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Photo info:
Main Street Helen, GA-2007. Personal collection. Photographer Tiffany Horn.
The above photo is a picture of current day Helen, GA. As shown in one of my previous photos, Helen has gone under a complete makeover in its physical appearance. Helen was close to being nonexistent in the many years following World War II. It was suffering from lack of business and population was decreasing. There was a need for an answer to the solution, and it would soon be given to the town by an artist inspired by time spent in a foreign country.
It was 1967 and Helen was on the verge of being considered a business ghost town. There were only nine concrete buildings standing, and all were empty. No income was being brought to the town. Three local citizens of Helen, Jim Wilkins, Pete Hodkinson, and Bob Fowler, were on a mission to better the town and turn around the economy. They were given help by an artist, who was a frequent visitor to the area and a native of Habersham County, with his European ideas.
John Kollock had spent a year touring in Bavaria while he was active in the U.S. Army. During that year he fell in love over the aesthetics of the Bavarian village. After easy persuasion by the Helen residents, Kollock toured and overviewed the entire town for possible suggestions of changes that could be made. The idea was to accent the beautiful rolling hills and forest surrounding the concrete center of Helen. It was shortly after his observations of the cities abandoned streets nestled in the middle of natural beauty that Kollock began to think of his year in Bavaria. He knew that bringing a Bavarian feel to the town would give a new twist to the area, and bring lots of business opportunities. After consulting with the Helen officials, Kollock began working on sketches of the new look for Helen. He had finished with his perspective drawings on January 3, 1969. Less than two weeks later, on January 13, 1969, the first nail was driven symbolizing the start of great changes to come.
From the late 70s to the late 80s, constant increase in real estate, retail sales, and developing businesses was occurring. The benefits of Kollock’s ideas were showing up through out the town. When asked about his initial idea, Kollock replied, “Helen was a perfect place for this kind of Alpine Architecture.” Now Helen is going strong and striving off of its main industry focus, tourism. It offers many services such as German-based and American restaurants, local bars and pubs, and many shops that encompass Bavarian goods of different sorts. Helen is still, however, to keep that cozy Georgia small town feel with its local country stores and granaries. After a long century of dealing with hardships in its economic stability, Helen has finally found its niche that has brought it great success.
Anglen, Polly H. “Today’s Playground; Tomorrow’s Gatlinburg?” _North Georgia Journal_ (Winter 1989-90): 20-25.
Speath, Susan. “Hoedown, Helen Style.” _The Daily Times_. 29 October 1970. Sec. 6C.
For more information on Bavaria, visit: en.wikipedia.org/wiki/Bavaria
They Live, We Sleep
Artist Statement
“We are living in an artificially induced state of consciousness that resembles sleep. The poor and the underclass are growing. Racial justice and human rights are nonexistent.
They influence our decisions without us knowing it. They numb our senses without us feeling it. They control our lives without us realizing it.
They have created a repressive society and we are their unwitting accomplices ...their intention to rule rests with the annihilation of consciousness.
We have been lulled into a trance.
They have made us indifferent, to ourselves, to others; we are focused only on our own gain. They are safe as long as they are not discovered ...that is their primary method of survival.
Keep us asleep, keep us selfish, keep us sedated...they are dismantling the sleeping middle class.
More and more people are becoming poor. We are their cattle. We are being bred for slavery.”
– They Live
This photographic body of work is inspired by John Carpenter’s 1988 film, “They Live.” The movie was also credited by Shepard Fairey “as a major source of inspiration for his own subversive brand of street art.” They Live was the basis for his use of the word ‘OBEY’ that became his main campaign and a popular clothing brand consequently.
The protagonist of the movie, an unemployed drifter named "Nada," accidentally comes across a box of sunglasses. After putting a pair on, he realizes that they are quite special. He sees the world in black and white and discovers that it's not what it seems. The series of images I have created are like those unique sunglasses that Nada stumbled upon, aim to show the world to the viewer for what it truly is. I hope they will help people to take into consideration what they sacrifice by blindly following self-serving governments and corporations’ agendas.
Through this photographic project my intent is to encourage people to be more aware of the habitual ways of living that we have been thoughtlessly following for most of human history. It seems as though the human race would have learned by now to not put their trust in the hands of the misguiding ruling class. Unfortunately most of the humanity is still in the state of mindless consumerism and simply does not realize that their decisions, their entire lives are being manipulated.
They Live, We Sleep
Artist Statement
“We are living in an artificially induced state of consciousness that resembles sleep. The poor and the underclass are growing. Racial justice and human rights are nonexistent.
They influence our decisions without us knowing it. They numb our senses without us feeling it. They control our lives without us realizing it.
They have created a repressive society and we are their unwitting accomplices ...their intention to rule rests with the annihilation of consciousness.
We have been lulled into a trance.
They have made us indifferent, to ourselves, to others; we are focused only on our own gain. They are safe as long as they are not discovered ...that is their primary method of survival.
Keep us asleep, keep us selfish, keep us sedated...they are dismantling the sleeping middle class.
More and more people are becoming poor. We are their cattle. We are being bred for slavery.”
– They Live
This photographic body of work is inspired by John Carpenter’s 1988 film, “They Live.” The movie was also credited by Shepard Fairey “as a major source of inspiration for his own subversive brand of street art.” They Live was the basis for his use of the word ‘OBEY’ that became his main campaign and a popular clothing brand consequently.
The protagonist of the movie, an unemployed drifter named "Nada," accidentally comes across a box of sunglasses. After putting a pair on, he realizes that they are quite special. He sees the world in black and white and discovers that it's not what it seems. The series of images I have created are like those unique sunglasses that Nada stumbled upon, aim to show the world to the viewer for what it truly is. I hope they will help people to take into consideration what they sacrifice by blindly following self-serving governments and corporations’ agendas.
Through this photographic project my intent is to encourage people to be more aware of the habitual ways of living that we have been thoughtlessly following for most of human history. It seems as though the human race would have learned by now to not put their trust in the hands of the misguiding ruling class. Unfortunately most of the humanity is still in the state of mindless consumerism and simply does not realize that their decisions, their entire lives are being manipulated.
Stivan, a small settlement on Adriatic Sea island Cres in Kvarner bay, is an almost abandoned place. Incredibly stony ground, almost nonexistent arable soil, not close enough to the sea shore to be of interest for tourists, offers little to survive. Some old fig trees and olive trees and sheep, this is all one can rely on. But it is situated in a great landscape, in an open, rather flat (as the whole south part of the island) Mediterranean landscape, harsh, wind-swept and sunny, with mild spring and autumn climate and hot summers. Yet, 200 years ago men was capable not only to survive here but also to live full lives and to build large stony farmhouses like this one on my pictures. Now it is a ruin worth nothing, defeated by time and overtaken by Wulfen's Spurge (Euphorbia wulfeni).
Most predatory animals of the Americas, such as wolves, foxes and badgers, seldom attack skunks – presumably out of fear of being sprayed. The exception is the great horned owl – the animal's only serious predator – which, like most birds, has a poor-to-nonexistent sense of smell.
Source: en.wikipedia.org/wiki/Skunk
"The eyes of Doctor T. J. Eckleburg are blue and gigantic—their irises are one yard high. They look out of no face, but, instead, from a pair of enormous yellow spectacles which pass over a nonexistent nose. Evidently some wild wag of an oculist set them there to fatten his practice in the borough of Queens, and then sank down himself into eternal blindness, or forgot them and moved away. But his eyes, dimmed a little by many paintless days, under sun and rain, brood on over the solemn dumping ground." -F. Scott Fitzgerald
Harris Green, Victoria, British Columbia
There are certain things I really don't like about this. It could use some editing, but I do not have it in me. I am so ready for the weekend to be over.
That is not typical. I was going to say normal, but what the hell is that anyway? This photo is not normal, just as I am not normal. And thank God for that.
I have so many words and thoughts and feelings in my soul that I want to put here but feel self-conscious about who reads it. For those of you that continually look at my photos, whether you comment or not. That is who I think about when I write these stupid descriptions that don't mean anything to anyone except me. My sentences feel repetitive and I think about you reading it. And criticizing, which is ridiculous, because none of you have. I suppose I have to remind myself that if you are not interested in my utter sameness, you may simply skip over these monotonous ramblings.
Rarely do I speak like this. My empty utterances include things like y'all and notta gonna and ought not and lame. I am a disappointment. Continually I warn people. You. Them. What's the difference? And continually, there are good, honest, genuine people that see me and think, "She seems nice. I will try and get to know her." I am so thankful for them, truly. I cannot express what it means to me that these righteous people see something in me worth pursuing. Unfortunately, though, whatever they think they see in me is just a spark or in all actuality, nonexistent. Eventually, they come to terms with the fact that I will never be able to live up to their expectations, and I become a disappointment. Sadly though, they do not refer back to the beginning of our relationship, where I attempted to get it through to them that I am not worth pursuing. Instead, they become bored by me. Instead, they try to blame me. Instead, they think I lost whatever it was they saw.
When in reality, it was never there.
Though personalized art appeared during World War I, and occasionally grew to incorporate the entire aircraft, most pilots carried a saying or a slogan, or a family crest, or squadron symbol. Some were named, but nose art was not common. During World War II, nose art not only saw its true beginnings, but its heyday.
No one knows exactly who started nose art first--it appeared with both the British and the Germans around the first time, with RAF pilots painting Hitler being kicked or skulls and crossbones on their aircraft, while German nose art was usually a personal symbol, named for a girlfriend or adopting a mascot (such as Adolf Galland using Mickey Mouse, something Walt Disney likely didn't approve of). It would be with the Americans, and a lesser extent the Canadians, that nose art truly became common--and started including its most famous forms, which was usually half-naked or completely naked women. This was not always true, but it often was.
The quality of nose art depended on the squadron or wing artist. Some of it was rather crude, while others were equal to the finest pinup artists in the United States, such as Alberto Vargas. For men thousands of miles away from home and lonely, a curvaceous blonde on a B-17 or a P-51 made that loneliness a bit easier. Others thought naked women were a little crude, and just limited themselves to names, or depicted animals, cartoon characters, or patriotic emblems, or caricatures of the Axis dictators they were fighting.
Generally speaking, there was little censorship, with squadron and group commanders rarely intervening on names or pictures; the pilots themselves practiced self-censorship, with profanity almost unknown, and full-frontal nudity nearly nonexistent. After the loss of a B-17 named "Murder Inc.," which the Germans captured and used to make propaganda, the 8th Air Force, at least, set up a nose art committee that reviewed the nose art of aircraft--but even it rarely wielded its veto. For the most part, nose art was limited only by the crew's imagination and the artist's ability. The British tended to stay away from the lurid nudes of the Americans, though the Canadians adopted them as well. (The Axis also did not use nose art in this fashion, and neither did the Soviets, who usually confined themselves to patriotic slogans on their aircraft, such as "For Stalin!" or "In the Spirit of the Motherland!")
When World War II ended, so did nose art, for the most part. In the peacetime, postwar armed forces, the idea of having naked women were wives and children could see it was not something the postwar USAF or Navy wanted, and when it wasn't scrapped, it was painted over. A few units (especially those away from home and family) still allowed it, but it would take Korea to begin a renaissance of nose art.
Built as a B-29A bomber, 44-84076 joined the USAAF two days before the atomic bombing of Hiroshima. As a result, it missed World War II, and ended up back in storage. In 1947, it was returned to service with the new USAF, joining the 28th Bomb Group at Ellsworth AFB, South Dakota. As the B-29 force was replaced by the B-50, 44-84076 was converted to a TB-29B radar calibration aircraft in 1951, and was assigned to various squadrons and flights at Hamilton AFB, California. It was among the last USAF B-29s retired, leaving the service in 1959, and became the first aircraft donated to the Strategic Air Command Museum at Offutt AFB, Nebraska.
For many years at Offutt, it was painted as a Korean War-era B-29 with the name "Man O'War," but after the SAC Museum moved to Ashland, it was completely restored as a World War II-era B-29, "Lucky Lady," assigned to the 313th BG at Tinian. The nose art shows a Varga Girl style pinup wearing a tied-off shirt and cutoff shorts; this would be considered very modest for B-29s over Korea!
I had forgotten I had this nose art picture, but the other day I was cataloguing my photos, and ran across it. This actually turned out better than my full picture of "Lucky Lady," when I got it in 2020.
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Stewart
On Jan 29, 2013, at 11:20 AM, Jeffrey Warren
wrote:
iOS screenshot pls!!
On Tue, Jan 29, 2013 at 2:17 PM, Stewart Long
wrote:
> Very exciting updates. The archive page looks great in iOS. It is
> excellent to see the global map of maps as well!
>
>
> On Mon, Jan 28, 2013 at 8:38 PM, Jeffrey Warren > wrote:
>
>> Also, a revision to the archive front page:
>> alpha.publiclaboratory.org/archive
>>
>>
>> On Mon, Jan 28, 2013 at 10:16 PM, Jeffrey Warren > jeff@publiclaboratory.org> wrote:
>>
>>> I made the search look through note/wiki body, not just titles, and the
>>> search seems much more robust. I'd start using it instead of the regular
>>> site now!
>>>
>>> Also unlike before if you search for a term, or look for a tag, where
>>> that term or tag does not exist, it now tells you so nicely and suggests
>>> how you should search for it.
>>>
>>> Thirdly, it now prompts you to create a wiki page if you go to a page
>>> which doesn't exist yet. Although of course for now you cannot actually
>>> create one, it's a dummy page.
>>>
>>> I've been working a little on getting the actual login system working so
>>> we could start creating real content on the new site... ! But its going to
>>> be a busy month so it may go slowly. We'd probably start with tagging and
>>> commenting.
>>>
>>> Jeff
>>>
>>>
>> --
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Went to Target in Newport, New Jersey. It's a rarity (actually nonexistent)in NYC, so you have to go to either Queens or New Jersey.
Living far away has its advantages. It prevents you from a buying overload at Target since it would be heavy to lug back. Still had fun browsing though.
Meanwhile Scarlett and Duke have crept through the jungle and are closing in on their destination
Duke: We’re close now… That Cobra base must be dug into this hill; the entrance is on the other side.
Scarlett: That means we’re going to have to find a hidden door, tunnel or a ventilation shaft. Might be tricky…
Duke quickly realizes that the back entrance, which appears nonexistent, must be hidden, and if that is the case, they are likely in view of a security camera. He hurries Scarlett into a nearby crevasse on the hillside and the scrunch inside together. Scarlett wonders what they will do next
Duke: We wait until something happens. I’m sorry about the close confines, but we’ve got no other choice.
Scarlett: It’s ok, Duke. It kind of reminds me of old times.
Duke: Uh…
Scarlett: You know, you and me, out on a mission solo together, out in the field… It’s been a while… ever since I was assigned to Squad 1 I think.
Duke: Yeah, you’re probably right about that. Hard to believe so much time has passed.
Scarlett: I know… It is hard to believe, but here we are… you and me…
Duke: Yup…
They wait and the tension continues to grow
"Teddy and Abebual explained to us that one of the things Ethiopians do to celebrate new years, is to chew khat [chat] leaves. Me being the most clueless of the group, felt a responsibility to ask what the chewing khat leaves involved. As it turns out, chaat is a plant stimulant and people chew it's leaves in several countries around the world in a social tradition that predates coffee drinking. As a result, the trip to Kameese town was solely to pick up a bunch of khat branches and wild grasses (used for coffee ceremonies) for that evening's New Year's celebration.
Teddy and Abebual knew the exact place where they wanted to buy their khat. The van turned down a road that was practically nonexistent what with all the pot-holes and piles of dirt, and the three guys piled out. Yodit and I waited in the car, being gawked at by all the local children.
We were a bit relieved from this mayhem when the guys returned [with what looked like bushels of khat], and we took the van back to Abebual's and Teddy's house."
Read more about this day here.
Kameese, Ethiopia.
I don’t normally do patches, emblems, decals, etc., but this one was so cool & unique…and affordable, that I just had to get it. And it’s big,~7.5”! I assume once worn on the back of an employee’s work coveralls. I’m tempted to gently wash it, but don’t dare.
Not surprisingly, anything pertaining to it, like origins, history, or specifics regarding “Apollo Spaceborne Products” is pretty much nonexistent. Even information about Autonetics and its contributions to the Apollo Program are quite vague & generic. So, my date range is a total SWAG.
What little there is follows:
“Autonetics was a division of North American Aviation that designed and built guidance and navigation systems for the Apollo program, including the Apollo spacecraft. As a leader in precision electronics and instruments like gyroscopes, Autonetics' expertise was crucial for reliably guiding spacecraft on their complex lunar missions.”
Above per Google’s AI generated “Autonetics” query.
Additionally, from Boeing’s Autonetics Memorial “brochure/flyer”:
“…innovations provided the systems that the Apollo astronauts used to determine the exact position of the lunar module during rendezvous and docking.”
And:
“Autonetics also contributed to space exploration, including rendezvous and docking systems for Apollo…”
At/From:
bos.ocgov.com/legacy3/newsletters/pdf/Honoring_the_Legacy...
Credit: don’t really know who/what to cite
Additionally:
www.collectspace.com/ubb/Forum38/HTML/001197.html
Credit: collectSPACE website
And…the specific Autonetics contribution to Apollo referenced by Scott Schneeweis in the above citation:
www.spaceaholic.com/index.php/Detail/Object/Show/object_i...
Credit: Scott Schneeweis/Spaceaholic website
Photo by Oscar Leiva/Silverlight
Comasagua is located in southwestern El Salvador in the Balsamo coastal range between San Salvador and La Libertad departments. The Balsamo Range is a coffee producing area with 3,452 coffee farmers with 33,502 ha of coffee. These coffee-dominated watersheds on the south slopes of the Balsamo mountain range are the water sources and recharge areas for water sources for the towns and villages in the upper watershed plus numerous fast-growing tourist cities and towns in the coastal zone directly south of Comasagua, including the city of La Libertad. The high elevation coffee farms in Comasagua produce high quality coffee. Nevertheless, most farms have yields far below potential and investment continues to be limited. Coffee rust hit many of these farmers severely in 2012.
There has never been a significant water resource management program in this area; the water issues are serious and highly conflictive within these watersheds. Collaboration between municipalities, communities and coffee producers is considered weak to nonexistent.
Art collection
At first sight I was charmed and embraced this as sculpture, acquiring it with no knowledge but suspecting a good story lay in wait. Western interest in these mid-20th century Japanese incense burners (koro) is nonexistent, so I was up against both a backstory and language challenge…and the sorting out of two involved artists.
Saegusa Sōtarō (right) is one of the most famous Japanese metal artists of the 20th century and is credited with the original design of this koro. He is now collected by many museums, and many of his large-scale monumental works are installed in public spaces in many cities throughout Japan. (left)
Manyo Keisuke (sometimes translates to “Keikusaku”) is a Japanese metalwork artist credited with bringing this Sotaro design to life. He is celebrated for his refined bronze casting and distinctive surface treatments such as the “aokin-fun” finish, present here and highly regarded among art enthusiasts and collectors.
At some point in the 1950s/60s Manyo Keisuke brings to life the Saegusa Sotaro design of a Green Pheasant incense burner and names it “Zuiho”. (The Green Pheasant is Japan’s national bird and symbolic of good fortune, courage, and resilience)
The number of these Zuiho koros produced is unknown.
Length: 5.25” Width: 2.5” Height: 9”
Photo taken with a Leica IIIc, made in the year 1950
Lens: Leitz Elmar 833946 50mm. 3.5
colinhuggins.bandcamp.com/track/eric-satie-improvisation-...
NY Times, Dec. 4 2011
Colin Huggins was there with his baby grand, the one he wheels into Washington Square Park for his al fresco concerts. So were Tic and Tac, a street-performing duo, who held court in the fountain — dry for the winter. And Joe Mangrum was pouring his elaborate sand paintings on the ground near the Washington Arch.
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Hiroko Masuike/The New York Times
Kareem Barnes of Tic and Tac collected donations on Sunday.
Enlarge This Image
Hiroko Masuike/The New York Times
Joe Mangrum showed his sand paintings on Sunday.
In other words, it was a typical Sunday afternoon in the Greenwich Village park, where generations of visitors have mingled with musicians, artists, activists, poets and buskers.
Yet this fall, that urban harmony has grown dissonant as the city’s parks department has slapped summonses on the four men and other performers who put out hats or buckets, for vending in an unauthorized location — specifically, within 50 feet of a monument.
The department’s rule, one of many put in place a year ago, was intended to control commerce in the busiest parks. Under the city’s definition, vending covers not only those peddling photographs and ankle bracelets, but also performers who solicit donations.
The rule attracted little notice at first. But the enforcement in Washington Square Park in the past two months has generated summonses ranging from $250 to $1,000. And it has started a debate about the rights of parkgoers seeking refuge from the bustle of the streets versus those looking for entertainment.
At a news conference in the park on Sunday organized by NYC Park Advocates, the artists waved fistfuls of pink summonses while their advocates, including civil rights lawyers, called on the city to stop what they called harassment of the performers.
“This is a heavy-handed solution to a nonexistent problem,” said Ronald L. Kuby, one of the lawyers.
The rule is especially problematic in Washington Square Park, performers say, because there are few locations across its 10 acres that are beyond 50 feet from a memorial or fountain — whether the bust of Alexander Lyman Holley, who introduced the Bessemer steel process to this country, or the statue of the Italian liberator Giuseppe Garibaldi.
Then there is the park’s international reputation as a gathering place for folk music pioneers and the Beats.
“Washington Square is the live-music park of New York City, and it would be close to impossible for any one of us to follow these regulations,” said Mr. Huggins, who has received nine summonses with fines totaling $2,250.
But Adrian Benepe, the parks commissioner, argues that there is ample room for performers away from the monuments. And, he added, a musician who is not putting out a tin cup is welcome to sit on the edge of the fountain or under a monument.
“It’s the whole issue of the ‘tragedy of the commons,’ ” he said. “If you allow all the performers and all the vendors to do whatever they want to do, pretty soon there’s no park left for people who want to use them for quiet enjoyment. This is a way of having some control and not 18 hours of carnival-like atmosphere.”
Gary Behrens, an amateur photographer visiting from New Jersey, applauded the city’s efforts to rein in the performers. “I’m O.K. with the guitar, but the loud instruments have taken over the park,” he said.
The lawyers and advocates, however, challenged the idea that street performers were selling a product as a vendor does. And threatening a lawsuit, they faulted the city for creating what they called “First Amendment zones” through the rules.
“Is this place zany?” asked Norman Siegel, the former director of the New York Civil Liberties Union. “You bet. Public parks are quintessential public forums. Zaniness is something we should cherish and protect.”
Park visitation has soared along with the rise of tourism in the last 15 years, and with it vendors and artists interested in a lucrative market.
Mr. Benepe insisted that the rules would not scare off future music legends.
“If Bob Dylan wanted to come play there tomorrow, he could,” he said, “although he might have to move away from the fountain.”
Oddly, the dispute coincided with the 50th anniversary of the so-called Folk Riot in Washington Square Park, when the parks commissioner tried to squelch Sunday folk performances. Hundreds of musicians gathered in protest, the police were called in and a melee ensued.
In April, Mayor Michael R. Bloomberg wrote a letter commemorating the Folk Riot, saying he applauded “the folk performers who changed music, our city and our world beginning half a century ago.”
Unlike most of Trippy's meretricious* tales, for which evidence is at best tenuous and more often nonexistent, rare production stills recently discovered in the archives of late fantasy film historian Forrest J. (Forry) Ackerman appear to substantiate Trippy's claim to have worked with director Fritz Lang on Lang's epic silent era production of Die Nibelungen.
They Live, We Sleep
Artist Statement
“We are living in an artificially induced state of consciousness that resembles sleep. The poor and the underclass are growing. Racial justice and human rights are nonexistent.
They influence our decisions without us knowing it. They numb our senses without us feeling it. They control our lives without us realizing it.
They have created a repressive society and we are their unwitting accomplices ...their intention to rule rests with the annihilation of consciousness.
We have been lulled into a trance.
They have made us indifferent, to ourselves, to others; we are focused only on our own gain. They are safe as long as they are not discovered ...that is their primary method of survival.
Keep us asleep, keep us selfish, keep us sedated...they are dismantling the sleeping middle class.
More and more people are becoming poor. We are their cattle. We are being bred for slavery.”
– They Live
This photographic body of work is inspired by John Carpenter’s 1988 film, “They Live.” The movie was also credited by Shepard Fairey “as a major source of inspiration for his own subversive brand of street art.” They Live was the basis for his use of the word ‘OBEY’ that became his main campaign and a popular clothing brand consequently.
The protagonist of the movie, an unemployed drifter named "Nada," accidentally comes across a box of sunglasses. After putting a pair on, he realizes that they are quite special. He sees the world in black and white and discovers that it's not what it seems. The series of images I have created are like those unique sunglasses that Nada stumbled upon, aim to show the world to the viewer for what it truly is. I hope they will help people to take into consideration what they sacrifice by blindly following self-serving governments and corporations’ agendas.
Through this photographic project my intent is to encourage people to be more aware of the habitual ways of living that we have been thoughtlessly following for most of human history. It seems as though the human race would have learned by now to not put their trust in the hands of the misguiding ruling class. Unfortunately most of the humanity is still in the state of mindless consumerism and simply does not realize that their decisions, their entire lives are being manipulated.
They Live, We Sleep
Artist Statement
“We are living in an artificially induced state of consciousness that resembles sleep. The poor and the underclass are growing. Racial justice and human rights are nonexistent.
They influence our decisions without us knowing it. They numb our senses without us feeling it. They control our lives without us realizing it.
They have created a repressive society and we are their unwitting accomplices ...their intention to rule rests with the annihilation of consciousness.
We have been lulled into a trance.
They have made us indifferent, to ourselves, to others; we are focused only on our own gain. They are safe as long as they are not discovered ...that is their primary method of survival.
Keep us asleep, keep us selfish, keep us sedated...they are dismantling the sleeping middle class.
More and more people are becoming poor. We are their cattle. We are being bred for slavery.”
– They Live
This photographic body of work is inspired by John Carpenter’s 1988 film, “They Live.” The movie was also credited by Shepard Fairey “as a major source of inspiration for his own subversive brand of street art.” They Live was the basis for his use of the word ‘OBEY’ that became his main campaign and a popular clothing brand consequently.
The protagonist of the movie, an unemployed drifter named "Nada," accidentally comes across a box of sunglasses. After putting a pair on, he realizes that they are quite special. He sees the world in black and white and discovers that it's not what it seems. The series of images I have created are like those unique sunglasses that Nada stumbled upon, aim to show the world to the viewer for what it truly is. I hope they will help people to take into consideration what they sacrifice by blindly following self-serving governments and corporations’ agendas.
Through this photographic project my intent is to encourage people to be more aware of the habitual ways of living that we have been thoughtlessly following for most of human history. It seems as though the human race would have learned by now to not put their trust in the hands of the misguiding ruling class. Unfortunately most of the humanity is still in the state of mindless consumerism and simply does not realize that their decisions, their entire lives are being manipulated.
They Live, We Sleep
Artist Statement
“We are living in an artificially induced state of consciousness that resembles sleep. The poor and the underclass are growing. Racial justice and human rights are nonexistent.
They influence our decisions without us knowing it. They numb our senses without us feeling it. They control our lives without us realizing it.
They have created a repressive society and we are their unwitting accomplices ...their intention to rule rests with the annihilation of consciousness.
We have been lulled into a trance.
They have made us indifferent, to ourselves, to others; we are focused only on our own gain. They are safe as long as they are not discovered ...that is their primary method of survival.
Keep us asleep, keep us selfish, keep us sedated...they are dismantling the sleeping middle class.
More and more people are becoming poor. We are their cattle. We are being bred for slavery.”
– They Live
This photographic body of work is inspired by John Carpenter’s 1988 film, “They Live.” The movie was also credited by Shepard Fairey “as a major source of inspiration for his own subversive brand of street art.” They Live was the basis for his use of the word ‘OBEY’ that became his main campaign and a popular clothing brand consequently.
The protagonist of the movie, an unemployed drifter named "Nada," accidentally comes across a box of sunglasses. After putting a pair on, he realizes that they are quite special. He sees the world in black and white and discovers that it's not what it seems. The series of images I have created are like those unique sunglasses that Nada stumbled upon, aim to show the world to the viewer for what it truly is. I hope they will help people to take into consideration what they sacrifice by blindly following self-serving governments and corporations’ agendas.
Through this photographic project my intent is to encourage people to be more aware of the habitual ways of living that we have been thoughtlessly following for most of human history. It seems as though the human race would have learned by now to not put their trust in the hands of the misguiding ruling class. Unfortunately most of the humanity is still in the state of mindless consumerism and simply does not realize that their decisions, their entire lives are being manipulated.
The structure is similar in texture to the United States pavilion from Expo 67 in Montreal, but unlike that structure, Spaceship Earth is a complete sphere, supported on legs.
Geometrically, Spaceship Earth is a derivative of a pentakis dodecahedron, with each of the 60 isosceles triangle faces divided into 16 smaller equilateral triangles (with a bit of fudging to make it rounder). Each of those 960 flat panels is sub-divided into four triangles, each of which is divided into three isosceles triangles to form each point. In theory, there are 11,520 total isosceles triangles forming 3840 points. In reality, some of those triangles are partially or fully nonexistent due to supports and doors; there are actually only 11,324 silvered facets, with 954 partial or full flat triangular panels.
The appearance of being a monolithic sphere is an architectural goal that was achieved through a structural trick. Spaceship Earth's is in fact two structural domes. Six legs are supported on pile groups that are driven up to 160 feet into Central Florida's soft earth. Those legs support a steel box-shaped ring at the sphere's perimeter, at about 30 degrees south latitude in earth-terms.[6] The upper structural dome sits on this ring. A grid of trusses inside the ring supports the two helical structures of the ride and show system. Below the ring, a second dome is hung from the bottom, completing the spherical shape. The ring and trusses form a table-like structure which separates the upper dome from the lower. Supported by and about three feet off of the structural domes is a cladding sphere to which the shiny Alucobond panels and drainage system are mounted.
The cladding was designed so that when it rains, no water pours off the sides onto the ground. (All water is "absorbed" through one inch gaps in the facets and is collected in a gutter system - and finally channeled into the World Showcase Lagoon.)
Spaceship Earth
Future World
Walt Disney World EPCOT Orlando Fl.
A slightly early Independence Day (Fourth of July) fireworks show over Lake Monona in the heart of the Wisconsin capital.
* Fireworks pictures in a sense are double exposures, at least multiple exposures.
* My ISO was set at 100. Nothing higher is needed or even desirable.
* White balance set to auto because in raw capture it does not matter.
* The technique used (and it's an old one) was to hold the shutter open for 10, 20, or 30 seconds at a time.
* The aperture is adjusted in the opposite direction to keep the exposure uniform. In this case I found that 10 seconds at f/8 worked well. 30 seconds at f/16 captured more bursts, but if the action was very heavy then too many bursts made for a busy, messy picture. I had to keep changing the settings.
* The camera was in full manual mode (otherwise it would change the exposure and focus).
* Because the display was 2 miles away the camera only needed to be focused at infinity.
* Solidly mounted on a sturdy tripod and tripped with an electronic cable release to insure there is no camera movement.
* Vibration reduction turned off (otherwise the VR would "hunt" for nonexistent movement and smear the shot). I nearly forgot this but I made a couple of test exposures early on and realized immediately that they were smeared due to the VR.
* I also turned off the Long Exposure Noise Reduction when I realized that it was doubling the time for the picture to load, and I knew I could minimize any noise in Lightroom. As it turned out little noise reduction was necessary beyond the standard.
* I worked in live view and kept the auto review on for two seconds for each shot to insure that I was getting what I thought I was getting. It’s enormously reassuring!
* With the shutter open for longer periods, more individual bursts are recorded on each frame. You have to shoot a lot of frames and hope to luck out. There is no way to plan it. You open the shutter, the stuff goes up, at the end of the time the shutter closes and you've got what you've got. I think I made about 75 exposures to get 19 that were good. The rest were trashed.
* Despite some 75 extended exposures, live view, and constant instant reviews, the battery at the end of 45 minutes of fireworks still had 60% charge. Turning off the noise reduction undoubtedly helped, plus made the shoot more efficient; no waiting.
United Airlines
Boeing B747-400
Registration: N721UA (nonexistent)
Manufacturer: NewRay
Scale: 1:270
Length: 25cm / Wingspan: 23,5cm
They Live, We Sleep
Artist Statement
“We are living in an artificially induced state of consciousness that resembles sleep. The poor and the underclass are growing. Racial justice and human rights are nonexistent.
They influence our decisions without us knowing it. They numb our senses without us feeling it. They control our lives without us realizing it.
They have created a repressive society and we are their unwitting accomplices ...their intention to rule rests with the annihilation of consciousness.
We have been lulled into a trance.
They have made us indifferent, to ourselves, to others; we are focused only on our own gain. They are safe as long as they are not discovered ...that is their primary method of survival.
Keep us asleep, keep us selfish, keep us sedated...they are dismantling the sleeping middle class.
More and more people are becoming poor. We are their cattle. We are being bred for slavery.”
– They Live
This photographic body of work is inspired by John Carpenter’s 1988 film, “They Live.” The movie was also credited by Shepard Fairey “as a major source of inspiration for his own subversive brand of street art.” They Live was the basis for his use of the word ‘OBEY’ that became his main campaign and a popular clothing brand consequently.
The protagonist of the movie, an unemployed drifter named "Nada," accidentally comes across a box of sunglasses. After putting a pair on, he realizes that they are quite special. He sees the world in black and white and discovers that it's not what it seems. The series of images I have created are like those unique sunglasses that Nada stumbled upon, aim to show the world to the viewer for what it truly is. I hope they will help people to take into consideration what they sacrifice by blindly following self-serving governments and corporations’ agendas.
Through this photographic project my intent is to encourage people to be more aware of the habitual ways of living that we have been thoughtlessly following for most of human history. It seems as though the human race would have learned by now to not put their trust in the hands of the misguiding ruling class. Unfortunately most of the humanity is still in the state of mindless consumerism and simply does not realize that their decisions, their entire lives are being manipulated.
Vikos Gorge, Greece
To get to this beautiful view over the Vikos Gorge we had to trek over a bascically nonexistent path through a strange and remote landscape. To top it off as we neared the lookout a storm hit so we only had time to snap a few pictures and then had to run back. Given that it had been a 15min walk you can imagine how drenched we were we got to the car. And then the drive back on the wet road which had 7 hairpin turns in a row, with no barriers or lights. Yay.
This shot is a HDR merged from 5 exposures in Photomatix.
1/80s,1/400s,1/200s,1/50s, 1/25s @ f/11, ISO 200.
Shot:
NIKON D300
18-200 mm f/3.5-5.6
My name is Rohan from the 7th grade in the Meadowbrook School of Weston. An interesting fact about me is that I have lived in New York, New Jersey and Massachusetts. I took a photo of a black boy and white boy separated. I focused on racism in my photo. It is half black and white and half color. The color part represents the past where the difference between blacks and whites was very clear. Racism was very common. The black and white part of the image represents the present. In contrast to the past, the difference between the two people is more subdued, yet it is still visible. This reflects the current situation with racism. While it has decreased, racism is still visible in the United States. Current events like the shooting of Michael Brown along with many others reflect this. We need to make racism nonexistent in the world, where no differences can be seen between blacks, whites and other races.
A closer look at these wonderfully iridescent ants. This species is green and purple in colour (with a black gaster), but some are even blue! Like other Calomyrmex, this one is densely covered in setae.
Two undescribed species (JDM 190 and JDM 751) are known to occur in the Pilbara region along with C. glauerti, but I am unsure which one this is. Pubescence on the gaster is seemingly nonexistent.
Mendon Ponds Park is owned and very poorly maintained by the County of Monroe, NY.
Unfortunately, this extraordinary property is rapidly deteriorating due to an egregious lack of care. Trails are not cleared of debris... signs are useless. Park maintenance is essentially nonexistent. They do have a marketing department. Seriously, the taxpayers are paying the salaries of a county parks marketing department.
Email Mendon Ponds Park complaints to: countyexecutive@monroecounty.gov
Barn is located in Mendon Ponds Park, at the intersection of Clover St and Pond Rd, Mendon, NY... next to the Nature Center. Monroe County Sheriff Mounted Division was started in 1938.
Mendon Ponds Park is owned and very poorly maintained by the County of Monroe, NY.
Unfortunately, this extraordinary property is rapidly deteriorating due to an egregious lack of care. Trails are not cleared of debris... signs are useless. Park maintenance is essentially nonexistent. They do have a marketing department. Seriously, the taxpayers are paying the salaries of a county parks marketing department.
Email Mendon Ponds Park complaints to: countyexecutive@monroecounty.gov
[image: image.png]
[image: image.png]
[image: image.png]
[image: image.png]
Stewart
On Jan 29, 2013, at 11:20 AM, Jeffrey Warren
wrote:
iOS screenshot pls!!
On Tue, Jan 29, 2013 at 2:17 PM, Stewart Long
wrote:
> Very exciting updates. The archive page looks great in iOS. It is
> excellent to see the global map of maps as well!
>
>
> On Mon, Jan 28, 2013 at 8:38 PM, Jeffrey Warren > wrote:
>
>> Also, a revision to the archive front page:
>> alpha.publiclaboratory.org/archive
>>
>>
>> On Mon, Jan 28, 2013 at 10:16 PM, Jeffrey Warren > jeff@publiclaboratory.org> wrote:
>>
>>> I made the search look through note/wiki body, not just titles, and the
>>> search seems much more robust. I'd start using it instead of the regular
>>> site now!
>>>
>>> Also unlike before if you search for a term, or look for a tag, where
>>> that term or tag does not exist, it now tells you so nicely and suggests
>>> how you should search for it.
>>>
>>> Thirdly, it now prompts you to create a wiki page if you go to a page
>>> which doesn't exist yet. Although of course for now you cannot actually
>>> create one, it's a dummy page.
>>>
>>> I've been working a little on getting the actual login system working so
>>> we could start creating real content on the new site... ! But its going to
>>> be a busy month so it may go slowly. We'd probably start with tagging and
>>> commenting.
>>>
>>> Jeff
>>>
>>>
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The prophet Ezekiel described in great detail a future temple yet to be built in Jerusalem (Ezekiel 40). One thing that puzzles people is how that temple could possibly be built on the Temple Mount as long as the Dome of the Rock and the al Aqsa mosque exists. That, however, is a story for another time – and, by the way, with God nothing is impossible.
For nearly 2,000 years an even greater obstacle to the existence of a third temple has puzzled men. Where are you going to get the priests who are to minister in the temple? A temple with no priests is like a Corvette with no gas. Nice to look at, but not functional. Ezekiel specifically states that that high priest must come from “the sons of Zadok.” Try looking them up in the phone book. And who in the world is Zadok?
In case your Bible memorization has not included genealogies, you’ll probably need some help with that. Zadok was the first direct descendent of Aaron to minister as the high priest in the First Temple that was completed by Solomon. Aaron’s family name was HaKohan (or HaCohen); hence Aaron’s descendents are Kohanim, the plural for Kohan. When God established the priesthood, it was declared in Exodus 29 & 40 that the priesthood would be a “statute forever” and that it would be “an everlasting priesthood throughout their (the Kohanim) generations.” That takes us back to the problem – where are the Kohanim? Do they even exist?
Yes, in fact, they do exist. But up until the last few decades, there was no way to find them and prove that they are truly Kohanim. There was no way our progenitors could do what can be done now and, therefore, the task appeared impossible. But we know about DNA.
Here is the truly amazing thing. “It now has been demonstrated that the priestly order of Cohanim has a common genetic marker that it characteristic of only 10% of the general Jewish population and nonexistent in Gentiles.” Dr. Patrick Young said that “While this is not direct confirmation that the Cohanim specifically descended from Aaron, it does demonstrate a separation and preservation of this priestly group that has persisted over 3,000 years! It is fascinating that the Bible predicted the existence of this priestly line . . . today because of God’s everlasting covenant with His people.”
Quoting Dr. Young, “The DNA data . . . demonstrates that the Cohen genetic line thrives today and is equipped to fulfill the priestly needs of any future temple.” Which should remind us that “faith is the evidence of things not seen” (Hebrews 11:1). Before the beginning of creation, God knew exactly, not only how to create the Kohanim genetically, but He has been tracking them for 3,000 years! He has allowed scientists now to come to the knowledge of how to identify them only far enough in advance of the time they would be needed for preparation for temple worship in Jerusalem. Now ask yourself this question: “If God had already figured out how to do this, is the Dome of the Rock and the al Aqsa mosque a problem for Him?” I think not!
We have the honor and privilege of coming into the very presence of God to pray. We can pray believing, even when we don’t see the answer. That is what faith is all about. Think about Jerusalem, surrounded by enemies and terror; wanting to possess the Temple Mount, but unable to; waiting to rebuild the temple, but prevented from doing so. But, if we believe God, then we know that He keeps His promises. He will do it. The Kohanim are ready. Pray for the peace of Jerusalem (Psalm 122:6)
For more on this story, visit: Jerusalem Prayer Team Articles Page.
LIKE and SHARE this story to encourage others to pray for peace in Jerusalem, and leave your own PRAYERS and COMMENTS below.
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Day 110
*Day 109 does not exist
11/11
I got in trouble last night blahblahblah and I had no computer for the night, therefore day 109 is nonexistent.
Hey, don't write yourself off yet. It's only in your head you feel left out or looked down on. Just try your best, try everything you can and don't worry what they tell themselves when you're away. It just takes some time, little girl, you're in the middle of the ride. Everything, everything will be just fine, everything, everything will be alright. Hey, you know they're all the same. You know you're doing better on your own, so don't buy in. Live right now, yeah just be yourself. It doesn't matter if it's good enough for someone else. The Middle-Jimmy Eat World
We had a really interesting discussion today during Current Events about discrimination and everything just because we're from West Orange and that's "the ghetto" and there are black people and gay people here. Honestly, I've learned so much from living here. I've learned to accept someone for who they are, black, white, yellow, or whatever. It doesn't matter, we're all equal.
So I just thought a song about someone feeling left out/looked down on really fit.
Anyway, sup Kell?!
I had a pretty good day, minus the fact that my doggie is in the Animal Hospital :(
Hopefully he'll be okay.
Anyway, this week has been eventful.
Friday- My Arcadia and Socratic show at Caldwell College, if my mom lets me go. I don't see why not.
Saturday- Theodore Grimm, Those Mockingbirds, Tourmaline, and Ultra Violent Lights show at the Meatlocker in Montclair, definitely.
WOOOOOO.
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Iso Isetta Turismo
Iso Isetta Turismo
The Isetta was one of the most successful microcars produced in the post-WWII years—a time when cheap, short-distance transportation was most needed. Although the design originated in Italy, it was built in a number of different countries, including Spain, Belgium, France, Brazil, Germany and Britain. Because of its egg shape and bubble-like windows, it became known as a bubble car—a name later given to other similar vehicles. Other countries had other nicknames: In Germany it was das rollende Ei (the rolling egg) or the Sargwagen (meaning something like "coffin car"; the name apparently came from the small (or rather nonexistent) distance between the passengers and oncoming traffic). In France it was the yogurt pot. In Brazil it was the bola de futebol de fenemê (soccer ball of FNM [a truck]), and in Chile it is still called the "huevito" (little egg).
They Live, We Sleep
Artist Statement
“We are living in an artificially induced state of consciousness that resembles sleep. The poor and the underclass are growing. Racial justice and human rights are nonexistent.
They influence our decisions without us knowing it. They numb our senses without us feeling it. They control our lives without us realizing it.
They have created a repressive society and we are their unwitting accomplices ...their intention to rule rests with the annihilation of consciousness.
We have been lulled into a trance.
They have made us indifferent, to ourselves, to others; we are focused only on our own gain. They are safe as long as they are not discovered ...that is their primary method of survival.
Keep us asleep, keep us selfish, keep us sedated...they are dismantling the sleeping middle class.
More and more people are becoming poor. We are their cattle. We are being bred for slavery.”
– They Live
This photographic body of work is inspired by John Carpenter’s 1988 film, “They Live.” The movie was also credited by Shepard Fairey “as a major source of inspiration for his own subversive brand of street art.” They Live was the basis for his use of the word ‘OBEY’ that became his main campaign and a popular clothing brand consequently.
The protagonist of the movie, an unemployed drifter named "Nada," accidentally comes across a box of sunglasses. After putting a pair on, he realizes that they are quite special. He sees the world in black and white and discovers that it's not what it seems. The series of images I have created are like those unique sunglasses that Nada stumbled upon, aim to show the world to the viewer for what it truly is. I hope they will help people to take into consideration what they sacrifice by blindly following self-serving governments and corporations’ agendas.
Through this photographic project my intent is to encourage people to be more aware of the habitual ways of living that we have been thoughtlessly following for most of human history. It seems as though the human race would have learned by now to not put their trust in the hands of the misguiding ruling class. Unfortunately most of the humanity is still in the state of mindless consumerism and simply does not realize that their decisions, their entire lives are being manipulated.
Ponderosa Canyon is so named because of the huge Ponderosa Pines on the canyon floor.
In the slick rock sandstone of the White Cliffs the soil is thin or nonexistent and plants cannot easily take hold. The lack of plants causes this region to endure intense erosion with each rainstorm forming deep canyons, rounded domes and pointed nipples.
Where the roots of trees and plants can get established they help stabilize the soil and rock underneath. This is evident in the Grey Cliffs, the sequence of rock that lies above the White Cliffs. The Grey Cliffs are made of rock that consists of a combination of sand, shale, and clay. This combination produces better soils allowing dense vegetation, which better protects the rock underneath by absorbing some of the rainfall and preventing flash floods.