View allAll Photos Tagged immutable
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
www.tryzub.org/ukrainian-festival-2016.php
Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence
Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.
Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.
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
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
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
www.tryzub.org/ukrainian-festival-2016.php
Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence
Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.
Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.
Snow magnifies any lack of driving skill and/or stupidity by a factor of 15 or more. When it's snow in March, on the Spring Freaking Equinox, the power of magnification increases by a minimum of 2x, exponentially inverse with each inch that falls. ;-)
(Sheeeah. Spring Equinox my A-Crooked Letter-Crooked Letter. Heh.)
What first got me fascinated about abandoned roads was the subtle draw into dereliction. When you leave Highway 101 at the Aylesford exit, the off-ramp drops you on the well-traveled Victoria Road. Drive straight up and over North Mountain without ever turning, and it slowly turns to crumbling asphalt, and then dirt, before a yellow "No Exit" sign you'll probably want to park at. Down to the shore narrows ever more sleepy, before crossing Brown Brook and being rendered half-invisible up the next slope. I make these hikes less as a great escape, and more to remind me that pockets of wilderness are ever-accessible. A few twist and turns ought to do it, a short walk away to discover civilization disappearing like a dream. If it seems like I'm always in love – I am. Not because I'm emotionally weightless or somehow possessing some immutable joy. No need for that delusion. But all my life is wrapped up in unanswered wonder. Where am I going, and what will it be like when I get there?
February 27, 2025
Victoria Harbour, Nova Scotia
Year 18, Day 6318 of my daily journal.
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www.tryzub.org/ukrainian-festival-2016.php
Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence
Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.
Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.
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, Who wouldn't be the one you love, Who wouldn't stand inside your love, Protected and the lover of. A pure soul and beautiful you, Don't understand, Don't feel me now, I will breathe, For the both of us, Travel the world, Traverse the skies, Your home is here, Within my heart, And for the first time, I feel as though I am reborn, In my mind, Recast as child and mystic sage, Who wouldn't be the one you love, Who wouldn't stand inside your love, And for the first time, I'm telling you how much I need and bleed for, Your every move and waking sound, In my time, I'll wrap my wire around your heart and your mind, You're mine forever now, Who wouldn't be the one you love and live for, Who wouldn't stand inside your love and die for, Who wouldn't be the one you love.
-smashing pumpkins, gods.
--------------------------------------------------------------------------------------------------------------------
Light is REAL.
!!!!!!......NO GROUP ICONS, IMAGES or AWARDS in the comments please, they will be deleted. sorry for this......!!!!!! and do not steal or use my photos without my permission ®
www.tryzub.org/ukrainian-festival-2016.php
Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence
Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.
Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.
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Nathalie Djurberg & Hans Berg
The floating world of The Black Pot, first shown in the round at the Garage Museum in Moscow and now reimagined and reconfigured as a room of interlocking screens, can be experienced from outside, as a looping stream of Rorschach inkblots, or from within, as a fluid, psychedelic environment, approximating a cocooned cosmos.
[everythingatonce.com]
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]
The Fourth Grand Flaneur Walk took on Sunday, May 5th, 2024, and commenced at midday by the statue of Beau Brummell on Jermyn Street, London W1. The Grand Flaneur Walk celebrates the pure, the immutable, and the pointless, and it is taken by the bold, the adventurous, and the inebriated. The walk went through Green Park towards Hyde Park Corner.
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All photographs © Andrew Lalchan
Nathalie Djurberg & Hans Berg
The floating world of The Black Pot, first shown in the round at the Garage Museum in Moscow and now reimagined and reconfigured as a room of interlocking screens, can be experienced from outside, as a looping stream of Rorschach inkblots, or from within, as a fluid, psychedelic environment, approximating a cocooned cosmos.
[everythingatonce.com]
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]
With Line Busy (UK), 2011, on the top
Both by Ceal Floyer
Conceptual artist Ceal Floyer (born 1968) is celebrated for her deft manoeuvres in everyday situations, testing the slippage between function and implication, the literal and the imagined – reconfiguring familiar objects as sources of surprise and humour.
Providing circuitous guidance around the exhibition is her performative work, Taking a Line for a Walk, which plays on Paul Klee’s 1923 assertion that a drawing should be: “An active line on a walk, moving freely, without goal. A walk for walk’s sake”. After this helpful intervention – marked by the discarded, spent painting machine, typically used to delineate football pitches – Floyer follows this with a note of frustration through Line Busy (UK), a wall of speakers blaring the busy signal of a country-specific failed telephone call. The minimal black line is a visual echo of the engaged tone itself and, like its sister piece, leaves the viewer at a crossroads between pause and uncertainty.
[everythingatonce.com]
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]
Six Characters in Search of an Author
Adapted from Luigi Pirandello by Ben Power and Rupert Goold
26-30 March, 7:30. Adam House Theatre.
'We are more than real. We are unchanging, immutable, fixed. We are what we have been made to be.'
Tickets available at xtspro.com/-/six-characters-in-search-of-an-author/
www.tryzub.org/ukrainian-festival-2016.php
Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence
Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.
Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.
I brought my daughter because it's an immutable truth that your children are an extension of you, but also that you in turn become an extension of them. It's so symbiotic and so full a love, the power of which is largely indescribable, that then your very being cannot be contemplated without their should coursing through your veins. So while I have many passions, she is the one that overrides all others."
www.tryzub.org/ukrainian-festival-2016.php
Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence
Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.
Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.
By Tony Cragg
Tony Cragg (born 1949, UK) is one of the world’s foremost sculptors, constantly pushing to find new relations between people and the material world. In the 1980s, Cragg began to make sculptures suggestive of architecture...
These totemic piles of found objects and machined parts suggest an industrial counterpoint to the history of man-made achievements, while his other work nearby, Tools, made from sandstone, conveys the opposite, being hand wrought versions of mechanical aids, such as screwdrivers and mallets. Cragg sees no difference between the natural and the artificial, preferring to acknowledge the bridges between the two, the synthetic here acquiring figurative qualities in some of the bust-like tools, while his stacked turrets of spacers, washers and engine spares travel back through time to suggest archaeological accretions and geological strata.
[everythingatonce.com]
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]
The mute swan (Cygnus olor) is a species of swan and a member of the waterfowl family Anatidae. It is native to much of Eurosiberia, and (as a rare winter visitor) the far north of Africa. It is an introduced species in North America, home to the largest populations outside of its native range, with additional smaller introductions in Australasia and southern Africa. The name "mute" derives from it being less vocal than other swan species. Measuring 125 to 160 cm (49 to 63 in) in length, this large swan is wholly white in plumage with an orange beak bordered with black. It is recognizable by its pronounced knob atop the beak, which is larger in males.
Taxonomy
The mute swan was first formally described by the German naturalist Johann Friedrich Gmelin as Anas olor in 1789 and was transferred by Johann Matthäus Bechstein to the new genus Cygnus in 1803. Both cygnus and olor mean "swan" in Latin; cygnus is a variant form of cycnus, borrowing from Greek κύκνος kyknos, a word of the same meaning.
Despite its Eurasian origin, its closest relatives are the black swan of Australia and the black-necked swan of South America, not the other Northern Hemisphere swans of the genus Cygnus. The species is monotypic, with no living subspecies.
Evolution
Mute swan subfossils, 6,000 years old, have been found in post-glacial peat beds of East Anglia, Great Britain. They have been recorded from Ireland east to Portugal and Italy, and from France, 13,000 BP (Desbrosse and Mourer-Chauvire 1972–1973). Cygnus olor bergmanni, a paleosub species which differed only in size from the living bird, is known from fossils found in Azerbaijan. A related paleospecies recorded from fossils and subfossils is the Giant swan, Cygnus falconeri, a flightless species which lived on the islands of Malta and Sicily during the Middle Pleistocene.
Fossils of swan ancestors more distantly allied to the mute swan have been found in four U.S. states: California, Arizona, Idaho and Oregon. The timeline runs from the Miocene to the late Pleistocene or 10,000 BP. The latest find was in Anza Borrego Desert, a state park in California. Fossils from the Pleistocene include Cygnus paloregonus from Fossil Lake, Oregon, Froman's Ferry, Idaho, and Arizona, referred to by Howard in The Waterfowl of the World as "probably the mute type swan".
Description
Adults of this large swan typically range from 140 to 160 cm (55 to 63 in) long, although can range in extreme cases from 125 to 170 cm (49 to 67 in), with a 200 to 240 cm (79 to 94 in) wingspan. Males are larger than females and have a larger knob on their bill. On average, this is the second largest waterfowl species after the trumpeter swan, although male mute swans can easily match or even exceed a male trumpeter in mass. Among standard measurements of the mute swan, the wing chord measures 53–62.3 cm (20.9–24.5 in), the tarsus is 10–11.8 cm (3.9–4.6 in) and the bill is 6.9–9 cm (2.7–3.5 in). The plumage is white, while the legs are dark grey. The beak of the mute swan is bright orange, with black around the nostrils and a black nail.
The mute swan is one of the heaviest extant flying birds. In several studies from Great Britain, males (known as cobs) were found to average from about 10.6 to 11.87 kg (23.4 to 26.2 lb), with a weight range of 9.2–14.3 kg (20–32 lb) while the slightly smaller females (known as pens) averaged about 8.5 to 9.67 kg (18.7 to 21.3 lb), with a weight range of 7.6–10.6 kg (17–23 lb). While the top normal weight for a big cob is roughly 15 kg (33 lb), one unusually big Polish cob weighed almost 23 kg (51 lb) and this counts as the largest weight ever verified for a flying bird, although it has been questioned whether this heavyweight could still take flight.
Young birds, called cygnets, are not the bright white of mature adults, and their bill is dull greyish-black, not orange, for the first year. The down may range from pure white to grey to buff, with grey/buff the most common. The white cygnets have a leucistic gene. Cygnets grow quickly, reaching a size close to their adult size in approximately three months after hatching. Cygnets typically retain their grey feathers until they are at least one year old, with the down on their wings having been replaced by flight feathers earlier that year.
All mute swans are white at maturity, though the feathers (particularly on the head and neck) are often stained orange-brown by iron and tannins in the water.
Polish swan
The colour morph C. o. morpha immutabilis (immūtābilis is Latin for "immutable, unchangeable, unalterable"), also known as the "Polish swan", has pinkish (not dark grey) legs and dull white cygnets; as with white domestic geese, it is found only in populations with a history of domestication. Polish swans carry a copy of a gene responsible for leucism.
Behaviour
Mute swans nest on large mounds that they build with waterside vegetation in shallow water on islands in the middle or at the very edge of a lake. They are monogamous and often reuse the same nest each year, restoring or rebuilding it as needed. Male and female swans share the care of the nest, and once the cygnets are fledged it is not uncommon to see whole families looking for food. They feed on a wide range of vegetation, both submerged aquatic plants which they reach with their long necks, and by grazing on land. The food commonly includes agricultural crop plants such as oilseed rape and wheat, and feeding flocks in the winter may cause significant crop damage, often as much through trampling with their large webbed feet, as through direct consumption. It will also feed on small proportions of aquatic insects, fish and frogs.
Unlike black swans, mute swans are usually strongly territorial with just a single pair on smaller lakes, though in a few locations where a large area of suitable feeding habitat is found, they can be colonial. The largest colonies have over 100 pairs, such as at the colony at Abbotsbury Swannery in southern England, and at the southern tip of Öland Island, Ottenby Preserve, in the coastal waters of the Baltic Sea, and can have nests spaced as little as 2 m (7 ft) apart. Non-mated juveniles up to 3–4 years old commonly form larger flocks, which can total several hundred birds, often at regular traditional sites. A notable flock of non-breeding birds is found on the River Tweed estuary at Berwick-upon-Tweed in northeastern England, with a maximum count of 787 birds. A large population exists near the Swan Lifeline Station in Windsor and lives on the Thames in the shadow of Windsor Castle. Once the adults are mated they seek out their territories and often live close to ducks and gulls, which may take advantage of the swan's ability to reach deep water weeds, which tend to spread out on the water surface.
The mute swan is less vocal than the noisy whooper and Bewick's swans; they do, however, make a variety of sounds, often described as "grunting, hoarse whistling, and snorting noises." During a courtship display, mute swans utter a rhythmic song. The song helps synchronize the movements of their heads and necks. It could technically be employed to distinguish a bonded couple from two dating swans, as the rhythm of the song typically fails to match the pace of the head movements of two dating swans. Mute swans usually hiss at competitors or intruders trying to enter their territory.[30] The most familiar sound associated with mute swans is the vibrant throbbing of the wings in flight which is unique to the species and can be heard from a range of 1 to 2 km (0.6 to 1 mi), indicating its value as a contact sound between birds in flight. Cygnets are especially vocal and communicate through a variety of whistling and chirping sounds when content, as well as a harsh squawking noise when distressed or lost.
Nesting in spring, Cologne, Germany
Mute swans can be very aggressive in defence of their nests and are highly protective of their mate and offspring. Most defensive acts from a mute swan begin with a loud hiss and, if this is not sufficient to drive off the predator or intruder, are followed by a physical attack. Swans attack by striking at the threat with bony spurs in their wings, accompanied by biting with their large bill, while smaller waterbirds such as ducks are normally grabbed with the swan's bill and dragged or thrown clear of the swan and its offspring. Swans will kill intruders into their territory, both other swans, and geese and ducks, by drowning, climbing onto and pecking the back of the head and forcing the other bird underwater.
The wings of the swan are very powerful, though not strong enough to break an adult man's leg, as is commonly misquoted. Large waterfowl, such as Canada geese, (more likely out of competition than in response to potential predation) may be aggressively driven off, and mute swans regularly attack people who enter their territory.
The cob is responsible for defending the cygnets while on the water, and will sometimes attack small watercraft, such as canoes, that it feels are a threat to its young. The cob will additionally try to chase the predator out of his family territory and will keep animals such as foxes and raptors at bay. In New York (outside its native range), the most common predators of cygnets are common snapping turtles. Healthy adults are rarely preyed upon, though canids such as coyotes, felids such as lynx, and bears can pose a threat to infirm ones (healthy adults can usually swim away from danger and nest defence is usually successful.) and there are a few cases of healthy adults falling prey to the golden eagles. In England, there has been an increased rate of attacks on swans by out-of-control dogs, especially in parks where the birds are less territorial. This is considered criminal in British law, and the birds are placed under the highest protection due to their association with the monarch. Mute swans will readily attack dogs to protect themselves and their cygnets from an attack, and an adult swan is capable of overwhelming and drowning even large dog breeds.
The familiar pose with the neck curved back and wings half raised, known as busking, is a threat display. Both feet are paddled in unison during this display, resulting in more jerky movement. The swans may also use the busking posture for wind-assisted transportation over several hundred meters, so-called windsurfing.
Like other swans, mute swans are known for their ability to grieve for a lost or dead mate or cygnet. Swans will go through a mourning process, and in the case of the loss of their mate, may either stay where their counterpart lived or fly off to join a flock. Should one of the pair die while there are cygnets present, the remaining parent will take up their partner's duties in raising the clutch.
Breeding
Mute swans lay from 4 to 10 eggs. The female broods for around 36 days, with cygnets normally hatching between May and July. The young swans do not achieve the ability to fly before about 120 to 150 days old. This limits the distribution of the species at the northern edge of its range as the cygnets need to learn to fly before the ponds and lakes freeze over.
Distribution and habitat
The mute swan is found naturally mainly in temperate areas of Europe then across the Palearctic as far east as Primorsky Krai, near Sidemi.
It is partially migratory throughout northern latitudes in Europe and Asia, as far south as North Africa and the Mediterranean. It is known and recorded to have nested in Iceland and is a vagrant in that area as well as in Bermuda, according to the UN Environment Programme chart of international status chart of bird species, which places it in 70 countries, breeding in 49 countries, and vagrant in 16 countries.[citation needed] While most of the current population in Japan is introduced, mute swans are depicted on scrolls more than 1,000 years old, and wild birds from the mainland Asian population still occur rarely in winter. Natural migrants to Japan usually occur along with whooper and sometimes Bewick's swans.[citation needed]
The mute swan is protected in most of its range, but this has not prevented illegal hunting and poaching. It is often kept in captivity outside its natural range, as a decoration for parks and ponds, and escapes have happened. The descendants of such birds have become naturalised in the eastern United States and Great Lakes, much as the Canada goose has done in Europe.
World population
Mute swans with cygnets in Wolvercote, Oxfordshire
The total native population of mute swans is about 500,000 birds at the end of the breeding season (adults plus young), of which up to 350,000 are in Russia. The largest single breeding concentration is 11,000 pairs in the Volga Delta.
The population in the United Kingdom is about 22,000 birds as of the 2006–2007 winter, a slight decline from the peak of about 26,000–27,000 birds in 1990. This includes about 5,300 breeding pairs, the remainder being immatures. Other significant populations in Europe include 6,800–8,300 breeding pairs in Germany, 4,500 pairs in Denmark, 4,000–4,200 pairs in Poland, 3,000–4,000 pairs in the Netherlands, about 2,500 pairs in Ireland, and 1,200–1,700 pairs in Ukraine.
For many centuries, mute swans in Great Britain were domesticated for food, with individuals being marked by nicks on their webs (feet) or beaks to indicate ownership. These marks were registered with the Crown and a Royal Swanherd was appointed. Any birds not so marked became Crown property, hence the swan becoming known as the "Royal Bird". This domestication saved the mute swan from extirpation through overhunting in Great Britain.
Populations in Western Europe were largely exterminated by hunting pressure in the 13th–19th centuries, except for semi-domesticated birds maintained as poultry by large landowners. Better protection in the late 19th and early 20th centuries allowed the species to expand and return to most or all of their former range. More recently in the period from about 1960 up to the early 1980s, numbers declined significantly again in many areas in England, primarily due to lead poisoning from birds swallowing lead shots from shooting and discarded fishing weights made from lead. After lead weights and shots were mostly replaced by other less toxic alternatives, mute swan numbers increased again rapidly.
Introduced populations
Since being introduced into North America, the mute swan has increased greatly in number to the extent that it is considered an invasive species there. Populations introduced into other areas remain small, with around 200 in Japan, fewer than 200 in New Zealand and Australia, and about 120 in South Africa.
North America
The mute swan was introduced to North America in the late 19th century. Recently, it has been widely viewed as an invasive species because of its rapidly increasing numbers and its adverse effects on other waterfowl and native ecosystems. For example, a study of population sizes in the lower Great Lakes from 1971 to 2000 found that mute swan numbers were increasing at an average rate of at least 10% per year, doubling the population every seven to eight years. Several studies have concluded that mute swans severely reduce the densities of submerged vegetation where they occur.
In 2003, the U.S. Fish and Wildlife Service proposed to "minimize environmental damages attributed to Mute Swans" by reducing their numbers in the Atlantic Flyway to pre-1986 levels, a 67% reduction at the time. According to a report published in the Federal Register of 2003 the proposal was supported by all thirteen state wildlife agencies which submitted comments, as well as by 43 bird conservation, wildlife conservation and wildlife management organisations. Ten animal rights organisations and the vast majority of comments from individuals were opposed. At this time mute swans were protected under the Migratory Bird Treaty Act due to a court order, but in 2005 the United States Department of the Interior officially declared them a non-native, unprotected species. Mute swans are protected in some areas of the U.S. by local laws, for example, in Connecticut.
The status of the mute swan as an introduced species in North America is disputed by the interest group "Save the Mute Swans". They assert that mute swans are native to the region and therefore deserving of protection. They claim that mute swans had origins in Russia and cite historical sightings and fossil records. These claims have been rejected as specious by the U.S. Department of the Interior.
Oceania
The mute swan had absolute protection in New Zealand under the Wildlife Act 1953, but this was changed in June 2010 to a lower level of protection. It still has protection, but is now allowed to be killed or held in captivity at the discretion of the Minister of Conservation.
A small feral population exists in the vicinity of Perth, Australia; however, it is believed to number less than 100 individuals.
In popular culture
The mute swan has been the national bird of Denmark since 1984. Before that, the skylark was considered Denmark's national bird (since 1960).
The fairy tale "The Ugly Duckling" by Hans Christian Andersen tells the story of a cygnet ostracised by his fellow barnyard fowl because of his perceived unattractiveness. To his delight (and to the surprise of others), he matures into a graceful swan, the most beautiful bird of all.
Today, the British Monarch retains the right to ownership of all unmarked mute swans in open water, but King Charles III exercises his ownership only on certain stretches of the Thames and its surrounding tributaries. This ownership is shared with the Vintners' and Dyers' Companies, who were granted rights of ownership by the Crown in the 15th century.
The mute swans in the moat at the Bishops Palace at Wells Cathedral in Wells, England have for centuries been trained to ring bells via strings attached to them to beg for food. Two swans are still able to ring for lunch.
The pair of swans in the Boston Public Garden are named Romeo and Juliet after the Shakespearean couple; however, it was found that both of them are females
In Spring 2018 the Slanted editors took a close-up look at the contemporary design scene of Dubai. A city—when described by many people—that is all sickening shine and has no soul. But Dubai and the whole region, originally a piece of desert sparsely populated by Bedouins, is now transforming itself rapidly into a center, if not the world’s greatest center, of trade, finance, and tourism—and moreover, something important happened in the last few years: Culture! Today, a new Arab world is being plotted and planned. The entire Gulf is teeming with initiatives—from the most public to the most private—to change and reinvent seemingly immutable rules, regimes, edicts, and assumptions, culminating, perhaps, in the stated intention to work more closely together. The Gulf states have a past, and they will have a future. The contours of that future are legible in this Slanted issue!
Slanted met some of the most amazing creatives such as Möbius Studio, Wissam Shawkat, and Fikra Design Studio. Not only can you find their brilliant works in the new issue, Slanted also provides a deeper look at their opinions and views through video interviews that can be watched online on our video platform for free: www.slanted.de/dubai.
The Fourth Grand Flaneur Walk took on Sunday, May 5th, 2024, and commenced at midday by the statue of Beau Brummell on Jermyn Street, London W1. The Grand Flaneur Walk celebrates the pure, the immutable, and the pointless, and it is taken by the bold, the adventurous, and the inebriated. The walk went through Green Park towards Hyde Park Corner.
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All photographs © Andrew Lalchan
CMU 2018 MFA Thesis Exhibition
March 17 - April 8, 2018
Co-organized by CMU School of Art
Artists: Shobun Baile, Alex Lukas, KR Pipkin, Gray Swartzel, Lee Webster
www.tryzub.org/ukrainian-festival-2016.php
Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence
Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.
Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.
In Spring 2018 the Slanted editors took a close-up look at the contemporary design scene of Dubai. A city—when described by many people—that is all sickening shine and has no soul. But Dubai and the whole region, originally a piece of desert sparsely populated by Bedouins, is now transforming itself rapidly into a center, if not the world’s greatest center, of trade, finance, and tourism—and moreover, something important happened in the last few years: Culture! Today, a new Arab world is being plotted and planned. The entire Gulf is teeming with initiatives—from the most public to the most private—to change and reinvent seemingly immutable rules, regimes, edicts, and assumptions, culminating, perhaps, in the stated intention to work more closely together. The Gulf states have a past, and they will have a future. The contours of that future are legible in this Slanted issue!
Slanted met some of the most amazing creatives such as Möbius Studio, Wissam Shawkat, and Fikra Design Studio. Not only can you find their brilliant works in the new issue, Slanted also provides a deeper look at their opinions and views through video interviews that can be watched online on our video platform for free: www.slanted.de/dubai.
BY RUPERT BROOKE
Mamua, when our laughter ends,
And hearts and bodies, brown as white,
Are dust about the doors of friends,
Or scent ablowing down the night,
Then, oh! then, the wise agree,
Comes our immortality.
Mamua, there waits a land
Hard for us to understand.
Out of time, beyond the sun,
All are one in Paradise,
You and Pupure are one,
And Taü, and the ungainly wise.
There the Eternals are, and there
The Good, the Lovely, and the True,
And Types, whose earthly copies were
The foolish broken things we knew;
There is the Face, whose ghosts we are;
The real, the never-setting Star;
And the Flower, of which we love
Faint and fading shadows here;
Never a tear, but only Grief;
Dance, but not the limbs that move;
Songs in Song shall disappear;
Instead of lovers, Love shall be;
For hearts, Immutability;
And there, on the Ideal Reef,
Thunders the Everlasting Sea!
And my laughter, and my pain,
Shall home to the Eternal Brain.
And all lovely things, they say,
Meet in Loveliness again;
Miri’s laugh, Teïpo’s feet,
And the hands of Matua,
Stars and sunlight there shall meet
Coral’s hues and rainbows there,
And Teüra’s braided hair;
And with the starred tiare’s white,
And white birds in the dark ravine,
And flamboyants ablaze at night,
And jewels, and evening’s after-green,
And dawns of pearl and gold and red,
Mamua, your lovelier head!
And there’ll no more be one who dreams
Under the ferns, of crumbling stuff,
Eyes of illusion, mouth that seems,
All time-entangled human love.
And you’ll no longer swing and sway
Divinely down the scented shade,
Where feet to Ambulation fade,
And moons are lost in endless Day.
How shall we wind these wreaths of ours,
Where there are neither heads nor flowers?
Oh, Heaven’s Heaven!—but we’ll be missing
The palms, and sunlight, and the south;
And there’s an end, I think, of kissing,
When our mouths are one with Mouth....
Taü here, Mamua,
Crown the hair, and come away!
Hear the calling of the moon,
And the whispering scents that stray
About the idle warm lagoon.
Hasten, hand in human hand,
Down the dark, the flowered way,
Along the whiteness of the sand,
And in the water’s soft caress,
Wash the mind of foolishness,
Mamua, until the day.
Spend the glittering moonlight there
Pursuing down the soundless deep
Limbs that gleam and shadowy hair,
Or floating lazy, half-asleep.
Dive and double and follow after,
Snare in flowers, and kiss, and call,
With lips that fade, and human laughter
And faces individual,
Well this side of Paradise! ....
There’s little comfort in the wise.
View of Mount Etna - 1842
Thomas Cole (1801 - 1848)
Cole wrote a poetic description of this painting after he returned from Italy in 1842: Etna "lifts its snowy head in the warm sunlight, while the base of the mountain is partly veiled in the vapoury atmosphere and the mists of the morning."
Ruins overgrown with vegetation litter the foreground of the image. They are dwarfed by the snow-capped volcanic peak in the distance, a comment on the impermanence of human endeavor and the immutability of nature. A shepherd plays a flute for his flock, referencing the Arcadian life celebrated in ancient Greek and Roman poetry. Asher Brown Durand depicted Cole holding a similar woodwind instrument in his painting Kindred Spirits. The allusion to music and poetry in both works demonstrates thematic continuities between painting and related art forms.
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This World Class attraction was everything we expected and more. Construction has just begun on a major expansion, but that has been managed in such a way that it does not in any way detract from the experience now.
This album focuses on the artwork inside the buildings and on the other interior spaces including the Eleven Restaurant and the Gift Shop. A separate album posted a few days ago is devoted to the two April mornings that we spent exploring just some of the trails that crisscross the 120 acres of Arkansas forest around the museum.
Alice Walton and her co-creative team can be proud of the vision and execution of everything on this 120 acre site.
_____________________________________________
"Crystal Bridges Museum of American Art is a museum of American art in Bentonville, Arkansas. The museum, founded by Alice Walton and designed by Moshe Safdie, officially opened on 11 November 2011. It offers free public admission.
Alice Walton, the daughter of Walmart founder Sam Walton, spearheaded the Walton Family Foundation's involvement in developing Crystal Bridges. The museum's glass-and-wood design by architect Moshe Safdie and engineer Buro Happold features a series of pavilions nestled around two creek-fed ponds and forest trails. The 217,000 square feet complex includes galleries, several meeting and classroom spaces, a library, a sculpture garden, a museum store designed by architect Marlon Blackwell, a restaurant and coffee bar, named Eleven after the day the museum opened, "11/11/11". Crystal Bridges also features a gathering space that can accommodate up to 300 people. Additionally, there are outdoor areas for concerts and public events, as well as extensive nature trails. It employs approximately 300 people, and is within walking distance of downtown Bentonville."
en.wikipedia.org/wiki/Crystal_Bridges_Museum_of_American_Art
crystalbridges.org/nature-trails/
...
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 and Tonic Tlhalerwa
Great Food and Music Highly Recommended
Fellow-Citizens of the Senate and of the House of Representatives:
AMONG the vicissitudes incident to life no event could have filled me with greater anxieties than that of which the notification was transmitted by your order, and received on the 14th day of the present month. On the one hand, I was summoned by my country, whose voice I can never hear but with veneration and love, from a retreat which I had chosen with the fondest predilection, and, in my flattering hopes, with an immutable decision, as the asylum of my declining years—a retreat which was rendered every day more necessary as well as more dear to me by the addition of habit to inclination, and of frequent interruptions in my health to the gradual waste committed on it by time. On the other hand, the magnitude and difficulty of the trust to which the voice of my country called me, being sufficient to awaken in the wisest and most experienced of her citizens a distrustful scrutiny into his qualifications, could not but overwhelm with despondence one who (inheriting inferior endowments from nature and unpracticed in the duties of civil administration) ought to be peculiarly conscious of his own deficiencies. In this conflict of emotions all I dare aver is that it has been my faithful study to collect my duty from a just appreciation of every circumstance by which it might be affected. All I dare hope is that if, in executing this task, I have been too much swayed by a grateful remembrance of former instances, or by an affectionate sensibility to this transcendent proof of the confidence of my fellow-citizens, and have thence too little consulted my incapacity as well as disinclination for the weighty and untried cares before me, my error will be palliated by the motives which mislead me, and its consequences be judged by my country with some share of the partiality in which they originated.
Such being the impressions under which I have, in obedience to the public summons, repaired to the present station, it would be peculiarly improper to omit in this first official act my fervent supplications to that Almighty Being who rules over the universe, who presides in the councils of nations, and whose providential aids can supply every human defect, that His benediction may consecrate to the liberties and happiness of the people of the United States a Government instituted by themselves for these essential purposes, and may enable every instrument employed in its administration to execute with success the functions allotted to his charge. In tendering this homage to the Great Author of every public and private good, I assure myself that it expresses your sentiments not less than my own, nor those of my fellow-citizens at large less than either. No people can be bound to acknowledge and adore the Invisible Hand which conducts the affairs of men more than those of the United States. Every step by which they have advanced to the character of an independent nation seems to have been distinguished by some token of providential agency; and in the important revolution just accomplished in the system of their united government the tranquil deliberations and voluntary consent of so many distinct communities from which the event has resulted can not be compared with the means by which most governments have been established without some return of pious gratitude, along with an humble anticipation of the future blessings which the past seem to presage. These reflections, arising out of the present crisis, have forced themselves too strongly on my mind to be suppressed. You will join with me, I trust, in thinking that there are none under the influence of which the proceedings of a new and free government can more auspiciously commence.
By the article establishing the executive department it is made the duty of the President "to recommend to your consideration such measures as he shall judge necessary and expedient." The circumstances under which I now meet you will acquit me from entering into that subject further than to refer to the great constitutional charter under which you are assembled, and which, in defining your powers, designates the objects to which your attention is to be given. It will be more consistent with those circumstances, and far more congenial with the feelings which actuate me, to substitute, in place of a recommendation of particular measures, the tribute that is due to the talents, the rectitude, and the patriotism which adorn the characters selected to devise and adopt them. In these honorable qualifications I behold the surest pledges that as on one side no local prejudices or attachments, no separate views nor party animosities, will misdirect the comprehensive and equal eye which ought to watch over this great assemblage of communities and interests, so, on another, that the foundation of our national policy will be laid in the pure and immutable principles of private morality, and the preeminence of free government be exemplified by all the attributes which can win the affections of its citizens and command the respect of the world. I dwell on this prospect with every satisfaction which an ardent love for my country can inspire, since there is no truth more thoroughly established than that there exists in the economy and course of nature an indissoluble union between virtue and happiness; between duty and advantage; between the genuine maxims of an honest and magnanimous policy and the solid rewards of public prosperity and felicity; since we ought to be no less persuaded that the propitious smiles of Heaven can never be expected on a nation that disregards the eternal rules of order and right which Heaven itself has ordained; and since the preservation of the sacred fire of liberty and the destiny of the republican model of government are justly considered, perhaps, as deeply, as finally, staked on the experiment entrusted to the hands of the American people.
Besides the ordinary objects submitted to your care, it will remain with your judgment to decide how far an exercise of the occasional power delegated by the fifth article of the Constitution is rendered expedient at the present juncture by the nature of objections which have been urged against the system, or by the degree of inquietude which has given birth to them. Instead of undertaking particular recommendations on this subject, in which I could be guided by no lights derived from official opportunities, I shall again give way to my entire confidence in your discernment and pursuit of the public good; for I assure myself that whilst you carefully avoid every alteration which might endanger the benefits of an united and effective government, or which ought to await the future lessons of experience, a reverence for the characteristic rights of freemen and a regard for the public harmony will sufficiently influence your deliberations on the question how far the former can be impregnably fortified or the latter be safely and advantageously promoted.
To the foregoing observations I have one to add, which will be most properly addressed to the House of Representatives. It concerns myself, and will therefore be as brief as possible. When I was first honored with a call into the service of my country, then on the eve of an arduous struggle for its liberties, the light in which I contemplated my duty required that I should renounce every pecuniary compensation. From this resolution I have in no instance departed; and being still under the impressions which produced it, I must decline as inapplicable to myself any share in the personal emoluments which may be indispensably included in a permanent provision for the executive department, and must accordingly pray that the pecuniary estimates for the station in which I am placed may during my continuance in it be limited to such actual expenditures as the public good may be thought to require.
Having thus imparted to you my sentiments as they have been awakened by the occasion which brings us together, I shall take my present leave; but not without resorting once more to the benign Parent of the Human Race in humble supplication that, since He has been pleased to favor the American people with opportunities for deliberating in perfect tranquillity, and dispositions for deciding with unparalleled unanimity on a form of government for the security of their union and the advancement of their happiness, so His divine blessing may be equally conspicuous in the enlarged views, the temperate consultations, and the wise measures on which the success of this Government must depend.
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 and Tonic Tlhalerwa
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
Я был заворожён атмосферой, царившей в Пекине, и приближающаяся гонка казалась лишь химерой, порождённой сном. Все происходящие события неожиданно приобретали искаженные формы вещей невозможных и несуществующих. Само присутствие автомобиля в этом древнем городе казалась более абсурдным, чем бы вид паланкина на лондонском мосту. И ощущение, которое вас не покидает в Пекине, - вы точно заброшены во времени вспять, к неизменному образу и незыблемым формам жизни, установившимся много веков назад. Китайская цивилизация, некогда достигнув определенного рода совершенства и затем, опасаясь потерять свои достижения, отказалась двигаться дальше. Только одна субстанция находилась в движении - это Время. Сам воздух был наполнен каким-то неясным томлением, которое временами обволакивает и захватывает вас, и ни один европеец, который долго жил среди китайцев, никогда не будет утверждать, что смог остаться равнодушным к этой тонкому дыханию китайской "души". И этот воздух, возможно, смешивается с пылью множества старых вещей, проникает в ваши лёгкие, сознание, предавая забвению понятия пространства и времени. Я даже не мог представить себе Италу, двигающуюся по дорогам китайского города и деревни.
"В 8 утра - старт". Да это пустые слова! Безусловно, автомобиль в 8 часов утра должен стоять на месте, и будущие поколения должны обнаружить его на том же самом месте, превращённым в китайский памятник, подобно тем огромным черепахам из камня, которые нынче украшают внутренние дворы храмов, навеки оставшись лишь украшением и символом.
Погода испортилась, день был угрожающе мрачным, небо низким. Вплоть до ночи всё было хорошо; но в течение ночи китайские божества, казалось, пришли к решению немедленно и торжественно открыть сезон дождей, которого мы так боялись.
I was affected by the atmosphere of Pekin, and the approaching competition seemed as the vapour of a dream. All present events suddenly acquired for my mind the distorted proportions of things impossible. The very presence of a motor-car in that ancient town seemed more absurd than would the sight of a palanquin going over London Bridge. To feel Pekin around you is like feeling yourself launched backwards through time to some remote, immutable form of life fixed long ages ago. The civilisation of the Chinese race achieved once a certain kind of perfection and, fearful of losing that, it refused to move further. One thing alone moves now in China, and that is Time. The very air wafts about you a dim languor which in time envelops and wins you, and no European who has lived long among the Chinese people has ever yet proved wholly impervious to that subtle breath of the Chinese “soul.” It mingles, perchance, with the dust of so many old things, and is breathed in through the nostrils with a soothing forgetfulness of space and time. I could not see the Itala in my own mind racing over the roads of Chinese town and countryside.
“ 8 a.m.—start.” But surely these must be empty Words! At 8 a.m. the motor surely must stand still, and future generations must find it on the selfsame spot, transformed into a Chinese monument — like those enormous tortoises of stone that now adorn the inner courts of temples, an ornament and a symbol”
The day broke grey and cloudy: a menacing day it was. Until the night before the weather had been perfect; but during that night the Chinese deities seemed to have decreed the immediate inauguration of the much feared season of the rains.
Nathalie Djurberg & Hans Berg
The floating world of The Black Pot, first shown in the round at the Garage Museum in Moscow and now reimagined and reconfigured as a room of interlocking screens, can be experienced from outside, as a looping stream of Rorschach inkblots, or from within, as a fluid, psychedelic environment, approximating a cocooned cosmos.
[everythingatonce.com]
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]
Nathalie Djurberg & Hans Berg
The floating world of The Black Pot, first shown in the round at the Garage Museum in Moscow and now reimagined and reconfigured as a room of interlocking screens, can be experienced from outside, as a looping stream of Rorschach inkblots, or from within, as a fluid, psychedelic environment, approximating a cocooned cosmos.
[everythingatonce.com]
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]
"There will be days when the fishing is better than one's most optimistic forecast, others when it is far worse. Either is a gain over just staying home." ~ Roderick Haig-Brown, 1951.
IMHO, this statement is so true it deserved to be a Law and now it is. : )
I'll be back on Monday evening. I'm Goin Fishin. : )
By Ryan Gander
Four life-size sentinels – based on armatures used by artists to model the human form – are positioned in dramatic poses, each evoking a different emotion, despite their featureless faces. Two characters recreate the scene of the Pietà (meaning pity in Italian) in which Mary cradles the limp body of Jesus; one reaches down into a glowing portal and another contemplates his brethren, as well as a draped mirror and a stairway to heaven. Collectively titled Dramaturgical frameworks for structure and stability, in reference to Erving Goffman’s sociological approach that uses theatre to portray and evaluate social interaction, these figures also play on the notion of spectatorship, shifting the relationship between spectator and spectacle.
[everythingatonce.com]
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]
By Haroon Mirza
A Chamber for Horwitz,
Sonakinatography Transcriptions in Surround Sound, 2015
Wall work: Channa Horwitz
Sonakinatography Composition III, 1996
Haroon Mirza (born 1977, UK) has won international acclaim for installations that test the interplay and friction between sound and light waves and electric current. Transcribing a complex working drawing by LA-based artist Channa Horwitz (1932–2013), Mirza turns her notational sequences and matrices into a multi-coloured, sonic score. The electric noise of the currents that light the LEDs in one of the eight possible configurations and colour combinations, as marked by Horwitz, is simul-taneously translated via speakers to audible noise pulses in different octaves. Together, these acoustic, visual interpretations of the Horwitz data result in a choreographed, compositional concert, which is at once computer-programmed and man-made – both ‘live’ and historic.
A Chamber for Horwitz; Sonakinatography Transcriptions in Surround Sound is a conceptual development of an earlier piece by Mirza, titled Adam, Eve, Others and a UFO (2013).
[everythingatonce.com]
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]
Photo was processed with two layers of Kim Klassen's "Sunday" texture and one layer of "Stained Linen." Background paper is by Kitty Designs ("Around My Home" kit). Clipping mask made from brushes by Alex Zhang (fireworks) and Skeletal Mess (borders). Fonts are Windsong & VT Portable Remington.
Quote reads:
"The foundation of our national policy will be laid in the pure and immutable principles of private morality; ...the propitious smiles of Heaven can never be expected on a nation that disregards the eternal rules of order and right which Heaven itself has ordained..." and is from George Washington's 1st inaugural address, 1789
“MAGNIFIED, O Lord my God, be Thy Name, whereby the trees of the garden of Thy Revelation have been clad with verdure, and been made to yield the fruits of holiness during this Springtime when the sweet savors of Thy favors and blessings have been wafted over all things, and caused them to bring forth whatsoever had been preordained for them in the Kingdom of Thine irrevocable decree and the Heaven of Thine immutable purpose. I beseech Thee by this very Name not to suffer me to be far from the court of Thy holiness, nor debarred from the exalted sanctuary of Thy unity and oneness.”
— Bahá’u’lláh, Prayers and Meditations by Bahá’u’lláh, XCVI
www.tryzub.org/ukrainian-festival-2016.php
Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence
Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.
Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.
By Ryan Gander
Four life-size sentinels – based on armatures used by artists to model the human form – are positioned in dramatic poses, each evoking a different emotion, despite their featureless faces. Two characters recreate the scene of the Pietà (meaning pity in Italian) in which Mary cradles the limp body of Jesus; one reaches down into a glowing portal and another contemplates his brethren, as well as a draped mirror and a stairway to heaven. Collectively titled Dramaturgical frameworks for structure and stability, in reference to Erving Goffman’s sociological approach that uses theatre to portray and evaluate social interaction, these figures also play on the notion of spectatorship, shifting the relationship between spectator and spectacle.
[everythingatonce.com]
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]
NEU
També la neu passarà i tornarem
als dies clars i oberts.
Fonda, la vida
farà el seu curs immutable i el temps
transcorrerà sense fer gens de cas
dels desficis que ens xuclen i ens exalten.
I també passaran els dies clars
i tornarà la neu, tancant un cicle,
o obrint-lo, tant se val.
Només nosaltres
desapareixerem, i potser tot
per uns instants serà quasi perfecte.
Miquel Martí i Pol
There are three popular frontend frameworks/libraries that you can choose from: React, Angular, Vue. The State of JS gives a great overviews of their popularities. Whereas React.js is popular and mature, Vue.js is gaining popularity as well. I will not go into any further in comparisons between the three here, because in the end, people should choose based on different factors and experience the solutions (libraries/frameworks) themselves before making a final decision. My top reasons for choosing React nowadays: It’s JavaScript: It is true that writing React applications makes you a better JavaScript developer (www.robinwieruch.de/javascript-fundamentals-react-require...). You learn how to deal with classes (and inheritance due to extends), the functional programming paradigm with immutability, composability, pure functions and side effects; and language specific methods such as map, reduce and filter. Before I have been doing lots of Angular 1.x and never really experienced JavaScript the way I did when implementing applications with React. React has only a slim API and thus you have to deal with the JavaScript yourself. It only provides a small surface area to make you productive. Ask yourself: When you look 5 years into the future from now, would you want to have invested your time in learning a framework or the underlying language (JavaScript)? I would always choose the latter, because no matter what comes after React, you are prepared for it.
fontsforinstagram.org/whereas-react-js-is-popular-and-mat...
By Jennifer Allora & Guillermo Calzadilla
Jennifer Allora & Guillermo Calzadilla (born 1974, USA and 1971, Cuba) identify and stress hairline fractures in societal systems through performance, sculpture, sound, video and photography.
...Shapeshifter is also an abstraction, this time of the marks left on or by used sandpaper sheets, collected from building sites around the world, representing both destruction and construction, human labour and mechanical erasure.
[everythingatonce.com]
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]
Resolute, immutable, the foundation upon which society was built;
or delicately, fleeting, as in the wry arch of a brow.
Bailey Gate, constructed in the 13th century to fortify the town of Castle Acre in Norfolk County, England. Each of the rounded cobbles is a piece of nodular chert, a locally abundant building stone.