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Mustang Memories 2012
August 12, 2012
My dad was heavily involved with rear suspension development on the 1989 MN-12 T-Bird / Cougar and the related 1993 FN-10 Mark VIII. I understand that a Porsche 928 was used as a "benchmarking" vehicle. He brought it home one night. He was also involved in some way with the release of the 1/24 scale 1989 Revell "Thunderbird SC Coupe" model kit.
My 2004 40th Anniversary Crimson Red GT Convertible and my daughter's 2005 red Power Wheels GT Convertible. Great show, huge turnout compared to last year with the threat of rain. My rear tires and rev limiter got three great workouts. Thanks to MOCSEM for a great car show.
© 2012 Michael Lavander. All rights reserved.
No usage without written permission.
Just taking a little *Blythe Break* . . .
Taking a stroll down memory lane . . .
Just for FUN . . . !!
xoxo
Heidi
~
HERE is my BRIDE DOLL (purchase from the auction site) ... I got her in 2004 . . . I tried to get as close as possible to my very FIRST Bride doll I got in 1962 . . .
~
~
Rocky Point Rocket Ship
The local park in the town I grew up in, I remember climbing that rocket so many times, it is now a monument, no longer to be used. I'm happy it wasn't scrapped.
“Like memory, geography is associative.”(Harmon, p.15) Is a quote from Katharine Harmon in her You Are Here. This quote really struck me when reading this book, and stayed with me as I brainstormed this assignment. It took me longer than expected to think of a map to create. I wasn’t sure if I wanted to go a personal direction, or social. I eventually chose personal, but from there deciding what issues to represent in an abstract way was a roadblock for me. I decided to move toward something that had to do with my photography, and then got the idea of a photo map, similar to ones on Instagram or other social media outlets. Instead of using my phone images and having the map already made I wanted to plot where I have taken some of my best images on my DSLR. This is where things started to shift, because I realized while I had plenty of strong images, they were not from very many different places, in fact only 4. This was eye opening for multiple reasons, one of which being that I have not taken my camera to very many places, and the places I go, I don’t take very many images. It was a very humbling thing to plot the images on the map covering the whole state, thinking the whole time “Wow, I need to travel more.” And “Wow, I need to take more pictures.’ Maps give information to people from a different perspective, and for me the negative space on my map is a reminder of what I am aspiring to do, and how far along that goal is. I am very proud of the pictures I have taken but that doesn’t stop me from realizing I need to being doing more in more places. I specialize in long exposure images at night of various landscapes or cityscapes, and to only have a couple states under my belt at 21 is not entirely where I’d like to be, but it is not as simple as just getting up and traveling. Money, school, motivation and family issues are all factors in my journey to this point. I am happy with the minimalist tone of my memory map, it feels almost naked to me. It is a welcomed splash of cold water on my face. “Small-scale generalized maps often are authored views of a landscape or a set of spatial data”(Monmonier, p.42) My map is very generalized and shows my landscapes in a very spaced out format. Not necessarily flattering for me but something I think I need to be reminded of constantly until I can add more and more to the map. I look at this assignment as a form of inspiration now, and something that I could continue to add onto to motivate myself. Eventually my goal would be to expand it to a global scale, and have my work be a part of the world.
Citations
US Map - www.world-geographics.com/maps/united-states/map-of-usa-s...
Harmon, Katharine A.. You are here: personal geographies and other maps of the imagination. New York: Princeton Architectural Press, 2004. Print.
Monmonier, Mark S.. How to lie with maps. Chicago: University of Chicago Press, 1991. Print.
To release the memory you will need to push the metal handles that are located on the sides of the memory away from the memory.
The memory chip will pop up.
Take it out. Insert the new memory at a 45 degree angle (just like the old memory was when it poped up) and push it down until you hear a click.
i appreciate notes! :)
find me on holunder.deviantart.com
©All rights reserved by Hannah H. .Do not use my images without my permission.
Thank you Colorfulexpressions for that wonderful day and the memories of your garden
Between The Miles
by Heather Stoop
Because existence can become severe
in one day,
just sense me and I'll be there.
In the minds eye,
I'm not so far away.
If you hold out your hand,
in the whispers,
I'll become the zephyr.
and besiege you.
If your eye's upon the stars,
in the crystalline darkness,
I'll become the moon.
And the light shall guide you.
If you rest upon the ground,
in the warmth,
I'll become the grass.
And embrace you.
If you turn outside,
in the wetness,
I'll become the rain.
An upon your forehead, kiss you.
If you free the air,
in the light of day,
I'll become the sun.
And smile for you.
Between the miles-
if you need me.
If you need a friend.
Let me be the friend, I want to be.
I found these a few years ago at my favorite thrift store...for like $4.98 and $2.99...they were in the glass cases up front by the registers and I calmly said, "could I see those two bottles there?" and my heart was racing as I said,"I want these also"...
Childhood Memory....
It was the summer of 1964 and I was in second grade. My Mom was the Avon Lady and when she would deliver her orders, us four kids would go with her and sit in the car and wait...that's when you could still do that sort of thing!...and if we were real good and didn't fight or kill each other...or scream, which I was known to do when my Brothers would hit me...then and only then we would get to stop by this little hamburger joint called the Prairie Dog and get an ice cream cone....yeah!...hey, we thought it was a great treat in 1964!
Well, that year for Christmas...I got the entire set of Pretty Peach...and ohhhh it was a very big deal...it came with a little Avon Bag...just like Moms and spray mist, lotion, body cream, powder in a mitten and best of all "soap on a rope"...shaped like a real peach with a brown pit in the center when you used it all...then after Christmas and we went back to school I would carry my lunch in that Avon Bag...it was blue and had a zipper and everything...I was soooo cool back then...lol....
So.....there you have it... this is my "Best Thrift Store Find, Ever".....
Looking like a scene out of the movie "Vanishing Point", out in the desert near Las Vegas, my new wife and my hot rod Dodge on a honeymoon tour that eventuallly got us down to San Felipe in Baja. The car is a 1968 Dodge Dart GTS with the 340ci 4-bbl carb, 3-speed Torque-flite auto and the heavy duty suspension.
5 foot 2, eyes a blue, we met early 1971 while I was still dating the tall blonde in the previous pictures. She took a liking to me and when I finally broke up with the tall blond she was there and we began dating. She is a sweet, giving, thoughtful person and we got off to a good start which ended with our getting married in Las Vegas a few short months later in April of 1972. The marriage only lasted 9 years but it was not a hostile divorce and we remain friends to this day connecting weekly via E-mails. And we had many good years and good times and made many fine memories during our "time in the sun".
We six school friends met on 7th of April, 2019. Sweet memories of our school days were coming alive after 42 years. Such meetings bring out every child from within us. our meeting was no exception!
Last month I received an email from Stuart that runs Subism inviting me to get part in a beautiful project called Memories Subism that is an art book and all its profits are going to the Maggie´s carring cancer center. The book will tell 10 short stories about people who had to fight against cancer and I made this illustration for one of those stories. I´m glad to get involved, thanks Stu!
...of the days my girls played in this very yard. We lived in a mobile home where the greenhouse now sits. I played in this yard with my brother and sister. It is home.
MEMORIES FROM THE FUTURE
Every experience becomes a memory.
Collecting memories from a virtual second life. Characters are role playing away in dreamy unreal and yet real settings. Memories from the past and future are entwined re lived or lived for the first time. What makes an experience real? What makes a character real? In real life and in our virtual lives we are all starring in our own universe which we make up as we go along.
This is the "memory" wall! The photos that are framed and hang on our walls are generally speaking fairly up to date, however, my wife does like what she calls a memory wall which has a few older photos that have great memories for us all!
Flickr Lounge - Weekly Theme (Week 12) ~ My Home ....
Thanks to everyone who views this photo, adds a note, leaves a comment and of course BIG thanks to anyone who chooses to favourite my photo .... Thanks to you all.
Another view of the Memory Void. Although allowed to do so, we couldn't bring ourselves to step on the faces. Just too emotional.
"The Jewish Museum Berlin, which opened to the public in 2001, exhibits the social, political and cultural history of the Jews in Germany from the fourth century to the present, explicitly presenting and integrating, for the first time in postwar Germany, the repercussions of the Holocaust. " - libeskind.com/work/jewish-museum-berlin/
A short write up of our trip in the Lobster Journals - redlobsterjournal.blogspot.ca/2017/01/2009-central-europe...
My flickr album of Germany - www.flickr.com/photos/maclobster/albums/72157621432513313
Here is my YouTube slide show of Berlin.
"The installation Shalekhet (Fallen Leaves) by Menashe Kadishman can be found in the Memory Void, one of the symbolic spaces on the ground level of the Libeskind building. The floor of the void is covered by more than ten thousand faces with open mouths, cut from heavy round iron plates.
The installation is a gift from Dieter and Si Rosenkranz. Menashe Kadishman’s sculptures stir painful memories of the victims of war." - www.jmberlin.de/en/shalekhet-fallen-leaves
As always, thoughtful feedback, constructive criticisms, and suggestions are always appreciated. As always, I have used tools at my disposal to interpret the original raw file. Use of this photo without permission is not permitted.
8/1/10
Mặc dù cứ bảo ảnh hoa cải năm ngoái up chưa hết nhưng vì Long rủ nên 2 chị em lại lóc cóc đi^^
Ngồi trên xe và nói chuyện cấp 3...thèm đi học lại vãi:D
Tối qua bro gọi điện lúc nửa đêm chỉ vì "tự nhiên a nhớ mày, muốn nghe giọng mày"...:((
I wonder there's enough time left for all those coming back memories...:)
---
"When you can't think, don't try to figure it out"
I know keeping to think this way won't work, so maybe just put it aside...and let it be:)
Engram : Data Sculpture
3+1 AP
6M x 5M Media Wall, 3MM LED, Custom Software
Sound Design : Kerim Karaoglu
Custom Software : Kyle McLean
Deaigned and developed at Refik Anadol Studio
From February 7 through March 17, 2018, Pilevneli Gallery presented Refik Anadol’s latest project on the materiality of remembering. Melting Memories offered new insights into the representational possibilities emerging from the intersection of advanced technology and contemporary art. By showcasing several interdisciplinary projects that translate the elusive process of memory retrieval into data collections, the exhibition immersed visitors in Anadol’s creative vision of “recollection.”
“Science states meanings; art expresses them,” writes American philosopher John Dewey and draws a curious distinction between what he sees as the principal modes of communication in both disciplines. In Melting Memories, Refik Anadol’s expressive statements provide the viewer with revealing and contemplative artworks that will generate responses to Dewey’s thesis.
Comprising data paintings, augmented data sculptures and light projections, the project as a whole debuts new advances in technology that enable visitors to experience aesthetic interpretations of motor movements inside a human brain. Each work grows out of the artist’s impressive experiments with the advanced technology tools provided by the Neuroscape Laboratory at the University of California, San Francisco. Neuroscape is a neuroscience center focusing on technology creation and scientific research on brain function of both healthy and impaired individuals. Anadol gathers data on the neural mechanisms of cognitive control from an EEG (electroencephalogram) that measures changes in brain wave activity and provides evidence of how the brain functions over time. These data sets constitute the building blocks for the unique algorithms that the artist needs for the multi-dimensional visual structures on display.
Anadol’s installations do not only address a productive espousal of cutting-edge technology and art but also a strong preoccupation with the study of human memory from Ancient Egyptians to Blade Runner 2049. The exhibition’s title, Melting Memories, refers to the artist’s experience with unexpected interconnections among seminal philosophical works, academic inquiries and artworks that take memory as their principal themes. The title further draws attention to the melting of neuroscience and technology into these centuries-long philosophical debates, questioning the emergence of a new space where artificial intelligence is not in conflict with individuality and intimacy.
For more information: refikanadol.com/works/melting-memories/
Dear Nacho,
You were born on june 8, 2021. When you where 8 weeks old, we picked you up...you and your little brother Midas. In the months that passed the two of you did what healthy little furballs do: Climb in everything, explore, play with each other, groom each other, sleep together in the basket or on my lap. It didn't take long before both of you grew into two adolescent young cats, ready to explore what's outside. From large metal grids we built a fence in the garden so you could explore in a controlled way what's out there. It didn't take long before both of you climbed on and over it and found your way in the garden around the house.
On september 4, 2022 you walked out into the night as usual...but you didn't return. A day later the search was on...We checked every cabin and cellar, registered you on missing pets websites and put signs with your picture on it in the neighbourhood. Your brother searched for you. The whole village knew you were missing but no one had seen you...
After an intense and systematic search I finally found you...10 days later. Nature was already in the process of taking you back. I had to cut you loose from the ivy growing on the ground and I will never forget holding the two lower parts of your jaws in my hands.
The day after I found you rain prevented any activities outside...It was therefore your last night with us...On saturday september 17 three dry hours with a cozy sun were predicted...I did the best I could to give you the loving and tender funeral no cat at your age should ever have to be given...
You, my dear Nacho, were raised, fed well, looked after, cared for...loved...The pictures in this album are a testament to all the love, sweetness and coziness you gave us. You were a sweet cat...Caring for your brother, social to us...There was no ego in you...Every time I broke a catstick into two pieces, Midas went ballistic but you patiently kept waiting until you' d get your fair share, which you always got.
We live on Nacho...Your little brother Midas is not so small anymore...He now rules the garden and we frequently recognize you in his looks and behaviour...As long as we live, we are captured in the ever changing here and now. It saddens me to know that, as time passes, you are drifting further and further away into our past...Coincidence has been very unfair to you...You should have had much more of life.
We miss you...
In loving memory: Nacho (8 june 2021 - 5 september 2022)
In loving memory of
Jessie Merion
Beloved daughter of
H & E Gebbie
Died 12th April 1944
Also her sister
Gladys Mary GEBBIE M.B.E.
Died 10th June 1983
At rest
In loving memory of
Norman William Thomas GEBBIE
Killed in France 17th April 1917
Aged 21 years
And his brother
Heber [sic] Albert GEBBIE
Killed in France 7th June 1917
Aged 19 years
In loving memory of
Emma GEBBIE
Died 6th February 1952
Aged 82 years
Also her beloved husband
Heber [sic] GEBBIE
Died 11th August 1955
Aged 87 years
At rest
Meryle Dorothy GEBBIE
Died 15th June 1996 Aged 82
~Jessie Merion [sic]~
Death registration: 1944/20136[1] NB: the historic index lists her name as Marion not Merion. Possible typo or the headstone is wrong however newspaper notices state name as Merion.
New Zealand Herald, Volume 81, Issue 24867, 13 April 1944, Page 1
Death notice. States Sister of Mrs R.V. Grant, Frankton, Charles, Gladys, Merle and the late Norman and Heber and sister-in-law of Molly
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
~Gladys Mary~
Death registration: 1983/39356 also states birth date as 8 Sept 1907 [1]
Engaged 1938 to James WILSON of Totara, Oamaru[4]
~Norman William Thomas~
Born: 8 October 1893, Taradale, Napier
Occupation on enlist: Chemist’s assistant, J.W. Irwin, Ponsonby Road
5ft 10; blue eyes; black hair.
Service number: 18888
“Deceased was one of a party of Lewis gunners on duty in the front line trenches early in the morning of April 17. As they were standing down, one of the men lifted the gun off the parapet where it had been all night. He was going to put it on the rack in the bay when he noticed tat the cocking handle was forward but not slid home. He caught hold of the handle when it sot forward and fired one round, The bullet passing through the head of Pte Godfrey & wounding Pte Gebbie in the head. He afterwards dying. The last time the gun had been fired was after 10pm on the previous night when one of the gunners on duty fired one magazine & had a no.2 stoppage which he put down to faulty ammunition. He replaced the empty magazine with a fresh one but fired no rounds out of the new one.[2]
His military records are available online:
ndhadeliver.natlib.govt.nz/delivery/DeliveryManagerServle...
His Cenotaph database record:
muse.aucklandmuseum.com/databases/Cenotaph/5390.detail?Or...
Auckland Star, Volume XLVIII, Issue 119, 19 May 1917, Page 6
Corporal Norman Gebbie, who was accidentally killed in France recently, was the eldest son of Mr. H. Gebbie, of Francis Street. Grey Lynn, and he was born in Taradale, Hawke's Bay, and was educated at Waipawa and Dannevirke, where he won a scholarship at the age of 12, matriculating at 15. He was on the staff of Mr. W.J. Irvine, chemist, when he enlisted in the 15th Reinforcements. On arrival in England he was attached to the Lewis Gun Section of the Fifteenth North Auckland Company, and was on service with that company when he was killed. His younger brother, who enlisted at, the same time, was also a corporal in the same section. Corporal Gebbie formerly belonged to the 18th Company Senior Cadets, and was a gunner in the Field Artillery when he enlisted. He was one of the leading rifle shots in Auckland, and was a member of the Akarana Rifle Club, winning many of the competitions of that club. He was 21 years of age. [3]
~Heber Albert~
Born: 20 August 1895, Waipawa [2]
His name is recorded variously as Herbert; Herber however his military records note his corrected name to “Heber”]
Occupation on enlist: Clerk for G N Binney & Sons, Auckland
Service number: 18786
5ft 8in;
His military records are available online:
ndhadeliver.natlib.govt.nz/delivery/DeliveryManagerServle...
His Cenotaph database record:
muse.aucklandmuseum.com/databases/Cenotaph/5389.detail?Or...
New Zealand Herald, Volume LVII, Issue 17490, 7 June 1920, Page 1
Memorial notices
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
~Heber~
Death registration: 1955/35243 [1]
Heber and Emma nee BAILLIE married c1895. Marriage registration 1895/4007 [1]
~Meryle~
Death registration: 1996/26842 also states birth date as 1 May 1914[1]
Miscellaneous family information:
Heber GEBBIE [senior] father was Thomas Gebbie. About Thomas’s death here
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
SOURCES:
[1]
Department Internal Affairs historic BDM online indexes
[2]
Military records
[3]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[4]
American postcard by Fotofolio, NY, NY, no. P204. Photo: Apeda, N.Y. / Photoworld. Caption: Ethel Barrymore (1879-1959), as the spirit of equity.
American actress Ethel Barrymore (1879-1959) was a member of the Barrymore family of actors. Her career as a stage, screen and radio actress spanned six decades, and she was regarded as 'The First Lady of the American Theatre'. She made 15 silent pictures between 1914 and 1919, most of them for the Metro Pictures studio.
Ethel Barrymore was born Ethel Mae Blythe in Philadelphia in 1879. She was the second child of the actors Maurice Barrymore (whose real name was Herbert Blythe) and Georgiana Drew. Her father was nearly killed four months before her birth in a famous Old West encounter in Texas while heading a travelling road company. She was named for her father's favourite character—Ethel in William Makepeace Thackeray’s 'The Newcomes'. She was the sister of actors John and Lionel Barrymore, the aunt of actor John Drew Barrymore and actress Diana Barrymore, and the great-aunt of actress Drew Barrymore. She was also a granddaughter of actress and theatre-manager Louisa Lane Drew (Mrs. John Drew), and niece of Broadway matinée idol John Drew Jr and early Vitagraph star Sidney Drew. She spent her childhood in Philadelphia and attended Roman Catholic schools there. In 1884, the family sailed to England and stayed for two years. Maurice had inherited a substantial amount of money from an aunt and decided to exhibit a play and star in some plays at London's Haymarket Theatre. Ethel recalled being frightened on first meeting Oscar Wilde when handing him some cakes and later being reprimanded by her parents for showing fear of Wilde. Returning to the U.S. in 1886, her father took her to her first baseball game. She established a lifelong love of baseball and wanted to be a concert pianist. In the summer of 1893, Barrymore was in the company of her mother, Georgie, who had been ailing from tuberculosis and took a curative sabbatical to Santa Barbara, California. Georgie did not recover and died in 1893, a week before her 37th birthday. Essentially, Ethel's and Lionel's childhood ended when Georgie died. They were forced to go to work in their teens without finishing high school. John, a few years younger, stayed with their grandmother. Barrymore's first appearance on Broadway was in 1895, in a play called 'The Imprudent Young Couple' which starred her uncle John Drew, Jr., and Maude Adams. She appeared with Drew and Adams again in 1896 in 'Rosemary'. William McPeak at IMDb: " Her youthful stage presence was at once a pleasure, a strikingly pretty and winsome face and large dark eyes that seemed to look out from her very soul. Her natural talent and distinctive voice only reinforced the physical presence of someone destined to command any role set before her." In 1897, Ethel went with William Gillette to London to play Miss Kittridge in Gillette's 'Secret Service'. She was about to return to the States with Gillette's troupe when Henry Irving and Ellen Terry offered her the role of Annette in 'The Bells'. A full London tour was on and, before it was over, Ethel created, on New Year's Day 1898, Euphrosine in 'Peter the Great' at the Lyceum, the play having been written by Irving's son, Laurence. Men everywhere were smitten with Ethel, most notably Winston Churchill, who asked her to marry him. Not wishing to be a politician's wife, she refused. Winston, years later, married Clementine Hozier, a ravishing beauty who looked very much like Ethel. Winston and Ethel remained friends until the end of her life. Their 'romance' was their own little secret until his son let the cat out of the bag 63 years after it happened.
After her season in London, Ethel Barrymore returned to the U.S. Charles Frohman cast her first in 'Catherine' and then as Stella de Grex in 'His Excellency the Governor'. After that, benefactor and friend Frohman finally gave Ethel the role that would make her a star: Madame Trentoni in 'Captain Jinks of the Horse Marines', which opened at the Garrick Theatre in London's West End in 1901. Unbeknownst to Ethel, her father Maurice had witnessed the performance as an audience member and walked up to his daughter, congratulated her and gave her a big hug. It was the first and only time he saw her on stage professionally. When the tour concluded in Boston in June, she had outdrawn two of the most prominent actresses of her day, Mrs. Patrick Campbell and Minnie Maddern Fiske. Following her triumph in 'Captain Jinks', Ethel gave sterling performances in many top-rate productions. In Thomas Raceward's 'Sunday', she uttered what would be her most famous line, "That's all there is, there isn't any more." She portrayed Nora in 'A Doll's House' by Henrik Ibsen (1905), and Juliet in 'Romeo and Juliet' by William Shakespeare (1922). Barrymore, along with friend Marie Dressler, was a strong supporter of the Actors' Equity Association and had a high-profile role in the 1919 strike. AEA came into being primarily to allow performers to have a bigger share in the profits of stage productions and to provide benefits to elderly or infirm actors. This angered many producers and cost Barrymore her friendship with George M. Cohan, an actor, songwriter and producer. Ethel Barrymore's involvement in AEA may have been motivated by the fate of both of her parents, both long-standing actors, her mother, who had needed proper medical care and her father, who required years of institutionalised care. In 1926, she scored one of her greatest successes as the sophisticated spouse of a philandering husband in W. Somerset Maugham's comedy, 'The Constant Wife'. Maugham counted himself among her admirers, saying that during rehearsals for the play he had "fallen madly in love with her." She starred in 'Rasputin and the Empress' (1932), playing the czarina married to Czar Nicholas. In July 1934, she starred in the play 'Laura Garnett', by Leslie and Sewell Stokes, at Dobbs Ferry, New York.
In 1914, Ethel Barrymore appeared in her first feature film, The Nightingale (Augustus Thomas, 1914). Members of her family were already in pictures. Uncle Sidney Drew, his wife Gladys Rankin, and Lionel had entered films in 1911, and John made his first feature in 1913 after having debuted in Lubin short films in 1912. She made 15 silent pictures between 1914 and 1919, most of them for the Metro Pictures studio. Most of these pictures were made on the East Coast, as her Broadway career and children came first. A few of her silent films have survived: for example, one reel from The Awakening of Helena Richie (John W. Noble, 1916) and The Call of Her People (John W. Noble, 1917). The only two films that featured all three siblings - Ethel, John, and Lionel - were National Red Cross Pageant (Christy Cabanne, 1917) and Rasputin and the Empress (Richard Boleslawski, 1932). The former film is now considered a lost film. She returned to the stage, where she had her most endearing role in 'The Corn is Green', during a tour that lasted from 1940 to 1942. Barrymore came back to California and won the Academy Award for Best Supporting Actress for her role as the mother of Cary Grant in the film None but the Lonely Heart (Clifford Odets, 1944), but made plain that she was not overly impressed by it. She appeared in The Spiral Staircase (Robert Siodmak, 1946) and The Paradine Case (Alfred Hitchcock, 1947), in which she was nominated for an Academy Award for Best Supporting Actress. She played the repressed wife of Charles Laughton's character. William McPeak: "Her engaging wit and humanity stood out in even supporting roles, such as, the politically savvy mother of Joseph Cotten in The Farmer's Daughter (H.C. Potter, 1947) and, once again with Cotton, as sympathetic art dealer Miss Spinney, with those eyes, in the haunting screen adaptation of Robert Nathan's novel Portrait of Jennie (William Dieterle, 1948)." Barrymore also appeared as Miss Em opposite Jeanne Crain in the Academy Award-nominated film Pinky (Elia Kazan, 1949), for which she was nominated for Best Supporting Actress. Her last film appearance was in Johnny Trouble (John H. Auer, 1957) with Stuart Whitman. On the radio, Barrymore starred in the situation comedy Miss Hattie (1944-1945). Barrymore also made several television appearances in the 1950s, including one memorable encounter with comedian Jimmy Durante on NBC's All-Star Revue in 1951. In 1956, she hosted 14 episodes of the TV series Ethel Barrymore Theatre. Ethel Barrymore married Russell Griswold Colt in 1909. In 1911, Barrymore took preliminary divorce measures against Colt, much to Colt's surprise, and later recanted by Barrymore as a misunderstanding by the press. At least one source alleged that Colt abused her and that he fathered a child with another woman while married to Barrymore. They divorced in 1923. The couple had three children: Samuel 'Sammy' Colt (1909–1986), a Hollywood agent and occasional actor; actress-singer Ethel Barrymore Colt (1912–1977), who appeared on Broadway in Stephen Sondheim's Follies; and John Drew Colt (1913–1975), who became an actor. Ethel Barrymore never remarried. In 1955, she published her book 'Memories, An Autobiography'. Barrymore died of cardiovascular disease in 1959, at her home in Hollywood, after having lived for many years with a heart condition. She was less than two months shy of her 80th birthday. She was entombed at Calvary Cemetery. The Ethel Barrymore Theatre in New York City is named for her. In 1960, Barrymore was posthumously inducted into the Hollywood Walk of Fame with a motion picture star for her contributions to the film industry. Her star is located at 7001 Hollywood Boulevard.
Sources: William McPeak (IMDb), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
Engram : Data Sculpture
3+1 AP
6M x 5M Media Wall, 3MM LED, Custom Software
Sound Design : Kerim Karaoglu
Custom Software : Kyle McLean
Deaigned and developed at Refik Anadol Studio
From February 7 through March 17, 2018, Pilevneli Gallery presented Refik Anadol’s latest project on the materiality of remembering. Melting Memories offered new insights into the representational possibilities emerging from the intersection of advanced technology and contemporary art. By showcasing several interdisciplinary projects that translate the elusive process of memory retrieval into data collections, the exhibition immersed visitors in Anadol’s creative vision of “recollection.”
“Science states meanings; art expresses them,” writes American philosopher John Dewey and draws a curious distinction between what he sees as the principal modes of communication in both disciplines. In Melting Memories, Refik Anadol’s expressive statements provide the viewer with revealing and contemplative artworks that will generate responses to Dewey’s thesis.
Comprising data paintings, augmented data sculptures and light projections, the project as a whole debuts new advances in technology that enable visitors to experience aesthetic interpretations of motor movements inside a human brain. Each work grows out of the artist’s impressive experiments with the advanced technology tools provided by the Neuroscape Laboratory at the University of California, San Francisco. Neuroscape is a neuroscience center focusing on technology creation and scientific research on brain function of both healthy and impaired individuals. Anadol gathers data on the neural mechanisms of cognitive control from an EEG (electroencephalogram) that measures changes in brain wave activity and provides evidence of how the brain functions over time. These data sets constitute the building blocks for the unique algorithms that the artist needs for the multi-dimensional visual structures on display.
Anadol’s installations do not only address a productive espousal of cutting-edge technology and art but also a strong preoccupation with the study of human memory from Ancient Egyptians to Blade Runner 2049. The exhibition’s title, Melting Memories, refers to the artist’s experience with unexpected interconnections among seminal philosophical works, academic inquiries and artworks that take memory as their principal themes. The title further draws attention to the melting of neuroscience and technology into these centuries-long philosophical debates, questioning the emergence of a new space where artificial intelligence is not in conflict with individuality and intimacy.
For more information: refikanadol.com/works/melting-memories/
I had a disposable camera on hand for the last nine months in the car. Whenever a road would strike me as interesting, I would just fire the shutter.
I forgot where or when most of these photos were taken, but forgetting sometimes is bliss.
Released 1970s
DFS 7048 (US Release)
Side 1:
A1. 92203 On Bullied Special, 8-6-1968
A2. No 600 Light, 5-7-1969
A3. No 600 On Special, 5-7-1969
A4. No 600 Light & On Train, 5-7-1969
A5. No 196 Light, 5-7-1969
A6. 44963 On Goods, July 1968
A7. No: 45390, 44871 At M & F Yard, July 1968
A8. No 44709 On Goods, July 1968
A9. No 45134 On Goods, July 1968
A10. No 45342 On Goods, July 1968
Side 2:
B1. No 45352 On Parcels, May 1968
B2. No 70013 On Dales - Man Special, 16-6-1968
B3. No 45025 Shed, May 1968
B4. No 45017, 45342, 44709 Shed, July 1968
B5. No 92077 Light, March 1968
B6. No 48340 Goods, March 1968
B7. No 44984 On Parcels, March 1968
B8. No 45314, 75027, 75019 Goods & Parcels, March 1968
B9. No 44874 Goods, July 1968
Album of the Day
1/5/18
The holidays often bring up memories of family and friends who are no longer with us. Sadly, another has been added to the list. My Uncle Bob died yesterday after a long illness. My thoughts are with my cousins who lost their father and my Dad and Uncle Roger who lost their big brother.
Memories. 52 in 2013
Ferret memory usage jumps from 41.9MB to 3.7GB at command #305 which is find_id_by_contents with ["it\264s sucker", {:sort=>[posted_at_sort:!], :offset=>0, :limit=>10}].
Memories of Wyoming
This is a piece inspired by memories of growing up on the high prairies and mountains of Wyoming. This is not a delicate piece…it has heft and is made with metal, bones, and stone, and the weight of an artist’s memories.
I used a found object/ metal base and added interesting a stone wheel with the text “The land of clouds and regions of waters” from a William Blake poem.
I further embellished the stone with a bone ring, a tiny bulb with a secret message inside and wire beaded findings. The modern components fit strangely well with the stone and bone. The white bone piece is an old piece of jawbone that I found many years ago on the sagebrush flats in Wyoming. I added a white bird of hope. The piece has an old painted and rusted spring, a tiny buffalo charm, along with wire, more text from Blake and other items of interest. The size is 6 inches by 10 inches. It has wire a hanger on the back for display. By Laurie Dorrell