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Lower Slaughter is a village in the English county of Gloucestershire, located in the Cotswold district, 4 miles (6.4 km) south west of the town of Stow-on-the-Wold. The village is built on both banks of the River Eye, which also flows through Upper Slaughter. At the west end of the village there is a 19th-century water mill with an undershot waterwheel and a chimney for additional steam power. There is a ford where the river widens in the village and several small stone footbridges join the two sides of the community. While the mill is built of red brick most of the 16th and 17th century homes in the village use Cotswold sandstone and are adorned with mullioned windows and often with other embellishments such as projecting gables. Records exist showing that Lower Slaughter has been inhabited for over 1000 years. The Domesday Book entry has the village name as “Sclostre”. It further notes that in 1066 and 1086 that the manor was in the sheriff's hands. Lower Slaughter Manor, a Grade-II listed 17th-century house, was granted to Sir George Whitmore in 1611 and remained in his family until 1964. The 13th century Anglican parish church is dedicated to St. Mary the Virgin. Much of the current structure was built in 1866; however, the spire and peal of six bells was recently restored. In May 2013 it was reported in the national news that the Parish Council were fiercely opposed to the presence of an icebox tricycle selling ice creams for seven days a week, six months of the year, citing that the trading times were excessive, increased footfall would prevent the grass from growing and that children could climb on the trike and fall into the nearby river.
From Wikipedia, the free encyclopedia
The Slaughters Country Inn is privately owned and offers a relaxed ambience, a style that is sympathetically balanced between the original features of a 17th Century building and contemporary design. The blend of old and new creates the perfect retreat in a beautiful country location
Children's Encyclopedia, edited by Arthur Mee, and published in 10 volumes by the Educational Book Company, London. It was published from 1908 to 1964.
Dillenia indica
From Wikipedia, the free encyclopedia
Dillenia indica leaves, fruits & buds in Kolkata, West Bengal, India.
Dillenia indica(Elephant apple) (Chulta)(Ouu) is a species of Dillenia native to southeastern Asia, from India, Bangladesh and Sri Lanka east to southwestern China (Yunnan) and Vietnam, and south through Thailand to Malaysia and Indonesia.
It is an evergreen large shrub or small to medium-sized tree growing to 15 m tall. The leaves are 15–36 cm long, with a conspicuously corrugated surface with impressed veins. Its branches are used to make good firewood. The flowers are large, 15–20 cm diameter, with five white petals and numerous yellow stamens. Its characteristic round fruits are large, greenish yellow, have many seeds and are edible. The fruit is a 5–12 cm diameter aggregate of 15 carpels, each carpel containing five seeds embedded in an edible pulp.
The fruit pulp is used in Indian Cuisine in curries, jam, and jellies.
Mini Roadtrip Noord-Holland
North Holland
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This article is about the Dutch province. For other uses, see North Holland (disambiguation).
North Holland
Noord-Holland
Province of the Netherlands
Flag of North Holland
Flag Coat of arms of North Holland
Coat of arms
Anthem: "Noord-Hollands Volkslied"[1]
(Anthem of North Holland)
Location of North Holland in the Netherlands
Location of North Holland in the Netherlands
Coordinates: 52°40′N 4°50′ECoordinates: 52°40′N 4°50′E
Country
Netherlands
Established
1840 (split-up of Holland)
Capital
Haarlem
Largest city
Amsterdam
Government
• King's Commissioner
Johan Remkes (VVD)
Area
• Total
2,670 km2 (1,030 sq mi)
• Water
1,421 km2 (549 sq mi)
Area rank
6th nationally
Population (1 January 2015)
• Total
2,762,163
• Rank
2nd nationally
• Density
1,000/km2 (2,700/sq mi)
• Density rank
2nd nationally
Time zone
CET (UTC+1)
• Summer (DST)
CEST (UTC+2)
ISO 3166 code
NL-NH
Website
Amsterdam Damrak
Hartekamp villa at Heemstede
Alkmaar canal
Boulevard at Zandvoort beach resort
North Holland (Dutch: Noord-Holland [ˈnoːrt ˈɦɔlɑnt] ( listen), West Frisian: Noard-Holland) is a province in the northwest of the Netherlands. It is situated on the North Sea, north of South Holland and Utrecht, and west of Friesland and Flevoland. As of 2015, it has a population of 2,762,163[2] and a total area of 2,670 km2 (1,030 sq mi).
From the 9th to the 16th century, the area was an integral part of the County of Holland. During this period West Friesland was incorporated. In the 17th and 18th century, the area was part of the province of Holland. At that time, the distinction between the Noorderkwartier (Northern Quarter) and the Zuiderkwartier (Southern Quarter) became common. In 1840, the province of Holland was split into the two provinces of North Holland and South Holland. In 1855, the Haarlemmermeer was drained and turned into land.
The capital and seat of the provincial government is Haarlem, and Amsterdam, the Netherlands' capital city is the province's largest city. The King's Commissioner of North Holland is Johan Remkes. There are 51 municipalities and three (parts of) water boards in the province.
Geography[edit]
Satellite image of the north and center of North Holland and parts of Friesland and Flevoland
Satellite image of the south of North Holland
North Holland is situated at
52°40′N 4°50′E in the northwest of the Netherlands with to the northeast the province of Friesland, to the east the province of Flevoland, to the southeast the province of Utrecht, to the southwest the province of South Holland, and to the west the North Sea.
North Holland is a broad peninsula for the most part, located between the North Sea, the Wadden Sea, the IJsselmeer, and the Markermeer. More than half of the province consists of reclaimed polder land situated below sea level. The West Frisian islands of Noorderhaaks and Texel are also part of the province.
North Holland makes up a single region of the International Organization for Standardization world region code system, having the code ISO 3166-2:NL-NH.
This book exclusively covers collector edition Barbie dolls including her friends and family members. Augustyniak features all of Barbie's various ethnic counterparts, and even included facial close-ups for them. I find looking at all the many variations very interesting, and extremely handy for identification purposes. I do feel that his photograph quality lacks in that the pictures are very small and the dolls are boxed generally speaking. As I've mentioned before, I find it hard to see what a doll truly looks like when photographed in his/her box. I am pleased that Augustyniak included facial close-ups for every doll in this book though. For the most part, it seems like he didn't picture more than three different Barbies on each page (not including variations), so I feel that everything is spaced out nicely. He also included many pictures of packaging for those who are interested in boxes. This book is organized by series and then subdivided by release date. Each item has a decently lengthy description, a "value," a release date, and a stock number. This book also features a multitude of one of a kind dolls at the back. I appreciate how Augustyniak also included pictures of collectible fashion and accessory packs in this book as well, not just dolls. However, like with several of his other books, he chose to include random Barbie related merchandise such as mugs, ceramics, purses, and posters, which are jumbled with the dolls. To me, I feel that these random items interrupt the flow of the book, but to some they may find these pictures useful.
One of the major pitfalls with this book is the fact that Augustyniak covered many of the dolls in his other books. As I have mentioned several times now, he always had the tendency to include redundant information in his books, making it somewhat pointless to purchase them all. I own two of his Barbie exclusives books, and I can tell that he pictured many of the same collector dolls in all three books. This repetitiveness of information makes me very wary and hesitant to purchase anymore of his books. I believe there are several Collector Encyclopedias available written by Augustyniak. I believe this 2008 edition is the newest, which is why I purchased it. I cannot say for sure if his previous editions contain all the same information or not, but I would assume they would.
Being more of a play line collector, I don't use this book particular often, especially since many of the dolls are featured in books I prefer more, such as his second edition exclusives book. I think that this book would be incredibly useful and interesting though for the individuals whom are very interested in collectible Barbie dolls and one of a kind dolls. This book is very thick and comes in hardcover, so it is definitely worth the price if these dolls are the type that interest you. Since it spans up to 2008, it includes many dolls that have not been featured in any other books, because it seems that the most prevalent time for Barbie books ended in 1995. All in all, I would say that this is one of Augustyniak's finer books since it is well organized and he seemed to stay on topic for the most part, and although his pictures are on the small side, they are much brighter and crisper than those in his other books.
The Mall, Washington, DC - I was amazed at the size of these flowers while visiting the Sculpture Garden. I think they are called Hibiscus 'Disco Bell Mix' ...
www.perennialresource.com/encyclopedia/view/?plant=1135
www.nga.gov/content/ngaweb/visit/maps-and-information/scu...
From Wikipedia, the free encyclopedia
Pipilotti Rist
Born Elisabeth Charlotte Rist
21 June 1962 (age 55)
Grabs, Canton of St. Gallen, Switzerland
Nationality Swiss
Education Institute of Applied Arts, Schule für Gestaltung
Known for Video art
Notable work Pepperminta, I'm Not The Girl Who Misses Much, Pickleporno, Ever is Over All
Movement feminism
Awards Joan Miró Prize (2009)
Pink tramway in Geneva, by Pipilotti Rist
Elisabeth Charlotte "Pipilotti" Rist (born 21 June 1962), is a visual artist who works with video, film, and moving images which are often displayed as projections.
Contents
1 Life and career
2 Works
3 Recognition
4 References
5 External links
Life and career
Rist was born Elisabeth Charlotte in 1962 in Grabs, Sankt Gallen, in Switzerland.[1] Her father is a doctor and her mother is a teacher.[2] Since her childhood she has been nicknamed Pipilotti. The name refers to the novel Pippi Longstocking by Astrid Lindgren.
Prior to studying art and film, Rist studied theoretical physics in Vienna for one semester.[3] From 1982 to 1986 Rist studied commercial art, illustration, and photography at the University of Applied Arts Vienna in Vienna. She later studied video at the School of Design (Schule für Gestaltung) in Basel, Switzerland. From 1988 through 1994, she was member of the music band and performance group Les Reines prochaines. In 1997, her work was first featured in the Venice Biennial, where she was awarded the Premio 2000 Prize. From 2002 to 2003, she was invited by Professor Paul McCarthy to teach at UCLA as a visiting faculty member. From Summer 2012 through to Summer 2013, Rist spent a sabbatical in Somerset.[4]
Pipilotti Rist currently lives with her common law partner Balz Roth, with whom she has a son, named Himalaya.
From 2005 to 2009, she worked on her first feature film, Pepperminta.[5]
Works
During her studies Pipilotti Rist began making super 8 films. Her works generally last only a few minutes, and contained alterations in their colors, speed, and sound. Her works generally treat issues related to gender, sexuality, and the human body.
Her colorful and musical works transmit a sense of happiness and simplicity. Rist's work is regarded as feminist by some art critics. Her works are held by many important art collections worldwide.
In I'm Not The Girl Who Misses Much (1986) Rist dances before a camera in a black dress with uncovered breasts. The images are often monochromatic and fuzzy. Rists repeatedly sings "I'm not the girl who misses much," a reference to the first line of the song "Happiness Is a Warm Gun" by the Beatles. As the video approaches its end, the image becomes increasingly blue and fuzzy and the sound stops.
Rist achieved notoriety with Pickelporno (Pimple porno) (1992), a work about the female body and sexual excitation. The fisheye camera moves over the bodies of a couple. The images are charged by intense colors, and are simultaneously strange, sensual, and ambiguous.
Ever is Over All (1997) shows in slow-motion a young woman walks along a city street, smashing the windows of parked cars with a large hammer in the shape of a tropical flower. At one point a police officer greets her. The audio video installation has been purchased by the Museum of Modern Art in New York City. This work was later referenced in 2016 by Beyoncé in the film accompanying her album Lemonade.[6]
Rist's nine video segments titled Open My Glade were played once every hour on a screen at Times Square in New York City, a project of the Messages to the Public program, which was founded in 1980.
Pour Your Body Out was a commissioned multimedia installation organized by Klaus Biesenbach and installed in the atrium of the Museum of Modern Art in early 2009. In an interview with Phong Bui published in The Brooklyn Rail, Rist said she chose the atrium for the installation "because it reminds me of a church's interior where you’re constantly reminded that the spirit is good and the body is bad. This spirit goes up in space but the body remains on the ground. This piece is really about bringing those two differences together."[7]
Pipilotti Rist (eigentlich Elisabeth Charlotte Rist; * 21. Juni 1962 in Grabs, heimatberechtigt in Altstätten) ist eine Schweizer Künstlerin. Neben Videoinstallationen und Experimentalfilmen gehören zu ihren Arbeiten auch Environments, Objekte, Computerkunst und digitale Fotomontagen.
Inhaltsverzeichnis
1 Leben und berufliche Entwicklung
2 Technik
3 Werke
3.1 Audio- und Videoinstallationen
3.2 Film und Video
4 Ausstellungen (Auswahl)
5 Auszeichnungen
6 Publikationen
7 Sekundärliteratur
8 Weblinks
9 Einzelnachweise
Leben und berufliche Entwicklung
Den Spitznamen «Pipilotti», der heute auch ihr Künstlername ist, trägt sie nach eigenen Angaben bereits seit der Kindheit nach der beliebten Kinderbuch-Figur Pippi Langstrumpf.
Rist studierte von 1982 bis 1986 Gebrauchs-, Illustrations- und Fotografik an der Hochschule für Angewandte Kunst in Wien. Von 1986 bis 1988 studierte sie Audiovisuelle Kommunikation (Video) an der Schule für Gestaltung in Basel, nach eigenen Aussagen hauptsächlich, um Zugang zu professioneller Videotechnik zu haben. Anschließend arbeitete sie als freiberufliche Computergrafikerin für industrielle Videostudios.
Von 1988 bis 1994 war Pipilotti Rist Mitglied der Musikband und Performance-Gruppe Les Reines Prochaines, mit der sie auch einige Platten veröffentlichte.
1997 war sie zum zweiten Mal auf der Biennale in Venedig vertreten und wurde dort mit dem Premio 2000 ausgezeichnet. Im selben Jahr wurde sie zur künstlerischen Leiterin der Schweizer Landesausstellung Expo.01 (realisiert als Expo.02) ernannt, trat jedoch 14 Monate nach der Ernennung von dem Amt zurück.
2002 lehrte sie auf Einladung des Künstlers und Professors Paul McCarthy ein Jahr lang an der University of California, Los Angeles.
Pipilotti Rist hat mit ihrem Lebensgefährten einen Sohn (* 2002). Dessen Vornamen „Himalaya“ taucht in Himalaya’s Sister’s Living Room (2000) Himalaya Goldsteins Stube (1999) und als Buchtitel (1998) schon auf.
Von 2005 bis 2009 arbeitete Pipilotti Rist an ihrem ersten Spielfilm Pepperminta. Rist wurde mehrfach ausgezeichnet, unter anderem mit dem Premio 2000 der Biennale in Venedig (1997), dem Wolfgang-Hahn Preis (1999) und dem 01 award (2004) für außerordentliche künstlerische oder wissenschaftliche Leistungen im Multimedia-Bereich. Dieser beinhaltet die Ernennung zur Honorarprofessorin an der Universität der Künste Berlin.
Rist lebt und arbeitet in Zürich.
Technik
Bereits während des Studiums begann Rist damit, Super-8-Filme zu drehen. Ihre Filme sind meistens nur wenige Minuten lang und mittels technischer Effekte farblich verfremdet, in der Geschwindigkeiten verändert und mit Musik unterlegt. Einige der von Rist gezielt eingesetzten Verfremdungseffekte werden exemplarisch im Kompendium der Bildstörungen beim analogen Video (2013) vorgestellt.[1] Rist beschäftigt sich in ihrer Kunst unter anderem mit Sexualität, Geschlechterdifferenz und Körperbild des Menschen, vor allem der Frau.
Im Gegensatz zu vielen anderen Konzeptkünstlern zeichnen sich ihre Werke durch Freude an optischer, akustischer und haptischer Sinnlichkeit, fröhliche, intensive Buntheit und scheinbare Naivität aus. Besonders von der feministischen Kunstkritik empfing Rist früh Aufmerksamkeit. Mittlerweile sind ihre Arbeiten weltweit in den wichtigsten Sammlungen der Gegenwartskunst vertreten.
Werke
I'm Not The Girl Who Misses Much (Ich bin nicht das Mädchen, das viel vermisst, 1986) zeigt Rist, wie sie in einem schwarzen Kleid, das ihre Brüste freilässt, und mit roten Lippen vor der Kamera umhertanzt und -hampelt. Die Aufnahmen sind die meiste Zeit monochrom und sehr unscharf; das Bild wird durch Verlangsamung, Beschleunigung und Überblendeffekte zusätzlich gestört. Rist singt dabei die Zeile „I'm not the girl who misses much“ repetitiv vor sich hin, eine Variation der ersten Zeile des Beatles-Songs Happiness Is a Warm Gun. Gegen Ende des fünfminütigen Clips wechselt das Bild zu einer blauen Färbung und der originale Ton des Songs wird eingeblendet. Eine Collage extrem verzerrter und abgehackter Videoschnipsel bildet den Schluss.
International bekannt wurde sie mit Pickelporno (1992), das um das Thema des weiblichen Körpers und der sexuellen Erregung kreist. Die Fisheye-Kamera bewegt sich sehr dicht an den Körpern eines nackten Paares entlang, Die Bilder sind in intensive Farben getaucht, so dass die Körperformen in der Seherfahrung des Zuschauers fremd, sinnlich und vieldeutig wirken. Der Film war für Rist ein Ansatz, mit einer femininen Pornografie zu experimentieren.
Ever is Over All (Immer ist überall/Immer ist vorbei, 1997) zeigt eine junge Frau, die in Zeitlupe mit einer Fackellilie die Fenster geparkter Autos einschlägt. Eine Polizistin nähert sich ihr und geht freundlich grüßend vorbei. Die Videoinstallation wurde unter anderem vom Museum of Modern Art New York erworben.
Vom 6. April bis zum 20. Mai 2000 wurden die 16 einminütigen Videos Open My Glade (2000) (Öffne meine Lichtung) ein Mal pro Stunde auf einem Großbildschirm am Times Square, New York gezeigt; die Installation fand im Rahmen des Programms Messages to the Public statt, das seit 1980 besteht. Das Video zeigt Rist, wie sie Gesicht und Hände gegen eine Glasscheibe presst, als sei sie in diesem Bildschirm gefangen.
Aufsehen erregte auch die Multimedia-Installation Himalaya’s Sister’s Living Room (Das Wohnzimmer von Himalayas Schwester, 2000) – ein Raum, in dem neben mehreren Videoprojektionen eine große Sammlung nostalgischer Möbel, Gebrauchs- und Schmuckgegenstände und Kitschobjekte aus den 50er, 60er und 1970er Jahren arrangiert sind: Lampen, Teppiche, Plastikblumen, Mineralien, Stapel von Zeitschriften und Büchern. Dazwischen sind weitere Projektionsflächen angebracht, auf denen repetitive Clips laufen. Das Werk ähnelt einer alltagsarchäologischen Sammlung der Populärkultur vergangener Jahrzehnte, die jedoch nicht museal wohlgeordnet ist, sondern chaotisch und überladen wirken soll.
Mit einer roten Kunststoffschicht überzogene Stadtlounge in St.Gallen
Mit einer roten Kunststoffschicht überzogenes Auto
In St. Gallen gestaltete sie, zusammen mit dem Architekten Carlos Martinez und im Auftrag der Raiffeisen Bank, den Platz zwischen deren Gebäuden als mit einer roten Kunststoffschicht überzogene Stadtlounge (eröffnet Frühjahr 2005).
Das von Max Frisch 1947 bis 1949 erbaute Freibad Letzigraben in Zürich wurde in den Jahren 2005–2007 rundumsaniert. Anlässlich seiner Wiedereröffnung fand am 18. Juni 2007 nach Einbruch der Dunkelheit am beleuchteten Sprungturm des Freibads die Videoinstallation Elektronische Huldigung des Letzis und Brios statt. Als Projektionsfläche diente hierbei der Boden des Sprungbeckens, das Bild wurde durch die bewegte Wasseroberfläche verwellt.
Der Filmemacher Michael Hegglin realisierte 2009 The Colour of Your Socks – A Year with Pipilotti Rist, einen 53-minütigen Dokumentarfilm mit und über Pipilotti Rist, produziert von Catpics Coproductions (Zürich) und Amour Fou Filmproduktion (Wien). Der Film zeigt die Künstlerin bei der Arbeit in ihrem Atelier in Zürich, im Museum of Modern Art in New York, bei der Biennale von Venedig, bei der Art Basel sowie bei den Dreharbeiten zu ihrem ersten Spielfilm Pepperminta.
Rist über ihre interdisziplinäre Arbeit mit dem Medium Video: „Video ist wie eine kompakte Handtasche, da ist von Literatur über Malerei bis zur Musik alles drin.“[2]
Audio- und Videoinstallationen
Pixelwald, Videoinstallation im Kunsthaus Zürich, 2016
Wir verwurzeln (Seelenfarben), Videoinstallation im Kafi Züri, Zürich, 2015
Enlight My Space ‹Erleuchte (und kläre) meinen Raum›, Videoinstallation, 2008
The Blue Fairy in the Valley, Videoinstallation, 2007
Die gelbe Fee in der Allee ‹The Yellow Fairy in the Avenue›, Videoinstallation, 2007
Ginas Mobile ‹Gina’s Mobile›, Videoinstallation, 2007
Tyngdkraft, var min vän ‹Schwerkraft, sei meine Freundin› ‹Gravity Be My Friend›, Audio-/Videoinstallation, 2007
A la belle étoile ‹Under The Sky›, Audio-/Videoinstallation, 2007
Deine Raumkapsel ‹Your Space-Capsule›, Audio-/Videoinstallation, 2006
Celle selbst zu zweit, Audio-/Videoinstallation by Gutararist aka Gudrun Gut & Pipilotti Rist, 2006
Despierta ‹Wach auf›, Audio-/Videoinstallation, 2001/2005
A Liberty Statue for Löndön ‹Eine Freiheitsstatue für Löndön›, Audio-/Videoinstallation, 2005
Daggrystimer i naboens hus ‹Dawn Hours in Neighbour’s House›, audio video and light installation, 2005
Homo Sapiens Sapiens, Audio-/Videoinstallation in San Stae church Venice, 2005
Du erneuerst Dich (in Japanese) ‹You Renew You›, Audio-/Videoinstallation as an instant temple, 2004
Herz aufwühlen Herz ausspülen ‹Stir Heart Rinse Heart›, Audio-/Videoinstallation, 2004
Apple Tree Innocent On Diamond Hill ‹Apfelbaum unschuldig auf dem Diamantenhügel› ‹Manzano inocente en la colina de diamantes›, Videoinstallation, 2003
The Cake is in Flames ‹Der Kuchen steht in Flammen›, Audio-/Videoinstallation, 2002
Related Legs (Yokohama Dandelions) ‹Verwandte Beine (Yokohama Löwenzahn)›, Audio-/Videoinstallation, 2001
Expecting (Installation in/for Centraal Museum, Utrecht / Bovenkapel: When I Run I Use My Feet, Benedenkapel: One Jesus in Nature, One At The Doctor, One In The Hotel), Audio-/Videoinstallation, 2001
Supersubjektiv ‹Super Subjective›, Audio-/Videoinstallation, 2000/2001
Kleines Vorstadthirn ‹Small Suburb Brain›, Audio-/Videoinstallation, 1999/2001 bzw. 2007 bzw. 2009
Open My Glade (Flatten) ‹Öffne meine Lichtung›, Videoinstallation, 2000 [3]
Closet Circuit, Videoinstallation by Pipilotti Rist in collaboration with the toilet visitor, 2000
Himalaya’s Sister’s Living Room, Audio-/Videoinstallation, 2000
Himalaya Goldsteins Stube ‹Himalaya Goldstein’s Living Room›, Audio-/Videoinstallation, 1999
I Couldn’t Agree With You More, audio video installatio, 1999
Vorstadthirn ‹Suburb Brain›, Audio-/Videoinstallation, 1999
Cintia, Audio-/Videoinstallation, 1994/99
Regenfrau (I Am Called A Plant) ‹Rain Woman (I Am Called A Plant)›, Audio-/Videoinstallation, 1999
Extremitäten (weich, weich) ‹Extremities (smooth, smooth)›, Audio-/Videoinstallation, 1999
Zeittunnel ‹Time tunnel›, 1998
Atmosphäre & Instinkt ‹Atmosphere & Instinct›, Audio-/Videoinstallation, 1998
Rote Bar ‹Red Bar›, Videoinstallation by Pipilotti Rist, © with Gabrielle Hächler (architecture), 1997
My Boy, My Horse, My Dog, audio video slide installation, 1997
Ever Is Over All, Audio-/Videoinstallation, 1997 [4]
Mutaflor, Videoinstallation, 1996
Shooting Divas, Audio-/Videoinstallation, 1996
Sip My Ocean ‹Schlürfe meinen Ozean›, Audio-/Videoinstallation, 1996
Search Wolken / Such Clouds (elektronischer Heiratsantrag) ‹Search Wolken / Such Clouds (Electronic Marriage Proposal)›, Audio-/Videoinstallation, 1995
Fliegendes Zimmer ‹Flying Room›, Videoinstallation, 1995
Das Zimmer ‹The Room›, Videoinstallation, 1994/2000/2007
Yoghurt On Skin – Velvet On TV, Audio-/Videoinstallation, 1994
Selbstlos im Lavabad ‹Selfless In The Bath Of Lava›, Videoinstallation, 1994
Eindrücke verdauen ‹Digesting Impressions›, Videoinstallation, 1993
Schminktischlein mit Feedback ‹Little Make-Up Table With Feedback›, audio video installatio, 1993
TV-Lüster ‹TV Chandelier›, Audio-/Videoinstallation, 1993
Eine Spitze in den Westen – ein Blick in den Osten (bzw. N-S) ‹A Peak Into The West – A Look Into The East›, Audio-/Videoinstallation, 1992/1999
Film und Video
Pepperminta, Kinofilm [5], 80', 2009
To See How You See or a Portrait of Cornelia Providoli, video by Pipilotti Rist, produced for the Video Anthology of Blick Productions NY, sound by Anders Guggisberg & Pipilotti Rist, 5', 2003
Aujourd’hui (I Couldn’t Agree With You More, version chaise longue), video, Edition bdv, Paris, 9', 1999
I’m a Victim Of This Song ‹Ich bin ein Opfer dieses Liedes›, video by Pipilotti Rist, music after ”Wicked Games” written by Chris Isaak, interpreted & performed by Anders Guggisberg & Pipilotti Rist, 5’9’’, 1995 [6]
Blutclip ‹Blood Clip›, video by Pipilotti Rist, music “Yeah Yeah Yeah” by Sophisticated Boom Boom/Netz Maeschi, 2′27′′, 1993 Blutclip-Video
Als der Bruder meiner Mutter geboren wurde, duftete es nach wilden Birnenblüten vor dem braungebrannten Sims ‹When My Mother’s Brother Was Born It Smelled Like Wild Pear Blossom in Front of the Brown-burnt Sill›, video by Pipilotti Rist, sound by Heinz Rohrer & Pipilotti Rist, 3’48’’, 1992 [7]
Pickelporno ‹Pimple Porno›, video, 12’06’’, 1992 [8]
You Called Me Jacky ‹Du nanntest mich Jacky›, video by Pipilotti Rist, music “Edna & Jacky” by Kevin Coyne, 4’02’’, 1990 [9]
(Entlastungen) Pipilottis Fehler ‹(Absolutions) Pipilotti’s Mistakes›, video by Pipilotti Rist. Multiple parts. Two pieces by Hans Feigenwinter, in one he plays a cover of Lost In Space, one part Bist Du klein ‹Are you small› by Les Reines Prochaines inclusive Pipilotti Rist, rest by Pipilotti Rist, 12’24’’, 1988 [10]
Sexy Sad I ‹Sexy traurig ich›, video by Pipilotti Rist, sound with Lori Hersberger after the song “Sexy Sadie” by Lennon/McCartney, 4’30’’, 1987
I’m Not The Girl Who Misses Much ‹Ich bin nicht das Mädchen, das viel vermisst›, video, 5′02′′, 1986 [11]
Ausstellungen (Auswahl)
1988: UMBRUCH 1978–1988 (Kurator: Josef Felix Müller), Kunsthalle St. Gallen
1993: Schwester des Stroms, Basel, Stampa, Schweiz
2001: Pipilotti Rist 54 (Kuratoren: Ranti Tjan, Sjarl Ex), Centraal Museum, Utrecht
2004: Pipilotti Rist (Kuratorin: Milada Slizinska), Zamek Ujazdowski Warszawa, Centre of Contemporary Art, Warschau
2005: San Stae Church (Kuratoren: Eidg. Kunst Kommission, Andreas Münch, Urs Staub), La Biennale die Venezia, Contri:bution of Swiss Federal Office of Culture BAK, Venedig
2007: A la belle étoile (Kuratorin: Christine van Assche), Centre Georges Pompidou, Paris
2008: Pour Your Body Out (7354 Cubic Meters) (Kurator: Klaus Biesenbach), Museum of Modern Art, New York
2009: Pipilotti Rist (Kuratorin: Daniela Bousso), Paço das Artes & MIS Museu da Imagem e do Som, Sao Paulo, Brasilien
2010: Extremitäten (weich, weich) (Kuratorin: Inka Graeve Ingelmann), Pinakothek der Moderne, München
2010: MOT Collection Special Feature: Pipilotti Rist (Kuratorin: Yuko Hasegawa), Museum of Contemporary Art, Tokyo
2011: Ruhig durch die Wände (Kurator: Wulf Herzogenrath), Kunsthalle Bremen, Bremen
2012: Augapfelmassage (Kuratorinnen: Stephanie Rosenthal, Stefanie Müller), Kunsthalle Mannheim, Mannheim
2012: Blutbetriebene Kameras und quellende Räume (Kurator: Konrad Bitterli), Kunstmuseum St. Gallen, St. Gallen, 2. Juni-25. November. Erste Retrospektive in der Schweiz.
2013: Pipilotti Rist: A la belle étoile., Henry Art Gallery, Seattle[12]
2015: Pipilotti Rist: Komm Schatz, wir stellen die Medien um & fangen nochmals von vorne an. Kunsthalle Krems 2015 (Kurator sowie Herausgeber des Katalogs: Hans-Peter Wipplinger).
2016: Pipilotti Rist, Kunsthaus Zürich. Katalog.
2016/17: Pipilotti Rist: Pixel Forest, New Museum, New York[13]
Auszeichnungen
2014: Grand Prix Kunst / Prix Meret Oppenheim 2014[14]
2013: Zürcher Festspielpreis[15]
2010: best architects 11 Award[16]
2010: Cutting the Edge Award[17]
2009: Best Exhibition Of Digital, Video, or Film: „Pour Your Body Out (7354 Cubic Meters)“ at Museum of Modern Art, New York. 26th annual awards, The International Association of Art Critics (AICA)
2009: President of the Jury’s EXTRAORDINARY AWARD (Nicolas Roeg)[18]
2009: Joan Miró Prize, Barcelona[19]
2007: St. Galler Kulturpreis der St. Gallischen Kulturstiftung
2006: Guggenheim Museums Young Collector’s Council Annual Artist’s Ball honouring Pipilotti Rist
2003: 01 award und Honorarprofessur der Universität der Künste, Berlin
2001: Kunstpreis der Stadt Zürich
1999: Wolfgang-Hahn-Preis
1998: Nominierung für den Hugo Boss Prize
1997: Renta Preis der Kunsthalle Nürnberg
1997: Premio 2000 der Biennale di Venezia
1997: Kwangju Biennale Award
1995: Stipendium des DAAD
1994: Video-Kunstpreis des Schweizerischen Bankvereins
1994: Prix d’art contemporain de la Banque Cantonale Geneva
1994: Manor Kunstpreis, St. Gallen
1993: Förderungspreis der Jubiläumsstiftung der SBG
1993: Eidgenössisches Kunststipendium
1992: Zürcher Filmpreis
1991: Eidgenössisches Kunststipendium
1989: VIPER Lucerne
1988: Preis der Feminale Köln
1987: Film- und Videotage Basel
Publikationen
Christiane Weidemann, Petra Larass, Melanie Klier (Hrsg.): 50 Künstlerinnen, die man kennen sollte Prestel München 2008, ISBN 978-3-7913-3957-3, S. 156–159
Paola Morsiani, Stephanie Hanor, Mark Harris, René Morales, Linda Yablonsky: Wishing for Synchronicity: Works by Pipilotti Rist. Contemporary Arts Museum Houston, ´Houston, Texas 2009, ISBN 978-1-933619-17-0 [engl. version].
Paul Kempers, Catrien Schreuder, John Slyce, Emilie Wennekes: Elixir: the video organism of Pipilotti Rist. Museum Boijmans van Beuningen, Rotterdam, 2009, ISBN 978-90-6918-237-7. (exh. cat.) [engl. & dutch version]
Pipilotti Rist; Hara Museum of Contemporary Art (Hrsg.): Karakaracan. Tokyo/Zürich 2007. (Artist publication by the Hara Museum of Contemporary Art Tokyo accompanying the exhibition „Karakara“ at the Hara Museum. Designed by Thomas Rhyner.)
Magasin 3 (Hrsg.): Pipilotti Rist – Congratulations! Lars Müller Publishers, Baden 2007, ISBN 978-3-03778-108-1 (exh. cat.) [engl., german & swedish version]
Pipilotti Rist: Pepperminta Homo sapiens sapiens – boxa ludens. Lars Müller Publishers, Wettingen 2005, ISBN 3-03778-051-7. (Artist publication edited by the Swiss Federal Office of Culture accompanying the exhibition at the Venice Biennale. Designed by Thomas Rhyner.)
Änne Söll: Pipilotti Rist, Artists Monographs Vol. 3. Friedrich Christian Flick Collection, Dumont, Köln 2005, ISBN 3-8321-7578-4. [engl. & german version]
MUSAC – Museo de Arte Contemporaneo de Castilla y Leon: Soundtracks de las video instalaciones de Pipilotti Rist. 2005. (CD and booklet, contains music of the major installations by Pipilotti Rist, music by and with Anders Guggisberg, Peter Bräker, Les Reines Prochaines, Heinz Rohrer, Roland Widmer, Saadet Türköz, Cintia Buonomo, Gruss vom Walensee, Pipilotti Rist.)
Birgit Kempker, Pipilotti Rist: Jestem swoja wlasna obca swinia ‹Ich bin mein eigenes fremdes Schwein/I am my own foreign pig›. Centrum Sztuki Wspolczesnej Zamek Ujazdowski, 2004, ISBN 83-88277-13-8. (This artist book with a wild text of the German writer Birgit Kempker comes in Polish, German and English. Designed by Maciej Buszewicz.)
Pipilotti Rist: Apricots Along The Street. Scalo, Zürich/ Berlin/ New York 2001, ISBN 3-908247-50-0. (This is another freestyle artist book also designed by/with Thomas Rhyner with some gadgets. English with only the difficult words translated into Spanish and German.)
Peggy Phelan, Hans Ulrich Obrist, Elisabeth Bronfen: Pipilotti Rist. Phaidon Press Limited, London 2001, ISBN 0-7148-3965-5. (This is an informative monography with text and interviews by and with Peggy Phelan, Hans Ulrich Obrist, Elisabeth Bronfen and others.)
Rist, Pipilotti: Himalaya, Pipilotti Rist 50 kg. Oktagon, Köln 1998, ISBN 3-89611-072-1. (This artist’s book [designed by Thomas Rhyner] including the music CD „we can’t“ realised with Anders Guggisberg. It’s actually sold out but there are some copies left in national distribution centres like the one of Switzerland or USA.)
Pipilotti Rist: Komm Schatz, wir stellen die Medien um & fangen nochmals von vorne an. Hg.von Hans-Peter Wipplinger mit Beiträgen von Stephanie Damianisch, Brigitte Huck, Eva Laquièze-Waniek und August Ruhs. Layout von Thomas Rhyner in enger Zusammenarbeit mit der Künstlerin. (Deutsch- und englischsprachiger Katalog zur gleichnamigen Ausstellung der Kunsthalle Krems). Verlag der Buchhandlung Walther König, Berlin 2015, S. 216. ISBN 3-86335-705-1, ISBN 978-3-86335-705-4..
Sekundärliteratur
Randy Kennedy: Electric Lemon Girl Power Video Revolt. In: The New York Times Magazine, November 15, 2009.
Jerry Saltz: Re View. In: Monopol, Berlin, 3, 2009. (S. 106–109)
Peter Schjedal: Critic’s Notebook: Tune In, Turn On. In: New Yorker, 5. Januar 2009.
St. Gallische Kulturstiftung: St. Galler Kulturpreis 2007 – Pipilotti Rist. St. Gallische Kulturstiftung, St. Gallen 2008.
Änne Söll: Pipilotti Rist, Ever Is Over All. In: Pinakothek der Moderne (Hrsg.), Female Trouble – Die Kamera als Spiegel und Bühne weiblicher Inszenierungen, Hatje Cantz Verlag, Ostfildern 2008. (S. 220–221, exh. cat.)
Marcella Beccaria: Pipilotti Rist. In: Castello di Rivoli, Museum of Contemporary Art: The Castle, The Collection, Skira, Milano 2008. (S. 446–449, exh. cat.)
Amélie Von Heydebreck: Stations – 100 Meisterwerke zeitgenössischer Kunst. DuMont, Köln 2008. (S. 78–79)
Adrian Searle: The gleeful anarchist. In: The Guardian. London 2. Juli 2008.
Mark Sanders: Pipilotti Rist. In: Another Magazine, London, No. 11, Autumn/Winter 2006. (S. 426–439)
Änne Söll: Arbeit am Körper. Videos und Videoinstallationen von Pipilotti Rist. Silke Schreiber, München 2004, ISBN 3-88960-069-7.
Kenneth Baker: Stir Heart, Rinse Heart: Pipilotti Rist. In: San Francisco Chronicle, San Francisco March 2004. (S. E1-E2)
Bice Curiger: Die Videokunst ist ein Zimmer mit erhöhter Raumtemperatur. Kunst Expansiv, Lindinger + Schmid, Regensburg 2002. (S. 58–65)
Jaqueline Burckhardt: Pipilotti Rist. In: Aus der Sammlung Eckhardt, Doppelung der Bilder im Raum, Bilderstürmerin. Kunstmuseum Stadt Bayreuth, Bayreuth 2001. (S. 54–55)
Rochelle Steiner (Hrsg.): Wonderland. The Saint Louis Art Museum, 2000. (Interview S. 90–95, exh. cat.)
Jennifer Allen: Pipilotti Rist. Dans la peau de l’image. In: Parachute, Montréal April/June 2000. (S. 4–17)
Christoph Blase: Pipilotti Rist, in: Art at the turn of the millennium. Ausblick auf das Jahrtausend. Taschen, Köln 1999. (S. 426–429)
Christoph Doswald: Pipilotti Rist – Als Mädchen habe ich geträumt die Reinkarnation von John Lennon zu sein (Gespräch). In: Kunstforum International, No. 135, Ruppichteroth Oktober 1996 / Januar 1997. (S. 206–212)
Laurie Anderson: Laurie Anderson and Pipilotti Rist Meet Up in the Lobby of a Hotel in Berlin on September 9. 1996, In: Parkett, No. 48, Zürich/ New York 1996. (S. 114–119)
Marius Babias: Risikofaktor Rist; Wenn Träume wie sterbende Fische zucken. In: Parkett, No. 48, Zürich/ New York 1996. (S. 100–107)
Paolo Colombo: Shooting Divas. In: Parkett, No. 48, Zürich/ New York 1996. (S. 109–113)
Nancy Spector: The Mechanics of Fluids. In: Parkett, No. 48, Zürich/ New York 1996. (S. 83–91)
Philip Ursprung: Pipilotti Rists Fliegendes Zimmer. In: Parkett, No. 48, Zürich/ New York 1996. (S. 94–98)
From Wikipedia, the free encyclopedia
History
United States
Name:USS Fechteler
Builder:Bethlehem Mariners Harbor, Staten Island
Laid down:12 April 1945
Launched:19 September 1945
Commissioned:2 March 1946
Decommissioned:11 September 1970
Struck:11 September 1970
Fate:Scrapped 28 June 1972
General characteristics
Class and type:Gearing-class destroyer
USS Fechteler (DD-870), named for Rear Admiral Augustus Francis Fechteler USN (1857–1921) and/or his son Lieutenant Frank Casper Fechteler (1897-1922), was a Gearing-class destroyer laid down by the Bethlehem Steel Corporation at Staten Island in New York on 12 April 1945, launched on 19 September 1945 by Miss Joan S. Fechteler, granddaughter of Rear Admiral Fechteler and niece of Lieutenant Fechteler, sponsor of the first USS Fechteler and commissioned on 2 March 1946.
Fechteler operated with the Seventh Fleet in support of United Nations Forces during the Korean War, underwent conversion to a radar picket destroyer from 1 April to 1 December 1953, alternated operations along the west coast and in Hawaiian waters with deployments to the western Pacific with the Seventh Fleet, and participated in Sea Dragon and Market Time operations, patrolled on search and rescue duties and carried out naval gunfire support missions during the Vietnam War.
Fechteler was decommissioned and stricken from the Naval Vessel Register on 11 September 1970 and sold for scrap on 28 June 1972.
Service history
Before the Korean War
Her home port was Norfolk, Virginia. Fechteler operated with carriers in the Virginia Capes area, and made a brief winter cruise to Argentia, Newfoundland. On 6 January 1947 she sailed from Norfolk for the west coast, and on 26 May sailed from San Diego for her first tour of duty in the Far East. Serving in the occupation, she called at several Chinese ports, as well as at Okinawa, Hong Kong, Yokosuka, and Guam. She returned to San Diego 22 January 1948, to resume west coast training operations.
Korean War
Fechteler completed a second tour of duty in the Far East in 1949, and in June 1950, when the Korean War broke out, was at sea off San Francisco on exercises. At once she sailed for Pearl Harbor, where she stood by in preparation for the possible spreading of the conflict, and on 14 July returned to San Diego to prepare for Korean service. She served in the Far East on two war-time deployments, the first from 13 November 1950 to 8 August 1951, the second from 23 February 1952 to 29 September 1952. During both of these, she screened TF 77 in its air operations, sailed with the escort and patrol force, and gave bombardment and close gunfire support to the troops ashore.
Radar picket destroyer
Fechteler as a radar picket destroyer, circa 1961.
Fechteler was decommissioned and placed in reserve 1 April 1953, for conversion to a radar picket destroyer. Recommissioned 1 December 1953, she sailed 10 May 1954 for duty in the Far East until 6 September, when she sailed on westward to join the Atlantic Fleet at Newport, arriving 27 October. In addition to participating in the Atlantic schedule of east coast and Caribbean exercises, she also joined in a midshipman cruise in the summer of 1955, voyaging to Málaga, Spain; Plymouth, England; and Guantanamo Bay, Cuba.
Once more assigned to the Pacific Fleet, Fechteler sailed from Newport 14 May 1956 for Long Beach, which she reached 28 June. In 1956, 1957–58, 1958–59, and 1960, she cruised in the Far East on duty with the 7th Fleet, serving both on the Taiwan Patrol, and with carrier task forces as a radar warning ship.
FRAM
In 1963, Fechteler entered the Long Beach Naval Shipyard and received the FRAM I modernisation. She was redesignated DD-870 and operated off Vietnam in the second half of the 1960s.
The destroyer was stricken on 11 September 1970. On 28 June 1972, she was sold to Zidell Explorations Inc. at Portland, Oregon and broken up for scrap.
Fechteler received five battle stars for Korean War service.
White encyclopedia resting on a stack of thick books lying on the floor. It is opened, showing two pages with the world flags and the names of the countries underneath them.
From Wikipedia, the free encyclopedia
The Lockheed Martin F-35 "Lightning II" is a family of single-seat, single-engine, all-weather, stealth, fifth-generation, multirole combat aircraft, designed for ground-attack and air-superiority missions. It is built by Lockheed Martin and many subcontractors, including Northrop Grumman, Pratt & Whitney, and BAE Systems.
The F-35 has three main models: the conventional takeoff and landing F-35A (CTOL), the short take-off and vertical-landing F-35B (STOVL), and the catapult-assisted take-off but arrested recovery, carrier-based F-35C (CATOBAR). The F-35 descends from the Lockheed Martin X-35, the design that was awarded the Joint Strike Fighter (JSF) program over the competing Boeing X-32. The official Lightning II name has proven deeply unpopular and USAF pilots have nicknamed it Panther, instead.
The United States principally funds F-35 development, with additional funding from other NATO members and close U.S. allies, including the United Kingdom, Italy, Australia, Canada, Norway, Denmark, the Netherlands, and formerly Turkey. These funders generally receive subcontracts to manufacture components for the aircraft; for example, Turkey was the sole supplier of several F-35 parts until its removal from the program in July 2019. Several other countries have ordered, or are considering ordering, the aircraft.
As the largest and most expensive military program ever, the F-35 became the subject of much scrutiny and criticism in the U.S. and in other countries. In 2013 and 2014, critics argued that the plane was "plagued with design flaws", with many blaming the procurement process in which Lockheed was allowed "to design, test, and produce the F-35 all at the same time," instead of identifying and fixing "defects before firing up its production line". By 2014, the program was "$163 billion over budget [and] seven years behind schedule". Critics also contend that the program's high sunk costs and political momentum make it "too big to kill".
The F-35 first flew on 15 December 2006. In July 2015, the United States Marines declared its first squadron of F-35B fighters ready for deployment. However, the DOD-based durability testing indicated the service life of early-production F-35B aircraft is well under the expected 8,000 flight hours, and may be as low as 2,100 flight hours. Lot 9 and later aircraft include design changes but service life testing has yet to occur. The U.S. Air Force declared its first squadron of F-35As ready for deployment in August 2016. The U.S. Navy declared its first F-35Cs ready in February 2019. In 2018, the F-35 made its combat debut with the Israeli Air Force.
The U.S. stated plan is to buy 2,663 F-35s, which will provide the bulk of the crewed tactical airpower of the U.S. Air Force, Navy, and Marine Corps in coming decades. Deliveries of the F-35 for the U.S. military are scheduled until 2037 with a projected service life up to 2070.
Development
F-35 development started in 1992 with the origins of the "Joint Strike Fighter" (JSF) program and was to culminate in full production by 2018. The X-35 first flew on 24 October 2000 and the F-35A on 15 December 2006.
The F-35 was developed to replace most US fighter jets with the variants of a single design that would be common to all branches of the military. It was developed in co-operation with a number of foreign partners, and, unlike the F-22 Raptor, intended to be available for export. Three variants were designed: the F-35A (CTOL), the F-35B (STOVL), and the F-35C (CATOBAR). Despite being intended to share most of their parts to reduce costs and improve maintenance logistics, by 2017, the effective commonality was only 20%. The program received considerable criticism for cost overruns during development and for the total projected cost of the program over the lifetime of the jets.
By 2017, the program was expected to cost $406.5 billion over its lifetime (i.e. until 2070) for acquisition of the jets, and an additional $1.1 trillion for operations and maintenance. A number of design deficiencies were alleged, such as: carrying a small internal payload; performance inferior to the aircraft being replaced, particularly the F-16; lack of safety in relying on a single engine; and flaws such as the vulnerability of the fuel tank to fire and the propensity for transonic roll-off (wing drop). The possible obsolescence of stealth technology was also criticized.
Design
Overview
Although several experimental designs have been developed since the 1960s, such as the unsuccessful Rockwell XFV-12, the F-35B is to be the first operational supersonic STOVL stealth fighter. The single-engine F-35 resembles the larger twin-engined Lockheed Martin F-22 Raptor, drawing design elements from it. The exhaust duct design was inspired by the General Dynamics Model 200, proposed for a 1972 supersonic VTOL fighter requirement for the Sea Control Ship.
Lockheed Martin has suggested that the F-35 could replace the USAF's F-15C/D fighters in the air-superiority role and the F-15E Strike Eagle in the ground-attack role. It has also stated the F-35 is intended to have close- and long-range air-to-air capability second only to that of the F-22 Raptor, and that the F-35 has an advantage over the F-22 in basing flexibility and possesses "advanced sensors and information fusion".
Testifying before the House Appropriations Committee on 25 March 2009, acquisition deputy to the assistant secretary of the Air Force, Lt. Gen. Mark D. "Shack" Shackelford, stated that the F-35 is designed to be America's "premier surface-to-air missile killer, and is uniquely equipped for this mission with cutting-edge processing power, synthetic aperture radar integration techniques, and advanced target recognition".
Improvements
Ostensible improvements over past-generation fighter aircraft include:
Durable, low-maintenance stealth technology, using structural fiber mat instead of the high-maintenance coatings of legacy stealth platforms.
Integrated avionics and sensor fusion that combine information from off- and on-board sensors to increase the pilot's situational awareness and improve target identification and weapon delivery, and to relay information quickly to other command and control (C2) nodes.
High-speed data networking including IEEE 1394b and Fibre Channel (Fibre Channel is also used on Boeing's Super Hornet.
The Autonomic Logistics Global Sustainment, Autonomic Logistics Information System (ALIS), and Computerized maintenance management system to help ensure the aircraft can remain operational with minimal maintenance manpower The Pentagon has moved to open up the competitive bidding by other companies. This was after Lockheed Martin stated that instead of costing 20% less than the F-16 per flight hour, the F-35 would actually cost 12% more. Though the ALGS is intended to reduce maintenance costs, the company disagrees with including the cost of this system in the aircraft ownership calculations. The USMC has implemented a workaround for a cyber vulnerability in the system. The ALIS system currently requires a shipping-container load of servers to run, but Lockheed is working on a more portable version to support the Marines' expeditionary operations.
Electro-hydrostatic actuators run by a power-by-wire flight-control system.
A modern and updated flight simulator, which may be used for a greater fraction of pilot training to reduce the costly flight hours of the actual aircraft.
Lightweight, powerful lithium-ion batteries to provide power to run the control surfaces in an emergency.
Structural composites in the F-35 are 35% of the airframe weight (up from 25% in the F-22). The majority of these are bismaleimide and composite epoxy materials. The F-35 will be the first mass-produced aircraft to include structural nanocomposites, namely carbon nanotube-reinforced epoxy. Experience of the F-22's problems with corrosion led to the F-35 using a gap filler that causes less galvanic corrosion to the airframe's skin, designed with fewer gaps requiring filler and implementing better drainage. The relatively short 35-foot wingspan of the A and B variants is set by the F-35B's requirement to fit inside the Navy's current amphibious assault ship parking area and elevators; the F-35C's longer wing is considered to be more fuel efficient.
Costs
A U.S. Navy study found that the F-35 will cost 30 to 40% more to maintain than current jet fighters, not accounting for inflation over the F-35's operational lifetime. A Pentagon study concluded a $1 trillion maintenance cost for the entire fleet over its lifespan, not accounting for inflation. The F-35 program office found that as of January 2014, costs for the F-35 fleet over a 53-year lifecycle was $857 billion. Costs for the fighter have been dropping and accounted for the 22 percent life cycle drop since 2010. Lockheed stated that by 2019, pricing for the fifth-generation aircraft will be less than fourth-generation fighters. An F-35A in 2019 is expected to cost $85 million per unit complete with engines and full mission systems, inflation adjusted from $75 million in December 2013.
Steel engraving from The Encyclopaedia Britannica - 9th edition - 1876-1889.
Published by Adam and Charles Black, Edinburgh, for The Times Publications of London. 24 volumes red half leather, gilt spines and marbled endpapers and edges. About 20,000 pages 28cm x 22cm. .
/*Windlight Sky: "[NB]-MistyDay-4pm" Water: "Glassy" Sky @ 350m to 500m: "[TOR] SUNRISE - Cobraring 1" Water @ 0m to 10m: "[TOR] Hpmod"*/
Mammalogie, ou, Description des espèces de mammifères
A Paris :Chez Mme. Veuve Agasse, imprimeur-libraire,1820-1822.
Mammalogie, ou, Description des espèces de mammifères
A Paris :Chez Mme. Veuve Agasse, imprimeur-libraire,1820-1822.
Mammalogie, ou, Description des espèces de mammifères
A Paris :Chez Mme. Veuve Agasse, imprimeur-libraire,1820-1822.
Children's Encyclopedia, edited by Arthur Mee, and published in 10 volumes by the Educational Book Company, London. It was published from 1908 to 1964
Early 1930’s photo post card found at a recent estate sale.
Negro Mountain
From Wikipedia, the free encyclopedia. Coordinates: 39°47′10″N 79°10′30″W
(For the mountain in North Carolina formerly called Negro Mountain, see Mount Jefferson (North Carolina).
Negro Mountain is a long ridge of the Allegheny Mountains, stretching 30-mile (48 km) from Deep Creek Lake in Maryland, north to the Casselman River in Pennsylvania, United States. The summit, Mount Davis, is the highest point (3,213 feet) in Pennsylvania. Negro Mountain is flanked by Laurel Hill to the west and Allegheny Mountain to the east.
Geography and climate
The mountain is flattish in appearance due to its location on the Allegheny Plateau, so its prominence is of low relief. The mountain retains its elevation above 3,000 feet (910 m) for much of its length, especially in Pennsylvania. The Negro Mountain Tunnel, built for the South Pennsylvania Railroad, is abandoned and was never used. The Mount Davis Natural Area on the Mountain is located within the Forbes State Forest and many trails take hikers throughout this alpine landscape.
Weather on the mountain is fierce, frost can occur at any time of the year and winds and ice storms are common. Near the summit in Pennsylvania, the trees are stunted and circular rock formations from frost heave can be readily seen.
History
Details behind the naming of Negro Mountain are not precisely known and a number of local stories have circulated in the past. The various stories seem to share, however, a couple of elements. One is that of a band of white soldiers or hunters skirmishing with Indians on the mountain during colonial times. The other is the presence with the whites of an African-American companion — variously named "Nemisis" [sic] or "Goliath" indicating his great strength or size — who accompanied the whites and died valiantly during the fight.
The most popular version of the story takes place during the French and Indian War, in the year 1756, when frontiersman Colonel Thomas Cresapis known to have led a force against Native Americans on the mountain.
A member of his force, a black slave or a scout named "Nemisis," was killed in the battle. The mountain was accordingly named "Negro Mountain" in his honor. Another version of the story has a Captain Andrew Friend on a hunting trip on the mountain with a few companions. The party was attacked by Indians and during the ensuing skirmish, an African-American servant of Friend was gravely wounded and died the following morning on the mountain. Again, the mountain where he died defending the life of his master was named in his honor.
Yet another version, this time from local family lore, tells of:
John Hyatt, one of the early settlers, [who] was a native of Maryland. He came with several others, accompanied by a number of slaves, to Turkey-Foot [Township] soon after the settlement began. While crossing the Negro mountain, a party of Indians fired upon them and mortally wounded one of the negroes, the strongest man in the company.
A piece of a hollow log was found and placed over the negro to shelter him. Throwing it off, he said, "Save yourselves and never mind me; I shall die soon." It is said that Negro Mountain took its name from this circumstance.
The Cresap version is supported by the fact that Cresap is known to have written an account of such an expedition for Benjamin Franklin's Pennsylvania Gazette of June 17, 1756 mentioning that "an old Negro presented his gun at [the Indians]". The Maryland Gazette had already described the same expedition on June 10, 1756, mentioning that a "free Negro" had been killed with the English.
Controversy
In July 2007, Pennsylvania State Representative Rosita C. Youngblood (Democrat of Philadelphia’s 198th District) called for the renaming of Negro Mountain. In a news release, she said, "Through a school project, my son and granddaughter first informed me of the name of this range and I found it to be disparaging that we have one of our great works of nature named as such… I find it disheartening for tourists who visit this range to see the plaque with the name Negro Mountain displayed on the mountainside."
However, Professor Christopher Bracey, a law professor and associate professor of African and African-American studies at Washington University in St. Louis has said, "I must confess I have a slightly different take on it than [Youngblood]… Here we have a mountain, whose name was intended to be a testament to Negro bravery. It seems rather crass and unsophisticated to name it Negro Mountain, but the intentions were strong."
On 1 August 2007, Youngblood and other lawmakers introduced House Resolution No. 378 resolving that the governor "form a commission …to study the naming of Negro Mountain and Mount Davis …[to] adopt names that accurately reflect the history of the region and the heroism displayed by the African American in the Negro Mountain conflict of 1756" and accordingly to alter "brochures, plaques and signs [to] accurately reflect the facts of this heroic historical event" (the 1921 naming of Mount Davis is now also considered controversial because it honors the white settler who once owned the land, rather than the colonial African-American).
In February 2011, nine Maryland State Senators introduced a bill to rename Negro Mountain and Polish Mountain. All four Western Maryland representatives testified against the proposed bill, which was voted down in committee
Children's Encyclopedia, edited by Arthur Mee, and published in 10 volumes by the Educational Book Company, London. It was published from 1908 to 1964.
The National Encyclopedia 1884 - A Dictionary of Universal Knowledge.
Published by William Mackenzie, London; 18 Vols. Brown gilt cloth boards 20cm x 17cm.
Mammalogie, ou, Description des espèces de mammifères
A Paris :Chez Mme. Veuve Agasse, imprimeur-libraire,1820-1822.
Glenn Shorrock
From Wikipedia, the free encyclopedia
Glenn Barrie Shorrock (born 30 June 1944) is an English-born Australian singer-songwriter. He was a founding member of pop groups The Twilights, Axiom and Little River Band as well as being a solo performer.
The Twilights had eight consecutive national hit singles including "Needle in a Haystack" and "What's Wrong with the Way I Live". Axiom's top 10 hits were "Arkansas Grass", "Little Ray of Sunshine" and "My Baby's Gone". Little River Band had national and international chart success, including the Shorrock-penned "Emma", "Help Is on Its Way" and "Cool Change".
Shorrock was inducted into the Australian Recording Industry Association (ARIA) Hall of Fame as a solo artist in 1991 and as a member of Little River Band in 2004. In May 2001 the Australasian Performing Right Association (APRA), as part of its 75th Anniversary celebrations, named "Cool Change" as one of the APRA Top 30 Australian songs of all time.
Twighlights
Glenn Barrie Shorrock was born on 30 June 1944 in Chatham, Kent, United Kingdom. His family migrated to Adelaide, South Australia in August 1954 when he was ten.[1] His father was a Yorkshire-born fitter and turner at the Weapons Research Establishment in Salisbury.[2] The 1954–55 summer had days of 42 °C (108 °F) and Black Sunday bushfires ravaged the Adelaide Hills in January 1955.[3] His London-born mother was not impressed with Australia, and she took Shorrock and his younger sister back to UK, only to return to Australia for a second attempt in 1956.[2] The family settled in Elizabeth 20 km (12 mi) north of Adelaide.[4]
Shorrock's first public performance took place in 1958 in a Lutheran church hall—he was miming to Elvis Presley's "All Shook Up" on a gramophone and strumming on a cardboard guitar when the player stopped—he was forced to continue singing by himself and realised he had a good voice.[1][5]
In 1962, Shorrock formed his first band, The Checkmates, with Clem McCartney, Mike Sykes and Billy Volraat.[6] They were a doo wop harmony group covering The Platters and The Crew Cuts material.[7] Sometimes teaming up with instrumental groups, The Vector Men or The Hurricanes, The Checkmates performed in Adelaide cafes and folk clubs.[8] As a result of The Beatles' popularity, members of The Checkmates and The Hurricanes merged to form The Twilights in 1964.[7][8]
Main article: The Twilights
In 1964 Shorrock, with McCartney as co-lead vocalist, formed The Twilights by merging with The Hurricanes' Frank Barnard on drums, Peter Brideoak on guitar, Terry Britten on guitar and John Bywaters on bass guitar.[7][8] Their debut single, "I'll Be Where You Are", co-written by Shorrock and Britten,[9] was released in June 1965.[8] The band had eight consecutive hit singles including covers of The Velvelettes' "Needle in a Haystack" and The Hollies' "What's Wrong with the Way I Live" (recorded at Abbey Road Studios in London).[8] With two lead singers, two guitarists and five vocalists, the Twilights performed note-perfect covers of pop-rock songs and were famed for their live prowess.[8] They relocated to Melbourne late in 1965 and were popular with teenage audiences and respected by fellow musicians. In July 1966, they won Hoadley's Battle of the Sounds with the prize including a trip to London.[8] In 1967, shortly after returning from London, the group regularly performed the entire Sgt Pepper's album live in sequence, weeks before it was released in Australia.[8] Shorrock married his first wife, Sue, while he was a member of The Twilights.[1] The Twilights disbanded in January 1969 and Shorrock became band manager for Brisbane pop group, The Avengers.[4]
Axiom
In May 1969 in Melbourne, Shorrock formed an early Australian 'supergroup', Axiom, with Brian Cadd on keyboards and vocals, Don Mudie on lead guitar (both ex-The Groop), Doug Lavery (The Valentines) on drums and Chris Stockley (Cam-Pact) on guitar.[10] They recorded two highly acclaimed albums, Fool's Gold and If Only...; and had three top 10 singles, "Arkansas Grass", "Little Ray of Sunshine" and "My Baby's Gone" on the Go-Set national charts.[10] Axiom travelled to UK but disbanded there in March 1971, Shorrock had also parted with his first wife of four years, Sue.[2][3]
Shorrock remained in the UK to pursue his solo career, he signed with MAM Records and released the self-penned "Let's Get the Band Together" single in October 1971.[4] This was followed by a cover of "Rock'n'Roll Lullaby" (written by Barry Mann and Cynthia Weil) in March 1972.[4] As Andre L'Escargot and His Society Syncopaters, he released "Purple Umbrella" with his backing band being Quartet members Britten, Kevin Peek, Trevor Spencer and Alan Tarney.[4] He joined the multinational progressive rock band Esperanto, which released their debut album Esperanto Rock Orchestra in 1973 with the Shorrock written track "Statue of Liberty".[4] He left Esperanto before their third album was released in 1974 and performed backing vocals for Cliff Richard.[1][4]
Little River Band
Mississippi was an Australian rock band which was working in UK with Beeb Birtles on vocals and guitar, Graham Goble (later Graeham Goble) on guitar and vocals and Derek Pellicci on drums. They contacted Glenn Wheatley (former bass guitarist for The Masters Apprentices) to become their manager. Birtles, previously in Adelaide band Zoot, called Shorrock to take part in the line up. Shorrock returned to Australia in October 1974 and joined Mississippi in January 1975 in Melbourne.[11] They were soon renamed as Little River Band with the original line up of Birtles, Goble, Pellicci, Shorrock and lead guitarist Ric Formosa and bassist Roger McLachlan.[2] The group went on to become one of the most successful bands ever to come out of Australia, and the first to achieve major commercial success in the United States.[3] For Little River Band, Shorrock wrote the hits "Emma", "Help Is on Its Way" (Australian No. 1) and "Cool Change".[4]
While still a member of Little River Band, Shorrock released a solo single, a cover of Bobby Darin's 1959 hit "Dream Lover" in April 1979 on EMI, which peaked at No. 8 on the Kent Music Report Singles Chart.[6][12] In February 1982, Shorrock left Little River Band and was replaced by former 1960s pop singer, John Farnham who was managed by Wheatley.[8] Shorrock returned to Little River Band in 1988 but, despite several quality albums, they did not regain the earlier stellar recognition. He left again in 1991 leaving the naming rights with guitarist Stephen Housden.[3] In May 2001 the Australasian Performing Right Association (APRA), as part of its 75th Anniversary celebrations, named "Cool Change", as one of the Top 30 Australian songs of all time.[13]
Later solo career
In 1982 Shorrock released a solo album Villain of the Peace and a single, "Rock and Roll Soldier" on Capitol Records recorded in Los Angeles with John Boylan (Charlie Daniels, Little River Band) producing. "Rock and Roll Soldier" reached the Australian top 40 in November but he did not achieve the international success attained with Little River Band. Late in 1982 he toured Australia and then teamed with Renée Geyer to release a duet, "Goin' Back" on Mushroom Records in February 1983. One of his backing singers was Wendy Matthews who had been a session singer in Los Angeles.[14] "We're Coming to Get You", which peaked at No. 6 in October, was recorded with folk group, The Bushwackers it was the theme for the film, We're Coming to Get You. He released "Don't Girls Get Lonely?" in November. In 1984, he recorded "Restless" for the documentary World Safari II: The Final Adventure.[4]
In 1985, Shorrock released The First Twenty Years, which was a double-LP album compilation of his career work with tracks by The Twilights, Axiom, Little River Band and solo work.[15] He was compere of Australian Broadcasting Corporation (ABC) TV music series, Rock Arena in 1986 and as a breakfast announcer for radio station Magic 11 in Sydney.[16] His solo single, "American Flyers" appeared in July. He performed on the tour of stage show One for the Money in 1986–87.[16] He appeared in other stage shows including his own showcase productions Go Cat Go (1990–91) and Two Up (1996).
On 25 March 1991, Shorrock was inducted into the Australian Recording Industry Association (ARIA) Hall of Fame, alongside contemporary rocker Billy Thorpe, bass-baritone Peter Dawson and jazz musician Don Burrows.[17] In 1993, he re-joined with Axiom band mate, Brian Cadd, to record Blazing Salads and three singles for Blue Martin Records, and a subsequent two-year tour.[18] On tour Shorrock played his hit songs, along with those of Axiom accompanied by Cadd and a backing band of Rex Goh on guitar (ex-Air Supply), Kirk Lorange on guitar (Richard Clapton Band) and Mark Kennedy on drums (Spectrum, Ayers Rock, Marcia Hines Band).[4][18]
Long Way to the Top was a 2001 ABC TV six-part documentary on the history of Australian rock and roll from 1956 to the modern era.[19] Shorrock provided interviews, "In Awe of The Beatles", "Being Pop Stars" and "Coming from the UK", on his early years with The Twilights.[20] Long Way to the Top Tour followed in August–September 2002 with Shorrock appearing with The Twilights in the first set performing "What's Wrong with the Way I Live?" and "Needle in a Haystack"; he returned in the second set with Axiom to perform "Arkansas Grass" and "Little Ray of Sunshine".[16][21]
In 2002 Shorrock reunited with other Little River Band founders Beeb Birtles and Graeham Goble to form Birtles Shorrock Goble.[16] On 17 October 2004, the 1970s members of Little River Band: Birtles, David Briggs, Goble, George McArdle, Derek Pellicci and Shorrock, were inducted into the ARIA Hall of Fame.[22] The later members including fellow Australian, John Farnham, and US-based musicians, were not included in this induction.[22] Due to a 2002 legal ruling on their right to use the band's name—two US-based members held the trademark—they performed "Help Is on the Way" as Classic Lineup of the Little River Band or Little River Band – Classic Lineup (sources vary).[22] Birtles Shorrock Goble recorded a successful DVD and CD, Full Circle (2005) and toured until 2007. In August–September, the trio played a medley of Little River Band hits at the Countdown Spectacular 2 concert series.
In 2005 Shorrock also undertook his career-spanning The Reminiscing Tour – Glenn Shorrock & Friends with invited guest singers including Doug Parkinson and Wendy Matthews.[16] In May–June 2006, he partnered actress Judy Nunn on the first season of reality TV singing competition, It Takes Two, they were voted off after week three.[23] His first solo CD for seven years, Meanwhile, which contains acoustic versions of his career hits was released in 2007 on the Liberation Blue label. He performed The Beatles tribute show Let It Be with Parkinson, Sharon O'Neill and Mark Williams.[24]
In 2008 Shorrock toured with the musical Shout! The Legend of the Wild One, based on the life of Australian rocker Johnny O'Keefe.[24][25] In July 2010, Shorrock performed a retrospective of his 45 years in the music industry.[2][5] Currently Glenn Shorrock continues to tour Australia performing for public and private events in Australia and promotes new local music artists. In early 2013 Glenn and his band were headlining performers in Macau, New York and London for the media launch of the Titanic II project. This was at the personal invitation of Australian entrepreneur Clive Palmer.
Mammalogie, ou, Description des espèces de mammifères
A Paris :Chez Mme. Veuve Agasse, imprimeur-libraire,1820-1822.
More images and items from my collection at my blogspot page:
"The Golden Pathway to a Treasury of Knowledge" by the International University Society of England, Canada and Australia. Printed in Great Britain. Undated. This is Volume IV. Our Wonderful World.
I was very happy to learn that there was a section of soft sculptured dolls included in this particular Cabbage Patch Kids Encyclopedia. The softies are a fascinating part of CPK history. It would have felt odd if they weren't included. Naturally, I knew that this section wouldn't be as straightforward as some of the others, since some soft sculptures were truly one of a kind and others were released in editions. There would be no way to document every softie ever made, or to even begin to scrape the surface of them. I do feel that the introduction to this section could have been better. As someone who was just learning about Cabbage Patch dolls, I don't feel there was a clear enough explanation of this part of the CPK universe. Basically the author just says that these were the original versions of CPK dolls and they came in different sizes. There was no mention in the introduction that there were some dolls who were made in series with certain numbers released. You have to read the info by each doll to piece this together. I do like that the author included a size chart for the softies (there wasn't one for the manufactured dolls, which would have been super handy...you have to read through walls of text to figure out that). I also understand that this book is very out of date, so they couldn't include the current terms and sizes (softies have changed over the years). I also would have liked to know more about the clothes. I noticed while hunting on eBay for research that some softies came with signed shoes. Others come in outfits that aren't' tagged...this all would have been useful information to discuss. This section is disorganized like all the rest. The porcelain dolls are lumped in it for whatever reason. They are also INTEGRATED with the soft sculptures. In the middle of the chapter there is a random break with a blurb about porcelain dolls. Then the chapter continues with softies and porcelain dolls together. This is horrendous to look at...very not user friendly. It would have made more sense to separate the porcelain dolls into their own chapter. Also, why are dolls from the 90s even in this book about the 80s?!!! The authors knew a second book was coming out, so they should have saved these 90s dolls for said sequel (it's literally advertised at the back of this book as "coming soon"). There are also photos of birth certificates mixed in, when there was already a SEPARATE section for these.
The Practical Encyclopedia of Good Decorating and Home Improvement, Greystone Press, 1970.
"Smashing area rug for the budget conscious can be made in house with carpet samples and glue. For backing, use canvas in the size you want, leaving a 4-inch heading for hemming. Arrange samples for color effects and for contrast of textures."
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Etsy shop www.ouno.etsy.com