View allAll Photos Tagged orchestration
MuCEM Marseille, France - 2013
Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a demuseumifying breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
Exquise Design | Design for pleasure
From idea to finished product our job is to orchestrate eclectic art professionals to bring you pleasurable experiences out of the ordinary. At the crossing of craftsmanship, new technologies and fresh ideas, our goal is to collectively strive for positive changes in human attitudes.
12, rue du Château Landon
75010 Paris, France
+33 (0) 140 360 718
Practical information :
Vernissage (invitation only)
wednesday october 20, 2010
Exhibition october 22
until november 19, 2010
Opening hours
wednesday to sunday
10am to 7pm
Slott Gallery
12 rue du Château Landon
75010 Paris
Métro : Château Landon
Tel : +33 (0) 140 360 718
Press:
- Slott Gallery | PAILLE & KLEIN GLOW | Exhibition scribd.com/doc/36614688
- slideshare.net/exquisedesign/press-slott-5088187
Paola Bjaringer
paola(@)exquisedesign.com
Love,
Exquise crew
Slott | Exquise design
12 rue du Château Landon 75010 Paris
M° Château Landon-Gare de lʼEst-Louis Blanc
flickr.com/photos/exquisedesign
Slott | Exquise map's @ xm.my/Gs2a
- Qype maps : qype.fr/people/Slott
- Yelp Paris : yelp.fr/biz/galerie-slott-paris
This show was a fine-tuned orchestrated explosion where two cars flew into the air as flames broke out and we heard a loud crash. / Ebben a megrendezett jelenetben egy hangos robbanást követően hatalmas lángok csaptak fel és két személyautó a magasba repült - mindez teljesen kontrolláltan és úgy, hogy semmi sem sérült meg...
Guided tour in the Universal Studios. We took the tour before anything else - this was the most memorable part of our day in Hollywood, LA, CA, during our long Southwestern roadtrip in the summer of 2008. We picked this studio among the several that were offering tours or rides (theme parks), and we certainly did not regret it.
2008 nyarán nagy délnyugati autós kirándulásunk során két napot töltöttünk Los Angelesben, ebből gyakorlatilag egy teljes nap elment a Universal Studios-ban, Hollywoodban. Több stúdió és vidámpark közül ezt választottuk az útikönyv és más információk alapján, és nem bántuk meg, egész nap remekül szórakoztunk. Ezeket a képeket a vezetett, nyitott buszos túra alatt készítettem.
Organised by: Melissa Love Design. www.melissalove.co.uk
Orchestrated Stylised Shoots. www.http://orchestrated.bitofivoryphotography.com
Venue. Wiston House. www.wistonhouse.co.uk
Styling, food & flowers. The Tea Set. www.the-tea-set.co.uk
Dresses. White Mischief. www.whitemischiefbridal.co.uk
Tailoring. Gresham Blake. www.greshamblake.com
Makeup. Natalie Clark of NC Bridal Beauty. www.ncbridalbeauty.com
Hair Accessories. Cherished Vintage Bridal Accessories. www.cherishedvintage.co.uk
Hair styling. Caroline Kearney. www.mobilehairandbeauty.co.uk
Stationery. The Girl Taylor. www.thegirltyler.com
Children’s vintage clothing. Dinky Vintage. www.dinkyvintage.com
Children’s clothing. Bonnie Baby. www.bonniebaby.co.uk
This was taken with my camera by my mother. I orchestrated the whole thing. For some reason I felt that we each needed to be holding a stuffed animal. Maybe I thought we would be cuter that way. This is in the front hall of our apartment. Besides me, there are my sister (holding teddy bear), and upstairs neighbors, Susie Tennenbaum (holding kitty) and Jimmy Clous (holding terrier). I have a hedgehog.
Transwestern's Houston office orchestrated a series of events benefitting the Texas Children's Hospital this fall. For the first event, volunteers painted two benches to be donated to the hospital. The design options were posted in common areas for voting, and the two winning designs were painted.
Woodland creatures orchestrate a celebration with the local snowman who seems to be in good holiday cheer. Watercolor, 7" x 10". Christopher Cudworth.
DARRYL MAXIMILIAN ROBINSON appeared on a Windy City Theatre stage for the first time in 17 years when he assumed the marvelous dual roles of MR. WILLIAM CARTWRIGHT, THE CHAIRMAN OF THE MUSIC HALL ROYALE and The Honorable MAYOR THOMAS SAPSEA in skilled Director ROBERT-ERIC WEST'S exciting new 2018 SAINT SEBASTIAN PLAYERS OF CHICAGO revival of amazing Composer / Lyricist, Book Author / Orchestrator RUPERT HOLMES' multiple TONY AWARD-WINNING SOLVE-IT-YOURSELF MUSICAL WHODUNIT "THE MYSTERY OF EDWIN DROOD" ( based on the final and unfinished novel by 19th-century English literary master CHARLES DICKENS ) which was presented Oct. 26th through Nov. 18th of 2018 in the lovely and intimate Black Box Theatre of ST. BONAVENTURE CHURCH, 1625 West Diversey, Chicago, IL. 60614. Of his work in the show, the theatre critic of the Nov. 10, 2018 review of ART GETS OUT wrote: "But the real ringer is Darryl Maximilian Robinson, as the Chairman of The Music Hall Royale. It's a huge part that demands not just talent, but also charm during his frequent interactions with the audience in a show that looks for a joke at every turn and has no respect for the fourth wall". In addition to being critically-praised, Darryl Maximilian Robinson's performance in the dual roles of Mr. William Cartwright, Your Chairman of The Music Hall Royale, and The Mayor Thomas Sapsea of Cloisterham, England has been documented by Wikipedia, and in November of 2019: The Year of Chicago Theatre, he has captured a 2019 CHICAGO BROADWAYWORLD.COM REGIONAL THEATRE AWARD NOMINATION for BEST PERFORMER IN A MUSICAL OR REVUE ( RESIDENT NON-EQUITY ) for his work in Rupert Holmes' musical masterpiece! In addition, THE 2018 SAINT SEBASTIAN PLAYERS OF CHICAGO REVIVAL OF RUPERT HOLMES' "THE MYSTERY OF EDWIN DROOD" HAS RECEIVED A GRAND TOTAL OF SEVEN 2019 CHICAGO BROADWAYWORLD.COM REGIONAL THEATRE AWARD NOMINATIONS Including Best Performer In A Musical or Revue ( Resident Non-Equity ) for SARAH MYERS for her fine portrayal of the dual roles of Edwin Drood and Miss Alice Nutting; Best Direction of A Musical or Revue ( Resident Non-Equity ) for ROBERT-ERIC WEST for his sterling staging; Best Choreography ( Resident Non-Equity ) for TAMARA DREW for her highly effective dances; Best Costume Design ( Resident Non-Equity ) for SANDRA LEANDER for her grand stage attire; Best Set Design ( Resident Non-Equity ) for EMIL ZBELLA for his handsome period decor; and BEST ENSEMBLE OF A MUSICAL ( RESIDENT NON-EQUITY ) FOR THE ENTIRE CAST! Those in The Theatre who love musical theatre performance in The Windy City that would like to honor and support Mr. Robinson and his fellow nominees for their work in Rupert Holmes' brilliant but seldom performed musical classic may CAST THEIR VOTES FOR "DROOD" BY VISITING: www.broadwayworld.com/chicago/liveupdateregion.cfm?btype=... or www.broadwayworld.com/chicago/voteregion.cfm . Your Support of The Tradition of Non-Equity Professional Theatre In Chicago Would Be Greatly Appreciated!
patch.com/illinois/chicago/calendar/event/20191231/713099...
artgetsout.com/tag/the-mystery-of-edwin-drood/
news.wttw.com/2018/11/07/10-things-do-weekend-nov-8-11
www.picturethispost.com/saint-sebatian-players-the-myster...
wcturckshelterskelter.wordpress.com/2018/10/25/you-solve-...
Transwestern's Houston office orchestrated a series of events benefitting the Texas Children's Hospital this fall. For the first event, volunteers painted two benches to be donated to the hospital. The design options were posted in common areas for voting, and the two winning designs were painted.
MuCEM Marseille, France - 2013
Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a demuseumifying breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
MuCEM + Fort Saint-Jean, Marseille, France - 2013 -Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a free breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
"Streams in the Veins" orchestrates a 15-minute piano ensemble merging a human pianist with plants. Through diverse piano sources, sound transmission initiates a symbiotic cycle of communicative improvisation between humans and plants in this unique performance.
Photo: Ars Electronica / Martin Hieslmair
The orchestration of color and texture is masterfully captured in Raju C Reddy's "Citrus Symphony," featuring variegated calamondin fruits with a singular leaf. The composition harmonizes the natural vibrancy of the fruits with the subtle grace of the foliage, creating an enriching visual melody.
Back in June 2009, we orchestrated a video production for our client, Macadamia, explaining their product and how to use it. Now that their brand is fully launched, you can see the video in its entirety, as well as the branding and packaging we've done for them, on their website.
These are a few behind the scenes shots from the shoot.
Organised by: Melissa Love Design. www.melissalove.co.uk
Orchestrated Stylised Shoots. www.http://orchestrated.bitofivoryphotography.com
Venue. Wiston House. www.wistonhouse.co.uk
Styling, food & flowers. The Tea Set. www.the-tea-set.co.uk
Dresses. White Mischief. www.whitemischiefbridal.co.uk
Tailoring. Gresham Blake. www.greshamblake.com
Makeup. Natalie Clark of NC Bridal Beauty. www.ncbridalbeauty.com
Hair Accessories. Cherished Vintage Bridal Accessories. www.cherishedvintage.co.uk
Hair styling. Caroline Kearney. www.mobilehairandbeauty.co.uk
Stationery. The Girl Taylor. www.thegirltyler.com
Children’s vintage clothing. Dinky Vintage. www.dinkyvintage.com
Children’s clothing. Bonnie Baby. www.bonniebaby.co.uk
MuCEM Marseille, France - 2013
Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a demuseumifying breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
MuCEM Marseille, France - 2013
Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a demuseumifying breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
Venusta Symphony
A Venusta Orchard Spider orchestrates a venusta web. (Venusta in Latin means beautiful)
Copley was the genius of colonial portraiture, and this marital pair ranks among his finest achievements. He orchestrated these portraits to be read as one work of art by linking them through harmonious colors and poses. He depicts Boston merchant Isaac Smith at work, seated at a desk with attributes associated with masculinity and wealth. Mrs. Smith, seated in a Chippendale chair, holds a rare species of grapes, an allusion to her husband, who was a wine importer. A woman holding grapes was also a traditional artistic device used to suggest fertility. Mr. Smith may have commissioned these portraits at this time because Elizabeth, at the age of forty-three, was expecting a child. Death in childbirth occurred with some frequency, with the danger increasing with the mother's age. Happily, some months after the portrait was completed, Mrs. Smith was safely delivered of a daughter.
MuCEM Marseille, France - 2013
Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a demuseumifying breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
William Henry Bennett Vodery
born 8 Oct 1884 in Philadelphia
Composer, conductor, orchestrator and arranger.
Vodery was the Band Leader of the 807th Pioneer Infantry in WWI. He later worked extensively with Flo Ziegfeld on his Broadway shows in the 1920s. He created the vocal and choral arrangements for the original production of Showboat (1927). He also orchestrated the music for George Gershwin's one-act opera, Blue Monday.
GIF by Moi ~ Taken at the Coven. maps.secondlife.com/secondlife/Wicked%20Grace/141/101/1993 ~ Background Music: Personal Jesus Credit: Marilyn Manson
(which was ironically playing in the background at that moment...I swear this was NOT orchestrated!! haha) ❤
Photos from the opening performance of the DCPA Theatre Company's reimagining of "Sweeney Todd," with new orchestrations by DeVotchka. This gallery includes photos from backstage before the show as cast and crew prepared, as well as the "fight call" pre-show rehearsal and the Opening Night party in the Seawell Ballroom. Photos by Adams Visual Communications for the DCPA NewsCenter. Visit us at www.MyDenverCenter.Org
MuCEM Marseille, France - 2013
Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a demuseumifying breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
Cancellara also orchestrated an unofficial cancellation of the race by again using the authority of the yellow jersey (along with his own reputation) to bring the entire peloton across the finish line without a sprint. In other words, Chavanel finished with a time of 4h 40' 48" -- and more than 100 other riders finished 03' 56" behind him, with no time difference among them.
DARRYL MAXIMILIAN ROBINSON appeared on a Windy City Theatre stage for the first time in 17 years when he assumed the marvelous dual roles of MR. WILLIAM CARTWRIGHT, THE CHAIRMAN OF THE MUSIC HALL ROYALE and The Honorable MAYOR THOMAS SAPSEA in skilled Director ROBERT-ERIC WEST'S exciting new 2018 SAINT SEBASTIAN PLAYERS OF CHICAGO revival of amazing Composer / Lyricist, Book Author / Orchestrator RUPERT HOLMES' multiple TONY AWARD-WINNING SOLVE-IT-YOURSELF MUSICAL WHODUNIT "THE MYSTERY OF EDWIN DROOD" ( based on the final and unfinished novel by 19th-century English literary master CHARLES DICKENS ) which was presented Oct. 26th through Nov. 18th of 2018 in the lovely and intimate Black Box Theatre of ST. BONAVENTURE CHURCH, 1625 West Diversey, Chicago, IL. 60614. Of his work in the show, the theatre critic of the Nov. 10, 2018 review of ART GETS OUT wrote: "But the real ringer is Darryl Maximilian Robinson, as the Chairman of The Music Hall Royale. It's a huge part that demands not just talent, but also charm during his frequent interactions with the audience in a show that looks for a joke at every turn and has no respect for the fourth wall". In addition to being critically-praised, Darryl Maximilian Robinson's performance in the dual roles of Mr. William Cartwright, Your Chairman of The Music Hall Royale, and The Mayor Thomas Sapsea of Cloisterham, England has been documented by Wikipedia, and in November of 2019: The Year of Chicago Theatre, he has captured a 2019 CHICAGO BROADWAYWORLD.COM REGIONAL THEATRE AWARD NOMINATION for BEST PERFORMER IN A MUSICAL OR REVUE ( RESIDENT NON-EQUITY ) for his work in Rupert Holmes' musical masterpiece! In addition, THE 2018 SAINT SEBASTIAN PLAYERS OF CHICAGO REVIVAL OF RUPERT HOLMES' "THE MYSTERY OF EDWIN DROOD" HAS RECEIVED A GRAND TOTAL OF SEVEN 2019 CHICAGO BROADWAYWORLD.COM REGIONAL THEATRE AWARD NOMINATIONS Including Best Performer In A Musical or Revue ( Resident Non-Equity ) for SARAH MYERS for her fine portrayal of the dual roles of Edwin Drood and Miss Alice Nutting; Best Direction of A Musical or Revue ( Resident Non-Equity ) for ROBERT-ERIC WEST for his sterling staging; Best Choreography ( Resident Non-Equity ) for TAMARA DREW for her highly effective dances; Best Costume Design ( Resident Non-Equity ) for SANDRA LEANDER for her grand stage attire; Best Set Design ( Resident Non-Equity ) for EMIL ZBELLA for his handsome period decor; and BEST ENSEMBLE OF A MUSICAL ( RESIDENT NON-EQUITY ) FOR THE ENTIRE CAST! Those in The Theatre who love musical theatre performance in The Windy City that would like to honor and support Mr. Robinson and his fellow nominees for their work in Rupert Holmes' brilliant but seldom performed musical classic may CAST THEIR VOTES FOR "DROOD" BY VISITING: www.broadwayworld.com/chicago/liveupdateregion.cfm?btype=... or www.broadwayworld.com/chicago/voteregion.cfm . Your Support of The Tradition of Non-Equity Professional Theatre In Chicago Would Be Greatly Appreciated!
"But the real ringer is Darryl Maximilian Robinson, as the Chairman of the Music Hall Royale. It's a huge part that demands not just talent, but also charm during his frequent interactions with the audience in a show that looks for a joke at every turn and has no respect for the fourth wall." -- Art Gets Out, Theatre Review of The Mystery of Edwin Drood - St. Sebastian Players Nov. 9, 2018. Posted Nov. 10, 2018.
patch.com/illinois/chicago/calendar/event/20191231/713099...
artgetsout.com/tag/the-mystery-of-edwin-drood/
www.goldstar.com/purchases/11665042/attendance#attendance...
news.wttw.com/2018/11/07/10-things-do-weekend-nov-8-11
www.picturethispost.com/saint-sebatian-players-the-myster...
wcturckshelterskelter.wordpress.com/2018/10/25/you-solve-...
The Misericordia Sexual Assault Response Team (SART) orchestrated a flash mob on campus on Wednesday, May 1, with the help of the cheerleading team and numerous dance groups, to bring awareness to the resources that are available on campus and in the local community for victims of sexual assault.
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.
31st October 2017 at Barbican, London EC2.
Country: Brazil. Style: MPB / Afro-Brazilian Music / Opera.
Lineup: Gilberto Gil (v/g), Aldo Brizzi (conductor/orchestrations), Nova Ópera de Lisboa, Núcleo de Ópera da Bahia, Cortejo Afro, bass guitar player.
This concert saw Gilberto Gil collaborating with the bloco Cortejo Afro to present the music styles of Bahia and with Aldo Brizzi and others to perform excerpts from two Operas. These were Scott Joplin's "Treemonisha" (completed in 1910 but first performed in 1972 long after his death) and Brazzi and Gil's "Negro Amor" (previews of a work still to be completed based on Rogério Duarte's Portuguese translation of Jayadeva's "Gita Govinda" written in the 12th century). I photographed Gil with Caetano Veloso at the same venue last year, see: www.flickr.com/photos/kmlivemusic/albums/72157667940088396/.
More information: gilbertogil.com.br/, www.facebook.com/gilbertogiloficial/, www.aldobrizzi.net/, www.facebook.com/Nova-%C3%93pera-de-Lisboa-772377349476877/. nopbahia.wixsite.com/nop-ba, www.cortejoafro.com.br/.
MuCEM Marseille, France - 2013
Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a demuseumifying breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
Transwestern's Houston office orchestrated a series of events benefitting the Texas Children's Hospital this fall. For the first event, volunteers painted two benches to be donated to the hospital. The design options were posted in common areas for voting, and the two winning designs were painted.
MuCEM Marseille, France - 2013
Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a demuseumifying breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
MuCEM Marseille, France - 2013
Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a demuseumifying breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
MuCEM Marseille, France - 2013
Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a demuseumifying breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
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ALL INDIA STUDENTS ASSOCIATION .
Rizwan Kaiser, Jamia Millia lslamia 05/12101 to speak on" Is Communalism Becoming the Common-Sense?"Followed byFILM SCREENING of Father, Son and Holy War by Anand Patwardhan 5.12.2001 .
9.30 P.M. .
Ganga Mess .
1947-199.2 and Since:How Was the Communal Mind Manufactured ?On 6th Dec.. 1992. the Sangh Parivar orchestrated the demolition of the Sabri Masjid. The date for this calculatedblow to ~ndian de~ocra~~ was well-chos~n .: em ~ec. is the death anniversary of Dr. Ambedkar, the maker of the.
Constitution and rad1cal VISionary of an egahtanan lnd1a. The saffron drive to demolish Dr. Ambedkars vision has continued.
-by preventing students from knowing about Brahminical or gender oppression, the RSS-BJP hopes to create ideal citizens.
for its Brahminical, communal and anti-woman Hindu Rashtra..
.But how di~. th.e ~SS ma~e its journey.fr~m a ban!led organisation. discredited for Gandhi's murder, to being able.
to demolish the MasJid tn 92 and nde to power m 98? Wh1ch common slogans and which forces apart from the RSS itself.helped to make communal ideas acceptable in society and politics?.
·communal common-sense": Let us take a look at these ingredients of theAnti-Communism : The ban on RSS was lifted in 1949 after Golwalkar, in a letter, persuaded Nehru and Patel.
that youth were ~eing ~ttr~c~ed to communis~. and there~ore ·yo~ with .govt. power and we (RSS) with organized culturalforce mus~ combm~ to el1mmate the menace of commun1sm. Th1s anti-communist unity paved the way tor the Congress'.
soft pedalling on Hndutva. As a result the 'Ram Lalla' was secretly installed in the Sabri Masjid in 1949 and the Congress.
took no action-and the seeds of demolition were sown. .
1 'Threat to Unity and Integrity'.
.
': After the China war, Nehru invited the RSS to participate in the 1963 Republic.
)ay Parade with its own banners -legitimizing it as a 'nationalist' force. lnfact. since the 70s, the Indian state dumped all.
pretence of anti-imperialist nationalism. equating nationalism instead with anti-Pak jingoism and blaming the 'lSI' for allIndia's ills. And the CPI-CPI(M) always danced to the same tune, crying that India's 'unity and integrity' were threatened, beit in N.East or Kashmir. This provided exactly the fodder which RSS needed to legitimize its anti-Muslim hate campaign..
'.
Hindutva in danger': Even in t~e 70s, the Congress had begun to play a communal card-and there well severalpoints of unity between the RSS and Congress. Following the Bangaladesh ar, Vajpayee hailed Indira Gandhi as 'Dev1.
Durga'. The Panchajanya hailed Sanjay Gandhi's entry into politics in its 21 st Dec.. 1975 issue. Later, it was the RSS whichwas the key component of Sanjay.
's goon brigade which forced sterilization on Muslims during emergency. And RSS chiefDeoras wrote several letters to Indira from jail, praising her for the emergency, and begging her to lift the ban on RSS!.
In the 80s. the Congress intensified its game of competing with BJP for the communal card. When VHP organized a Hindu Ekatmata Yagya against mass conversions in 1981, PM Indira attended as Chief Guest and cried 'Hindutva is in.
danger'..
slogan of Ram Rajya'!.
.
'Later, her son Rajiv also played the same card, flagging off his 1989 election campaign from Faizabad with a'India is secular because Hindus are tolerant' : When Sonia Gandhi made this statement a few years back, the.
BJP warmly welcomed it because. after all, this implies that India belongs to the Hindu majority who have decided to be.
secular and 'tolerate' others in their country. Even the CPI-CP(M) fall into the trap of looking for a 'tolerant Hjndutva' in.
figures like Vivekananda, rather than insisting that Indian secularism must rest on the state's separation from religion andcommitment to democracy, rather than the benign 'tolerance' and magnanimity of one community..
The 'Terrorism' Bogey : The opposition and the CPI-CP(M) may pretend to oppose the BJP on POTO. But all.
these parties compete with it to whip up the 'terrorist threat' and have introduced POTO-clones In their states on similarpleas, and theW. Bengal goJt. has even topped the fist of SIMI-related arrests. So the idea that a hard state and draconiancrackdowns are required to tackle the threat of Muslims/SIMI/1Sl/Terrorists gains legitimacy and eventually strengthens the.
ideological ground for the BJP..
~ 'No option to liberalization' : The BJP'.
.
s shameful surrender to imperialist economic policy cannot be effectively.
/ hallenged by its opponents. because there is an overarching surrender to the same policies by virtually all parties. However.
can Congress. RJD, or even CPI(M) ever really call the bluff of BJP's pro-imperialism, when their own state governments.
find various excuses to surrender to imperialism themselves!.
PolltJcal legitimacy : The Jan Sangh's first significant step towards electoral legitimacy was in 1967, when thesocialists, CPI overtly and CPI(M) covertly forged alliances with it to form governments in several states including UP and.
Bihar. Basically, the CPI-CPI(M) never took a principled stance against the RSS and its fronts. Guided by electoral.
opportunism rather than by principles, they forged anti-Congress unity with RSS-fronts before, and now they forge anti-BJP.
alliances with Congress! The 1977 Janta govt. with RSS-Jan Sangh as its integral part received support of CP(M). Thiswas a major leap in credibility for the RSS. In 1989 elections, VP Singh's National Front supported by both CPI-CP(M) and.
BJP helped the BJP to make a quantum leap from 2 to 80 seats in the Lok Sabha' The anti-BJP UF of 1996, much toutedby the CPI-CP(M) finally paved the way for the BJP, with most of its constituents crossing over to the BJP fold, and ending.
the so-called untouchability of the BJP..
There could be several more examples. But the basic story is clear: Various powerful political formations routinely.
used communal strategies and whipped up anti-democratic sentiments. As a result, they infected the Indian psyche with.
communal and anti-democratic ideas..
translated it into electoral victories. The RSS emerged as the natural champion ofthis communal common-sense, and.
Friends, the task therefore is to challenge the communal common-sense by relentless battle against every anti-.
democratic measure ofthe Indian State and every inch of obscurantism, casteism and communalism in society..
Against Communalism, for Democracy, Join a March from Mandl House to Parliament Street Tomorrow.Assemble at Ganga Bus Stop at 9.30 A.M..
Sdl-.
lnteshar Sd/-Vice President, AISA, JNU MahendraJt. Secy., AISA, JNU .
.