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We made it to Friday again.
Well done team.
We woke to hear Storm Éowyn raging outside. It was the deepest low to hit the UK and Ireland, had gusts of up to 187 km/h in Ireland, but not here.
But we got gales and rain. On bin day!
So, once Jools left for yoga, I put the bins out and made sure they were up against the lamp post outside the house, so not to blow over in the wind, like many's already had.
Back indie for breakfast and a brew, then to work with three meetings and much updating of databases and spreadsheets.
By mid-morning, as forecasted, the winds dropped, the sky cleared and the sun came out.
As we had to catch an early afternoon train to London, so had taken the day off work, so got chores done, did a tip run and so on.
She got back at half eleven, I had one last meeting, then a pasty Jools brought back for lunch, then pack away before leaving at one for the station.
Camera batteries were charged, and memory cards cleared.
All ready.
We even got a parking space outside the station, so filled that, went inside to buy our tickets and then had half an hour to wait, so went to the buffet for coffee and chocolate.
The train, when it came was pretty empty, so we got seats with a table, and so watched through the large window as the countryside flashed by.
We dozed on the way up, so it seemed quick that we arrived at Stratford, where we detrained and got ready to cross down to Docklands.
The phone rang: it was the vet.
Scully has diabetes, and so needs treatment, but first an assessment on how serious the condition is.
Jools talks with them for ten minutes, with a stay planned, though not booked, so her urine can be tested for crystals.
We had 80 minutes, so I asked Jools if she wanted a drink: coffee or cider?
Coffee, no cider. So I take her to Tap East where I was considering the beers on taps, when I spotted the bottled beers in the cooler, and I cannot resist a Chimay Blue. So, we linger for twenty minutes as I supper the strong but delightful beer.
We walked through the glittering palace that is Westfield. Full of people and shiny things, though nothing really appealed to us. A monument to consumerism if leaves us cold.
Up the escalator, then over the wide footbridge to the regional station, where we went down to catch a Jubilee Line train to Canary Wharf.
We didn't squeeze on the train about to leave, instead getting a seat on the next train which would depart a mere three minutes later.
Not much to report on that trip, the train screeching once it went into tunnels beyond Canning Town, we got out at the deep Canary Wharf station, pausing to take a couple of shots.
We took the two flights of escalators up to the concourse, then stop to take obligatory shot of the entrance to street level where we were to meet friends.
We went to the square, and took seats looking back at the entrance to The Tube, and the buildings surrounding, towering over everything.
Our friends, Vicki and Justin, arrive, and after receiving a leaflet of the Winter Lights display we were ere to see, we make our way to the Elizabeth Lone station, taking in the sights on the way. Not that we were going anywhere on it, or yet as it turned out, just for the installations and architecture.
We walked though several foyers and atriums, across roads before coming to where the station was bult in a concrete box in a former dock. On top of it, a wooden arboretum bas built on top, with another mall with eateries and restaurants.
And leading to it is a tunnel-cum-bridge, all futuristic, and currently brightly painted as its housing an art installation.
We all took several shots on the way to the arboretum.
The open area was dotted with lit figures, like they'd OD'd on Ready Brek, looked good, but time was getting on.
So back down to the ground floor, and back to the bridge and back towards Canada Place and Canary Wharf.
Next stop was Wren Landing, where although there was an installation, it wasn't that photogenic, but the view over the dock was, all lights reflected in the still dark waters.
We turned back, and then right as we made our way to Westferry Circus, and two installations that could be seen there.
A one way system for pedestrians was in force, so we followed that, an dover the flyover crossing Westferry Road to the Promenade.
There we found a series of hoops that lit up and changed colour with the music playing. I should have taken a video but the world and his wife were going the same, so I took a few shots and moved out of the way.
In the centre of Westferry Circus was another installation, Error, swirling blue lights that look best on video.
So, dinner was calling. Justin had said they liked Zizzi, so to get there we had to walk past one more installation, a load of floating balls in Cabot Square. They change colours and the still night means the reflections are perfect.
We go back inside, and up three flights of escalators, get a table near the kitchen, not bad considering we hadn't booked.
I have Caprese (of course), then followed my slow roast pulled pork ragu, which was pretty good. We all ate well, and no one needed a desert.
Time was getting on, so we decide to head home. We part from our friends and walk back to the Jubilee Line entrance, but as we approached the entrance, staff we pulling across steel mesh gates, and signs outside stated service was suspended.
Quickly, we headed back to the Elizabeth Line, past the coloured tunnel, then down several more sets of escalators to platform level, and manage to squeeze on a train heading west. As we had to change at Whitechapel before heading back to Stratford.
We reached Stratford, made our way to the DLR to catch a train to the International station. We were pooped.
We walked to the entrance to the High Speed platforms; we had just fifteen minutes to wait for a train direct to Dover.
On the platform, two Eurostars hammered by making a lot of noise and shifting a lot of air, before our train glided in. We get seats, and Jools closes her eyes and soon drifts off.
The train rushes to Dartford, under the river and into Kent, and then south to Ashford, Folkestone getting us back to Dover by quarter past nine.
We climb in the car, drive home where the feline welcoming committee stated they though the long delay for dinner, some four and a half hours, was unacceptable. But ate well when fresh bowls were presented to them.
November 10, 2018 at 2:00pm- 3:30pm at Centrespace Gallery, VRC
Taking this idea as a starting point, we would like you to interpret this principle
Sustain your errors, is a series of workshops and events re-interpreting a set of ideas by artist and musician David Cunningham first used for his 1976 album Grey Scale.
In an introduction to the project taking place during NEoN, writer Cicely Farrer invites artist Katie Hare to together explore the ‘error system’ in the algorithmic age, through dialogue, sound, projection and human movement, extending Cunningham’s album in a new performative encounter.
Katie Hare is an artist whose work examines the effects of the increasing rapidity of technological progress, particularly with regards to memory and obsolescence and the way narrative and storytelling is shifting as a result of this development.
Introduction to David Cunningham’s Error System
David Cunningham’s art work evades visual description as it is mostly real-time sound based and site specific. His installations and performances are experienced across sound, music, light, movement and the architectures of space. He frequently uses a systems approach. This systems approach could be through a sound loop, overlapping cycles, a set of instructions, collaborative conditions or the space the work inhabits.
Sustain your errors draws on an early work of David’s, Grey Scale, for which he set up scores/instructions in the production of his sound work in the late 70s. In its original form, Grey Scale is an album that was originally released as a vinyl record in a grey card sleeve in 1976. The album features tracks which are played across a range of instruments, percussion, tape recorders, synthesisers and water.
The project is based on conversations between Cicely Farrer and David Cunningham around ways of interpreting the scores and their guiding principles. Cicely has received mentorship from artist Pernille Spence.
Supported by the National Lottery through Creative Scotland.
Image Credit: Kathryn Rattray Photography
Her box kept sending me errors even though she was born and her mom grave me red copy text. So this is Error lol
Fur: Abyssinian - Cinnamon
Eyes: Odyssey Terra (Shape: Curious | Pupil: Big)
Shade: Natural
Tail: Genesis
Ears: Genesis
Whiskers: Silver (Shape: Guitar)
Size: 21 cm (8.2 inch)
Version: 1.10
Owner: Devilness Chant
MOM: NewKitten 1
Fur: Genesis - Domino
Eyes: Genesis Water (Shape: Curious | Pupil: Big)
Shade: Natural
Tail: Genesis
Ears: Genesis
Whiskers: Silver (Shape: Guitar)
DAD: Bankruptcy
Fur: Ocicat - Cinnamon Silver
Eyes: Key Lime (Shape: Mysterious | Pupil: Big)
Shade: Natural
Tail: Genesis
Ears: Genesis
Whiskers: Silver (Shape: Mysterious)
I was trying to update my entry via TextMate. However, this tooltip pops up. But then, the entry is indeed updated.
Can anyone tell me why?
If you have gotten this Toshiba DLL load error, it determines that there was a glitch in your structure improvement.Simply call us or send us a mail; we will react to you within 24 working hours. Customer Service is accessible. We convey Toshiba Customer Service and Support to our clients for Toshiba Call 18558881009 or visit our website:- www.toshibahelpline.com/fix-dll-error/
El errror de la máquina es la primera exposición individual de Elsa Oviedo, quien presenta tres piezas sonoras en el Ex Convento del Carmen, en una exposición organizada por la Secretaría de Cultura (SC) de Jalisco. La inauguración de la muestra se llevará a cabo mañana 14 de agosto a las 20:00 horas. La entrada será gratuita.
La exposición está conformada por tres instalaciones sonoras: A prueba de fallos, Lost in Translation y la que da nombre a la exposición: El errror de la máquina. Además, se suman un par de piezas invitadas de las artistas Cecilia Moreno y Ana Paula Santana.
Elsa Oviedo explica el origen de El errror de la máquina: “Surge del tema de investigación de mi maestría, que fue el caos y que después me llevó a la manifestación del error. Más tarde, las piezas comenzaron a surgir a partir de un apoyo del PECDA, y después con un apoyo de Proyecta en 2014 realicé las dos obras más que complementan esta exposición”.
El eje conceptual es la repetición sonora, que a su vez crea un ritmo: “Es el error como una manifestación sutil, como un sinónimo de cambio, como un sinónimo de transformación, como un suceso desestabilizador que genera cambios en el sistema”.
La artista detalla cómo fue el proceso para realizar esta exposición: “El primer planteamiento fue la repetición de una frase tecleada en una máquina de escribir y la repetición por sí misma favorecía la aparición del error. Esta repetición tiene una cuestión rítmica, cíclica y sonora y de ahí se genera la pieza central de la exposición, que retoma las coordenadas de los puntos en el texto para traducirlos en piezas sonoras”.
En otra pieza la artista utilizó un procesador de texto al que se le dictaba repetidamente la frase “la vida es un constante y largo error” y el resultado del dictado tenía alteraciones muy notables con relación al texto original, que finalmente se tradujo en estos resultados con la herramienta “Traductor” de Google: “Se iba haciendo una maraña de textos, una especie de teléfono descompuesto, donde hay una pérdida progresiva de información y es eso lo que veremos en la exposición”.
EL DATO
El trabajo de Elsa Oviedo incluye obras de arte sonoro e instalación con elementos sonoro-visuales. Actualmente es parte de la compañía teatral Neurodrama y de la organización Espiral, Creatividad y Encuentro Social, en el que desarrolla contenido multimedia y proyectos socioculturales, entre los que destaca, Lo que habita, una iniciativa que aborda conceptos de identidad social y patrimonio cultural.
Esta captura de pantalla de Open Bank es casi un compendio de malas prácticas cuando estamos mostrando un mensaje de error al usuario.
On the way to work this morning.
It always makes me smile when I see windows error messages on public display boards. It doesn't when it's on a train station though!
part of the monument in Waterloo Place commemorating Franklin and his men, and their ill-fated expeditions on the ships "Erebus" and "Terror", searching for the North West Passage.
A well timed error message because someone (me) rebooted his machine while Katie was streaming The Kids Are All Right off of it.
No comprendo que ocurre
El tiempo avanza y mi vida se detiene
Ruedan los minutos, las horas, los días
Y dentro de este intranquilo corazón
Sigue el triste comienzo de un renacer
El trato con mi alma de empezar todo de nuevo
La promesa de no recordar
Las ganas de entender que no tengo la culpa
El deseo de que las cosas fueran un poco más simples
Y sin darme cuenta me condeno al fracaso
A la ausencia
A la culpabilidad
Al delirio
A la agonía de vivir “demostrando” quien soy
Y lo que puedo hacer, decir y saber.
“Demostrar”, “dolor”, “acoso”, “belleza”, “culpa”,
Son algunas palabras que quisiera eliminar del diccionario.
Transitar por lugares distintos
Conocer gente nueva
Mirar nuevos paisajes
Respirar otro aire
Caminar nuevas tierras… quisiera.
Desprenderme de los errores
Olvidar.
Quitarme la tristeza de pensar que “habría hecho si”
Disfrutar del sol que me despierta en las mañanas
Quisiera hacer del mundo un lugar bello para vivir
Para disfrutar las bondades que se nos dan
Y que por estar sumergidos en los dolores
No logramos ver.
Seminar about Waste awareness and creative solutions organised by Lausitzer Wege and Kulturlabor Trial and Error at Lauchhammer 2012
Rekan-rekan, salah satu Wordpress saya terjadi error berupa Access Denied (kode 403) dari Google Bot pada file error_log di folder Plugin. Akibatnya, jumlah pengunjung turun drastis tinggal 25% saja.
Yang saya heran, file error_log itu kan memang seharusnya permission nya 644, tetapi mengapa dipermasalahkan oleh Google ya ? (saya lampirkan screen shoot Google Webmaster Tools nya)
Ada yang pernah mengalami hal yang sama, dan bagaimana soslusinya karena sangat berpengaruh negatif terhadap Onpage SEO ?