View allAll Photos Tagged immutable
"Time is a sort of river of passing events, and strong is its current; no sooner is a thing brought to sight than it is swept by and another takes its place, and this too will be swept away." - Marcus Aurelius
For some people, the river is calm with gentle currents. Others must endure eddies of indignation. Some do a spot of fishing or just float by on inflatable air mattresses, others just manage to keep their head above the relentless turbulence....
Be mindful of the rocks, they can appear without warning - and can be treacherous. For the adventurous, successful navigation brings bouts of breathtaking exhilaration - with near drownings.
The irony of the river is that it is as ever changing as it is immutable.
You always know you're alive along the Chronos River, whether you ride on top of it or are thrusted to it's very depths....
35mm film_ no photoshop filters
Second reading of the shape through the light.
In the same place, in different ways and times, the figures are mysteriously intangible. The shapes invested from the light generate new messages depriving the "things" of their heavy and cumbersome armor.
The invisibility hides various, hidden presences.
If the light for definition illuminates and reveals, in my case it assumes a disintegrating role, in order to reach to a vision lacking in the esagerazione aesthetic in which we are immersed and of our obtuse attachment to the shape, as if it were be a matter of precious matter, immutable in the time.
Nothing is in order always.
© 11 LUX_2000/2007 Nicola Cipriani_All Rights Reserved
Special thanks to FRANZ
Una riscrittura della forma attraverso la luce.
Nello stesso luogo, in modi e tempi differenti, figure misteriosamente intangibili. Le forme investite dalla luce generano nuovi messaggi privando le “cose” della loro armatura pesante ed ingombrante. L’invisibilità nasconde presenze diverse, occulte. Se la luce per definizione illumina e svela, nel mio caso assume un ruolo disgregante, per giungere ad una visione priva dell’esagerazione estetica in cui siamo immersi e del nostro ottuso attaccamento alla forma, come se si trattasse di materia preziosa, immutabile nel tempo. Niente è per sempre.
© 11 LUX_2000/2007 Nicola Cipriani_All Rights Reserved
Special thanks to FRANZ
All Rights Reserved: NIcola Cipriani
The owner of this image is Nicola Cipriani. This image can not be modified and must always indicate its author name. Nicola Cipriani must be interested in case of use of publication. Any different use must be considered a copyright abuse. The original high definition master of this image is owned by the author of the work.
Ramón Llull was a 13th century philosopher, mystic, writer, and martyr. In his lifetime, Llull fought in the Crusades, converted Muslims to Christianity, gave his wealth to the poor, and had visions of Christ. This work, like Reisch's Margarita philosophica, is an encyclopedia, a format which remained a useful pedagogical tool for many centuries. Compare the zodiacal man here with the one that appears in Margarita philosophica. Although more abstract than some other versions of the zodiacal man, this image has both charm and humor. This work displays another diagram of the geocentric cosmos, but without the labeled spheres. Unlike the image of the cosmos shown in Margarita philosophica, the earth at center is clearly shown as the sublunar sphere, the realm of humankind and change (since the heavens are immutable). The central image shows a town but the atmosphere is depicted in flames—air and fire are the two elements within the sublunar sphere that characterize both our atmosphere and the mutability of our world. Oddly, the concentric circles are not labeled with the visible planets but the firmament is shown by the band of the zodiac that encircles the image. The third image shows a volvelle (see: Viridarium Mathematicorum, 1563). This volvelle was used to compute planetary aspects, that is, their relationship to one another. If planets occupy the same part of the sky, they are in conjunction. If 180 degrees apart, they are in opposition. The diagram shows other configurations. The line including the small box or square denotes a 90-degree aspect; the triangle denotes a 120-degree separation (or trine). The line with the asterisk denotes a 60-degree separation, or sextile. These aspects in combination with movements of the sun and moon gave astrology a sophisticated store of mathematical computations. www.cppdigitallibrary.org/exhibits/show/astrology/llull
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.
The early snow of November 2010 froze the roses still in full blooming.
Now they had emerged crispy and papery in their immutable beauty.
(no editing besides raw->jpg adjustments)
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)
Met up with some friends, some of which I had only "met" online, to see two unusual orchid spikes, with this unusual interflorance.
Very striking plants, and well worth the scramble to and back from their well-hidden location.
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Pelorism is the term, said to be first used by Charles Darwin, for the formation of 'peloric flowers'[1] which botanically is the abnormal production of radially symmetrical (actinomorphic) flowers in a species that usually produces bilaterally symmetrical (zygomorphic) flowers.[2] These flowers are spontaneous floral symmetry mutants. The term epanody is also applied to this phenomenon.[3] Bilaterally symmetrical (zygomorphic) flowers are known to have evolved several times from radially symmetrical (actinomorphic) flowers, these changes being linked to increasing specialisation in pollinators.
elorism has been of interest since a five-spurred variety of the common toad-flax (Linaria vulgaris L.) was first discovered in 1742 by a young Uppsala botanist on an island in the Stockholm archipelago and then in 1744 described by Carl Linnaeus. The mutant, spreading vegetatively, had five spurs rather than the usual one; however, the rest of the plant was normal. Linnaeus found that this variety was contrary to his concept that genera and species had universally arisen through an act of "original creation and remained unchanged since then". Linnaeus called this type of mutant a 'Peloria', the Greek for 'monster' or 'prodigy', because of the huge implications for the then current belief that species were immutable. He wrote that "This is certainly no less remarkable than if a cow were to give birth to a calf with a wolf's head." The peloric plant fascinated Linnaeus to the extent that he grew it at his summer residence in Hammarby and his explanation for it was that a toad-flax had been pollinated by another species.[5] Charles Darwin, Charles Victor Naudin, Johann Wolfgang von Goethe and Hugo de Vries amongst others analysed and wrote about.
Peloria derives from both new Latin and from the Greek word pelōros, meaning 'monstrous'
Rocks of Back Beach #13
A natural archway used to stand on this spot. This is a location I've used for photo shoots on many occasions and visited since my childhood. I was quite disturbed to discover that this immutable feature of the landscape was completely gone, seemingly overnight. It reminded me that nothing lasts forever and that even these volcanic stone cliffs will crumble.
In other news; is it strange that I've take to listening to French Reggae while editing photos?
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
Descension
HD video, color, 9:19 second loop
2011
Imaginings, beliefs, aspirations depart to individual realms.
Gravity, hunger, need unite at this solitary hole.
Nomad, cultivator (and tourist) dwell on this immutable clod.
Cradles quake, civilizations submit, revolutions orbit this steady sand.
The camera holds, camels bend, grass falls, and insects crawl — a glimpse of our collective Egypt.
Bio:
Andrew Ellis Johnson’s exhibition topics have ranged from the apocalypse to animal nature and disasters of war to the culture of class. Venues for his work have included museums, galleries, electronic arts and video festivals, public collaborations, conferences, books and journals in North and South America, Europe, Asia and the Middle East. He is cofounder of the socially engaged collective, PED, that has performed in Buffalo, Belfast, Chongqing, Rio de Janeiro, St. John’s and Tonawanda. Johnson received his BFA at the School of the Art Institute of Chicago and his MFA at Carnegie Mellon where he is Associate Professor of Art.
Photograph by Tom Little
Consumer Discretionary = CD
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4 of 11
THE CONSUMER DISCRETIONARY SECTOR ON THE BLOCKCHAIN ECOSYSTEM
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Blockchain Ecosystem = BE
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MGS Memorabilia South African Bills. R1210 = £66.11 exch rate 18.302 Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Moses Siso Tonic and Bushy Dubazana Jazz Band with the Immutable Themba Fassie
Great Food and Music Highly Recommended
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 and MGS
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)
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
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
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
"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)
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.
© 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.
"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."
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
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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.
-------------------
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
© 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
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
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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
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]
© 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
www.coomerawellnesscentre.com.au
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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?
© 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
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.
Todd Rundgren Hello It's Me Full Version HD Sound
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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.
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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)
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)
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.