amazing place. It's got perfect rights, and it's the kind of wave that I love to surf. It's the best place ever, best waves, best weather and I love surfing in wetsuits."
Jeremy Flores (FRA), 22, bounced back after missing the Quiksilver Pro Gold Coast with a knee injury, to score a comprehensive win over Taylor Knox (USA), 39, and Cory Lopez (USA), 34.
"I wasn't very confident before the heat," Flores said. "But I got that first wave and did a big turn at the end and got a good score. I think that's what you need to do these days, finish the wave strong. My knee still isn't 100%, but I went for it and it's good to win. Big thanks to everyone at the Gold Coast Suns Football Club for helping with my knee, it's feeling much better now."
Stu Kennedy (AUS), 21, scored a last minute wildcard into the event and caused the upset of the day, eliminating 2010 ASP World Title runner-up Jordy Smith (ZAF), 23, and Dusty Payne (HAW), 22.
"I've been coming here for years," Kennedy said. "I won a Pro Junior here in 2008 and I know where to sit. I don't think Dusty and Jordy know the break as well as I do so that helps. I've been up since 3am because I'm jet-lagged from coming home from Scotland. I woke up with a bunch of energy it's my shaper's birthday so I woke him up at 5am to go surfing. I had to win my heat for him for his birthday."
When men’s competition resumes, up first will be 2010 ASP World Runner-Up Jordy Smith (ZAF), 23, up against Trials Winner Adam Robertson (AUS), 28, in the opening heat of Round 2.
Following the completion of the men’s Round 1 today, the ASP Top 17 hit the water for Round 1 of the Rip Curl Women’s Pro Bells Beach presented by Ford Fiesta.
Stephanie Gilmore (AUS), 23, reigning four-time ASP Women’s World Champion and defending three-time Rip Curl Women’s Bells Beach winner, returned to her winning ways today, after bowing out early at the last event, the Roxy Pro Gold Coast.
"My first two years on tour I didn't have great results on the Gold Coast," Gilmore said. "I always bounced back at this event and then finished the year well, so hopefully I'll do that again this year. The Gold Coast was a fine showing of what women's surfing is up to now and everyone has to try and keep up. It really pushes me and I think anyone who wins an event from now on will be a very deserving winner because of that fact."
Pauline Ado (FRA), 19, the French rookie caused the upset of the women's event, defeating current ASP World Title front runner Carissa Moore (HAW), 18, in a nail biter of a heat.
"I'm really happy, I had a lot of fun out there," Ado said "I got one of my good waves in the first few seconds so after that I felt confident and knew I could be more selective and wait for the right wave. A heat against Carissa is always a tough one, so I'm really stoked to win."
When women’s competition resumes, up first will be Paige Hareb (NZL) and Jessi Miley-Dyer (AUS) in the opening heat of Round 2.
Event organizers will reconvene tomorrow morning at 7am to assess conditions for a possible 7:30am start.
Highlights from the Rip Curl Pro Bells Beach presented by FORD will be webcast available via www.live.ripcurl.com and broadcast live on Fuel TV in Australia and ESPN in Brazil.
For more information, log onto www.aspworldtour.com
RIP CURL PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Alejo Muniz (BRA) 13.23, Adrian Buchan (AUS) 11.26, Raoni Monteiro (BRA) 7.37
Heat 2: Adam Melling (AUS) 14.50, Josh Kerr (AUS) 12.30, Taj Burrow (AUS) 11.00
Heat 3: Heitor Alves (BRA) 14.36, Bobby Martinez (USA) 14.14, Owen Wright (AUS) 10.60
Heat 4: Mick Fanning (AUS) 15.60, Tiago Pires (PRT) 11.07, Gabriel Medina (BRA) 9.27
Heat 5: Stu Kennedy (AUS) 11.70, Dusty Payne (HAW) 10.50, Jordy Smith (ZAF) 9.00
Heat 6: Kelly Slater (USA) 16.00, Kai Otton (AUS) 10.13, Adam Robertson (AUS) 8.53
Heat 7: Jeremy Flores (FRA) 13.17, Cory Lopez (USA) 5.83, Taylor Knox (USA) 4.67
Heat 8: Michel Bourez (PYF) 12.60, Kieren Perrow (AUS) 10.20, Gabe Kling (USA) 3.50
Heat 9: Matt Wilkinson (AUS) 14.60, Damien Hobgood (USA) 11.23, Daniel Ross (AUS) 11.07
Heat 10: Joel Parkinson (AUS) 17.74, C.J. Hobgood (USA) 11.44, Bede Durbidge (AUS) 8.17
Heat 11: Adriano de Souza (BRA) 14.60, Chris Davidson (AUS) 10.83, Julian Wilson (AUS) 9.83
Heat 12: Patrick Gudauskas (USA) 13.40, Jadson Andre (BRA) 9.43, Brett Simpson (USA) 8.93
RIP CURL PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Jordy Smith (ZAF) vs. Adam Robertson (AUS)
Heat 2: Owen Wright (AUS) vs. Gabriel Medina (BRA)
Heat 3: Taj Burrow (AUS) vs. Bobby Martinez (USA)
Heat 4: Adrian Buchan (AUS) vs. Josh Kerr (AUS)
Heat 5: Damien Hobgood (USA) vs. Raoni Monteiro (BRA)
Heat 6: Bede Durbidge (AUS) vs. Cory Lopez (USA)
Heat 7: Brett Simpson (USA) vs. Gabe Kling (USA)
Heat 8: Jadson Andre (BRA) vs. Daniel Ross (AUS)
Heat 9: Chris Davidson (AUS) vs. Julian Wilson (AUS)
Heat 10: C.J. Hobgood (USA) vs. Kai Otton (AUS)
Heat 11: Kieren Perrow (AUS) vs. Dusty Payne (HAW)
Heat 12: Taylor Knox (USA) vs. Tiago Pires (PRT)
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Sofia Mulanovich (PER) 12.93, Chelsea Hedges (AUS) 8.70, Jessi Miley-Dyer (AUS) 8.66
Heat 2: Silvana Lima (BRA) 14.94, Laura Enever (AUS) 8.84, Melanie Bartels (HAW) 7.54
Heat 3: Pauline Ado (HAW) 14.60, Carissa Moore (HAW) 14.44, Nikki Van Dijk (AUS) 10.63
Heat 4: Stephanie Gilmore (AUS) 16.30, Courtney Conlogue (USA) 9.00, Bethany Hamilton (HAW) 6.50
Heat 5: Sally Fitzgibbons (AUS) 16.10, Alana Blanchard (HAW) 12.83 Paige Hareb (NZL) 7.47
Heat 6: Coco Ho (HAW) 12.90, Tyler Wright (AUS) 12.00, Pauline Ado (FRA) 6.37
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Paige Hareb (NZL) vs. Jessi Miley-Dyer (AUS)
Heat 2: Laura Enever (AUS) vs. Melanie Bartels (HAW)
Heat 3: Carissa Moore (HAW) vs. Nikki Van Dijk (AUS)
Heat 4: Chelsea Hedges (AUS) vs. Bethany Hamilton (HAW)
Heat 5: Tyler Wright (AUS) vs. Alana Blanchard (HAW)
Heat 6: Courtney Conlogue (USA) vs. Rebecca Woods (AUS)
Photo ASP/Scholtz
HAEGUE YANG
IN THE CONE OF UNCERTAINTY
NOV 2,2019-APR 5,2020
In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.
The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.
Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.
Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.
Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.
A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.
Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.
Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.
Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).
Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).
From www.architectsjournal.co.uk/buildings/elizabeth-line-grim...
The Elizabeth line: Grimshaw’s line-wide Crossrail design
18 MAY 2022 · BY ROB WILSON
To bring this vast mass transit system together design-wise, Crossrail established an in-house architecture team. The guiding idea, as its head, Julian Robinson, says, was ‘… the train as the common factor. We worked out from there to create a consistent experience across the line: so there’s most design consistency at platform level, with the stations becoming individually more distinctive as you move to the street above’.
Grimshaw was appointed to lead this ‘line-wide’ design, tasked with forging a common identity with standardised architectural components and products across platforms, concourses, escalators and ticket halls. This palette of elements interfaces and integrates with the work of 10 architecture practices appointed for the individual station designs to street level, including John McAslan + Partners, Adamson Associates, Allies and Morrison, Aedas, WilkinsonEyre, Weston Williamson, Hawkins\Brown and BDP.
Some have commented that this design hierarchy inverts previous London Transport station design thinking, when recognisable burgundy-tiled tube entrances stood out against the cacophony of the street while at platform level varying colours and materials identified different lines and stations. In fact, much of the latter, such as the oft-cited Paolozzi murals at Tottenham Court Road, were later additions to the original design. The main wayfinding identities, in any case, as across the whole TfL network, will be the distinctive decals and signage – reworked in the distinctive purple for Elizabeth line Stations by Grimshaw with consultants Atkins and Maynard Design.
Grimshaw has developed what Neill McClements, a partner at the firm, calls a ‘family of elements’ in a series of design packages. Besides signage and wayfinding, these include tunnel cladding, platform edge screens, flooring, lighting, seating, poster frames, fire equipment cabinets, handrails and balustrades, and integrated communications equipment. Everything went through rigorous testing and prototyping, including full-size mock-ups of sections of station.
Of the packages, the most defining, ubiquitous element, particularly in tunnel stations, is inevitably the cladding. Formed of creamy glassfibre-reinforced concrete (GFRC) panels, their matt surface is enlivened subtly by tiny pieces of embedded mica. These hug the tunnel linings tightly, ‘shrink wrapped’ as an ‘expression of the engineering, capturing as much space as possible’, as McClements puts it.
The continuous surface flow of tunnel sides and roof leaves the impression of being inside a CAD parametric model, reflecting, no doubt, the design process. Particularly impressive tectonically are the tunnel junctions, where the sides appear to lean back as you approach, in contrast with the sharp blind corners found in circulation tunnels on the tube. This contributes to creating, says McClements, a ‘stress-free environment’, its seamless consistency helped by the standardisation and reduction of tunnel and junction-types from over 80 initial forms to just nine, which also brought economies of scale in manufacture.
The clear sightlines and sense of openness are also beneficial for security reasons. What other ‘Inspector Sands’-type security design measures there are – around blast-paths and so on – McClements is understandably not at liberty to divulge. At high-level, the GFRC panels incorporate acoustic attenuation perforations, which contrast with the plainer low-level panels, giving an orientating wall-ceiling definition to the tunnels, the perforations serving as a rhythmic decorative device animating the concourses and tunnels.
The tight fit of cladding to tunnel means other elements, such as lighting and signage, were developed as standalone components, which also aids maintenance. Particularly effective is the lighting along the tunnelled platforms, which takes the form of a strip of light box incorporated into the top of the platform edge screens, throwing light onto and down the GFRC cladding behind the platform, a softly diffusing rather than harshly reflecting light. The lighting modulates between colder in so-called ‘fast spaces’, such as cross-passages, and warmer in ‘dwell spaces’ such as platforms.
The platform-edge glazed security screens are impressive all-of-a-piece components, incorporating not just train information but advertising, too. Similarly well-conceived and multi-tasking are the prominent signage ‘totems’ in the concourses, which accommodate lighting, speakers and CCTV.
The consistent design language and environment created by the ‘family of elements’ is strongest at platform level in the five tunnelled stations. Box-constructed stations and ticket-halls meanwhile, have Grimshaw-designed components incorporated into environments and detailing designed by others.
Having visited a few Elizabeth line stations, a general observation is that in the search to establish their own expressive characters, the architects have flexed their individual design muscles by working simple but bold combinations of material, texture and form across walls or soffits in particular. Witness Hawkins\Brown’s patterned glass panels and can-shaped light-fittings at Tottenham Court Road Station, the larch roof structure at Abbey Wood designed by Fereday Pollard – or the rippled, ribbed cathedral-like concrete soffit designed by WilkinsonEyre above the escalators at Liverpool Street.
Apart from the purple signage branding, and exceptions such as Hawkins\Brown’s glass panels, there is a noticeable lack of rich colour, compared with, say, the gutsy blue tile used by Will Alsop on the Jubilee line’s Southwark Station. The result is that even small accents of colour – such as the striped banding around platform columns at Woolwich that reflect regimental colours associated with Woolwich Arsenal – make an impact, simply establishing a distinctive character.
Similarly, the incorporation of art is strangely underplayed, appearing often as single, contained pieces rather than animating stations as a whole – as the Paolozzi tiling does – although the ‘trackside wall’ installation by Sonia Boyce running through Custom House, Silvertown and North Woolwich is perhaps an exception. It reflects, perhaps, the fact that the funding of the art was essentially an added extra in the Crossrail project, subject to sponsorship and, disappointingly, not part of the core budget.
However, given all the constraints, this is an incredibly impressive project – a total work of engineering – which is extraordinarily controlled and consistent in its delivery. And it is one that will undoubtedly improve the lives of people across London and beyond.
While the balance between bland, brand and the joie de vivre of travel on the Elizabeth line seems a touch too weighted towards Marc Augé’s ‘Non-Place’ genre – and one could certainly wish for a little more visual richness at times – in truth it’s difficult to assess its success without the usual hubbub of people animating the spaces. In any case, as with all infrastructure, there will no doubt be an inevitable accretion of ‘stuff’ and unplanned character over time. Given that this gargantuan project is designed for a 120-year lifespan, there’s certainly time.
bauhaus building, dessau, germany, 1925-1926, architect: walter gropius
Gropius consistently separated the parts of the Bauhaus building according to their functions and designed each differently. He thereby arranged the different wings asymmetrically – in relation to what is today the Bauhausstraße and the Gropiusallee respectively. In order to appreciate the overall design of the complex, the observer must therefore move around the whole building. There is no central viewpoint.
The glazed, three-storey workshop wing, the block for the vocational school (also three storeys high) with its unostentatious rows of windows, and the five-storey studio building with its conspicuous, projecting balconies are the main elements of the complex. A two-storey bridge which housed, e.g., the administration department and, until 1928, Gropius’s architectural practice, connects the workshop wing with the vocational school. A single-storey building with a hall, stage and refectory, the so-called Festive Area, connects the workshop wing to the studio building. The latter originally featured 28 studio flats for students and junior masters, each measuring 20 m². The ingenious design of the portals between the foyer and the hall and a folding partition between the stage and the refectory, along with the ceiling design and colour design, impart a grandiose spatial coalescence to the sequence of foyer-hall-stage-refectory, shaping the so-called Festive Area. The façade of the students’ dormitory is distinguished in the east by individual balconies and in the south by long balconies that continue around the corner of the building.
The entire complex is rendered and painted mainly in light tones, creating an attractive contrast to the window frames, which are dark. For the interior, the junior master of the mural workshop, Hinnerk Scheper, designed a detailed colour plan that, by differentiating between supporting and masking elements through the use of colour, aimed to accentuate the construction of the building.
I always have trouble remembering how to spell "yacht" and somethings it does not look right so apologies if my spelling is not consistent.
The National Yacht Club was founded in 1871 as the Kingstown Royal Harbour Boat Club and an active club prior to 1870 operated on the site. It is likely that it was a commercial venture loosely described as a club rather than a club as known today.
The present clubhouse, designed by William Sterling, was erected in 1870 at a cost of £4,000. At that time it was known as the Kingstown Royal Harbour Boat Club.
In 1872 the name was changed to the Kingston Harbour Boat Club, as the use of the word Royal in a title requires a royal warrant and that was registered with Lloyd's in 1872.
Ownership passed to a Captain Peacocke and others who formed a proprietary club called the Kingstown Harbour Yacht Club, again registered at Lloyds. In 1887 the clubhouse was bought by a Mr Charles Barrington. and between 1887 and 1901 the club was very active and operated for a while as the Absolute Club although this change of name was never registered.
The name changed yet again to the Edward Yacht Club, following its purchase by three trustees. In 1930 at a time when the Edward Yacht Club was relatively inactive, a committee including the Earl of Granard approached the trustees with a proposition to form the National Yacht Club.
The Earl of Granard had been Commodore of the North Shannon Yacht Club. An agreement was reached, the National Yacht Club was registered at Lloyds, and the Earl of Granard became the first Commodore. It obtained a warrant from the Irish Herald of Arms and is the only Yacht Club In Ireland with a warrant to use the State Harp on its Ensign.
It continues to provide yachting facilities today.
Other yacht clubs in Dún Laoghaire are the Royal Irish Yacht Club founded in 1831, the Royal St. George Yacht Club founded in 1838 and the Dunlaoghaire Motor Yacht Club founded in 1965.
i seem to love a surprisingly consistent color palate...
1. A modern acropolis, 2. Untitled, 3. Passing, 4. Untitled, 5. ~ the son of man, redux ~, 6. Lighten Riemanhaus, 7. ., 8. Little Island, 9. A Beaver's Work, 10. Untitled, 11. Reminder, 12. Untitled, 13. Woodwalton Fen #1, 14. #gardening, 15. Mantilija, 16. LaMerduSud#3, 17. Untitled, 18. Untitled, 19. Takada and the mountains beyond, 20. short story, 21. Summer bird, 22. Tasja and Tema, 23. Untitled, 24. the memory of winter, 25. Peoria Barn, 26. Well Known Heights, 27. Chairs (Encs) 01. (Toned cyanotype version - 2017), 28. Long, 29. Noli, 30. Blue Sun, 31. jun 12, 32. It's open, 33. Day and Night, 34. Rocket tree, 35. Untitled, 36. Untitled
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Around the Sourderie's lake: a consistent architecture programme
The construction of the Lake Temples in 1986 ends the area made by Catalan architect Ricardo Bofill. These 200 apartments add to the 387 ones of the Arcades and the Viaduct (1979-1982) located on the other side of the reservoir of rainwater. Despite its location straddling two towns, this whole housing all around the lake, now shows a strong unity, reinforced by the lake itself designed as a link. The architecture of the Lake Temples is another aspect of "Versailles for the People" wished by the architect. It also reminds the Greek antiquity, among other things because of the triangular pediments at the top of the buildings. These references to historical shapes, combined with industrial construction techniques, are characteristic to the post-modern movement.
Source: City information panels
Very rare tilting Great Helm, probably Bruges or Brussels, circa 1490-1500, adapted for a funerary achievement. In the heavily patinated condition consistent with armour preserved in churches, with tall finely formed skull rising to a low medial ridge extending rearwards to the base of the nape, the base drawn out in a blunt point over the top of the spine, studded with domed lining rivets, pierced for visor pivots, and pierced for a crest, now carrying a hook for funerary suspension, the visor of heavy guage construction now riveted static, the front formed with a blunt prow, full length medial ridge, basal flange, the lower edge of the sight projecting forward of the upper edge, and cut with a single rectangular ventilation port on the right. H: 35 cm - L: 28 cm - W.: 23 cm - Wt.: 4650 g. Provenance: Sotheby's London, 21 May 1974, lot 186 (illustrated). A similar Great Helm was displayed over the tomb of John Darell, dead in 1438, in Little Chart church, Kent. Another in St. Botolph's church at Lullingstone, Kent, is almost certainly that of Sir John Pechy, dead in 1522. On the basis of a comparable etched armet for the field made in the Royal Armoury at Greenwich, Sir James Mann concluded that this helm, as well as all others of this type, was of English manufacture. More recently, an armourer's mark struck twice, a crowned H, was noticed on Sir John Pechy's helm. Claude Blair suggested that it could be the mark of "Han" or "Hans" Jehan Watt of Brussels, chief supplier of armour between 1495 and 1508, according to the Burgundian Treasurer's accounts. This mark is also found on an armour for the Joust Royal, made around 1500 either for the Emperor Maximilian I or for his son Philip, and on a cuirass made for Philip IV (The Handsome), Duke of Burgundy, each preserved in the Imperial Armoury at the Kunsthistorishes Museum, Vienna (No. S.II and A109a). A tilting helm for the Jousts of Peace or Joust Royal, struck with the same armourer's mark, is in the Royal Armouries Leeds (IV. I); its skull is of an identical design to the present example. The attribution of this tilting helm to the armourers' workshops of Bruges or Brussels is supported by the similarity of its shape with documented examples, and by the historical fact that English armourers of this period did not have an international reputation; this was acquired only in the early 16th century through the works of the Royal Almain Armoury at Greenwich. At the end of the 15th and the beginning of the 16th century, the English wealthy aristocracy was seeking its armour in Northern Italy and Southern Germany, and also from the famous Burgundian workshops. See, LAKING, Guy, A Record of European Arms and Armour, London 1920, vol. II, p. 153, ill.491a & volume V p.195. MANN, James, Two helmets in St Botolph's Church, Lullingstone, Kent, The Antiquaries Journal, April 1932 (vol. XII, No.2), pp.136-141, pl. XXVII. BLAIR, Claude, The Lullingstone Helm, The Antiquaries Journal, 1998 (vol. 78). DUFTY, Arthur Richard, European Armour in the Tower of London, 1968, pl. LXXXIII. SOUTHWICK, Leslie, The Great Helm in England, Arms and Armour Journal of the Royal Armouries, vol.3, No. 1, Spring 2006, pp. 5-77, fig. 47 p.54 & fig. 58 p.64.
Nowadays the helm can be seen in the Château Castelnaud, Dordogne, France.
Joel Parkinson Leads ASP Top Stars in Assault on Rip Curl Pro Bells Beach Round 1
BELLS BEACH, Victoria/Australia (Wednesday, April 20, 2011) – Today marks the commencement of the 50th Anniversary of competition surfing at Bells Beach as Round 1 of the 2011 Rip Curl Pro Bells presented by Ford Ranger got underway in clean four-to-six foot (1.5 - 2 metre) surf.
The Rip Curl Pro Bells Beach, the second stop on the 2011 ASP World Title season, enjoyed consistent surf throughout the day as the world’s best surfers unleashed a barrage of high-performance ripping on the classic canvas of Bells Beach.
Joel Parkinson (AUS), 30, 2009 Rip Curl Pro Bells Beach Champion put in a sensational performance this afternoon, electing to sit up at Rincon to secure the day’s highest scores.. Parkinson locked in the highest wave score and the highest heat score of the opening day of competition scoring 17.74 (out of a possible 20.00) to advance directly through to Round 3 of competition.
"I fell off twice on the bowl," Parkinson said. "It was really hard to ride. Then CJ (Hobgood) went across to Rincon and got a score, so we followed him over and it worked out for me. It's great to get that opening heat win, especially at Bells. You never know what conditions you're going to get in a heat, so to be able to skip round two and maybe get a day off is a huge advantage."
Kelly Slater (USA), 39, reigning 10-time ASP World Champion and defending event winner, was clinical in his attack in his Round 1 heat. Slater had his fellow competitors Adam Robertson (AUS), 28, and Kai Otton (AUS), 31, on the ropes only minutes into the heat, scoring an impressive 16.00 (out of a possible 20.00) on his opening two rides.
"I don't free surf out at Bells a whole lot," Slater said. "When the waves are good the comp is on and outside of that it's pretty crowded. So I'm still learning with each heat out there still, surfing against a guy like Robbo (Adam Robertson) you've got to watch where he's sitting, how far our and how deep."
Mick Fanning (AUS), 29, currently equal 13th in the hunt for the 2011 ASP World Title, went into today’s competition with renewed vigor after a shock early exit at the last event on the Gold Coast. The past two-time ASP World Champion came out and dominated his Round 1 battle over Tiago Pires (PRT), 31, and Gabriel Medina (BRA), 17.
"I'm stoked to get a good start," Fanning said. "It's been 10 years since I won here as I wildcard, I got close last year but Kelly Slater got me in the final. You want to win every event, but being the 50th Anniversary and so much history at this event, it's like the Wimbeldon of surfing, it's a hard one to win but it's the one everyone wants."
Alejo Muniz (BRA), 21, led today’s rookie charge, continuing his sensational run after the and equal 5th on the Gold Coast, and dispatching of fellow Brazilian Ranoi Monterio (BRA), 28, and Australian Adrian Buchan (AUS), 28 in this morning’s opening round heat.
"It's so good out there!" Muniz said. "This is my first time surfing at Bells and it's the most amazing place. It's got perfect rights, and it's the kind of wave that I love to surf. It's the best place ever, best waves, best weather and I love surfing in wetsuits."
Jeremy Flores (FRA), 22, bounced back after missing the Quiksilver Pro Gold Coast with a knee injury, to score a comprehensive win over Taylor Knox (USA), 39, and Cory Lopez (USA), 34.
"I wasn't very confident before the heat," Flores said. "But I got that first wave and did a big turn at the end and got a good score. I think that's what you need to do these days, finish the wave strong. My knee still isn't 100%, but I went for it and it's good to win. Big thanks to everyone at the Gold Coast Suns Football Club for helping with my knee, it's feeling much better now."
Stu Kennedy (AUS), 21, scored a last minute wildcard into the event and caused the upset of the day, eliminating 2010 ASP World Title runner-up Jordy Smith (ZAF), 23, and Dusty Payne (HAW), 22.
"I've been coming here for years," Kennedy said. "I won a Pro Junior here in 2008 and I know where to sit. I don't think Dusty and Jordy know the break as well as I do so that helps. I've been up since 3am because I'm jet-lagged from coming home from Scotland. I woke up with a bunch of energy it's my shaper's birthday so I woke him up at 5am to go surfing. I had to win my heat for him for his birthday."
When men’s competition resumes, up first will be 2010 ASP World Runner-Up Jordy Smith (ZAF), 23, up against Trials Winner Adam Robertson (AUS), 28, in the opening heat of Round 2.
Following the completion of the men’s Round 1 today, the ASP Top 17 hit the water for Round 1 of the Rip Curl Women’s Pro Bells Beach presented by Ford Fiesta.
Stephanie Gilmore (AUS), 23, reigning four-time ASP Women’s World Champion and defending three-time Rip Curl Women’s Bells Beach winner, returned to her winning ways today, after bowing out early at the last event, the Roxy Pro Gold Coast.
"My first two years on tour I didn't have great results on the Gold Coast," Gilmore said. "I always bounced back at this event and then finished the year well, so hopefully I'll do that again this year. The Gold Coast was a fine showing of what women's surfing is up to now and everyone has to try and keep up. It really pushes me and I think anyone who wins an event from now on will be a very deserving winner because of that fact."
Pauline Ado (FRA), 19, the French rookie caused the upset of the women's event, defeating current ASP World Title front runner Carissa Moore (HAW), 18, in a nail biter of a heat.
"I'm really happy, I had a lot of fun out there," Ado said "I got one of my good waves in the first few seconds so after that I felt confident and knew I could be more selective and wait for the right wave. A heat against Carissa is always a tough one, so I'm really stoked to win."
When women’s competition resumes, up first will be Paige Hareb (NZL) and Jessi Miley-Dyer (AUS) in the opening heat of Round 2.
Event organizers will reconvene tomorrow morning at 7am to assess conditions for a possible 7:30am start.
Highlights from the Rip Curl Pro Bells Beach presented by FORD will be webcast available via www.live.ripcurl.com and broadcast live on Fuel TV in Australia and ESPN in Brazil.
For more information, log onto www.aspworldtour.com
RIP CURL PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Alejo Muniz (BRA) 13.23, Adrian Buchan (AUS) 11.26, Raoni Monteiro (BRA) 7.37
Heat 2: Adam Melling (AUS) 14.50, Josh Kerr (AUS) 12.30, Taj Burrow (AUS) 11.00
Heat 3: Heitor Alves (BRA) 14.36, Bobby Martinez (USA) 14.14, Owen Wright (AUS) 10.60
Heat 4: Mick Fanning (AUS) 15.60, Tiago Pires (PRT) 11.07, Gabriel Medina (BRA) 9.27
Heat 5: Stu Kennedy (AUS) 11.70, Dusty Payne (HAW) 10.50, Jordy Smith (ZAF) 9.00
Heat 6: Kelly Slater (USA) 16.00, Kai Otton (AUS) 10.13, Adam Robertson (AUS) 8.53
Heat 7: Jeremy Flores (FRA) 13.17, Cory Lopez (USA) 5.83, Taylor Knox (USA) 4.67
Heat 8: Michel Bourez (PYF) 12.60, Kieren Perrow (AUS) 10.20, Gabe Kling (USA) 3.50
Heat 9: Matt Wilkinson (AUS) 14.60, Damien Hobgood (USA) 11.23, Daniel Ross (AUS) 11.07
Heat 10: Joel Parkinson (AUS) 17.74, C.J. Hobgood (USA) 11.44, Bede Durbidge (AUS) 8.17
Heat 11: Adriano de Souza (BRA) 14.60, Chris Davidson (AUS) 10.83, Julian Wilson (AUS) 9.83
Heat 12: Patrick Gudauskas (USA) 13.40, Jadson Andre (BRA) 9.43, Brett Simpson (USA) 8.93
RIP CURL PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Jordy Smith (ZAF) vs. Adam Robertson (AUS)
Heat 2: Owen Wright (AUS) vs. Gabriel Medina (BRA)
Heat 3: Taj Burrow (AUS) vs. Bobby Martinez (USA)
Heat 4: Adrian Buchan (AUS) vs. Josh Kerr (AUS)
Heat 5: Damien Hobgood (USA) vs. Raoni Monteiro (BRA)
Heat 6: Bede Durbidge (AUS) vs. Cory Lopez (USA)
Heat 7: Brett Simpson (USA) vs. Gabe Kling (USA)
Heat 8: Jadson Andre (BRA) vs. Daniel Ross (AUS)
Heat 9: Chris Davidson (AUS) vs. Julian Wilson (AUS)
Heat 10: C.J. Hobgood (USA) vs. Kai Otton (AUS)
Heat 11: Kieren Perrow (AUS) vs. Dusty Payne (HAW)
Heat 12: Taylor Knox (USA) vs. Tiago Pires (PRT)
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Sofia Mulanovich (PER) 12.93, Chelsea Hedges (AUS) 8.70, Jessi Miley-Dyer (AUS) 8.66
Heat 2: Silvana Lima (BRA) 14.94, Laura Enever (AUS) 8.84, Melanie Bartels (HAW) 7.54
Heat 3: Pauline Ado (HAW) 14.60, Carissa Moore (HAW) 14.44, Nikki Van Dijk (AUS) 10.63
Heat 4: Stephanie Gilmore (AUS) 16.30, Courtney Conlogue (USA) 9.00, Bethany Hamilton (HAW) 6.50
Heat 5: Sally Fitzgibbons (AUS) 16.10, Alana Blanchard (HAW) 12.83 Paige Hareb (NZL) 7.47
Heat 6: Coco Ho (HAW) 12.90, Tyler Wright (AUS) 12.00, Pauline Ado (FRA) 6.37
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Paige Hareb (NZL) vs. Jessi Miley-Dyer (AUS)
Heat 2: Laura Enever (AUS) vs. Melanie Bartels (HAW)
Heat 3: Carissa Moore (HAW) vs. Nikki Van Dijk (AUS)
Heat 4: Chelsea Hedges (AUS) vs. Bethany Hamilton (HAW)
Heat 5: Tyler Wright (AUS) vs. Alana Blanchard (HAW)
Heat 6: Courtney Conlogue (USA) vs. Rebecca Woods (AUS)
Photo ASP/Scholtz
Feral Swine Research Project – Savannah River and Southern Research Station (SRS)
Consistent collaboration and support by the USDA Forest Service Savannah River wildlife program, the Southern Research Station, and its partners, has enabled the ability to monitor, analyze and publish concerns relating to invasive feral swine populations and the economic security and safety of agricultural food sources.
The wildlife program at Savannah River is renowned for their consistent and long-term collaboration with Forest Service Research, State and Private Cooperators, and universities. The program consistently conducts and enables operational work to accommodate any questions and data needs the agency and our cooperators encounter. One wildlife project integrates invasive swine control efforts with research data needs to reduce both ecosystem damage and animal vehicle collisions.
Feral swine have been identified among the 100 most invasive species in the world, having expanded their range such that they now occur in both North and South America, Africa, and Australia, as well as many islands throughout the Caribbean and the Pacific Ocean. In addition to ecosystem and property damage, feral swine destroy agricultural crops, contaminate water sources, and spread diseases that impact human, livestock, and wildlife health. The wildlife program and cooperators have compiled and provided data spanning nearly four decades from the Savannah River Site feral swine control program for management and research analysis. Data recorded by the wildlife program far exceeds that typically collected and, in this case, includes details on body size, sex, age, litter size, location, and date of each animal removed.
The impacts of these efforts are clearly demonstrated in a recent Journal of Wildlife Management article, published by the Savannah River National Laboratory and the USFS Southern Research Station, addressing invasive feral swine populations and the influences of a rural landfill. Invasive feral swine populations scavenging at the landfill have larger body sizes (creating greater damage during swine-vehicle impacts), larger litters, and reach higher densities than those occurring throughout the rest of the forest. The authors also presented these findings at multiple venues including the Canadian Ministry for the Environment.
These effects present unique challenges to population management, control, public safety, and disease transmission, including a heightened risk of the spread of African Swine Fever (ASF). If ASF-contaminated products were disposed of in the landfill and later consumed by the local feral swine population, the resulting infection could easily spread from feral swine to domestic pig and have serious adverse consequences for commercial pork operations. The continued collaboration between Savannah River’s wildlife program with Forest Service Research and our cooperators enables the ongoing scientific research and future findings needed to continue and target sound, effective management for control of this destructive, invasive species.
[image: Inline image 1]
Nymi:
The buzz today was all about yet another new way to provide security for
your accounts and devices. We are truly moving toward life beyond the
password.
The idea of the Nymi is to use your ECG/EKG as the password. Oh. What a
novel idea! Several of my geekier pals around campus are talking about
ordering one. Here is a video showing what folk are so excited about.
Nymi by Bionym:
www.youtube.com/watch?v=jUO7Qnmc8vE
Now, I tweeted this, and that turned into a very interesting conversation
about what might not work with this idea. The conversation was centered
around Jay Ackroyd of Virtually Speaking, a well known Blogradio show and
Second Life phenomena, with occasional comments from others. The gist of
it was (1) there is no single authentication method that will work
consistently for everyone, (2) what about security versus convenience
tradeoffs, and (3) how does this new approach to security connect to the
privacy / transparency debates.
I'm not sure if these embeds will work as I send this blogpost by email, so
this is an experiment. We'll see.
RT @pfanderson: bracelet replace[s] yr
passwords, yr car keys, & even yr fingerprints http://t.co/lE7pEZoBx8 |if not this,something
like it— JayAckroyd (@JayAckroyd) September 4,
2013
@pfanderson EKG key device
impressive but what happens if you have an arrhythmia or an infarction? #Stressful—
Christian Kendrick (@cskendrick) September 4,
2013
@pfanderson Nothing works!
Gotta check into a garage, or, I guess, a hospital. IAC, something like
this. LOCAL authentication— JayAckroyd (@JayAckroyd) September 4,
2013
@JayAckroyd That's what I
was worrying about myself. I have arrhythmia. Varies considerably, amuses
nurses.— P. F. Anderson (@pfanderson) September 4,
2013
@JayAckroyd Would be bad to be
locked out of my phone right when my heart is seizing up with pain and I
can barely move— P. F. Anderson (@pfanderson) September 4,
2013
@pfanderson The principle is
fascinating; difficult to spoof being in two places at once. But sudden
change of EKG would be oops— Christian Kendrick (@cskendrick) September
4, 2013
@cskendrick Sounds like you
should get a free alpha version.— JayAckroyd (@JayAckroyd) September
4, 2013
@pfanderson Inventor's
point other mechs like prints or retinas can be copied isn't really
relevant if you authenticate locally.— JayAckroyd (@JayAckroyd)
4, 2013
@pfanderson Biometric should
never be stored anywhere except a local authentication device.—
JayAckroyd (@JayAckroyd) September 4,
2013
@cskendrick Now that would be
fun. :) Then test how it works when I go for a long walk uphill in high
heat/humidity ...— P. F. Anderson (@pfanderson) September 4,
2013
@cskendrick There is always a
way around everything. If this takes out, someone will figure out how to
trick the device.— P. F. Anderson (@pfanderson) September 4,
2013
@cskendrick This issue always
arises. People without hands. People without eyeballs.Even DNA doesn't
work for ident twins.— JayAckroyd (@JayAckroyd) September 4,
2013
@cskendrick IMPORTANT! RT
"Biometric should never be stored anywhere except a local
authentication device."— P. F. Anderson (@pfanderson) September
4, 2013
@JayAckroyd Sometimes I want
to log my son onto one device, and me onto another. Not sure I want
single-point authentication— P. F. Anderson (@pfanderson) September
4, 2013
@cskendrick Essential! And yet
you see NatID proposals with prints on datastores. I'm for a national
ID. But a GOOD one.— JayAckroyd (@JayAckroyd) September 4,
2013
@cskendrick You mean you want
to be able to use insecure devices. Sure. No reason not to.Except in the
event you won't.— JayAckroyd (@JayAckroyd) September 4,
2013
@cskendrick There can never be
just one solution. Never. (And I rarely say that 'N'
word)— P. F. Anderson (@pfanderson) September 4,
2013
@cskendrick Take that back.
You'll wanna pay for hookers and blow through insecure
systems.— JayAckroyd (@JayAckroyd) September 4,
2013
@pfanderson @cskendrick There is no 100% foolproof
auth method. only several in tandem will cover all users— Atiyaah
A. Miu (@AtiyaahDollfie) September
4, 2013
@cskendrick Another example.
Rt now, GMail allows me to check locations currently logged in: office CPU,
laptop, phone, tablet.— P. F. Anderson (@pfanderson) September 4,
2013
@cskendrick It's useful to
be logged in multiple locations at same time. I OFTEN use more than one
device at a time.— P. F. Anderson (@pfanderson) September 4,
2013
@cskendrick LOL!. Well, not me
personally, but perhaps the generic "you" who currently pay for
hookers.— P. F. Anderson (@pfanderson) September 4,
2013
@AtiyaahDollfie @JayAckroyd @cskendrick Good insight,
Atiyaah— P. F. Anderson (@pfanderson) September 4,
2013
@cskendrick Right, and
that's way insecure. Convenience and security conflict. But you CHOOSE
to trust a public WAN,— JayAckroyd (@JayAckroyd) September 4,
2013
@JayAckroyd @cskendrick my dad taught me a few
things about security when I was a wee girl.— Atiyaah A. Miu
(@AtiyaahDollfie) September
4, 2013
@cskendrick Any illicit
activity. Or licit but embarassing (Dear? Licorice? Again? I thought
you'd given that up.)— JayAckroyd (@JayAckroyd) September 4,
2013
@cskendrick This all connects
back to David Brin on Transparent Society. But you know that well, Jay
:)— P. F. Anderson (@pfanderson) September 4,
2013
@cskendrick LOL! Or the Bronys
:)— P. F. Anderson (@pfanderson) September 4,
2013
@cskendrick Indeed. @Davidbrin is in the subtext.—
JayAckroyd (@JayAckroyd) September 4,
2013
Whilst British Airways long-haul fleet has been predominant, their short-haul fleet mainly consisting of Airbus A320 family aircraft while consistent and relatively young are not the most interesting; indeed, the only interesting examples are either the oldest within the fleet considering their history, or those acquired second-hand.
Whilst the vast majority of Airbus A320 family aircraft within British Airway were acquired brand new from the very beginning of their careers, some did arrive second-hand. In regards to their Airbus A320 fleet currently based from London Heathrow, amongst the oldest operating in the fleet began their careers with competitor, BMI British Midland; previously owned by the Lufthansa Group until 2012 when acquired by British Airways and thus went defunct as a result.
The acquisition of BMI British Midland saw British Airways taking on all 11 Airbus A319s, 7 Airbus A320s and 7 Airbus A321s (ironically, some of those Airbus A320s and Airbus A321s carried British Airways colours albeit operating for British Mediterranean Airways until 2007 when it was absorbed by BM British Midland). The Airbus A321s, configured for mid-haul use have since been withdrawn whilst British Airways original Airbus A321s now operate for BA EuroFlyer out of London Gatwick.
As for the Airbus A319s, only one has been withdrawn although that was largely down to British Airways not renewing the lease of the airframe more than anything else, whilst 3 of the 7 Airbus A320s have since been withdrawn from service with one having been leased to another operator, one currently in long-term storage whilst the third example has since been scrapped.
The further decline of the BMI British Midland Airbus A320s will continue considering they are non-standard amongst the majority of British Airways own Airbus A320 fleet, with 2 more examples expected to be withdrawn in the near future.
Currently, British Airways operates 118 Airbus A320 family aircraft, which includes 30 Airbus A319s, 55 Airbus A320s, 20 Airbus A320neos and 13 Airbus A321neos. British Airways have 13 Airbus A320neos and 7 Airbus A321neos on-order.
Mike India Delta X-Ray was delivered new to BMI British Midland on lease from ILFC on 21st March 2000, the airframe received original 1999 Star Alliance colours until 2011 when the carrier received the alliance's billboard livery. After BMI British Midland was acquired by British Airways in 2012, the airframe transferred over to the flag-carrier on 7th November 2012 remaining on lease with ILFC (becoming AerCap in May 2014), later to be leased from Aircastle from March 2017 until being withdrawn from service on 30th December 2023 and now in long-term storage awaiting to be scrapped at RAF St. Athan since 2nd January 2024. She was powered by 2 International Aero Engines IAE V2527-A5 engines.
Airbus A320-232 G-MIDX on short finals into Runway 27L at London Heathrow (LHR) on BA417 from Luxembourg-Findel (LUX).
Very rare tilting Great Helm, probably Bruges or Brussels, circa 1490-1500, adapted for a funerary achievement. In the heavily patinated condition consistent with armour preserved in churches, with tall finely formed skull rising to a low medial ridge extending rearwards to the base of the nape, the base drawn out in a blunt point over the top of the spine, studded with domed lining rivets, pierced for visor pivots, and pierced for a crest, now carrying a hook for funerary suspension, the visor of heavy guage construction now riveted static, the front formed with a blunt prow, full length medial ridge, basal flange, the lower edge of the sight projecting forward of the upper edge, and cut with a single rectangular ventilation port on the right. H: 35 cm - L: 28 cm - W.: 23 cm - Wt.: 4650 g. Provenance: Sotheby's London, 21 May 1974, lot 186 (illustrated). A similar Great Helm was displayed over the tomb of John Darell, dead in 1438, in Little Chart church, Kent. Another in St. Botolph's church at Lullingstone, Kent, is almost certainly that of Sir John Pechy, dead in 1522. On the basis of a comparable etched armet for the field made in the Royal Armoury at Greenwich, Sir James Mann concluded that this helm, as well as all others of this type, was of English manufacture. More recently, an armourer's mark struck twice, a crowned H, was noticed on Sir John Pechy's helm. Claude Blair suggested that it could be the mark of "Han" or "Hans" Jehan Watt of Brussels, chief supplier of armour between 1495 and 1508, according to the Burgundian Treasurer's accounts. This mark is also found on an armour for the Joust Royal, made around 1500 either for the Emperor Maximilian I or for his son Philip, and on a cuirass made for Philip IV (The Handsome), Duke of Burgundy, each preserved in the Imperial Armoury at the Kunsthistorishes Museum, Vienna (No. S.II and A109a). A tilting helm for the Jousts of Peace or Joust Royal, struck with the same armourer's mark, is in the Royal Armouries Leeds (IV. I); its skull is of an identical design to the present example. The attribution of this tilting helm to the armourers' workshops of Bruges or Brussels is supported by the similarity of its shape with documented examples, and by the historical fact that English armourers of this period did not have an international reputation; this was acquired only in the early 16th century through the works of the Royal Almain Armoury at Greenwich. At the end of the 15th and the beginning of the 16th century, the English wealthy aristocracy was seeking its armour in Northern Italy and Southern Germany, and also from the famous Burgundian workshops. See, LAKING, Guy, A Record of European Arms and Armour, London 1920, vol. II, p. 153, ill.491a & volume V p.195. MANN, James, Two helmets in St Botolph's Church, Lullingstone, Kent, The Antiquaries Journal, April 1932 (vol. XII, No.2), pp.136-141, pl. XXVII. BLAIR, Claude, The Lullingstone Helm, The Antiquaries Journal, 1998 (vol. 78). DUFTY, Arthur Richard, European Armour in the Tower of London, 1968, pl. LXXXIII. SOUTHWICK, Leslie, The Great Helm in England, Arms and Armour Journal of the Royal Armouries, vol.3, No. 1, Spring 2006, pp. 5-77, fig. 47 p.54 & fig. 58 p.64.
Nowadays the helm can be seen in the Château Castelnaud, Dordogne, France.
Joel Parkinson Leads ASP Top Stars in Assault on Rip Curl Pro Bells Beach Round 1
BELLS BEACH, Victoria/Australia (Wednesday, April 20, 2011) – Today marks the commencement of the 50th Anniversary of competition surfing at Bells Beach as Round 1 of the 2011 Rip Curl Pro Bells presented by Ford Ranger got underway in clean four-to-six foot (1.5 - 2 metre) surf.
The Rip Curl Pro Bells Beach, the second stop on the 2011 ASP World Title season, enjoyed consistent surf throughout the day as the world’s best surfers unleashed a barrage of high-performance ripping on the classic canvas of Bells Beach.
Joel Parkinson (AUS), 30, 2009 Rip Curl Pro Bells Beach Champion put in a sensational performance this afternoon, electing to sit up at Rincon to secure the day’s highest scores.. Parkinson locked in the highest wave score and the highest heat score of the opening day of competition scoring 17.74 (out of a possible 20.00) to advance directly through to Round 3 of competition.
"I fell off twice on the bowl," Parkinson said. "It was really hard to ride. Then CJ (Hobgood) went across to Rincon and got a score, so we followed him over and it worked out for me. It's great to get that opening heat win, especially at Bells. You never know what conditions you're going to get in a heat, so to be able to skip round two and maybe get a day off is a huge advantage."
Kelly Slater (USA), 39, reigning 10-time ASP World Champion and defending event winner, was clinical in his attack in his Round 1 heat. Slater had his fellow competitors Adam Robertson (AUS), 28, and Kai Otton (AUS), 31, on the ropes only minutes into the heat, scoring an impressive 16.00 (out of a possible 20.00) on his opening two rides.
"I don't free surf out at Bells a whole lot," Slater said. "When the waves are good the comp is on and outside of that it's pretty crowded. So I'm still learning with each heat out there still, surfing against a guy like Robbo (Adam Robertson) you've got to watch where he's sitting, how far our and how deep."
Mick Fanning (AUS), 29, currently equal 13th in the hunt for the 2011 ASP World Title, went into today’s competition with renewed vigor after a shock early exit at the last event on the Gold Coast. The past two-time ASP World Champion came out and dominated his Round 1 battle over Tiago Pires (PRT), 31, and Gabriel Medina (BRA), 17.
"I'm stoked to get a good start," Fanning said. "It's been 10 years since I won here as I wildcard, I got close last year but Kelly Slater got me in the final. You want to win every event, but being the 50th Anniversary and so much history at this event, it's like the Wimbeldon of surfing, it's a hard one to win but it's the one everyone wants."
Alejo Muniz (BRA), 21, led today’s rookie charge, continuing his sensational run after the and equal 5th on the Gold Coast, and dispatching of fellow Brazilian Ranoi Monterio (BRA), 28, and Australian Adrian Buchan (AUS), 28 in this morning’s opening round heat.
"It's so good out there!" Muniz said. "This is my first time surfing at Bells and it's the most amazing place. It's got perfect rights, and it's the kind of wave that I love to surf. It's the best place ever, best waves, best weather and I love surfing in wetsuits."
Jeremy Flores (FRA), 22, bounced back after missing the Quiksilver Pro Gold Coast with a knee injury, to score a comprehensive win over Taylor Knox (USA), 39, and Cory Lopez (USA), 34.
"I wasn't very confident before the heat," Flores said. "But I got that first wave and did a big turn at the end and got a good score. I think that's what you need to do these days, finish the wave strong. My knee still isn't 100%, but I went for it and it's good to win. Big thanks to everyone at the Gold Coast Suns Football Club for helping with my knee, it's feeling much better now."
Stu Kennedy (AUS), 21, scored a last minute wildcard into the event and caused the upset of the day, eliminating 2010 ASP World Title runner-up Jordy Smith (ZAF), 23, and Dusty Payne (HAW), 22.
"I've been coming here for years," Kennedy said. "I won a Pro Junior here in 2008 and I know where to sit. I don't think Dusty and Jordy know the break as well as I do so that helps. I've been up since 3am because I'm jet-lagged from coming home from Scotland. I woke up with a bunch of energy it's my shaper's birthday so I woke him up at 5am to go surfing. I had to win my heat for him for his birthday."
When men’s competition resumes, up first will be 2010 ASP World Runner-Up Jordy Smith (ZAF), 23, up against Trials Winner Adam Robertson (AUS), 28, in the opening heat of Round 2.
Following the completion of the men’s Round 1 today, the ASP Top 17 hit the water for Round 1 of the Rip Curl Women’s Pro Bells Beach presented by Ford Fiesta.
Stephanie Gilmore (AUS), 23, reigning four-time ASP Women’s World Champion and defending three-time Rip Curl Women’s Bells Beach winner, returned to her winning ways today, after bowing out early at the last event, the Roxy Pro Gold Coast.
"My first two years on tour I didn't have great results on the Gold Coast," Gilmore said. "I always bounced back at this event and then finished the year well, so hopefully I'll do that again this year. The Gold Coast was a fine showing of what women's surfing is up to now and everyone has to try and keep up. It really pushes me and I think anyone who wins an event from now on will be a very deserving winner because of that fact."
Pauline Ado (FRA), 19, the French rookie caused the upset of the women's event, defeating current ASP World Title front runner Carissa Moore (HAW), 18, in a nail biter of a heat.
"I'm really happy, I had a lot of fun out there," Ado said "I got one of my good waves in the first few seconds so after that I felt confident and knew I could be more selective and wait for the right wave. A heat against Carissa is always a tough one, so I'm really stoked to win."
When women’s competition resumes, up first will be Paige Hareb (NZL) and Jessi Miley-Dyer (AUS) in the opening heat of Round 2.
Event organizers will reconvene tomorrow morning at 7am to assess conditions for a possible 7:30am start.
Highlights from the Rip Curl Pro Bells Beach presented by FORD will be webcast available via www.live.ripcurl.com and broadcast live on Fuel TV in Australia and ESPN in Brazil.
For more information, log onto www.aspworldtour.com
RIP CURL PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Alejo Muniz (BRA) 13.23, Adrian Buchan (AUS) 11.26, Raoni Monteiro (BRA) 7.37
Heat 2: Adam Melling (AUS) 14.50, Josh Kerr (AUS) 12.30, Taj Burrow (AUS) 11.00
Heat 3: Heitor Alves (BRA) 14.36, Bobby Martinez (USA) 14.14, Owen Wright (AUS) 10.60
Heat 4: Mick Fanning (AUS) 15.60, Tiago Pires (PRT) 11.07, Gabriel Medina (BRA) 9.27
Heat 5: Stu Kennedy (AUS) 11.70, Dusty Payne (HAW) 10.50, Jordy Smith (ZAF) 9.00
Heat 6: Kelly Slater (USA) 16.00, Kai Otton (AUS) 10.13, Adam Robertson (AUS) 8.53
Heat 7: Jeremy Flores (FRA) 13.17, Cory Lopez (USA) 5.83, Taylor Knox (USA) 4.67
Heat 8: Michel Bourez (PYF) 12.60, Kieren Perrow (AUS) 10.20, Gabe Kling (USA) 3.50
Heat 9: Matt Wilkinson (AUS) 14.60, Damien Hobgood (USA) 11.23, Daniel Ross (AUS) 11.07
Heat 10: Joel Parkinson (AUS) 17.74, C.J. Hobgood (USA) 11.44, Bede Durbidge (AUS) 8.17
Heat 11: Adriano de Souza (BRA) 14.60, Chris Davidson (AUS) 10.83, Julian Wilson (AUS) 9.83
Heat 12: Patrick Gudauskas (USA) 13.40, Jadson Andre (BRA) 9.43, Brett Simpson (USA) 8.93
RIP CURL PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Jordy Smith (ZAF) vs. Adam Robertson (AUS)
Heat 2: Owen Wright (AUS) vs. Gabriel Medina (BRA)
Heat 3: Taj Burrow (AUS) vs. Bobby Martinez (USA)
Heat 4: Adrian Buchan (AUS) vs. Josh Kerr (AUS)
Heat 5: Damien Hobgood (USA) vs. Raoni Monteiro (BRA)
Heat 6: Bede Durbidge (AUS) vs. Cory Lopez (USA)
Heat 7: Brett Simpson (USA) vs. Gabe Kling (USA)
Heat 8: Jadson Andre (BRA) vs. Daniel Ross (AUS)
Heat 9: Chris Davidson (AUS) vs. Julian Wilson (AUS)
Heat 10: C.J. Hobgood (USA) vs. Kai Otton (AUS)
Heat 11: Kieren Perrow (AUS) vs. Dusty Payne (HAW)
Heat 12: Taylor Knox (USA) vs. Tiago Pires (PRT)
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Sofia Mulanovich (PER) 12.93, Chelsea Hedges (AUS) 8.70, Jessi Miley-Dyer (AUS) 8.66
Heat 2: Silvana Lima (BRA) 14.94, Laura Enever (AUS) 8.84, Melanie Bartels (HAW) 7.54
Heat 3: Pauline Ado (HAW) 14.60, Carissa Moore (HAW) 14.44, Nikki Van Dijk (AUS) 10.63
Heat 4: Stephanie Gilmore (AUS) 16.30, Courtney Conlogue (USA) 9.00, Bethany Hamilton (HAW) 6.50
Heat 5: Sally Fitzgibbons (AUS) 16.10, Alana Blanchard (HAW) 12.83 Paige Hareb (NZL) 7.47
Heat 6: Coco Ho (HAW) 12.90, Tyler Wright (AUS) 12.00, Pauline Ado (FRA) 6.37
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Paige Hareb (NZL) vs. Jessi Miley-Dyer (AUS)
Heat 2: Laura Enever (AUS) vs. Melanie Bartels (HAW)
Heat 3: Carissa Moore (HAW) vs. Nikki Van Dijk (AUS)
Heat 4: Chelsea Hedges (AUS) vs. Bethany Hamilton (HAW)
Heat 5: Tyler Wright (AUS) vs. Alana Blanchard (HAW)
Heat 6: Courtney Conlogue (USA) vs. Rebecca Woods (AUS)
Photo ASP/Scholtz
Inspired by the consistently sold-out Writing for Film & Television Summer Intensive Program, the Two-Weekend Intensive was designed for aspiring film and television writers with busy weekday schedules. Over the course of two weekends, participants learn a variety of screenwriting tools, techniques, and exercises that closely represent what students learn in the one-year Writing for Film & Television program.
Find out more about VFS’s one-year Writing for Film & Television program at vfs.com/writing.
Los mallos de Riglos son unas formaciones geológicas consistentes en unas peñas de paredes verticales, llamadas mallos, situadas en la localidad española de Riglos, en la provincia de Huesca, unos 45 km al noroeste de Huesca capital, en las sierras del Prepirineo oscense. Alcanzan los 275 metros de altura máxima (espolón norte del Pisón) y se caracterizan por sus grandes paredes verticales o incluso desplomadas, muy apreciadas para la práctica de la escalada.
En noviembre de 2016, el Consejo de Aragón aprobó la declaración de monumento natural de los Mallos de Riglos, Agüero y Peña Rueba.
The Mallos de Riglos are geological formations consisting of vertical cliffs, called mallos, located in the Spanish town of Riglos, in the province of Huesca, about 45 km northwest of the city of Huesca, in the mountains of the Huesca Pre-Pyrenees. They reach a maximum height of 275 meters (northern spur of the Pisón) and are characterized by their large vertical or even overhanging walls, highly prized for climbing.
In November 2016, the Aragon Council approved the declaration of the Mallos de Riglos, Agüero, and Peña Rueba as natural monuments.
Fuente Wikipedia
Joel Parkinson Leads ASP Top Stars in Assault on Rip Curl Pro Bells Beach Round 1
BELLS BEACH, Victoria/Australia (Wednesday, April 20, 2011) – Today marks the commencement of the 50th Anniversary of competition surfing at Bells Beach as Round 1 of the 2011 Rip Curl Pro Bells presented by Ford Ranger got underway in clean four-to-six foot (1.5 - 2 metre) surf.
The Rip Curl Pro Bells Beach, the second stop on the 2011 ASP World Title season, enjoyed consistent surf throughout the day as the world’s best surfers unleashed a barrage of high-performance ripping on the classic canvas of Bells Beach.
Joel Parkinson (AUS), 30, 2009 Rip Curl Pro Bells Beach Champion put in a sensational performance this afternoon, electing to sit up at Rincon to secure the day’s highest scores.. Parkinson locked in the highest wave score and the highest heat score of the opening day of competition scoring 17.74 (out of a possible 20.00) to advance directly through to Round 3 of competition.
"I fell off twice on the bowl," Parkinson said. "It was really hard to ride. Then CJ (Hobgood) went across to Rincon and got a score, so we followed him over and it worked out for me. It's great to get that opening heat win, especially at Bells. You never know what conditions you're going to get in a heat, so to be able to skip round two and maybe get a day off is a huge advantage."
Kelly Slater (USA), 39, reigning 10-time ASP World Champion and defending event winner, was clinical in his attack in his Round 1 heat. Slater had his fellow competitors Adam Robertson (AUS), 28, and Kai Otton (AUS), 31, on the ropes only minutes into the heat, scoring an impressive 16.00 (out of a possible 20.00) on his opening two rides.
"I don't free surf out at Bells a whole lot," Slater said. "When the waves are good the comp is on and outside of that it's pretty crowded. So I'm still learning with each heat out there still, surfing against a guy like Robbo (Adam Robertson) you've got to watch where he's sitting, how far our and how deep."
Mick Fanning (AUS), 29, currently equal 13th in the hunt for the 2011 ASP World Title, went into today’s competition with renewed vigor after a shock early exit at the last event on the Gold Coast. The past two-time ASP World Champion came out and dominated his Round 1 battle over Tiago Pires (PRT), 31, and Gabriel Medina (BRA), 17.
"I'm stoked to get a good start," Fanning said. "It's been 10 years since I won here as I wildcard, I got close last year but Kelly Slater got me in the final. You want to win every event, but being the 50th Anniversary and so much history at this event, it's like the Wimbeldon of surfing, it's a hard one to win but it's the one everyone wants."
Alejo Muniz (BRA), 21, led today’s rookie charge, continuing his sensational run after the and equal 5th on the Gold Coast, and dispatching of fellow Brazilian Ranoi Monterio (BRA), 28, and Australian Adrian Buchan (AUS), 28 in this morning’s opening round heat.
"It's so good out there!" Muniz said. "This is my first time surfing at Bells and it's the most amazing place. It's got perfect rights, and it's the kind of wave that I love to surf. It's the best place ever, best waves, best weather and I love surfing in wetsuits."
Jeremy Flores (FRA), 22, bounced back after missing the Quiksilver Pro Gold Coast with a knee injury, to score a comprehensive win over Taylor Knox (USA), 39, and Cory Lopez (USA), 34.
"I wasn't very confident before the heat," Flores said. "But I got that first wave and did a big turn at the end and got a good score. I think that's what you need to do these days, finish the wave strong. My knee still isn't 100%, but I went for it and it's good to win. Big thanks to everyone at the Gold Coast Suns Football Club for helping with my knee, it's feeling much better now."
Stu Kennedy (AUS), 21, scored a last minute wildcard into the event and caused the upset of the day, eliminating 2010 ASP World Title runner-up Jordy Smith (ZAF), 23, and Dusty Payne (HAW), 22.
"I've been coming here for years," Kennedy said. "I won a Pro Junior here in 2008 and I know where to sit. I don't think Dusty and Jordy know the break as well as I do so that helps. I've been up since 3am because I'm jet-lagged from coming home from Scotland. I woke up with a bunch of energy it's my shaper's birthday so I woke him up at 5am to go surfing. I had to win my heat for him for his birthday."
When men’s competition resumes, up first will be 2010 ASP World Runner-Up Jordy Smith (ZAF), 23, up against Trials Winner Adam Robertson (AUS), 28, in the opening heat of Round 2.
Following the completion of the men’s Round 1 today, the ASP Top 17 hit the water for Round 1 of the Rip Curl Women’s Pro Bells Beach presented by Ford Fiesta.
Stephanie Gilmore (AUS), 23, reigning four-time ASP Women’s World Champion and defending three-time Rip Curl Women’s Bells Beach winner, returned to her winning ways today, after bowing out early at the last event, the Roxy Pro Gold Coast.
"My first two years on tour I didn't have great results on the Gold Coast," Gilmore said. "I always bounced back at this event and then finished the year well, so hopefully I'll do that again this year. The Gold Coast was a fine showing of what women's surfing is up to now and everyone has to try and keep up. It really pushes me and I think anyone who wins an event from now on will be a very deserving winner because of that fact."
Pauline Ado (FRA), 19, the French rookie caused the upset of the women's event, defeating current ASP World Title front runner Carissa Moore (HAW), 18, in a nail biter of a heat.
"I'm really happy, I had a lot of fun out there," Ado said "I got one of my good waves in the first few seconds so after that I felt confident and knew I could be more selective and wait for the right wave. A heat against Carissa is always a tough one, so I'm really stoked to win."
When women’s competition resumes, up first will be Paige Hareb (NZL) and Jessi Miley-Dyer (AUS) in the opening heat of Round 2.
Event organizers will reconvene tomorrow morning at 7am to assess conditions for a possible 7:30am start.
Highlights from the Rip Curl Pro Bells Beach presented by FORD will be webcast available via www.live.ripcurl.com and broadcast live on Fuel TV in Australia and ESPN in Brazil.
For more information, log onto www.aspworldtour.com
RIP CURL PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Alejo Muniz (BRA) 13.23, Adrian Buchan (AUS) 11.26, Raoni Monteiro (BRA) 7.37
Heat 2: Adam Melling (AUS) 14.50, Josh Kerr (AUS) 12.30, Taj Burrow (AUS) 11.00
Heat 3: Heitor Alves (BRA) 14.36, Bobby Martinez (USA) 14.14, Owen Wright (AUS) 10.60
Heat 4: Mick Fanning (AUS) 15.60, Tiago Pires (PRT) 11.07, Gabriel Medina (BRA) 9.27
Heat 5: Stu Kennedy (AUS) 11.70, Dusty Payne (HAW) 10.50, Jordy Smith (ZAF) 9.00
Heat 6: Kelly Slater (USA) 16.00, Kai Otton (AUS) 10.13, Adam Robertson (AUS) 8.53
Heat 7: Jeremy Flores (FRA) 13.17, Cory Lopez (USA) 5.83, Taylor Knox (USA) 4.67
Heat 8: Michel Bourez (PYF) 12.60, Kieren Perrow (AUS) 10.20, Gabe Kling (USA) 3.50
Heat 9: Matt Wilkinson (AUS) 14.60, Damien Hobgood (USA) 11.23, Daniel Ross (AUS) 11.07
Heat 10: Joel Parkinson (AUS) 17.74, C.J. Hobgood (USA) 11.44, Bede Durbidge (AUS) 8.17
Heat 11: Adriano de Souza (BRA) 14.60, Chris Davidson (AUS) 10.83, Julian Wilson (AUS) 9.83
Heat 12: Patrick Gudauskas (USA) 13.40, Jadson Andre (BRA) 9.43, Brett Simpson (USA) 8.93
RIP CURL PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Jordy Smith (ZAF) vs. Adam Robertson (AUS)
Heat 2: Owen Wright (AUS) vs. Gabriel Medina (BRA)
Heat 3: Taj Burrow (AUS) vs. Bobby Martinez (USA)
Heat 4: Adrian Buchan (AUS) vs. Josh Kerr (AUS)
Heat 5: Damien Hobgood (USA) vs. Raoni Monteiro (BRA)
Heat 6: Bede Durbidge (AUS) vs. Cory Lopez (USA)
Heat 7: Brett Simpson (USA) vs. Gabe Kling (USA)
Heat 8: Jadson Andre (BRA) vs. Daniel Ross (AUS)
Heat 9: Chris Davidson (AUS) vs. Julian Wilson (AUS)
Heat 10: C.J. Hobgood (USA) vs. Kai Otton (AUS)
Heat 11: Kieren Perrow (AUS) vs. Dusty Payne (HAW)
Heat 12: Taylor Knox (USA) vs. Tiago Pires (PRT)
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Sofia Mulanovich (PER) 12.93, Chelsea Hedges (AUS) 8.70, Jessi Miley-Dyer (AUS) 8.66
Heat 2: Silvana Lima (BRA) 14.94, Laura Enever (AUS) 8.84, Melanie Bartels (HAW) 7.54
Heat 3: Pauline Ado (HAW) 14.60, Carissa Moore (HAW) 14.44, Nikki Van Dijk (AUS) 10.63
Heat 4: Stephanie Gilmore (AUS) 16.30, Courtney Conlogue (USA) 9.00, Bethany Hamilton (HAW) 6.50
Heat 5: Sally Fitzgibbons (AUS) 16.10, Alana Blanchard (HAW) 12.83 Paige Hareb (NZL) 7.47
Heat 6: Coco Ho (HAW) 12.90, Tyler Wright (AUS) 12.00, Pauline Ado (FRA) 6.37
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Paige Hareb (NZL) vs. Jessi Miley-Dyer (AUS)
Heat 2: Laura Enever (AUS) vs. Melanie Bartels (HAW)
Heat 3: Carissa Moore (HAW) vs. Nikki Van Dijk (AUS)
Heat 4: Chelsea Hedges (AUS) vs. Bethany Hamilton (HAW)
Heat 5: Tyler Wright (AUS) vs. Alana Blanchard (HAW)
Heat 6: Courtney Conlogue (USA) vs. Rebecca Woods (AUS)
Photo ASP/Scholtz
As the aspen trees show off their peak colors, Meadow Creek continues to bring new life and new opportunities on a cool autumn afternoon - Frisco, CO
Return to Forever is a jazz fusion group founded and led by keyboardist Chick Corea. Through its existence, the band has cycled through a number of different members, with the only consistent band mate of Corea's being bassist Stanley Clarke. However in 1972, after having become a disciple of Scientology, Corea decided that he wanted to better ;communicate; with the audience. This essentially translated into his performing a more popularly accessible style of music, since avant-garde jazz enjoyed a relatively small audience.
First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.
Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.
Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added.. Lenny White (who had played with Corea in Miles Davis's band) then replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded.
The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.
While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions joined.
Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.
The final album by this longest-lasting lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. Romantic Warrior continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.
After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola
Final album (1977)
The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.
Reunion (2008) The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty.
First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. This initial band consisted of singer (and occasional percussionist) Flora Purim, her husband Airto Moreira on drums and percussion, Corea's longtime musical co-worker Joe Farrell on saxophone and flute, and the young Stanley Clarke on bass. Within this first line-up in particular, Clarke played acoustic double bass in addition to electric bass. Corea's electric piano formed the basis of this group's sound, but Clarke and Farrell were given ample solo space themselves. While Purim's vocals lent some commercial appeal to the music, many of their compositions were also instrumental and somewhat experimental in nature. The music was composed by Corea with the exception of the title track of the second album which was written by Stanley Clarke. Lyrics were often written by Corea's friend Neville Potter, and were quite often scientology themed- though this is not readily apparent to those not involved in Scientology itself. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.
Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.
Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added. However, Gadd was unwilling to tour with the band and risk his job as an in-demand session drummer. Lenny White (who had played with Corea in Miles Davis's band) replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded (the first recording, featuring Gadd on drums, was never released and has since disappeared).
The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.
While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. After Bill Connors left the band to concentrate on his solo career, the group also hired new guitarists. Although Earl Klugh played guitar for some of the group's live performances, he was soon replaced by the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions.
Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.
The final album by this longest-lasting "classic" lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. "Romantic Warrior" continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.
After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola
Final album (1977)
The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.
Reunion (2008)
The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour
From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty
HAEGUE YANG
IN THE CONE OF UNCERTAINTY
NOV 2,2019-APR 5,2020
In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.
The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.
Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.
Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.
Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.
A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.
Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.
Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.
Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).
Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).
Return to Forever is a jazz fusion group founded and led by keyboardist Chick Corea. Through its existence, the band has cycled through a number of different members, with the only consistent band mate of Corea's being bassist Stanley Clarke. However in 1972, after having become a disciple of Scientology, Corea decided that he wanted to better ;communicate; with the audience. This essentially translated into his performing a more popularly accessible style of music, since avant-garde jazz enjoyed a relatively small audience.
First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.
Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.
Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added.. Lenny White (who had played with Corea in Miles Davis's band) then replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded.
The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.
While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions joined.
Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.
The final album by this longest-lasting lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. Romantic Warrior continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.
After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola
Final album (1977)
The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.
Reunion (2008) The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty.
First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. This initial band consisted of singer (and occasional percussionist) Flora Purim, her husband Airto Moreira on drums and percussion, Corea's longtime musical co-worker Joe Farrell on saxophone and flute, and the young Stanley Clarke on bass. Within this first line-up in particular, Clarke played acoustic double bass in addition to electric bass. Corea's electric piano formed the basis of this group's sound, but Clarke and Farrell were given ample solo space themselves. While Purim's vocals lent some commercial appeal to the music, many of their compositions were also instrumental and somewhat experimental in nature. The music was composed by Corea with the exception of the title track of the second album which was written by Stanley Clarke. Lyrics were often written by Corea's friend Neville Potter, and were quite often scientology themed- though this is not readily apparent to those not involved in Scientology itself. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.
Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.
Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added. However, Gadd was unwilling to tour with the band and risk his job as an in-demand session drummer. Lenny White (who had played with Corea in Miles Davis's band) replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded (the first recording, featuring Gadd on drums, was never released and has since disappeared).
The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.
While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. After Bill Connors left the band to concentrate on his solo career, the group also hired new guitarists. Although Earl Klugh played guitar for some of the group's live performances, he was soon replaced by the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions.
Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.
The final album by this longest-lasting "classic" lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. "Romantic Warrior" continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.
After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola
Final album (1977)
The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.
Reunion (2008)
The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour
From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty
A different approach this time. Going for narrow aperture and therefore high ISO.
I feel like I get more consistent results and more keepers this way.
E.K.Yap, the MPA & MPAS multi-award winning photographer, has created many iconic masterpieces and photographed covers & campaigns for influential publications & luxury brands. His projects include Patek Philippe, Breguet, Chopard, Bvlgari, Cartier, Chanel & Franck Muller to name a few.
With his wide-ranging experience in art as a creative director in the advertising & publishing industry, he consistently achieves the best results with his precision skill, specialising in luxury projects particularly jewellery, timepiece, product, interior, portrait & fashion.
PHILOSOPHY
“I'm passionate in capturing more than just a beautiful image, I like to craft an inspiring masterpiece with soul & meaning”
AWARD
Advertising/Advertorial/ Editorial - MPA Far East
Architecture/ Cityscape/ Interior - MPA Far East
Illustrative & Creative - MPA Far East
Fashion - MPA Far East
Still Life - MPA Far East
Best Cover - MPAS
PROJECT
A. Lange & Söhne/ Audemars Piguet/ Azimuth/ Aston Martin/ ABN Ambro/ Arium Collection/ Arcatel/ Anlene/ Aqua Culture/ Adidas/ Aries Gold/ Bvlgari/ Breguet/ Bottega Veneta/ Boucheron/ Blancpain/ Breitling/ Baker Furniture/ BBDO/ Borobudur/ Bonhams/ Berggren Jewellery/ Cartier/ Chanel/ Chopard/ CitiGold/ Carat Club/ CapitaLand/ CLIO/ CEL Development/ Coty/ Confetti by Mui/ Canon/ Dolce & Gabbana/ Distillery/ D Editors/ Dell/ Franck Muller/ Flower Diamonds/ Fujitsu/ Fuchsia Lane/ Farm Best/ Ferrari/ Girard-Perregaux/ Genting/ Green Chapter/ Gucci/ Geyer/ Harry Winston/ Hassell Studio/ Hilton Hotel/ Heeton/ Hublot/ Hassell Studio/ HDB/ Hermès/ I.D.Department/ IWC/ Image Bank/ ICI Duluxe/ Inoue Japan/ Jobstreet/ Jaeger-LeCoultre/ Johnny Walker/ JOID/ Kwanpen/ Krieit Associate/ KrisShop/ KFC/ K-Suites/ Louis Moinet/ Levi’s/ Lalique/ Luminox/ Lloyd’s Asia/ Ladurée/ Lush Radio/ Louis Vuitton/ Leonard Drake/ Livita/ Lifelink/ Manolo Blahnik/ Montblanc/ Mediacorp/ MCL Land/ Mirinda/ Marc Anthony/ Maxis Mobile/ Novetel Hotel/ NTU/ National Geographic/ Omega/ Patek Philippe/ Piaget/ Philips/ Playboy/ Prada/ Pepsi/ Pure Earth/ Richard Mille/ Rolex/ Roger Dubuis/ Resort World Sentosa/ Richemont/ Reebonz/ SkysShop/ Singland/ Splendor/ Sarcar/ Sinn/ Shangri-La Hotel/ SIA/ Shelton/ Sally Hansen/ Skin Science/ StarAsia/ Skin79/ Sally Hansen/ Sports Toto/ Spritzer/ 7-Up/ The Mill/ Tag Heuer/ Tiffany/ Transware/ The Hour Glass/ Tudor/ TV3/ Universal Studio/ Ulysse Nardin/ UOI/ UOB/ Vihari Jewels/ Vacheron Constantin/ Van Cleef & Arpels/ Wild Rice/ Zenith
EDITORIAL
August Man/ Affluent/August Women/ Appetite/ Adore/ Awesome/ Business Time/ Baccarat/ Business Craft/ Crown/ CitaBella/ Esquire/ ELLE/ Fiori/ Golf Vacations/ Harper’s Bazaar/ Inspire Travel/ Jewels & Time/ Jewellery Craft/ L’Official/ Luxury Guide/ Luxury Insider/ Luxx Jewellery/ Legacy of Singapore/ Men’s Folio/ Man Stuff/ OASiS/ Prestige/ Prestige Lifestyle/ Pen Craft/ PC World/ PC Magazine/ Robb Report/ RWS Invites/ Solitaire/ Style/ Tatler/ Tatler Wedding/ Tatler Home/ Time Craft/ TiCTalk/ World of Watches
HAEGUE YANG
IN THE CONE OF UNCERTAINTY
NOV 2,2019-APR 5,2020
In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.
The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.
Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.
Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.
Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.
A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.
Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.
Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.
Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).
Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).
HAEGUE YANG
IN THE CONE OF UNCERTAINTY
NOV 2,2019-APR 5,2020
In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.
The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.
Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.
Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.
Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.
A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.
Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.
Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.
Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).
Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).
Joel Parkinson Leads ASP Top Stars in Assault on Rip Curl Pro Bells Beach Round 1
BELLS BEACH, Victoria/Australia (Wednesday, April 20, 2011) – Today marks the commencement of the 50th Anniversary of competition surfing at Bells Beach as Round 1 of the 2011 Rip Curl Pro Bells presented by Ford Ranger got underway in clean four-to-six foot (1.5 - 2 metre) surf.
The Rip Curl Pro Bells Beach, the second stop on the 2011 ASP World Title season, enjoyed consistent surf throughout the day as the world’s best surfers unleashed a barrage of high-performance ripping on the classic canvas of Bells Beach.
Joel Parkinson (AUS), 30, 2009 Rip Curl Pro Bells Beach Champion put in a sensational performance this afternoon, electing to sit up at Rincon to secure the day’s highest scores.. Parkinson locked in the highest wave score and the highest heat score of the opening day of competition scoring 17.74 (out of a possible 20.00) to advance directly through to Round 3 of competition.
"I fell off twice on the bowl," Parkinson said. "It was really hard to ride. Then CJ (Hobgood) went across to Rincon and got a score, so we followed him over and it worked out for me. It's great to get that opening heat win, especially at Bells. You never know what conditions you're going to get in a heat, so to be able to skip round two and maybe get a day off is a huge advantage."
Kelly Slater (USA), 39, reigning 10-time ASP World Champion and defending event winner, was clinical in his attack in his Round 1 heat. Slater had his fellow competitors Adam Robertson (AUS), 28, and Kai Otton (AUS), 31, on the ropes only minutes into the heat, scoring an impressive 16.00 (out of a possible 20.00) on his opening two rides.
"I don't free surf out at Bells a whole lot," Slater said. "When the waves are good the comp is on and outside of that it's pretty crowded. So I'm still learning with each heat out there still, surfing against a guy like Robbo (Adam Robertson) you've got to watch where he's sitting, how far our and how deep."
Mick Fanning (AUS), 29, currently equal 13th in the hunt for the 2011 ASP World Title, went into today’s competition with renewed vigor after a shock early exit at the last event on the Gold Coast. The past two-time ASP World Champion came out and dominated his Round 1 battle over Tiago Pires (PRT), 31, and Gabriel Medina (BRA), 17.
"I'm stoked to get a good start," Fanning said. "It's been 10 years since I won here as I wildcard, I got close last year but Kelly Slater got me in the final. You want to win every event, but being the 50th Anniversary and so much history at this event, it's like the Wimbeldon of surfing, it's a hard one to win but it's the one everyone wants."
Alejo Muniz (BRA), 21, led today’s rookie charge, continuing his sensational run after the and equal 5th on the Gold Coast, and dispatching of fellow Brazilian Ranoi Monterio (BRA), 28, and Australian Adrian Buchan (AUS), 28 in this morning’s opening round heat.
"It's so good out there!" Muniz said. "This is my first time surfing at Bells and it's the most amazing place. It's got perfect rights, and it's the kind of wave that I love to surf. It's the best place ever, best waves, best weather and I love surfing in wetsuits."
Jeremy Flores (FRA), 22, bounced back after missing the Quiksilver Pro Gold Coast with a knee injury, to score a comprehensive win over Taylor Knox (USA), 39, and Cory Lopez (USA), 34.
"I wasn't very confident before the heat," Flores said. "But I got that first wave and did a big turn at the end and got a good score. I think that's what you need to do these days, finish the wave strong. My knee still isn't 100%, but I went for it and it's good to win. Big thanks to everyone at the Gold Coast Suns Football Club for helping with my knee, it's feeling much better now."
Stu Kennedy (AUS), 21, scored a last minute wildcard into the event and caused the upset of the day, eliminating 2010 ASP World Title runner-up Jordy Smith (ZAF), 23, and Dusty Payne (HAW), 22.
"I've been coming here for years," Kennedy said. "I won a Pro Junior here in 2008 and I know where to sit. I don't think Dusty and Jordy know the break as well as I do so that helps. I've been up since 3am because I'm jet-lagged from coming home from Scotland. I woke up with a bunch of energy it's my shaper's birthday so I woke him up at 5am to go surfing. I had to win my heat for him for his birthday."
When men’s competition resumes, up first will be 2010 ASP World Runner-Up Jordy Smith (ZAF), 23, up against Trials Winner Adam Robertson (AUS), 28, in the opening heat of Round 2.
Following the completion of the men’s Round 1 today, the ASP Top 17 hit the water for Round 1 of the Rip Curl Women’s Pro Bells Beach presented by Ford Fiesta.
Stephanie Gilmore (AUS), 23, reigning four-time ASP Women’s World Champion and defending three-time Rip Curl Women’s Bells Beach winner, returned to her winning ways today, after bowing out early at the last event, the Roxy Pro Gold Coast.
"My first two years on tour I didn't have great results on the Gold Coast," Gilmore said. "I always bounced back at this event and then finished the year well, so hopefully I'll do that again this year. The Gold Coast was a fine showing of what women's surfing is up to now and everyone has to try and keep up. It really pushes me and I think anyone who wins an event from now on will be a very deserving winner because of that fact."
Pauline Ado (FRA), 19, the French rookie caused the upset of the women's event, defeating current ASP World Title front runner Carissa Moore (HAW), 18, in a nail biter of a heat.
"I'm really happy, I had a lot of fun out there," Ado said "I got one of my good waves in the first few seconds so after that I felt confident and knew I could be more selective and wait for the right wave. A heat against Carissa is always a tough one, so I'm really stoked to win."
When women’s competition resumes, up first will be Paige Hareb (NZL) and Jessi Miley-Dyer (AUS) in the opening heat of Round 2.
Event organizers will reconvene tomorrow morning at 7am to assess conditions for a possible 7:30am start.
Highlights from the Rip Curl Pro Bells Beach presented by FORD will be webcast available via www.live.ripcurl.com and broadcast live on Fuel TV in Australia and ESPN in Brazil.
For more information, log onto www.aspworldtour.com
RIP CURL PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Alejo Muniz (BRA) 13.23, Adrian Buchan (AUS) 11.26, Raoni Monteiro (BRA) 7.37
Heat 2: Adam Melling (AUS) 14.50, Josh Kerr (AUS) 12.30, Taj Burrow (AUS) 11.00
Heat 3: Heitor Alves (BRA) 14.36, Bobby Martinez (USA) 14.14, Owen Wright (AUS) 10.60
Heat 4: Mick Fanning (AUS) 15.60, Tiago Pires (PRT) 11.07, Gabriel Medina (BRA) 9.27
Heat 5: Stu Kennedy (AUS) 11.70, Dusty Payne (HAW) 10.50, Jordy Smith (ZAF) 9.00
Heat 6: Kelly Slater (USA) 16.00, Kai Otton (AUS) 10.13, Adam Robertson (AUS) 8.53
Heat 7: Jeremy Flores (FRA) 13.17, Cory Lopez (USA) 5.83, Taylor Knox (USA) 4.67
Heat 8: Michel Bourez (PYF) 12.60, Kieren Perrow (AUS) 10.20, Gabe Kling (USA) 3.50
Heat 9: Matt Wilkinson (AUS) 14.60, Damien Hobgood (USA) 11.23, Daniel Ross (AUS) 11.07
Heat 10: Joel Parkinson (AUS) 17.74, C.J. Hobgood (USA) 11.44, Bede Durbidge (AUS) 8.17
Heat 11: Adriano de Souza (BRA) 14.60, Chris Davidson (AUS) 10.83, Julian Wilson (AUS) 9.83
Heat 12: Patrick Gudauskas (USA) 13.40, Jadson Andre (BRA) 9.43, Brett Simpson (USA) 8.93
RIP CURL PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Jordy Smith (ZAF) vs. Adam Robertson (AUS)
Heat 2: Owen Wright (AUS) vs. Gabriel Medina (BRA)
Heat 3: Taj Burrow (AUS) vs. Bobby Martinez (USA)
Heat 4: Adrian Buchan (AUS) vs. Josh Kerr (AUS)
Heat 5: Damien Hobgood (USA) vs. Raoni Monteiro (BRA)
Heat 6: Bede Durbidge (AUS) vs. Cory Lopez (USA)
Heat 7: Brett Simpson (USA) vs. Gabe Kling (USA)
Heat 8: Jadson Andre (BRA) vs. Daniel Ross (AUS)
Heat 9: Chris Davidson (AUS) vs. Julian Wilson (AUS)
Heat 10: C.J. Hobgood (USA) vs. Kai Otton (AUS)
Heat 11: Kieren Perrow (AUS) vs. Dusty Payne (HAW)
Heat 12: Taylor Knox (USA) vs. Tiago Pires (PRT)
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Sofia Mulanovich (PER) 12.93, Chelsea Hedges (AUS) 8.70, Jessi Miley-Dyer (AUS) 8.66
Heat 2: Silvana Lima (BRA) 14.94, Laura Enever (AUS) 8.84, Melanie Bartels (HAW) 7.54
Heat 3: Pauline Ado (HAW) 14.60, Carissa Moore (HAW) 14.44, Nikki Van Dijk (AUS) 10.63
Heat 4: Stephanie Gilmore (AUS) 16.30, Courtney Conlogue (USA) 9.00, Bethany Hamilton (HAW) 6.50
Heat 5: Sally Fitzgibbons (AUS) 16.10, Alana Blanchard (HAW) 12.83 Paige Hareb (NZL) 7.47
Heat 6: Coco Ho (HAW) 12.90, Tyler Wright (AUS) 12.00, Pauline Ado (FRA) 6.37
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Paige Hareb (NZL) vs. Jessi Miley-Dyer (AUS)
Heat 2: Laura Enever (AUS) vs. Melanie Bartels (HAW)
Heat 3: Carissa Moore (HAW) vs. Nikki Van Dijk (AUS)
Heat 4: Chelsea Hedges (AUS) vs. Bethany Hamilton (HAW)
Heat 5: Tyler Wright (AUS) vs. Alana Blanchard (HAW)
Heat 6: Courtney Conlogue (USA) vs. Rebecca Woods (AUS)
Photo ASP/Scholtz