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📍 Brieulles-sur-Bar (08) 🇫🇷
Sur la route en direction de la Lorraine. Pause café dans ce bistrot aux allures d'antan et une discussion avec le tenancier d'une gentillesse absolue.
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ANDREAS SÖDERBERG
"Ecological Apple" 2009
1280 X 720 PIXEL HD PAL VIDEO
IMAGING THE APPLE
AC INSTITUTE [DIRECT CHAPEL]
547 W27th St. 5th and 6th floors
New York 10001
New York
Curated by:
JOHN R. NEESON
ELIZABETH GOWER
Exhibition dates:
MARCH 25 - MAY 1, 2010
imagingtheapple.com/pages/pressrelease1
IMAGING THE APPLE
PRESS RELEASE
Forty-eight artists have been invited to exhibit responses to IMAGING THE APPLE.
The exhibition is scheduled from March 25 to May 1, 2010 at AC Institute [Direct Chapel] 547 West 27th Street, 5th & 6th floors, New York. www.artcurrents.org
IMAGING THE APPLE is a development of a successful show that toured the Eastern states of Australia in 2004 . 2005. The original exhibition was organized by artist/curator John R. Neeson who is co-curating the New York version with Elizabeth Gower also a Melbourne based artist/curator.
The New York show includes Artists from Stockholm, Beijing, Pittsburg, New York, Toledo, Hollywood, Auckland, Plymouth, Melbourne and Sydney; and in the case of Billy Tjampijinpa Kenda from an area in Central Australia as geographically remote from New York City as it's possible to get.
The Artists represent a cross generational group, with established and well known Artists such as Yoko Ono and Billy Apple, exhibiting alongside mid-career and emerging Artists, using a diverse range of media including text, photography, installation, video, sound and painting.
The conceptual basis for IMAGING THE APPLE references Paul Cézanne's ambition to 'astound Paris with the painting of a single apple'.
The apple has been a significant and reoccurring emblem in factual stories, legends and myths throughout western history.
Never actually identified as the guilty 'fruit of temptation' in the Garden of Eden, an apple nevertheless has been universally represented as the culprit for twenty centuries.
The 'apple' features in the Judgment of Paris from Ancient Greece; in the various legends of William Tell and Snow White and the poison apple from central Europe, in Isaac Newton's revelation on gravity from England, in the origin of the Granny Smith apple from Australia, and from America, Johnny Apple seed.
There is also considerable mythology surrounding why New York City became known as the .big apple.. One story is, that in the jargon of US jazz musicians a gig was an .apple. and a gig in New York City, the big apple. A second tale. dating from the 19th Century concerns a high-class bordello, run by Eve, who had the best .apples. in town.
In colloquial Australian "she'll be apples" translates, as "it will be fine" while 'an Apple a day keeps the doctor away', 'an apple for the teacher' and 'the apple of my eye' are epithets common in the English-speaking world that associates the apple with health and goodness.
Finally 'apple' has become an enduring contemporary icon associated with the legendary Beatles company, the personal computers and ipod.
All these associations resonate in various degrees of intensity through the forty-eight responses in IMAGING THE APPLE.
IMAGING THE APPLE is accompanied by a catalogue, documenting the works, and including a project essay by John R.Neeson. It is published by AC Institute and distributed by Amazon and Barnes & Noble.
IMAGING THE APPLE has received a grant through the Dame Joan Sutherland Fund from the Australian American Association and in-kind sponsorship from Chapman & Bailey, an Australian based Art materials company.
Artists presenting responses: -
Billy Apple, Peter Burke, Jon Campbell, Ross Coulter, Holly Crawford, Penelope Davis, Kate Daw, Kim Donaldson, Janenne Eaton, Steve Ellis, Andrew Erdos, Juan Ford, Sue Ford, Clark V. Fox, Timothy Gaewsky, Martin Gantman, Michael Georgetti, Elizabeth Gower, Denise Green, Hao Guo & Thea Rechner, Jayne Holsinger, Natasha Johns-Messenger, Kate Just, Larry Kagan, Billy Tjampijinpa Kenda, Sardi Klein, Richard Kostelanetz, Kevin Laverty, Deven Marriner, Ben Matthews, Rob McKenzie & Kain Picken, My Dog Sighs, John R. Neeson, Yoko Ono, Mary Lou Pavlovic, Amy Pivak, Paul Ross, Andreas Söderberg, Spoonbill, Charles Tashiro, Brie Trenerry, Nico Vassilakis, Dan Waber, Cara Wood-Ginder, Max Yawney, Anne Zahalka.
Contact:
theappleprojects@gmail.com
info@artcurrents.com
How cool, neat and awesome figure(character)!!
A super hero wearing COMME CA style outfit??~~ How fashion is it!!! ( of course, this is my preference only. XD)
thx for the flickr: misterperturbed told me the background about this character, thx again~!!
ANDREW ERDOS
"A Video of the Person Who Robbed me at Gun Point for my Apple Laptop" 2009 - 2010
VIDEO AND PERFORMANCE
IMAGING THE APPLE
AC INSTITUTE [DIRECT CHAPEL]
547 W27th St. 5th and 6th floors
New York 10001
New York
Curated by:
JOHN R. NEESON
ELIZABETH GOWER
Exhibition dates:
MARCH 25 - MAY 1, 2010
imagingtheapple.com/pages/pressrelease1
IMAGING THE APPLE
PRESS RELEASE
Forty-eight artists have been invited to exhibit responses to IMAGING THE APPLE.
The exhibition is scheduled from March 25 to May 1, 2010 at AC Institute [Direct Chapel] 547 West 27th Street, 5th & 6th floors, New York. www.artcurrents.org
IMAGING THE APPLE is a development of a successful show that toured the Eastern states of Australia in 2004 . 2005. The original exhibition was organized by artist/curator John R. Neeson who is co-curating the New York version with Elizabeth Gower also a Melbourne based artist/curator.
The New York show includes Artists from Stockholm, Beijing, Pittsburg, New York, Toledo, Hollywood, Auckland, Plymouth, Melbourne and Sydney; and in the case of Billy Tjampijinpa Kenda from an area in Central Australia as geographically remote from New York City as it's possible to get.
The Artists represent a cross generational group, with established and well known Artists such as Yoko Ono and Billy Apple, exhibiting alongside mid-career and emerging Artists, using a diverse range of media including text, photography, installation, video, sound and painting.
The conceptual basis for IMAGING THE APPLE references Paul Cézanne's ambition to 'astound Paris with the painting of a single apple'.
The apple has been a significant and reoccurring emblem in factual stories, legends and myths throughout western history.
Never actually identified as the guilty 'fruit of temptation' in the Garden of Eden, an apple nevertheless has been universally represented as the culprit for twenty centuries.
The 'apple' features in the Judgment of Paris from Ancient Greece; in the various legends of William Tell and Snow White and the poison apple from central Europe, in Isaac Newton's revelation on gravity from England, in the origin of the Granny Smith apple from Australia, and from America, Johnny Apple seed.
There is also considerable mythology surrounding why New York City became known as the .big apple.. One story is, that in the jargon of US jazz musicians a gig was an .apple. and a gig in New York City, the big apple. A second tale. dating from the 19th Century concerns a high-class bordello, run by Eve, who had the best .apples. in town.
In colloquial Australian "she'll be apples" translates, as "it will be fine" while 'an Apple a day keeps the doctor away', 'an apple for the teacher' and 'the apple of my eye' are epithets common in the English-speaking world that associates the apple with health and goodness.
Finally 'apple' has become an enduring contemporary icon associated with the legendary Beatles company, the personal computers and ipod.
All these associations resonate in various degrees of intensity through the forty-eight responses in IMAGING THE APPLE.
IMAGING THE APPLE is accompanied by a catalogue, documenting the works, and including a project essay by John R.Neeson. It is published by AC Institute and distributed by Amazon and Barnes & Noble.
IMAGING THE APPLE has received a grant through the Dame Joan Sutherland Fund from the Australian American Association and in-kind sponsorship from Chapman & Bailey, an Australian based Art materials company.
Artists presenting responses: -
Billy Apple, Peter Burke, Jon Campbell, Ross Coulter, Holly Crawford, Penelope Davis, Kate Daw, Kim Donaldson, Janenne Eaton, Steve Ellis, Andrew Erdos, Juan Ford, Sue Ford, Clark V. Fox, Timothy Gaewsky, Martin Gantman, Michael Georgetti, Elizabeth Gower, Denise Green, Hao Guo & Thea Rechner, Jayne Holsinger, Natasha Johns-Messenger, Kate Just, Larry Kagan, Billy Tjampijinpa Kenda, Sardi Klein, Richard Kostelanetz, Kevin Laverty, Deven Marriner, Ben Matthews, Rob McKenzie & Kain Picken, My Dog Sighs, John R. Neeson, Yoko Ono, Mary Lou Pavlovic, Amy Pivak, Paul Ross, Andreas Söderberg, Spoonbill, Charles Tashiro, Brie Trenerry, Nico Vassilakis, Dan Waber, Cara Wood-Ginder, Max Yawney, Anne Zahalka.
Contact:
theappleprojects@gmail.com
info@artcurrents.com
The National Cycle Route 647 on the route of the former Chesterfield and Lincoln Direct Railway, travelling through Old Hag Wood in between Doddington and Skellingthorpe in Lincolnshire.
Like most new railways of the time its purpose was the carriage of coal. The project's leading light was William Arkwright, a descendant of Richard Arkwright who had made the family's fortune by mechanising the spinning of cotton. William Arkwright had settled at Sutton Scarsdale Hall near Chesterfield and with the land came extensive deposits of coal.
The rail network in the vicinity provided by the Midland Railway and the Manchester, Sheffield and Lincolnshire Railway was still in its infancy and would not meet his requirements. In 1887 the Chesterfield and Lincoln Direct Railway was proposed independently to join with Midland lines at each end. It would cross his land but received insufficient support.
Arkwright decided to promote an independent line to provide through roads to opposite coasts of the country. In time it became known as "The East to West". It would be sufficiently large to maintain itself in the face of competition from other railways. There were a number of lines already approved but not carried forward which could be incorporated. With the Newark and Ollerton there was the Macclesfield and Warrington Railway and the Lincoln and East Coast Railway. A number of other lines had been considered but not formally proposed and these, together with plans for dock works at Sutton on Sea which had been approved in 1884, gave Arkwright his route and support from the various landowners involved. The Lancashire Derbyshire and East Coast Railway Company was formed at 27 George St in Westminster and published its plans in 1890.
There was initially a deal of opposition from landowners and other railway companies but, in the end, the main opponent was the MS&LR because the line would bypass its own line from Sheffield to Retford and thence to London. The Great Eastern Railway turned from opponent to supporteer, realising that the line could give it an entree to the Midlands coalfields. The Lancashire, Derbyshire and East Coast Railway Act authorising building the line was given Royal Assent on 5 August 1891.
Due to lack of investment, only the portion from Chesterfield to Lincoln was built. To have continued west of Chesterfield would have required some extremely expensive and difficult engineering works. It was an ambitious undertaking, with some extremely expensive engineering works, crossing the Peak District which had always been a major headache for railway builders. Even to the east it crossed lines of hills running north and south. In addition it would conflict with the lines of a number of other railway companies.
From Lincoln the line would continue eastward over the Lincolnshire Wolds, with a junction near Stainfield as it crossed the GNR Louth to Bardney line. Proceeding well to the north of Horncastle it would cross the East Lincolnshire Railway to the southwest of Alford passing to the south. It would then join that line's loop (at that time known as the Willoughby Railway) near Thurlby turning north east to Sutton on Sea, where the North Sea port would be built.
Passenger services over the line to Lincoln finished in September 1955.
KATE JUST
Tempted" (2010)
HAND AND MACHINE KNITTED COTTON AND ACRYLIC YARN, WOOD, WIRE, PLASTIC, METAL RING, 14" X 16" X 5" (35CM X 42CM X 14CM)
IMAGING THE APPLE
AC INSTITUTE [DIRECT CHAPEL]
547 W27th St. 5th and 6th floors
New York 10001
New York
Curated by:
JOHN R. NEESON
ELIZABETH GOWER
Exhibition dates:
MARCH 25 - MAY 1, 2010
imagingtheapple.com/pages/pressrelease1
IMAGING THE APPLE
PRESS RELEASE
Forty-eight artists have been invited to exhibit responses to IMAGING THE APPLE.
The exhibition is scheduled from March 25 to May 1, 2010 at AC Institute [Direct Chapel] 547 West 27th Street, 5th & 6th floors, New York. www.artcurrents.org
IMAGING THE APPLE is a development of a successful show that toured the Eastern states of Australia in 2004 . 2005. The original exhibition was organized by artist/curator John R. Neeson who is co-curating the New York version with Elizabeth Gower also a Melbourne based artist/curator.
The New York show includes Artists from Stockholm, Beijing, Pittsburg, New York, Toledo, Hollywood, Auckland, Plymouth, Melbourne and Sydney; and in the case of Billy Tjampijinpa Kenda from an area in Central Australia as geographically remote from New York City as it's possible to get.
The Artists represent a cross generational group, with established and well known Artists such as Yoko Ono and Billy Apple, exhibiting alongside mid-career and emerging Artists, using a diverse range of media including text, photography, installation, video, sound and painting.
The conceptual basis for IMAGING THE APPLE references Paul Cézanne's ambition to 'astound Paris with the painting of a single apple'.
The apple has been a significant and reoccurring emblem in factual stories, legends and myths throughout western history.
Never actually identified as the guilty 'fruit of temptation' in the Garden of Eden, an apple nevertheless has been universally represented as the culprit for twenty centuries.
The 'apple' features in the Judgment of Paris from Ancient Greece; in the various legends of William Tell and Snow White and the poison apple from central Europe, in Isaac Newton's revelation on gravity from England, in the origin of the Granny Smith apple from Australia, and from America, Johnny Apple seed.
There is also considerable mythology surrounding why New York City became known as the .big apple.. One story is, that in the jargon of US jazz musicians a gig was an .apple. and a gig in New York City, the big apple. A second tale. dating from the 19th Century concerns a high-class bordello, run by Eve, who had the best .apples. in town.
In colloquial Australian "she'll be apples" translates, as "it will be fine" while 'an Apple a day keeps the doctor away', 'an apple for the teacher' and 'the apple of my eye' are epithets common in the English-speaking world that associates the apple with health and goodness.
Finally 'apple' has become an enduring contemporary icon associated with the legendary Beatles company, the personal computers and ipod.
All these associations resonate in various degrees of intensity through the forty-eight responses in IMAGING THE APPLE.
IMAGING THE APPLE is accompanied by a catalogue, documenting the works, and including a project essay by John R.Neeson. It is published by AC Institute and distributed by Amazon and Barnes & Noble.
IMAGING THE APPLE has received a grant through the Dame Joan Sutherland Fund from the Australian American Association and in-kind sponsorship from Chapman & Bailey, an Australian based Art materials company.
Artists presenting responses: -
Billy Apple, Peter Burke, Jon Campbell, Ross Coulter, Holly Crawford, Penelope Davis, Kate Daw, Kim Donaldson, Janenne Eaton, Steve Ellis, Andrew Erdos, Juan Ford, Sue Ford, Clark V. Fox, Timothy Gaewsky, Martin Gantman, Michael Georgetti, Elizabeth Gower, Denise Green, Hao Guo & Thea Rechner, Jayne Holsinger, Natasha Johns-Messenger, Kate Just, Larry Kagan, Billy Tjampijinpa Kenda, Sardi Klein, Richard Kostelanetz, Kevin Laverty, Deven Marriner, Ben Matthews, Rob McKenzie & Kain Picken, My Dog Sighs, John R. Neeson, Yoko Ono, Mary Lou Pavlovic, Amy Pivak, Paul Ross, Andreas Söderberg, Spoonbill, Charles Tashiro, Brie Trenerry, Nico Vassilakis, Dan Waber, Cara Wood-Ginder, Max Yawney, Anne Zahalka.
Contact:
theappleprojects@gmail.com
info@artcurrents.com
Emerson Stage Presents
Baltimore
By Kirsten Greenidge
Directed by Timothy Douglas
Presented October 28–31, 2021
Semel Theater | Emerson College
Boston, MA
Scenic Design By Sarabeth Spector
Props Lead is Evy Burch
Costume Design By Max Semrau
Lighting Design By Josie Buckon
Sound Design By Maddie Hanley and Juanma Suarez
Stage Manager is Sarah Bord
Dramaturg is Omar Mardini
Cast is Zion Amparo, Naja Nicole Brown, McKennen Campbell, Sydnie Cooper, Anaïs Crespin, Alyssa Frey, Jasmine Hawkins, Carl Kleifgen, Isabel Moon, Hannah Bishop, Christine Strong.
Photos by Craig Bailey/Perspective Photo
For more info please visit: www.emersonstage.org/baltimore
Harman Direct Positive Paper trials and review :D
www.ahaywardphotographeâr.co.uk/#/harman-direct-positiâ...
Direct Rail Services 37218, somewhat of a workaholic ordinarily, is pictured in York Parcel Sidings alongside heavyweight sister 37716 and younger compatriot 66424.
The locomotive was released from English Electric Vulcan Foundry in January 1964 as D6918, and renumbered to its current TOPS identification in March 1975. 37218 went on to be deployed within the Railfreight Division of BR, before acquisition by English Welsh & Scottish Railways in September 1998, having been declared unserviceable and stored 3years earlier. In December 1999, the locomotive was formally condemned and was expected to be used as a source of spare parts for other EW&S Class 37s. At a time when Direct Rail Services were expanding and purchasing Class 37s to enable their growth, 37218 was saved from almost certain scrapping in July 2002 and swiftly returned to service. In line with many other DRS Class 37 locomotives acquired around the same time, to aid upkeep and maintenance, the front ends of the locomotive were modified alongside sisters 37038/059/069. The headcode boxes were removed, as they were a known spot for rot and water ingress, headlight arrays were changed to the WIPAC's for ease of maintenance although the jumper boxes remained in their original position. Similar modifications were later undertaken on 37423 'Spirit of the Lakes' hence this loco is one of very few 37/4s not to have a classic livery owing to its non-original appearance.
The feature which makes this locomotive instantly distinguishable and hence the title of this image, is that the locomotive has larger TOPS numbers on the bodysides (and are obviously misaligned) when compared to its classmates such as 37716.
Harman Direct Positive Paper trials and review :D
www.ahaywardphotographeâr.co.uk/#/harman-direct-positiâ...
Press Eye - Belfast - Northern Ireland - 18th September 2022 -
General view of the Mash Direct Belfast City Half Marathon in Belfast city centre.
Photo by Kelvin Boyes / Press Eye.
Mein alter Plattenspieler aus den 80er Jahren mit Direktantrieb! Er läuft noch gut!
My old turntable of the 80ies with direct drive! It still runs well!
Direct Rail Services Class 68 No. 68013 approaches Fine Lane level crossing with 6U77 1342 Mountsorrel-Crewe Virtual Quarry on 11th March 2015. The locomotive carries the base Chiltern Trains livery, for whom it is intended that it will be working for soon on the Marylebone to Banbury, Birmingham and Kidderminster turns. Fine Lane crossing is manned, and the crossing keepers cabin can be seen on the extreme right. It is on the freight-only line from Wichnor Junction to Lichfield TV Junction, where the line splits with a chord providing a connection onto the West Coast Main Line at Lichfield Trent Valley North Junction, or continues through the High Level platforms at Lichfield TV and then becomes the northern section of Birmingham's Cross City Line. Note the crossing keepers fine example of 1960s mobility-a Vespa scooter! Copyright John Whitehouse - all rights reserved
An unusual recent acquistion by Gibson Direct is M876 DDS, a 1989 Chassis Developments bodied Ford Transit 2.5Di. With only 17k on the clock this one's barely run in, and the 4-speed box still feels nice and tight - drives like a new van, absolutely gorgeous!
Positive Runway Global Catwalk Underbelly Festival South Bank London Pride Fashion Week Rehearsals Kacey
Directed by Sadie Sinner the Song Bird of The Cocoa Butter Club
Lien direct vers le test du Nikon Z6 :
www.nikonpassion.com/test-nikon-z6-deux-semaines-terrain-...
Présentation du Nikon Z6, les photos du test en haute définition sont dans cet album également.
Benoît Deveaud, Directeur adjoint de l'enseignement et de la recherche à l'École polytechnique
Crédit photographique : © École polytechnique - J.Barande
Directed by Mel Ferrer, Hepburn's husband at the time.
See also:
careaboutmusicandfilm.blogspot.com/2016/05/green-mansions...