View allAll Photos Tagged immutable
The blockchain (through Bitcoin) is unarguably the key invention of the 21st century. The accelerating forces of decentralization do not only change how we think about electronic cash, but also changed our perception of organizations, trust and non-human agency through the introduction of immutable and unstoppable code on the blockchain. RIAT examines the global crypto-economic condition and its effects on culture and society.
Credit: Florian Voggeneder
Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie with Tonic Siso and MGS
Great Food and Music Highly Recommended
"I had a finer and a grander sight, however, where I was. This was the mighty dome of the Jungfrau softly outlined against the sky and faintly silvered by the starlight. There was something subduing in the influence of that silent and solemn and awful presence; one seemed to meet the immutable, the indestructible, the eternal, face to face, and to feel the trivial and fleeting nature of his own existence the more sharply by the contrast. One had the sense of being under the brooding contemplation of a spirit, not an inert mass of rocks and ice--a spirit which had looked down, through the slow drift of the ages, upon a million vanished races of men, and judged them; and would judge a million more--and still be there, watching, unchanged and unchangeable, after all life should be gone and the earth have become a vacant desolation." -- Mark Twain, "A Tramp Abroad" (seen from Interlaken Switzerland)
Frédéric never leaves home and never sees anyone. He has a telecommuting work and when he needs something, it is delivered. His everyday life, immutable, seems written in stone... Until a mysterious girl burst into his life...
The play, between utopia and science fiction, is asking for the place of the other when the technology is building is own reality, between us and the world, when virtuality comes true.
The scenography was designed to show this omnipresence of the virtual, using video mapping, video, sounds and light interactivities to create the space, the flat of Frederic, where the action takes place. It's a living place, a sprawling matrix, stilfling, but probably also an illusion created by humans to rock his eternal solitude.
Written and staged by: Gildas Loupiac
Scenography: Barthélemy Antoine-Loeff and Alexandra Petracchi (iduun)
Sound design: Charles Dubois
Costumes: Marilyne Morel
With: Thomas Lequesne, Géraldine Szajman and Etienne Bodi
From the 7th of september to the 2nd of october (except monday and tuesday) at 20 PM.
FUNAMBULE MONTMARTRE
53 rue des Saules, 75018 Paris
Métro : Lamarck-Caulaincourt (12)
© david morris dtmphotography.co.uk
Llandrindod Wells is an amalgam of two very different settlements. Early Llandrindod in the
form of the old parish church and Llandrindod Hall occupies a spur sandwiched between
valleys that drop down towards the Ithon from the high ground to the east. One kilometre to
the north-west on lower ground which has been ridged and hollowed by several streams is the
Victorian and modern creation of Llandrindod Wells.
This brief report examines Llandrindod’s emergence and development up to 1750. For the
more recent history of the settlement, it will be necessary to look at other sources of
information and particularly at the origins and nature of the buildings within it.
The accompanying map is offered as an indicative guide to the historic settlement. The
continuous line defining the historic core offers a visual interpretation of the area within
which the settlement developed, based on our interpretation of the evidence currently to hand.
It is not an immutable boundary line, and may need to be modified as new discoveries are
made. The map does not show those areas or buildings that are statutorily designated, nor
does it pick out those sites or features that are specifically mentioned in the text.
We have not referenced the sources that have been examined to produce this report, but that
information will be available in the Historic Environment Record (HER) maintained by the
Clwyd-Powys Archaeological Trust. Numbers in brackets are primary record numbers used in
the HER to provide information that is specific to individual sites and features. These can be
accessed on-line through the Archwilio website (www.archwilio.org.uk).
History of development
The name refers to the 'Church of the Trinity', but the former name of the church and its
parish was Llandow in 1283 and Lando in 1291 meaning ‘church of God’. Llandynddod
appears only in 1535, but the change to the Trinity is one that can be recognised in several
other churches in Wales.
The earlier focus occupies a spur overlooking this area. Whether the church represents an
early medieval foundation is unclear. The 'llan' prefix might suggest this but there is no
corroborative evidence. Its later history, too, is uncharted. The occurrence of platforms
opposite the church hints at more than just an isolated church, but the evidence as yet is not
compelling.
Llandrindod Hall by the old church was converted into a large hotel in about 1749, but it
functioned for less than forty years and was demolished by its proprietor, reportedly because
of its unsavoury clientele. It was replaced in the 19th century by a farmstead.
Reportedly the origins of the spa town go back to the late 17th century. Cae-bach Chapel
(30000; Grade II listing) in Brookland Road was founded in 1715. Saline and sulphur springs
were discovered in the 1730s and these were noted in various publications in the following
twenty years. But the emergence of Llandrindod Wells is essentially a 19th-century
phenomenon and thus falls outside the scope of this report, although in expanding over
Llanerch Common, the town enveloped the Llanerch Inn, which has some 17th-century
features.
The heritage to 1750
The old parish church of Holy Trinity (16027) lies more than 1km south-east of the town and
was sited on the edge of an extensive tract of common upland. It originally had a single
chamber of 13th/14th-century build with a south porch and small west spire. It was completely
rebuilt in 1894, after the archdeacon of Llandrindod had removed the roof in order to
'encourage' townspeople to attend the new church in the town. The old church houses several
18th and 19th-century monuments but its 'sheel-na-gig' (5960) uncovered during building work
in 1894 and presumably of medieval origin, is now in the local museum.
The churchyard (16199) is irregular in design, its shape on the west and south dictated by the
natural topography. The Tithe map depicts a smaller enclosure around the church, a short
distance away from the road and no longer distinguishable at ground level, but may not be an
accurate representation. A holy well (81710) lay close to the churchyard, though the story
attached to it point to a healing well.
The spur on which the old church sits is naturally irregular with rock outcrops protruding.
North of the church on land that was common until the 19th century are several flat terraces
some of which are certainly artificial constructions that probably supported dwellings
(16094); there is at least one authentic platform and perhaps two others, together with
enclosure boundaries and a trackway. Further earthworks (16095), the most obvious a low
curvilinear bank of unknown function, are apparent just to the south-east of Llandrindod Hall
(30020).
Capel Maelog (2055) which was excavated between 1984 and 1987 lay off Cefnllys Lane less
than 1km east of the town centre. Its foundations have now been reconstructed near County
Hall.
Information can be found here
Frédéric never leaves home and never sees anyone. He has a telecommuting work and when he needs something, it is delivered. His everyday life, immutable, seems written in stone... Until a mysterious girl burst into his life...
The play, between utopia and science fiction, is asking for the place of the other when the technology is building is own reality, between us and the world, when virtuality comes true.
The scenography was designed to show this omnipresence of the virtual, using video mapping, video, sounds and light interactivities to create the space, the flat of Frederic, where the action takes place. It's a living place, a sprawling matrix, stilfling, but probably also an illusion created by humans to rock his eternal solitude.
Written and staged by: Gildas Loupiac
Scenography: Barthélemy Antoine-Loeff and Alexandra Petracchi (iduun)
Sound design: Charles Dubois
Costumes: Marilyne Morel
With: Thomas Lequesne, Géraldine Szajman and Etienne Bodi
From the 7th of september to the 2nd of october (except monday and tuesday) at 20 PM.
FUNAMBULE MONTMARTRE
53 rue des Saules, 75018 Paris
Métro : Lamarck-Caulaincourt (12)
The 1967 Cadillac Calais we used for the filming of The Immutables. It's seen here waiting for the cue.
These are my personal notes taken during a presentation. I give them here because they may be of some interest. Do not expect the notes to always be in complete sentences, etc.
-----------------------------------
Creationism and Evolution in the U.S., On Anti-Intellectualism and Scientism
Presented by: Massimo Pigliucci (University of Tennessee, Knoxville, Tennessee, USA) (now with the Department of Philosophy at CUNY-City College, New York, New York, USA) (www.ccny.cuny.edu/profiles/Massimo-Pigliucci.cfm)
(en.wikipedia.org/wiki/Massimo_Pigliucci)
21 April 2000
----------
Aspects of anti-intellectualism:
1) Anti-rationalism - says that intellectualism is bad because it leads to moral relativism and leads to skepticism for authority. Also, it says that reason is cold and dull.
2) Anti-elitism - it is not good to have people who know better than you (intellectualism is anti-democratic). This is an American attitude. It is not something you see in Europe. Europeans don’t have a problem with accepting the reality of an intellectual hierarchy in society. As a culture, Americans tend to be skeptical of experts. But, this thinking doesn’t apply to sports experts or health care experts (doctors).
3) Unreflective instrumentalism - thought has no value if it is not practical (the basis for capitalism). This idea leads to disdain for theoretical inquiry.
4) Unreflective hedonism - points out that the media and mass entertainment provide pre-interpreted information to the public, which willingly accepts it without objection, because thinking is hard work, and therefore thinking is not desirable.
5) Post-modernism - the only non-American idea of this list, it originates from France. This idea says that all knowledge is relative (all opinions are equal, and equally good), and therefore you must have equivalency of different cultural traditions. Also, this idea concludes that science has not and should not have special pre-eminence. Advocates of post-modernism are considered the academic and cultural left, but they agree with creationist thinking. This is ironic, because creationists represent the academic and cultural far-right.
Anti-intellectualism converges upon public education by suggesting that book learning is elitist, vocational schooling is preferrable, and social development of students is more important than critical thinking or teaching of information.
A problem on the other side is excess of scientism. Scientism says that the scientific method is the most powerful tool for investigating reality. This is an OK statement and is fairly defensible, though some disagree with it. What isn’t OK to say is that science can solve any problem given enough time and money and resources (though this is what you say to the National Science Foundation!). The problem with this idea is that is gives people a too-high expectation for science. It is important to realize and admit that science does have limits, though. This is difficult to explain to the general public or the media or politicians.
Science is based on philosophical assumptions, but they are well-founded assumptions:
1) realism - says there is a real world to be investigated, and that it is not a figment of one’s imagination.
2) naturalism - says that all things can be explained using only natural laws. Intelligent design advocates reject this, of course.
3) Occam’s Razor - an idea from a 13th century monk that says the simplest explanation is likely the correct one. This is an assumption that works very well, but not always.
4) Hume’s Dictum - extraordinary claims require extraordinary evidence. This was a view held and emphasized by Carl Sagan.
Intellectual snobbism is dangerous and unjustified. No society could exist with only intellectuals. Intellectual achievement is admittedly an arbitrary human value - lots of human societies in history and now lived and live without intellectual advancement, but they were more than happy and content with their lot in life. It is also important to recognize that the products of science are not always good.
Logical fallacies of creationism (this listing is just a subsample):
1) science must be ethical - tree of evil metaphor, with the root of unbelief and the tree of evolution and the fruits of the tree include racism, abortion, alcohol, humanism, drugs, dirty books, hard rock, inflation, etc. Why the metaphor? Well, some consequences of science can lead to things that are not good. Therefore, science is bad. Is genetics bad because Hitler wanted to use eugenics to improve the Aryan race? Is physics bad because we dropped atomic bombs? There is no excuse for scientists to not care or to be unethical, though. Science per se is not bad - it’s what people (scientists, the public, politicians, anybody) do with that science that can be bad (or not).
2) discussions among scientists are a sign of crisis - Gould’s punctuated equilibrium is the classic example. He pushed the idea to sound like it was very different from Darwinism, but it isn’t very different. This argument misses the point of science - changing your mind and progress are what science is all about.
3) evolution is “just” a theory - the old and tired mixing up of 2 definitions of the word “theory”.
4) natural processes occur at random - how can complex human beings be the result of randomness? Well, evolution is not the same as a jumbo jet being assembled from a junkyard by a tornado. Two forces shape evolution - mutations (which are random) and natural selection (which is anything but random).
5) no intermediate fossils - by now, it is quite puzzling why creationists continue to raise this point. Actually, it is not a puzzle. They will always see and point out a gap in the fossil record no matter how many fossils are found to fill pre-existing gaps.
6) the world is easy and simple to understand - this is just plain wrong. The world is not easy to explain. For example, the Flood could not possibly covered the entire world, and could not possibly have created the Grand Canyon. The entire biosphere could not fit onto Noah’s Ark.
7) living organisms are perfect and therefore were designed - this is a very important argument behind why lots of people believe creationism. Watchmaker argument. Well, have you ever wondered why people have hemorrhoids, back pain, and vericose veins? Ever wonder why it takes a year for babies to learn how to walk? It’s because humans aren’t well-designed for bipedal locomotion. This isn’t a perfect design. The design is easy to understand using evolutionary theory - humans relatively recently became bipedal from arboreal & ground-dwelling, knuckle-walking apes. Design? Yes. Perfect design? Well...
8) science is an arbitrary assemblage of disconnected facts - this denies biology, astronomy, geology, and physics. You have to come up with better substitutes for explaining the universe before you can toss these out.
9) education must be democratic - this idea is obvious for many. After all, taxpayers fund public schools, therefore taxpayers must have a say in what is taught and how it is taught. Europeans don’t make this argument, though. To counter this, we can point out examples of other possible equal-time curricula (there are people who are living today that believe these): flat-earthers, geocentrists.
10) science is a religion - well, let’s compare the two:
Religion
- immutable doctrine
- based on faith
- taught by authority
- dogma
Science
- self-correcting
- based on evidence
- discovery by critical thinking
- peer-review & hypothesis-testing
Common mistakes of scientists:
1) We don’t really understand macroevolution [sic] - scientists need to recognize and admit this. For example, the phylogeny of cetaceans (whales) shows that what we know now is incomplete and is a work in progress. Admitting this is not a defeat, but should be an encouraging thing. If everything is already solved, why should new people become scientists? What more would there be to do? While Behe's idea of irreducible complexity is a non-concept, understanding of molecular evolution is at a beginning. Just because we don’t know doesn’t imply or demand a designer. There is plenty we know and there is plenty we don’t know.
2) We don’t have much of a clue as to the origin of life [~sic] - we really don’t know. We may never solve the problem, but we’ll certainly learn more in the future. This is not an evolutionist’s problem, though. Evolution is concerned with what happens after life appears, not how life appears.
3) Anthropic Principle is flawed, but we don’t know the origin of physical constants [sic] - the old fine-tuning argument. There are several versions of the Anthropic Principle. We know something about these things (from quantum mechanics and general relativity and superstring theory).
4) Scientists make mistakes - not admitting this is bad. The classic example is Piltdown Man. Yes, it was a fraud, but the fraud was discovered by scientists (evolutionary biologists, in this case), not creationsists. And it was discovered by finding and learning about numerous other fossil finds. This led to the realization that Piltdown Man didn’t fit in at all, prompting a re-examination. This is a good example of how science works, not how it fails. Science is self-correcting.
What to do?
1) Adapt the style (but not the content) to the audience - there are 3 types of audiences, and your approach has to be different in front of the 3 different types. One type is the teachers and educators (teach them how to teach). Second is the general public (emphasize science is relevant to them - not all the little details, but the big ideas are relevant). The third type is the religious fundamentalists - talking to them is almost a waste of time, but the "almost" makes it worth it. The key with the 3rd type of audience is to teach them to think critically. Remember that it isn’t essential for the entire world’s population to understand evolution, but it is essential for as many people as possible to know how to think critically.
2) Good teaching of science - science is an open-ended inquiry. Science is a process, not just a body of knowledge. Hands-on learning is OK, but not to the exclusion of minds-on learning.
3) Learn from neurobiology - much is known about the psychology of education, but we don’t apply neurobiological knowledge to it. We know nowadays a lot about how the brain works - this should be applied to teaching methodologies. For example, the left brain is the rationalizing hemisphere, and the right brain is the challenging hemisphere. The left side controls what is considered to be acceptable paradigm. The right side supplies seeds of doubt (i.e., critical thinking!!). It turns out that lecture is one of the worse ways for communicating information. [sic]
If you want to change a creationist’s mind, ask questions and put seeds of doubt in their right hemispheres. If they change their minds, it won’t be instantaneous. Just be content to put seeds of doubt and questions in an audience’s mind & in debate opponents’ minds. This sort of thing does work. The threshold for how much seed of doubt is required to result in a change of mind is low in some, and high in others.
4) If all else fails, remind people that teaching creationism is illegal - use this argument as a last resort only.
Lots of Pigliucci’s colleagues say that he’s wasting his time with this interest in creationists. But, there is a need for people to do this work.
-------------------
© david morris dtmphotography.co.uk
Llandrindod Wells is an amalgam of two very different settlements. Early Llandrindod in the
form of the old parish church and Llandrindod Hall occupies a spur sandwiched between
valleys that drop down towards the Ithon from the high ground to the east. One kilometre to
the north-west on lower ground which has been ridged and hollowed by several streams is the
Victorian and modern creation of Llandrindod Wells.
This brief report examines Llandrindod’s emergence and development up to 1750. For the
more recent history of the settlement, it will be necessary to look at other sources of
information and particularly at the origins and nature of the buildings within it.
The accompanying map is offered as an indicative guide to the historic settlement. The
continuous line defining the historic core offers a visual interpretation of the area within
which the settlement developed, based on our interpretation of the evidence currently to hand.
It is not an immutable boundary line, and may need to be modified as new discoveries are
made. The map does not show those areas or buildings that are statutorily designated, nor
does it pick out those sites or features that are specifically mentioned in the text.
We have not referenced the sources that have been examined to produce this report, but that
information will be available in the Historic Environment Record (HER) maintained by the
Clwyd-Powys Archaeological Trust. Numbers in brackets are primary record numbers used in
the HER to provide information that is specific to individual sites and features. These can be
accessed on-line through the Archwilio website (www.archwilio.org.uk).
History of development
The name refers to the 'Church of the Trinity', but the former name of the church and its
parish was Llandow in 1283 and Lando in 1291 meaning ‘church of God’. Llandynddod
appears only in 1535, but the change to the Trinity is one that can be recognised in several
other churches in Wales.
The earlier focus occupies a spur overlooking this area. Whether the church represents an
early medieval foundation is unclear. The 'llan' prefix might suggest this but there is no
corroborative evidence. Its later history, too, is uncharted. The occurrence of platforms
opposite the church hints at more than just an isolated church, but the evidence as yet is not
compelling.
Llandrindod Hall by the old church was converted into a large hotel in about 1749, but it
functioned for less than forty years and was demolished by its proprietor, reportedly because
of its unsavoury clientele. It was replaced in the 19th century by a farmstead.
Reportedly the origins of the spa town go back to the late 17th century. Cae-bach Chapel
(30000; Grade II listing) in Brookland Road was founded in 1715. Saline and sulphur springs
were discovered in the 1730s and these were noted in various publications in the following
twenty years. But the emergence of Llandrindod Wells is essentially a 19th-century
phenomenon and thus falls outside the scope of this report, although in expanding over
Llanerch Common, the town enveloped the Llanerch Inn, which has some 17th-century
features.
The heritage to 1750
The old parish church of Holy Trinity (16027) lies more than 1km south-east of the town and
was sited on the edge of an extensive tract of common upland. It originally had a single
chamber of 13th/14th-century build with a south porch and small west spire. It was completely
rebuilt in 1894, after the archdeacon of Llandrindod had removed the roof in order to
'encourage' townspeople to attend the new church in the town. The old church houses several
18th and 19th-century monuments but its 'sheel-na-gig' (5960) uncovered during building work
in 1894 and presumably of medieval origin, is now in the local museum.
The churchyard (16199) is irregular in design, its shape on the west and south dictated by the
natural topography. The Tithe map depicts a smaller enclosure around the church, a short
distance away from the road and no longer distinguishable at ground level, but may not be an
accurate representation. A holy well (81710) lay close to the churchyard, though the story
attached to it point to a healing well.
The spur on which the old church sits is naturally irregular with rock outcrops protruding.
North of the church on land that was common until the 19th century are several flat terraces
some of which are certainly artificial constructions that probably supported dwellings
(16094); there is at least one authentic platform and perhaps two others, together with
enclosure boundaries and a trackway. Further earthworks (16095), the most obvious a low
curvilinear bank of unknown function, are apparent just to the south-east of Llandrindod Hall
(30020).
Capel Maelog (2055) which was excavated between 1984 and 1987 lay off Cefnllys Lane less
than 1km east of the town centre. Its foundations have now been reconstructed near County
Hall.
Information can be found here
Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie
May 17-30, 2018
Opening Reception: Thursday May 17 from 6-8:00 pm
The clock’s influence is inseparable from contemporary life – not only does it synchronize individual circadian rhythms but it also produces the stable temporal foundation for both scientific tradition and capitalism to flourish. However, there is a significant gap between what is measured by clocks and what is perceived by the individual. The perceived acceleration of time in contemporary life leaves us with a feeling of being continually deprived of this precious resource. While many technologies promise to help us get-time-back, they only entangle us further in their construction. Scientific time, duration measured by clocks, is regarded as immutable, indefatigable, and infallible – the opposite of the humans it ostensibly serves. Slower Than Time Itself uses the syncopated rhythms and unquantifiable output of mechanical clocks to suggest a slowing and plurality to the current monoculture of time, more sympathetic to the human condition and timescapes outside of human perception. Trueman’s sculptural and video works explore the idea of slowness as a gateway to multiplicity and ponders whether it is possible to use a clock to escape time itself.
Artist Biography
After studying mechanical engineering at Fanshawe, Trueman completed his undergraduate degree in fine arts at Western University where he is currently a Master of Fine Art candidate. He will be completing a clock installation at I-Park Residency (East Haddam, Connecticut) this summer, and will be exhibiting at PLUS Art Fair 2018 (Toronto). His first publication So Long South Street, a photographic series showing the demolition of famed South Street Hospital, was launched earlier in 2018. His work has been shown at Museum London, McMaster Museum of Art (Hamilton), Thames Art Gallery (Chatham), and DNA Art Space (London).
Artlab Gallery
John Labatt Visual Arts Centre
Department of Visual Arts
Western University
London, ON
© 2018; Department of Visual Arts; Western University
My starter will of course be the turtle that squirts water out of its mouth; If not, the one wearing the hat will be my alternative.
Although the X Y versions now have some impressive animations, scenery and 65 new monsters; the game play is immutable by keeping the same formula as it has in the many years past. Wouldn't stop me from enjoying it, though.
A new technology start-up company claims to offer a certain kind of ”immortality”: users can choose between erasing the deceased’s electronic footprint or uploading it to virtual heaven, permanently secured and published on an immutable blockchain, allowing the addition of remembrance NFTs to the memorial. This website FuneralPlay speculates on a near future when diverse ideologies and values are accepted within the setting of a funeral: apart from traditional religion, a series of subcultures are emerging as new elements in a funeral scenario. As a result, cat meme lovers, boyband fandoms, fengshui masters, otakus, gangsters, cypherpunks... all can find a private post-mortem comfort zone. This journey records the recent life dynamics of some residents on the platform.
Credit: Ruini Shi
May 17-30, 2018
Opening Reception: Thursday May 17 from 6-8:00 pm
The clock’s influence is inseparable from contemporary life – not only does it synchronize individual circadian rhythms but it also produces the stable temporal foundation for both scientific tradition and capitalism to flourish. However, there is a significant gap between what is measured by clocks and what is perceived by the individual. The perceived acceleration of time in contemporary life leaves us with a feeling of being continually deprived of this precious resource. While many technologies promise to help us get-time-back, they only entangle us further in their construction. Scientific time, duration measured by clocks, is regarded as immutable, indefatigable, and infallible – the opposite of the humans it ostensibly serves. Slower Than Time Itself uses the syncopated rhythms and unquantifiable output of mechanical clocks to suggest a slowing and plurality to the current monoculture of time, more sympathetic to the human condition and timescapes outside of human perception. Trueman’s sculptural and video works explore the idea of slowness as a gateway to multiplicity and ponders whether it is possible to use a clock to escape time itself.
Artist Biography
After studying mechanical engineering at Fanshawe, Trueman completed his undergraduate degree in fine arts at Western University where he is currently a Master of Fine Art candidate. He will be completing a clock installation at I-Park Residency (East Haddam, Connecticut) this summer, and will be exhibiting at PLUS Art Fair 2018 (Toronto). His first publication So Long South Street, a photographic series showing the demolition of famed South Street Hospital, was launched earlier in 2018. His work has been shown at Museum London, McMaster Museum of Art (Hamilton), Thames Art Gallery (Chatham), and DNA Art Space (London).
Artlab Gallery
John Labatt Visual Arts Centre
Department of Visual Arts
Western University
London, ON
© 2018; Department of Visual Arts; Western University
Financials = FS
financialssector.exchange/?afmc=SNiB980NX5If0cRQAZkU3
7 of 11
The Global Industry Classification Standard used by Morgan Stanley defines the consumer discretionary sector and industry that includes companies involved in banking, thrifts & mortgage finance, specialized finance, consumer finance, asset management and custody banks, investment banking and brokerage and insurance. It also includes Financial Exchanges & Data and Mortgage REITs. Using CrowdPoint’s next generation Blockchain all members of the ecosystem benefit from the transparency, speed and immutable transactions associated with banks, thrifts and mortgage finance. It also includes organizations that work within diversified financial services, consumer finance, capital markets, real estate investment trusts and insurance.
Our mission is to horizontally and vertically unite financial services, consumer finance, capital markets, REITS and Insurance Products on our NexGen Blockchain in order to DEMOCRATIZE the Financial Sector Experience for your HUMAN IDENTITY.
Blockchain Ecosystem = BE
blockchainecosystem.exchange/?afmc=SNiB980NX5If0cRQAZkU3
Ellipsis - portal.theellipsis.exchange/welcome/?afmc=SNiB98ONX5lf0cR...
#BlockchainEcosystem #Energy #Materials #Industrials #ConsumerDiscretionary #ConsumerStaples #Healthcare #Financials #InfomationTechnology #CommunicationServices #Utilities #RealEstate #SeanBrehm #MarleneBrehm #ValindaLWood
"All men and beasts, lions, eagles, and quails, horned stags, geese, spiders, silent fish that inhabit the waves, starfish from the sea, and creatures invisible to the eye—in one word, life—all, all life, completing the dreary round imposed upon it, has died out at last. A thousand years have passed since the earth last bore a living creature on her breast, and the unhappy moon now lights her lamp in vain. No longer are the cries of storks heard in the meadows, or the drone of beetles in the groves of limes. All is cold, cold. All is void, void, void. All is terrible, terrible—
The bodies of all living creatures have dropped to dust, and eternal matter has transformed them into stones and water and clouds; but their spirits have flowed together into one, and that great world-soul am I! In me is the spirit of the great Alexander, the spirit of Napoleon, of Caesar, of Shakespeare, and of the tiniest leech that swims. In me the consciousness of man has joined hands with the instinct of the animal; I understand all, all, all, and each life lives again in me.
I am alone. Once in a hundred years my lips are opened, my voice echoes mournfully across the desert earth, and no one hears. And you, poor lights of the marsh, you do not hear me. You are engendered at sunset in the putrid mud, and flit wavering about the lake till dawn, unconscious, unreasoning, unwarmed by the breath of life. Satan, father of eternal matter, trembling lest the spark of life should glow in you, has ordered an unceasing movement of the atoms that compose you, and so you shift and change for ever. I, the spirit of the universe, I alone am immutable and eternal.
Like a captive in a dungeon deep and void, I know not where I am, nor what awaits me. One thing only is not hidden from me: in my fierce and obstinate battle with Satan, the source of the forces of matter, I am destined to be victorious in the end. Matter and spirit will then be one at last in glorious harmony, and the reign of freedom will begin on earth. But this can only come to pass by slow degrees, when after countless eons the moon and earth and shining Sirius himself shall fall to dust. Until that hour, oh, horror! Horror! Horror! Satan, my mighty foe, advances; I see his dread and lurid eyes."
-Nina's monologue from Anton Chekov's "The Seagull."
By Richard Deacon, 2008
Part of Everything at Once
Presented by Lisson Gallery and The Vinyl Factory at the Store Studios, 180 The Strand
October-December 2017
Lisson Gallery opened on Bell Street in 1967, a year after John Cage’s pronouncement on the changing conditions of contemporary existence. In celebration of this anniversary, the gallery is partnering with The Vinyl Factory to stage ‘EVERYTHING AT ONCE’, an ambitious group exhibition inspired by these words, which could very well apply to our current anxiety-ridden age of ceaseless communication. Through new and historical works by 24 of the artists currently shown by Lisson Gallery (out of more than 150 to have had solo shows over the past 50 years), this extensive presentation aims to collapse half a century of artistic endeavour under one roof, while telescoping its original aims into an unknowable future.
As Cage predicted, we increasingly live in an all-at-once age, in which time and space are no longer rational or linear concepts and great distances can be traversed with an instantaneous click. More than ever before, contemporary art, like life, assaults us simultaneously from all angles and from anywhere on the globe, existing also as multisensory visions of an accelerated world.
In response, ‘EVERYTHING AT ONCE’ is neither a chronological exhibition nor an encyclopaedic history of the gallery’s activities since 1967, rather it is an interconnected journey incorporating 45 works exploring experience, effect and event, invoking immediacy and immutability. Ranging from text to installation, painting, sculpture, performance and sound, the selection presents some of Lisson’s leading artists, of both the past and present...
[Lisson Gallery]
Dutch Photographer specializing in wildlife photography
Tortoises at Dawn, Galapagos Islands, 1984..Giant tortoises in pond, Geochelone elephantopus, Alcedo Volcano, Galapagos Islands.."The Galápagos Islands provide a window on time. In a geologic sense, the islands are young, yet they appear ancient. The largest animals native to this archipelago are giant tortoises, which can live for more than a century. These are the creatures that provided Darwin with the flash of imagination that led to his theory of evolution. ..Immutable as the tortoises seem, they were utterly vulnerable to the buccaneers and whalers who took them by the thousands in the last two centuries. But one population eluded them. Inside the Alcedo volcano on Isabela Island, an earlier era lingers. This caldera is sealed off from the outside world by steep lava slopes that rise to 3,860 feet on the equator. It was not until 1965 that an Ecuadorian biologist found a way down inside and discovered a world where giant tortoises roamed in primordial abundance. This group had presumably never seen humans. ..They hadn't seen many more when I entered the time capsule of the caldera. For one memorable week, I lived among the tortoises of Alcedo. Photography one morning was one of those precious experiences where I could be part of a scene rather than a distant observer. The tortoises were resting in a pond as soft mist mingled with sulfur steam from nearby fumaroles and dust from an erupting volcano to the west, and I was able to create an image that evokes the era when reptiles dominated life on land."..- Frans Lanting. Original Filename: 004169-01_M.JPG
Fotos der Bundesbank-Veranstaltung Banken im Dialog, am 12. Juni 2024 in Frankfurt am Main
Podiumsdiskussion
Doris Dietze, BMF
Katharina Gehra, Immutable Insight GmbH
Ruth Burkert, BaFin
Oliver Vins, Börse Stuttgart Digital
Foto Nils Thies
© david morris dtmphotography.co.uk
Llandrindod Wells is an amalgam of two very different settlements. Early Llandrindod in the
form of the old parish church and Llandrindod Hall occupies a spur sandwiched between
valleys that drop down towards the Ithon from the high ground to the east. One kilometre to
the north-west on lower ground which has been ridged and hollowed by several streams is the
Victorian and modern creation of Llandrindod Wells.
This brief report examines Llandrindod’s emergence and development up to 1750. For the
more recent history of the settlement, it will be necessary to look at other sources of
information and particularly at the origins and nature of the buildings within it.
The accompanying map is offered as an indicative guide to the historic settlement. The
continuous line defining the historic core offers a visual interpretation of the area within
which the settlement developed, based on our interpretation of the evidence currently to hand.
It is not an immutable boundary line, and may need to be modified as new discoveries are
made. The map does not show those areas or buildings that are statutorily designated, nor
does it pick out those sites or features that are specifically mentioned in the text.
We have not referenced the sources that have been examined to produce this report, but that
information will be available in the Historic Environment Record (HER) maintained by the
Clwyd-Powys Archaeological Trust. Numbers in brackets are primary record numbers used in
the HER to provide information that is specific to individual sites and features. These can be
accessed on-line through the Archwilio website (www.archwilio.org.uk).
History of development
The name refers to the 'Church of the Trinity', but the former name of the church and its
parish was Llandow in 1283 and Lando in 1291 meaning ‘church of God’. Llandynddod
appears only in 1535, but the change to the Trinity is one that can be recognised in several
other churches in Wales.
The earlier focus occupies a spur overlooking this area. Whether the church represents an
early medieval foundation is unclear. The 'llan' prefix might suggest this but there is no
corroborative evidence. Its later history, too, is uncharted. The occurrence of platforms
opposite the church hints at more than just an isolated church, but the evidence as yet is not
compelling.
Llandrindod Hall by the old church was converted into a large hotel in about 1749, but it
functioned for less than forty years and was demolished by its proprietor, reportedly because
of its unsavoury clientele. It was replaced in the 19th century by a farmstead.
Reportedly the origins of the spa town go back to the late 17th century. Cae-bach Chapel
(30000; Grade II listing) in Brookland Road was founded in 1715. Saline and sulphur springs
were discovered in the 1730s and these were noted in various publications in the following
twenty years. But the emergence of Llandrindod Wells is essentially a 19th-century
phenomenon and thus falls outside the scope of this report, although in expanding over
Llanerch Common, the town enveloped the Llanerch Inn, which has some 17th-century
features.
The heritage to 1750
The old parish church of Holy Trinity (16027) lies more than 1km south-east of the town and
was sited on the edge of an extensive tract of common upland. It originally had a single
chamber of 13th/14th-century build with a south porch and small west spire. It was completely
rebuilt in 1894, after the archdeacon of Llandrindod had removed the roof in order to
'encourage' townspeople to attend the new church in the town. The old church houses several
18th and 19th-century monuments but its 'sheel-na-gig' (5960) uncovered during building work
in 1894 and presumably of medieval origin, is now in the local museum.
The churchyard (16199) is irregular in design, its shape on the west and south dictated by the
natural topography. The Tithe map depicts a smaller enclosure around the church, a short
distance away from the road and no longer distinguishable at ground level, but may not be an
accurate representation. A holy well (81710) lay close to the churchyard, though the story
attached to it point to a healing well.
The spur on which the old church sits is naturally irregular with rock outcrops protruding.
North of the church on land that was common until the 19th century are several flat terraces
some of which are certainly artificial constructions that probably supported dwellings
(16094); there is at least one authentic platform and perhaps two others, together with
enclosure boundaries and a trackway. Further earthworks (16095), the most obvious a low
curvilinear bank of unknown function, are apparent just to the south-east of Llandrindod Hall
(30020).
Capel Maelog (2055) which was excavated between 1984 and 1987 lay off Cefnllys Lane less
than 1km east of the town centre. Its foundations have now been reconstructed near County
Hall.
Information can be found here
Todd Rundgren Hello It's Me Full Version HD Sound
Right-click link. Select "Open in New Window"
www.youtube.com/watch?v=xwx849ymo1c
+
2019 Time Is The Enemy v.1
www.zazzle.com/2019_photographic_art_calendar_by_manuel_b...
60% off with code TOPPICKSZAZZ
ends today
Note: Discount Coupons change daily and appear under the retail price.
2019 Time Is The Enemy v.2
www.zazzle.com/2019_photographic_art_calendar_by_manuel_b...
60% off with code TOPPICKSZAZZ
ends today
that's only $13.16 for an 11 x 14 inch HD glorious 2019 calendar. if you enjoy my work you will love the calendar. it's very handsome. most of the images in these 2 versions are recent with works with a mix of abstractions and typical photographs of my usual grunge and debris.
Happy New Year Cowboys and Cowgirls
With Me - Without Me
+
Gucci | Spring Summer 2019 Full Fashion Show
Frédéric never leaves home and never sees anyone. He has a telecommuting work and when he needs something, it is delivered. His everyday life, immutable, seems written in stone... Until a mysterious girl burst into his life...
The play, between utopia and science fiction, is asking for the place of the other when the technology is building is own reality, between us and the world, when virtuality comes true.
The scenography was designed to show this omnipresence of the virtual, using video mapping, video, sounds and light interactivities to create the space, the flat of Frederic, where the action takes place. It's a living place, a sprawling matrix, stilfling, but probably also an illusion created by humans to rock his eternal solitude.
Written and staged by: Gildas Loupiac
Scenography: Barthélemy Antoine-Loeff and Alexandra Petracchi (iduun)
Sound design: Charles Dubois
Costumes: Marilyne Morel
With: Thomas Lequesne, Géraldine Szajman and Etienne Bodi
From the 7th of september to the 2nd of october (except monday and tuesday) at 20 PM.
FUNAMBULE MONTMARTRE
53 rue des Saules, 75018 Paris
Métro : Lamarck-Caulaincourt (12)
Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie
Great Food and Music Highly Recommended
Frédéric never leaves home and never sees anyone. He has a telecommuting work and when he needs something, it is delivered. His everyday life, immutable, seems written in stone... Until a mysterious girl burst into his life...
The play, between utopia and science fiction, is asking for the place of the other when the technology is building is own reality, between us and the world, when virtuality comes true.
The scenography was designed to show this omnipresence of the virtual, using video mapping, video, sounds and light interactivities to create the space, the flat of Frederic, where the action takes place. It's a living place, a sprawling matrix, stilfling, but probably also an illusion created by humans to rock his eternal solitude.
Written and staged by: Gildas Loupiac
Scenography: Barthélemy Antoine-Loeff and Alexandra Petracchi (iduun)
Sound design: Charles Dubois
Costumes: Marilyne Morel
With: Thomas Lequesne, Géraldine Szajman and Etienne Bodi
From the 7th of september to the 2nd of october (except monday and tuesday) at 20 PM.
FUNAMBULE MONTMARTRE
53 rue des Saules, 75018 Paris
Métro : Lamarck-Caulaincourt (12)
May 17-30, 2018
Opening Reception: Thursday May 17 from 6-8:00 pm
The clock’s influence is inseparable from contemporary life – not only does it synchronize individual circadian rhythms but it also produces the stable temporal foundation for both scientific tradition and capitalism to flourish. However, there is a significant gap between what is measured by clocks and what is perceived by the individual. The perceived acceleration of time in contemporary life leaves us with a feeling of being continually deprived of this precious resource. While many technologies promise to help us get-time-back, they only entangle us further in their construction. Scientific time, duration measured by clocks, is regarded as immutable, indefatigable, and infallible – the opposite of the humans it ostensibly serves. Slower Than Time Itself uses the syncopated rhythms and unquantifiable output of mechanical clocks to suggest a slowing and plurality to the current monoculture of time, more sympathetic to the human condition and timescapes outside of human perception. Trueman’s sculptural and video works explore the idea of slowness as a gateway to multiplicity and ponders whether it is possible to use a clock to escape time itself.
Artist Biography
After studying mechanical engineering at Fanshawe, Trueman completed his undergraduate degree in fine arts at Western University where he is currently a Master of Fine Art candidate. He will be completing a clock installation at I-Park Residency (East Haddam, Connecticut) this summer, and will be exhibiting at PLUS Art Fair 2018 (Toronto). His first publication So Long South Street, a photographic series showing the demolition of famed South Street Hospital, was launched earlier in 2018. His work has been shown at Museum London, McMaster Museum of Art (Hamilton), Thames Art Gallery (Chatham), and DNA Art Space (London).
Artlab Gallery
John Labatt Visual Arts Centre
Department of Visual Arts
Western University
London, ON
© 2018; Department of Visual Arts; Western University
Building a responsive design is easy. Making it performant takes more time and care. The biggest performance challenges lie with media. For many organizations, these challenges will force them to retool the way they handle images and video. In this session, we’ll look at the options for how to handle responsive image and video. We’ll talk about guidelines for implementing responsive media in your organization as well as the one immutable rule for responsive images.
The Akamai Edge Conference is an annual gathering of the industry revolutionaries who are committed to creating leading edge experiences, realizing the full potential of what is possible in a Faster Forward World.
Learn more at www.akamai.com/edge
When I was in high school I spent 5 weeks in Madrid as part of a group visit with about 15 other students from my school. We each lived separately with a Spanish family and met for daily classes at an institute in downtown Madrid. I don't remember anything about the studying part of the visit but I do remember Madrid.
I had loved the Plaza Mayor and the streets around it. I had loved wandering alone in the city.....I had lots of time to explore on my own. I remember being served hot chocolate and churros for breakfast by the family's maid, Tina. (A maid? That was strange and discomfiting. She was younger than I was and I connected more with her than with her employers.) I remember suckling pig in a dark restaurant on the underside of the Plaza Mayor. I remember glorious paella. I first had gazpacho there as well.....not the kind that is blended smooth like V-8, but a clear vinegary broth with pieces of tomatoes and cucumbers and bits of bread in it, so perfect for lunch on a stifling hot summer day.
After Madrid the group spent a couple of weeks touring other parts of Spain, then a bit of Italy. We spent only 1 day in Toledo, but that was one of the places that made a home in my memory, an intrigue of narrow cobble alleys and streets. Toledo was a place to go back to someday.
Last week I had a business trip to Madrid....only a few days and with almost no time before another immutable trip to California. I was able to eke out 1 extra day and night for myself......for Toledo, nearly 50 years after I'd promised to return.
This is the window of my room at the Hotel Santa Isabel, a very reasonable hotel very close to the Cathedral at the heart of the city. My room was quite sufficient and the old building was charming, but the window was the best of all. I could open it directly to the air outside. With no screen I could lean out to see all the tile rooves below me, and the cathedral spire, and the sky.
How can I be so lucky?
Frédéric never leaves home and never sees anyone. He has a telecommuting work and when he needs something, it is delivered. His everyday life, immutable, seems written in stone... Until a mysterious girl burst into his life...
The play, between utopia and science fiction, is asking for the place of the other when the technology is building is own reality, between us and the world, when virtuality comes true.
The scenography was designed to show this omnipresence of the virtual, using video mapping, video, sounds and light interactivities to create the space, the flat of Frederic, where the action takes place. It's a living place, a sprawling matrix, stilfling, but probably also an illusion created by humans to rock his eternal solitude.
Written and staged by: Gildas Loupiac
Scenography: Barthélemy Antoine-Loeff and Alexandra Petracchi (iduun)
Sound design: Charles Dubois
Costumes: Marilyne Morel
With: Thomas Lequesne, Géraldine Szajman and Etienne Bodi
From the 7th of september to the 2nd of october (except monday and tuesday) at 20 PM.
FUNAMBULE MONTMARTRE
53 rue des Saules, 75018 Paris
Métro : Lamarck-Caulaincourt (12)
Non / Where: Muskildi, (Zuberoa) (Basque Country)
Noiz / When: 2016/01/24
Kamara / Camera: CANON EOS60D
Objetiboa / Lens: Objetiboa / Lens: COSINA 70-300 F[4.5-5.6] (AF) (205x1.5mm)
ISO: 800
Programa / Program: Tv (Abiadurari lehentasuna / Speed priority)
Exposizioa / Exposition time: 1/400"
F zenbakia / number F: 25
Software: Photoshop
MASKARADAK: PROBABLY THE OLDEST CARNIVAL IN EUROPE
The maskarada [mas̺ˈkaɾada] is a popular set of traditional, theatrical performances that take place annually during the time of carnival in the Basque region of Soule, Basque Country (Zuberoa in the Basque language). It is generally referred to in the plural (maskaradak) as it is repeated across the region on the streets of villages (one day per village) over the span of a month or two in late winter through spring. The plays are performed by the villages' (usually younger) inhabitants, and the arrangements for each maskarada are the responsibility of each participating village. Sometimes, when two villages are very small, they will share the duties together.
Though naturally the actors change from year to year, a friendly air of informality, formed of deep familiarity pervades throughout. The Maskaradak follow variations on very traditional themes that make use of time-honoured sets and age-old, immutable characters. A motley parade of musicians (atabal, ttun-ttun and xirula players), traditional dancers and assorted actors, villagers and visitors walk merrily along a route that meanders up and down the village's streets.
At particular points of the parade, the barrikadak take place, where the marchers stop in front of a stall put there by the villagers, and bestow on them a dance, sometimes even a song, this in exchange for snacks (biscuits, crisps, and the like), and refreshments (wine and liquor), which is then shared with bystanders. The process is repeated over and over, perhaps lasting all day, from early in the morning till afternoon (with a popular lunch somewhere in the middle), until the end of the final performance at the parade terminus - usually the village market place or Basque pelota court.
Maskaradas represent a genuine example of traditional popular carnival theatre struggling to survive, much in step with the modest revival of the Basque language. It's connected to pastoral in many aspects, such as recurrent fixed characters, a marked distinction in the group (e.g. the reds stand for the good, while the blacks represent the evil) or a rigid structuring and development. The language used by the actors remains bilingual Zuberoan Basque, for the most part, and Bearnais, despite some difficulties to hand either language over to new generations.
SOURCE: WAGMAG.ORG
TITLE: Contemporary Mexican Art: Live With Animals and BQE Gallery
DATE: January 2010
AUTHOR: Enrico Gomez
This month in Brooklyn, there are two galleries offering Contemporary Mexican Art on the topic of Mexican life and various challenges thereto. In Mexico, escalating violence and political malfeasance are common occurrences. The collision of complex issues including poverty, pervasive corruption, kidnapping, extortion and a wearisome drug war, has created a ‘perfect storm’ of adversity for its citizens. It is from within this context that these two shows originate.
“Asesinos” (Assassins) through January 10th at Live With Animals Gallery (210 Kent Ave) is the product of an exchange with up and coming Yautepec Gallery in Mexico City. Intended as ‘an exploration of violence from several uniquely Mexican perspectives’, Asesinos succeeds in presenting a disturbing glimpse into a world, uncomfortably familiar to our own.
Ximena Labra’s ‘Vigilante’, a video loop of a gun-wielding mannequin installed on a hospital rooftop, sadly recalls the futility of scarecrows, plastic owls and other pest control aids. Equally poignant, Marion Sosa’s photography requites, through the scratching out of faces in a Santeria style visual patricide, a difficult family upbringing. Enigmatic images from Mark Alor Powell of abandoned cars, contusions, and lifeless figures raise alarming universals; “What happened?” “Where have they gone?” and “What will become of them/us?”
A few streets away finds a collaborative effort against corruption from Factoria de Santos and Eyelevel BQE Gallery (364 Leonard St). Extended through January 17th, “Honesty” presents art curated around themes of rectitude, self-reflection and a fictional saint named ‘Honesto’. Created by Luisa Gloria, ‘San Honesto’ has his own legend, observance day and a mirrored face, forcing all who see him to consider their own lives and values. Replete with figurines, prayer cards & candles, ‘San Honesto’ is brilliant in its ability to be inserted seamlessly into the quotidian activities of the Mexican populace. A highpoint is ‘Mundo Feliz’ (Brave New World) a pulp novella illustration of ‘Honesto’ at work from famed ‘El Libro Vaquero’ cover artist, Jorge Aviña.
Intended to replace real money in the occurrence of ‘mordidas’ (bribes), artist Vena2 tenders gorgeous revamps of the 100 Peso bill. Available at the newly launched eyelevelfocus.com, this convincing currency replaces our ‘In God we trust’ with “I’m honest”, “I won’t swear again” and “Thank you for freeing me”. Also of note, Gabriella Alva’s clever “Faux Truth” and a sensitively hand rendered drawing by lauded designer, Dan Funderburgh.
It is a rare opportunity to see concurrent shows (with over 14 Contemporary Mexican Artists between them) on similarly salient issues. Though emanating from episodically hazardous circumstance, these artists share a sentiment common to most; the immutable calling to spin order out of chaos.
—Enrico Gomez
Το κάστρο της Μονεμβασιάς
Το 375 μ.Χ. μία σεισμική δόνηση απέκοψε τη χερσόνησο δημιουργώντας ένα βράχο που έμελλε να μείνει στη θάλασσα αγέρωχος και αναλλοίωτος στην αιωνιότητα, φυσικό φρούριο, προστάτης ψυχών, διακηρυγμένος πόθος των μεγαλύτερων αυτοκρατοριών που γνώρισε ο πλανήτης. Αυτός ο βράχος, κάποτε μονοπάτι του Μυκηναϊκού και του Μινωικού πολιτισμού, χάρη στη μία και μοναδική πρόσβαση (μόνη έμβαση) που τον ενώνει με την Πελοπόννησο ονομάστηκε Μονεμβάσια.
The castle of Monemvasia
In 375 AD an earthquake cut off the peninsula, creating a rock that was to remain at sea cocky and immutable in eternity, a natural fortress, professed desire of the largest empires the world has known. This rock, sometimes the path of the Mycenaean and Minoan culture, through a single access who joins the Peloponnesus, called Monemvasia.
www.coomerawellnesscentre.com.au
available for purchase now.
The Brain That Changes Itself: Stories of Personal Triumph from the Frontiers of Brain Science
Authors: Doidge Norman
An astonishing new science called neuroplasticity is overthrowing the centuries-old notion that the human brain is immutable.
Psychiatrist and psychoanalyst Norman Doidge, travelled around the US to meet both the brilliant scientists championing neuroplasticity and the people whose lives they've transformed – people whose mental limitations or brain damage were seen as unalterable.
We see a woman born with half a brain that rewired itself to work as a whole, blind people who learn to see, learning disorders cured, IQs raised, aging brains rejuvenated, stroke patients learning to speak, children with cerebral palsy learning to move with more grace, depression and anxiety disorders successfully treated, and lifelong character traits changed.
Using these marvellous stories to probe mysteries of the body, emotion, love, sex, culture, and education, Dr. Doidge has written an immensely moving, inspiring book that will permanently alter the way we look at our brains, human nature, and human potential.
Blockchain is a shared, immutable record of peer-to-peer transactions built from linked transaction blocks and stored in a digital ledger. Blockchain technology presents numerous opportunities for health care
Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie with Siso
Great Food and Music Highly Recommended
Building a responsive design is easy. Making it performant takes more time and care. The biggest performance challenges lie with media. For many organizations, these challenges will force them to retool the way they handle images and video. In this session, we’ll look at the options for how to handle responsive image and video. We’ll talk about guidelines for implementing responsive media in your organization as well as the one immutable rule for responsive images.
The Akamai Edge Conference is an annual gathering of the industry revolutionaries who are committed to creating leading edge experiences, realizing the full potential of what is possible in a Faster Forward World.
Learn more at www.akamai.com/edge
Frédéric never leaves home and never sees anyone. He has a telecommuting work and when he needs something, it is delivered. His everyday life, immutable, seems written in stone... Until a mysterious girl burst into his life...
The play, between utopia and science fiction, is asking for the place of the other when the technology is building is own reality, between us and the world, when virtuality comes true.
The scenography was designed to show this omnipresence of the virtual, using video mapping, video, sounds and light interactivities to create the space, the flat of Frederic, where the action takes place. It's a living place, a sprawling matrix, stilfling, but probably also an illusion created by humans to rock his eternal solitude.
Written and staged by: Gildas Loupiac
Scenography: Barthélemy Antoine-Loeff and Alexandra Petracchi (iduun)
Sound design: Charles Dubois
Costumes: Marilyne Morel
With: Thomas Lequesne, Géraldine Szajman and Etienne Bodi
From the 7th of september to the 2nd of october (except monday and tuesday) at 20 PM.
FUNAMBULE MONTMARTRE
53 rue des Saules, 75018 Paris
Métro : Lamarck-Caulaincourt (12)
**Hoover Dam** - National Register of Historic Places Ref # 81000382, date listed 4/8/1981
E of Las Vegas on U.S. 93
Boulder City, NV (Clark County)
A National Historic Landmark (www.nps.gov/subjects/nationalhistoriclandmarks/list-of-nh...
Much of the sculpture is the work of Norwegian-born, naturalized American Oskar J.W. Hansen. Hansen's principal work at Hoover Dam is the monument of dedication on the Nevada side of the dam. Here, rising from a black, polished base, is a 142-foot flagpole flanked by two winged figures, which Hansen calls the Winged Figures of the Republic. They express "the immutable calm of intellectual resolution, and the enormous power of trained physical strength, equally enthroned in placid triumph of scientific accomplishment."
The winged figures are 30 feet high. Their shells are 5/8-inch thick, and contain more than 4 tons of statuary bronze. The figures were formed from sand molds weighing 492 tons. The bronze that forms the shells was heated to 2,500 degrees Fahrenheit, and poured into the molds in one continuous, molten stream.
The figures rest on a base of black diorite, an igneous rock. In order to place the blocks without marring their highly polished finish, they were centered on blocks of ice, and guided precisely into place as the ice melted. After the blocks were in place, the flagpole was dropped through a hole in the center block into a predrilled hole in the mountain.
Surrounding the base is a terrazzo floor, inlaid with a star chart, or celestial map. The chart preserves for future generations the date on which President Franklin D. Roosevelt dedicated Hoover Dam, September 30, 1935. (1)
References (1) Bureau of Reclamation www.usbr.gov/lc/hooverdam/history/essays/artwork.html
Non / Where: Muskildi, (Zuberoa) (Basque Country)
Noiz / When: 2016/01/24
Kamara / Camera: CANON EOS5D MKIII
Objetiboa / Lens: COSINA 70-300 F[4.5-5.6] (AF) (300mm)
ISO: 400
Programa / Program: Tv (Abiadurari lehentasuna / Speed priority)
Exposizioa / Exposition time: 1/500"
F zenbakia / number F: 13
Software: Photoshop
MASKARADAK: PROBABLY THE OLDEST CARNIVAL IN EUROPE
The maskarada [mas̺ˈkaɾada] is a popular set of traditional, theatrical performances that take place annually during the time of carnival in the Basque region of Soule, Basque Country (Zuberoa in the Basque language). It is generally referred to in the plural (maskaradak) as it is repeated across the region on the streets of villages (one day per village) over the span of a month or two in late winter through spring. The plays are performed by the villages' (usually younger) inhabitants, and the arrangements for each maskarada are the responsibility of each participating village. Sometimes, when two villages are very small, they will share the duties together.
Though naturally the actors change from year to year, a friendly air of informality, formed of deep familiarity pervades throughout. The Maskaradak follow variations on very traditional themes that make use of time-honoured sets and age-old, immutable characters. A motley parade of musicians (atabal, ttun-ttun and xirula players), traditional dancers and assorted actors, villagers and visitors walk merrily along a route that meanders up and down the village's streets.
At particular points of the parade, the barrikadak take place, where the marchers stop in front of a stall put there by the villagers, and bestow on them a dance, sometimes even a song, this in exchange for snacks (biscuits, crisps, and the like), and refreshments (wine and liquor), which is then shared with bystanders. The process is repeated over and over, perhaps lasting all day, from early in the morning till afternoon (with a popular lunch somewhere in the middle), until the end of the final performance at the parade terminus - usually the village market place or Basque pelota court.
Maskaradas represent a genuine example of traditional popular carnival theatre struggling to survive, much in step with the modest revival of the Basque language. It's connected to pastoral in many aspects, such as recurrent fixed characters, a marked distinction in the group (e.g. the reds stand for the good, while the blacks represent the evil) or a rigid structuring and development. The language used by the actors remains bilingual Zuberoan Basque, for the most part, and Bearnais, despite some difficulties to hand either language over to new generations.
Building a responsive design is easy. Making it performant takes more time and care. The biggest performance challenges lie with media. For many organizations, these challenges will force them to retool the way they handle images and video. In this session, we’ll look at the options for how to handle responsive image and video. We’ll talk about guidelines for implementing responsive media in your organization as well as the one immutable rule for responsive images.
The Akamai Edge Conference is an annual gathering of the industry revolutionaries who are committed to creating leading edge experiences, realizing the full potential of what is possible in a Faster Forward World.
Learn more at www.akamai.com/edge
Zion National Park Utah
All this is the music of waters, John Wesley Powell, 1895
Wrought by Water
The cliffs of Zion stand resolute, Immutable yet ever changing. They are a glowing presence in late day and a wild calm. Melodies of waters soothe desert parched ears, streams twinkle over stone, wren song cascades from red-rock cliffs, and cottonwood leaves jitter on the breeze. But when lightning flashes waterfalls erupt from dry cliffs, and floods flash down waterless canyons, exploding log jams, hurling boulders, croaking wild joyousness, and dancing stone and water and time.
Zion is alive with movement, a river of life always here and always changing.
Everything in Zion takes life from the Virgin River’s scarce desert waters. Water flows, and solid rock melts into cliffs and towers. Landscape changes as canyons deepen to create forested highlands and lowland deserts. A ribbon of green marks the river’s course as diverse plants and animals take shelter and thrive in this canyon oasis. From the beginning people sought this place, this sanctuary in the desert’s dry reaches. The very name Zion, a Hebrew word for refuge, evokes its significance.
More than the river’s music and the soaring heights alone, Zion’s nature multiplies with each slope, aspect, and soil type, with each minute change in precipitation or temperature. Add to these influences species from nearby ecosystems, and Zion becomes an assemblage of plants and thus of animals, found nowhere else exactly like this. Although the southwest desert may look homogeneous, each fold, wrinkle, bend, slope, mesa top, and canyon bottom creates its unique conditions. This unlikely desert harbors a mosaic of environments, each fine-tuned to place. Welcome to the one called Zion!
Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie with Siso
Great Food and Music Highly Recommended
"You and me
Meant to be
Immutable
Impossible
It's destiny
Pure lunacy
Incalculable
Insufferable
But for the last time
You're everything that I want and ask for
You're all that I'd dreamed"
The Smashing Pumpkins - Stand Inside Your Love
Te amo.
..we'll need to build museums to display its horrors to future generations. They'll wonder why poverty continued so long in human society - how a few people could live in luxury while billions dwelt in misery, deprivation and despair.”
Muhammad Yunus
No offense to Mr. Yunus, but this is exactly the kind of Utopian thinking that gets millions killed at a time.. And unfortunately - sadly - this the kind of thinking that is being taught now to your children.
I heard yesterday about the CEO of a credit card processing company who decided to pay all of his employees $70 thousand a year. He's cutting his million dollar salary to the same, and using profits to pay those salaries. The average salary before was $48 thousand, so everybody must be ecstatic, right?
Well, except for the people who got huge pay cuts, and who are now making the same amount as new hires, who have no experience and a lot less responsibility..
And people being people, in two years, those who are left will be demanding a raise, because after all, it's been two years, right? Surely they deserve a raise..
But they won't have any trouble hiring new faces, which is good, because all the best and brightest will be leaving as soon as they believe they deserve more than the booger-picking moron that just hired in.
If there is no reward - no incentive to work harder... people won't.
Have we learned NOTHING from the social experiments of Communism and Socialism in the Twentieth Century?? Apparently Mr. Yunus didn't..
The purpose of those living in luxury that Mr. Yunus hates is to inspire the rest of us. Maybe we'll never be billionaires, but I'd rather aim high and fall short, than aim low, and meet my expectations... And in the struggle, the lot of us all is raised.
Zion National Park Utah
All this is the music of waters, John Wesley Powell, 1895
Wrought by Water
The cliffs of Zion stand resolute, Immutable yet ever changing. They are a glowing presence in late day and a wild calm. Melodies of waters soothe desert parched ears, streams twinkle over stone, wren song cascades from red-rock cliffs, and cottonwood leaves jitter on the breeze. But when lightning flashes waterfalls erupt from dry cliffs, and floods flash down waterless canyons, exploding log jams, hurling boulders, croaking wild joyousness, and dancing stone and water and time.
Zion is alive with movement, a river of life always here and always changing.
Everything in Zion takes life from the Virgin River’s scarce desert waters. Water flows, and solid rock melts into cliffs and towers. Landscape changes as canyons deepen to create forested highlands and lowland deserts. A ribbon of green marks the river’s course as diverse plants and animals take shelter and thrive in this canyon oasis. From the beginning people sought this place, this sanctuary in the desert’s dry reaches. The very name Zion, a Hebrew word for refuge, evokes its significance.
More than the river’s music and the soaring heights alone, Zion’s nature multiplies with each slope, aspect, and soil type, with each minute change in precipitation or temperature. Add to these influences species from nearby ecosystems, and Zion becomes an assemblage of plants and thus of animals, found nowhere else exactly like this. Although the southwest desert may look homogeneous, each fold, wrinkle, bend, slope, mesa top, and canyon bottom creates its unique conditions. This unlikely desert harbors a mosaic of environments, each fine-tuned to place. Welcome to the one called Zion!
Το κάστρο της Μονεμβασιάς
Το 375 μ.Χ. μία σεισμική δόνηση απέκοψε τη χερσόνησο δημιουργώντας ένα βράχο που έμελλε να μείνει στη θάλασσα αγέρωχος και αναλλοίωτος στην αιωνιότητα, φυσικό φρούριο, προστάτης ψυχών, διακηρυγμένος πόθος των μεγαλύτερων αυτοκρατοριών που γνώρισε ο πλανήτης. Αυτός ο βράχος, κάποτε μονοπάτι του Μυκηναϊκού και του Μινωικού πολιτισμού, χάρη στη μία και μοναδική πρόσβαση (μόνη έμβαση) που τον ενώνει με την Πελοπόννησο ονομάστηκε Μονεμβάσια.
The castle of Monemvasia
In 375 AD an earthquake cut off the peninsula, creating a rock that was to remain at sea cocky and immutable in eternity, a natural fortress, professed desire of the largest empires the world has known. This rock, sometimes the path of the Mycenaean and Minoan culture, through a single access who joins the Peloponnesus, called Monemvasia.
Building a responsive design is easy. Making it performant takes more time and care. The biggest performance challenges lie with media. For many organizations, these challenges will force them to retool the way they handle images and video. In this session, we’ll look at the options for how to handle responsive image and video. We’ll talk about guidelines for implementing responsive media in your organization as well as the one immutable rule for responsive images.
The Akamai Edge Conference is an annual gathering of the industry revolutionaries who are committed to creating leading edge experiences, realizing the full potential of what is possible in a Faster Forward World.
Learn more at www.akamai.com/edge