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Frozen Records :
www.youtube.com/watch?v=h5G2scukRSM
Amazing sounds from ice records ! Here : the fridge.
Artist Claudia Märzendorfer DJ delicate records made of ice on specially prepared turntables for her act “VLUN/Much ado about nothing”. In stark contrast to the immutability of contemporary methods of sound storage – the digital world of mp3s, wavs and AIFFs – the artist has chosen a storage medium that disintegrates almost immediately.
After the first few grooves the sound begins to degrade as the stylus digs deeper through the deteriorating groovestructures. Each disc lasts an average of only ten minutes, and most can be played only once. The medium melts, the grooves disintegrate into puddles. Metaphors abound in the art of freezing sounds and melting records : the impermanence and fragility of art and life.
Nik Hummer est membre du groupe autrichien Thilges, dans lequel il joue notamment du Trautonium.
en.wikipedia.org/wiki/Trautonium
fr.wikipedia.org/wiki/Trautonium
Le CD "La double absence" de Thilges est disponible à la Médiathèque (Bruxelles-Passage 44) :
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.
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
Great Food and Music Highly Recommended
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]
By Xiaojuan
I trust all of us are familiar with the word “Christ”. In the Bible, it has been recorded, “He said to them, But whom say you that I am? And Simon Peter answered and said, You are the Christ, the Son of the living God. And Jesus answered and said to him, Blessed are you, Simon Barjona: for flesh and blood has not revealed it to you, but My Father which is in heaven” (Matthew 16:15–17). Many people see these verses and say without thinking, “Christ is the incarnate Lord Jesus” or “Christ is the Messiah, the Son of God”, and others say, “Christ is the Son of man” “Christ means the anointed one.” But faced with these claims, some people are puzzled: The prophets, kings, and priests of the Old Testament, were all anointed, so are they also Christs? Just what is Christ?
To address that question, first let’s look at two passages of God’s word, “The incarnate God is called Christ, and Christ is the flesh donned by the Spirit of God. This flesh is unlike any man that is of the flesh. This difference is because Christ is not of flesh and blood but is the incarnation of the Spirit. He has both a normal humanity and a complete divinity. His divinity is not possessed by any man. His normal humanity sustains all His normal activities in the flesh, while His divinity carries out the work of God Himself.” “God become flesh is called Christ, and so the Christ that can give people the truth is called God. There is nothing excessive about this…. The real Christ is not merely the manifestation of God on earth, but also the particular flesh assumed by God as He carries out and completes His work among man. This flesh is not one that can be replaced by just any man, but one that can adequately bear God’s work on earth, and express the disposition of God, and well represent God, and provide man with life.” These two passages reveal aspects of the truth regarding the incarnate God. Christ is the flesh of God incarnate, that is, the realization of God’s Spirit in a fleshly body with normal humanity and normal thinking. He becomes an ordinary normal person to work and speak in the human world. From the outside, Christ is an ordinary and normal Son of man, but He is different from all created people in essence: Created human beings only have normal humanity, and there is no divine essence; Christ not only has normal humanity, but more importantly He has complete divinity, He has God’s essence, He can express the entire truth, He can express God’s disposition and all that God has and is, and can bestow the truth, the way, and the life upon people. Just as the Lord Jesus said, “I am the way, the truth, and the life” (John 14:6). Christ is the appearance of God on earth. Two thousand years ago, the Lord Jesus came to the earth to work, ended the Age of Law, began the Age of Grace, expressed the truths required for the work of redemption, taught people to confess their sins, repent, love others as they love themselves, and performed all kinds of miracles, such as healing the sick, casting out demons, making the blind see, making the lame walk, healing lepers, resurrecting the dead, feeding 5,000 people from five loaves of bread and two fishes, calming the wind and sea with a word, and so on. All of this work was a direct expression of His divinity, and also a manifestation of God’s authority and power. These are things that no human being can possess or achieve. It is because Christ expresses His divine work in a fleshly body with normal humanity, and can express the truth anytime and anyplace, supplying, watering, and shepherding man, guiding all of mankind that we can say He is Christ, the incarnate God Himself.
So, why can’t the prophets or those used by God be called Christ? There is indeed truth to seek here. Let’s read a few passages of God’s word, “Isaiah, Ezekiel, Moses, David, Abraham, and Daniel were leaders or prophets among the chosen people of Israel. Why were they not called God? Why did the Holy Spirit not bear testimony to them? Why did the Holy Spirit bear testimony to Jesus as soon as He began His work and started to speak His words? And why did the Holy Spirit not bear testimony to others? They, men who were of flesh, were all called ‘Lord.’ Regardless of what they were called, their work represents their being and substance, and their being and substance represent their identity. Their substance is not related to their appellations; it is represented by what they expressed, and what they lived out. In the Old Testament, there was nothing out of the ordinary in being called Lord, and a person might be called in any which way, but his substance and inherent identity were immutable.” “The words of God incarnate initiate a new age, guide the whole of mankind, reveal mysteries, and show man the direction ahead in a new age. The enlightenment obtained by man is but simple practice or knowledge. It cannot guide the whole of mankind into a new age or reveal the mystery of God Himself. God, after all, is God, and man is man. God has the substance of God, and man has the substance of man.” From these passages, we can easily see that the essence of the Lord Jesus Christ is God, that He can directly do God’s own work, express all that God has and is, and give people the truth, the way, and the life. No one else could do this in His place, or could do it at all. Those who are corrupted by Satan possess only humanity, cannot express the truth, and cannot do God’s work. Just as in the Age of Law in the Old Testament, many ancient prophets such as Moses, Daniel, and Isaiah all led people in obeying the commandments and God’s words on the basis of God’s work in the Age of Law, spreading prophecies among the Israelites as instructed by God, or conveying God’s words, such as reminders and admonitions, to the Israelites, and so on, which entirely falls under the duties of man. Without God’s instructions, their role of conveying God’s words would cease. This proves that the prophets themselves had no truth or way of life. They were merely people who were used by God and cooperated with the work of the Holy Spirit. Although they are called the anointed, they are not Christs. Therefore, God has the essence of God, man the essence of man. Determining whether someone is Christ requires looking at whether he has God’s essence, whether he can express the truth, and whether he can do the work of saving mankind, not at the name by which he is called. No matter what they are called, created beings are always humans, not Christ. Therefore, we can understand Christ as the incarnate flesh of God’s Spirit. The essence of Christ is the combination of normal humanity and complete divinity, and He is God Himself on earth.
With this fellowship, I believe we now have some understanding of what Christ is. To understand this aspect of the truth more clearly, we also need to seek and contemplate more, because this is very helpful for us receiving the Lord’s return. The Bible prophesies, “For as the lightning comes out of the east, and shines even to the west; so shall also the coming of the Son of man be” (Matthew 24:27). “For as the lightning, that lightens out of the one part under heaven, shines to the other part under heaven; so shall also the Son of man be in His day. But first must He suffer many things, and be rejected of this generation” (Luke 17:24–25). These prophecies mention “the coming of the Son of man,” and we all know that the incarnate Lord Jesus is called the Son of man and Christ. So, the “the coming of the Son of man” mentioned by the Lord Jesus is very likely to refer to God returning incarnate in the last days. How we understand the incarnate God and how we understand Christ of the last days are directly related to the matter of whether we can gain God’s salvation, so we must carefully seek God’s work and words, as well as listen for the voice of God, if we are to receive the Lord’s appearance.
Source from:Daily Devotionals
Image Source:Daily Devotionals
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
Blipfoto Post for Friday 23 December 2011: Desperately Seeking....
....Brussel Sprouts.
It's one of those immutable laws of physics. The one time of year that people actually like eating Brussel Sprouts and you can't get any (well almost anyway).
Sainsburys just had empty baskets which had been devastated by packs of rabid pre-christmas shoppers.
'Do you really not have any Brussels Sprouts at all?'
'No sorry, we sold out. But we are expecting another delivery at 12:00'
'Hmmmm...could turn ugly, hope you got some serious crowd control in place.'
Found some in Asda eventually, large piles of them actually.....briefly toyed with the idea of buying a few trolley loads and heading back into to town to try and turn a quick profit from other desperate shoppers....but no....decided to go home and have a Gin and Tinic instead.
As seen previously Lifeline
By Ai Weiwei
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]
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
These 30 feet (9.1 m) high bronze figures, dubbed "Winged Figures of the Republic", were each formed in a continuous pour. To put such large bronzes into position without marring the highly polished bronze surface, they were placed on ice and guided into position as the ice melted.
Much of the sculpture at the dam is the work of Norwegian-born, naturalized American Oskar J.W. Hansen. Mr. Hansen fielded many questions about his work while it was being installed at the dam. In response to those questions, he later wrote about his interpretation of his sculptures.
Hansen's principal work at Hoover Dam is the monument of dedication on the Nevada side of the dam. Here, rising from a black, polished base, is a 142-foot flagpole flanked by two winged figures, which Hansen calls the Winged Figures of the Republic. They express "the immutable calm of intellectual resolution, and the enormous power of trained physical strength, equally enthroned in placid triumph of scientific accomplishment."
Hoover Dam, said Hansen, represented for him the building genius of America, "a monument to collective genius exerting itself in community efforts around a common need or ideal." He compared the dam to such works as the great pyramids of Egypt, and said that, when viewing these man-made structures, the viewer often asks of their builders, "What manner of men were these?"
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]
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: 1/320"
F zenbakia / number F: 14
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.
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"
The Smashing Pumpkins
Machina/The Machines Of God, 2000
Girls and tiaras, once united, fuse and become one. They are inseparable objects.
You know... Like that guy holding on to the hard hat hanging from the I-beam in the Crazy Glue commercial back in the day. Seriously. : )
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
A new Northwestern University study challenges winning understandings of genes as immutable features of biology that are fixed at origination.
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 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]
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
At some point in your life, at least one of the subjects you sucked at in school will become a necessity in the quest to *PAY YOUR MORTGAGE*.
Law #22a: When you're a kid, the coolest thing you can do with a calculator is spell things like 07734 (hello) upside down and backwards.
Law #22b: If you're a boy, after hello, instantly remembering you can spell 5318008 (boobies) upside down and backwards on a calculator is something you realize you haven't forgotten after 25+ years. Hmpf... Go figure. ;-P
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
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]
In this track, we will examine the current and future state of immutable and serverless infrastructures. Experts will share tools, practical strategies, and epic tales of success and defeat in designing immutable and serverless systems that are resilient, scalable, and secure.
Lost Keys to Heaven: The Sentinel's Watch
Description:
Dive into the ethereal realm of "The Sentinel," a haunting musical exploration set to a backdrop of surreal imagery. This video encapsulates the journey of a stoic guardian facing the paradox of heaven's locked gates. Watch as the sentinel, entangled in a celestial tapestry, reflects on the profound sense of loss and duty, all while standing watch over what once was. Join us in this metaphysical narrative that weaves the essence of eternity, guardianship, and the immutable passage of time.
Poem:
The Sentinel
By the time I got to heaven,
All the rules had changed,
The gates were locked,
And Peter had lost the keys.
When the reign had begun,
All sensibility was lost,
I was captured by this body,
Without the need to touch.
But I stand in dignity,
A silent sentinel,
A guardian of a bygone era,
With loss etched into my eyes.
The gates were locked,
And Peter had lost the keys.
Keywords:
Sentinel, Heaven's Gates, Lost Keys, Guardian, Ethereal Music, Surreal Imagery, Locked Gates, Celestial, Metaphysical, Time Passage, Symbolism
Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo Siso Sibeko Tonic Tlhalerwa Moses Mamba and Bushy Dubazana Jazz Band with the Immutable Themba Fassie
Great Food and Music Highly Recommended
94,284 items / 573,629 views
as she sits
outside destiny's gate
a very long wait
immutable fate
waiting hesitatingly
for the next rice plate
sadness solitude
her only soul mate
tadapti huie bhook
or khali pate
love is absconding
in a world full of hate
in a male dominated society
a poor woman's life
third rate
dedicated to roland
jeff and vintage
a woman
with her wings
clipped
dying in a cage
mysterious melodrama
on a poor woman's web page
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]
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
"There is a legend about a bird which sings just once in its life, more sweetly than any other creature on the face of the earth. From the moment it leaves the nest it searches for a thorn tree, and does not rest until it has found one. Then, singing among the savage branches, it impales itself upon the longest, sharpest spine. And, dying, it rises above its own agony to out- carol the lark and the nightingale. One superlative song, existence the price. But the whole world stills to listen, and God in His heaven smiles. For the best is only bought at the cost of great pain .... Or so says the legend.
[...]
The bird with the thorn in its breast, it follows an immutable law; it is driven by it knows not what to impale itself, and die singing. At the very instant the thorn enters there is no awareness in it of the dying to come; it simply sings and sings until there is not the life left to utter another note. But we, when we put the thorns in our breasts, we know. We understand. And still we do it. Still we do it."
-----------
“Có một truyền thuyết về con chim chỉ hót một lần trong đời, nhưng nó hót hay nhất thế gian, có lần nó rời tổ bay đi tìm bụi mận gai và tìm cho bằng được mới thôi. Giữa đám cảnh gai góc, nó cất tiếng hát bài ca của mình và lao ngực vào chiếc gai dài nhất, nhọn nhất. Vượt lên trên nỗi đau khổ khôn tả, nó vừa hót vừa lịm dần đi, và tiếng ca hân hoan ấy đáng cho cả sơn ca và họa mi phải ghẹn tị. Bài ca duy nhất có một không hai, bài ca phải đổi bằng tính mạng mới có được. Nhưng cả thế gian lặng đi khi lắng nghe, và chính thượng đế trên Thiên Đình cũng mỉm cười. Bởi vì tất cả những gì tốt đẹp nhất chỉ có thể có được khi ta chịu trả giá bằng nỗi đau khổ vĩ đại nhất… Ít ra là truyền thuyết nói như vậy."
[...]
"Con chim mang chiếc gai của bụi mận cắm vào ngực tuân theo qui luật bất di bất dịch của thiên nhiên; bản thân nó không biết sức mạnh nào đã buộc nó lao vào mũi nhọn và chết mà vẫn hót. Lúc mũi gai xuyên qua tim nó, nó không nghĩ đến cái chết sắp đến, nó chỉ hót, hót cho đến lúc mất tiếng đứt hơi. Nhưng chúng ta, khi lao ngực vào bụi mận gai, chúng ta biết, chúng ta hiểu. Tuy thế ta vẫn cứ lao vào. Sẽ mãi mãi như thế!".
- Colleen McCulough -
---
FujiColor 100
My maternal grandmother, Mary Ellen Mylon Corey, lived in San Francisco at the time with her parents, Thomas J. Mylon and Rose Ann Conlon Mylon, and her siblings. They lost everything but escaped with their lives.
One year later, this was published in the Coast Seamen’s Journal:
San Francisco’s First Birthday
The city that is now San Francisco is one year old to-day. There was a city of San Francisco a year and a day ago; an old city, as time runs in this new land; the embodiment of fifty years of stirring Western life; a fair city, a rich city, a gay city; set at the gate where the Farthest West meets the Farthest East, and sharing many of the characteristics of both; a loved city, whose generous faults are remembered with no less affection than its virtues. That city is gone, never to return. Its place is in history, and in the memories and affections of m en. One year ago the world woke up to learn that that city had been destroyed. To-day, the people of a new city already founded on its ruins, meet to celebrate their first anniversary.
It is characteristic of the new San Francisco that all its outlook, on this its natal day, is forward. There is little reminiscence and no vain regret of the past. Sinn Francisco points not to what was, but to what is.
In one year’s time, a miracle has been wrought. Discipline was restored in a day; orderly government was established in a week; relief was organized almost before there was hunger to assuage; reorganization was planned before the destruction was complete, and begun before the ashes had cooled; courage was never lost and the cheerfulness that had characterized the old San Francisco never abated. The shock that unroofed the homes also uncovered the hearts of the city, and brotherly love ruled in the lives of men. Only one brief, illuminating moment; but long enough to give us a sure courage, against all the discouragements and disillusionments that followed.
Energy and courage have restored San Francisco; the very immutable fates will preserve it. No disaster can destroy of minimize the importance of the gateway between the East and the West. San Francisco sites at the door of the Pacific, at the beginning of the Pacific age. The world looked inward on the Mediterranean once; then outward on the Atlantic; then inward on the Atlantic from both sides; and now looks outward on the pacific. The joining of the East and West has come, and the outstretched arms of both, reach through the Golden Gate. The warder of that gate sits at the strategic point of the immediate future. You can not set a city at the focus of all the streams of the world’s activity, and keep it small or unimportant. The greatness of San Francisco is as certain, under the conditions of the twentieth century, as was that of Constantinople under the Byzantine Empire. – Fresno Republican
Coast Seamen’s Journal
May 8, 1907
Health Care = HS
healthcaresector.exchange/?afmc=SNiB980NX5If0cRQAZkU3
6 of 11
The Global Industry Classification Standard used by Morgan Stanley defines the health care sector and industry that includes health care providers & services, companies that manufacture and distribute health care equipment & supplies, and healthcare technology companies. It also includes companies involved in the research, development, production and marketing of pharmaceuticals and biotechnology products. Using CrowdPoint’s next generation Blockchain all members of the ecosystem benefit from the transparency, speed and immutable transactions associated with health care equipment, supplies, providers, services and technology. It also includes biotechnology, pharmaceuticals, life sciences and tools and services.
Our mission is to horizontally and vertically unite healthcare equipment, supplies, providers, biotechnology, pharmaceuticals, life sciences and health care related Products on our NexGen Blockchain in order to DEMOCRATIZE the Health Experience for your HUMAN IDENTITY
Blockchain Ecosystem = BE
blockchainecosystem.exchange/?afmc=SNiB980NX5If0cRQAZkU3
Ellipsis - portal.theellipsis.exchange/welcome/?afmc=SNiB98ONX5lf0cR...
#BlockchainEcosystem #Energy #Materials #Industrials #ConsumerDiscretionary #ConsumerStaples #Healthcare #Financials #InfomationTechnology #CommunicationServices #Utilities #RealEstate #SeanBrehm #MarleneBrehm
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]
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
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
Catalog no. 11.
Artist: Unknown
Date of painting: After 1839
Painted on: Edward Dowling, A Treatise on Free Agency : Maintaining That the Immutability of the Divine Nature is Perfectly Compatible with the Moral Freedom of the Intellectual World (London: J. Hatchard and Son, 1829)
Binding: Bound in black leather, stamped in gold and blind; coated yellow endpapers
Binder: Unknown
Physical description: [2], xxviii, 228, [2] p. ; 22 cm.
Other edge treatments: All edges gilt
Inscriptions, etc.: Title of fore-edge painting is inscribed in pencil on p. [1] at beginning
Condition: Good with minor rubbing on spine and corners
Shelf location: Kent State University Libraries, Special Collections BJ1461 .D6 1829
Provenance: Purchased by B. George Ulizio from Charles Sessler (Philadelphia, Penn.) in 1924. Acquired by Kent State University, as part of the Ulizio Collection, in 1969
Literature: Keller & Gilgenbach, B. George Ulizio, 391
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 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]
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
Indulge yourself to classic elegance. These gorgeous Copper Chandelier Earrings showcase 5 tiers of hand-hammered links. They're a fresh choice on a look you've always prized, now available for a fabulous price. Pair them with your favorite casual or dressy attire, and mix and match with your other beloved copper or rose gold pieces--they're an immutable staple, and an essential building block in your jewelry wardrobe.
Alone again thinking of you
Memories flow when love was new
Sunrises and sunsets defined our fun
Picnics, walks, feeding ducks in the sun
Conversation absent as eyes remain transfixed
Lovers forever, before than immutable statistic
Tell me your thoughts, I won’t get too near
Protect boundaries one holds so dear
Trust was elusive when first we met
More comfortable now when eyes are wet
Lay your head on my shoulder one last time
Remember when you were mine
From the poem "Faded Love" by A Keith Barton
Visitors to Hoover Dam can view a number of heroic size artworks including a 30-foot tall bronze sculpture by Oskar Hansen which symbolizes "the immutable calm of intellectual resolution, and the enormous power of trained physical strength, equally enthroned in placid triumph of scientific achievement". The depiction of male angels is unusual (they are referred to as 'winged figures'.
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
Live sketches were provided by Natalia Talkowska, Founder of Natalka Design.
For more info visit www.natalkadesign.com/
Amy Walsh
Mixed media
Ms. Walsh says, "Treehive
e.e.cummings showed us that the “architecture” of language – its shapes and structures – are not as immutable as we usually imagine. If a poem is a structure, his collapses and rebuilds itself, resisting the laws of gravity and physics."