View allAll Photos Tagged orchestration
Annual celebration of all things pig orchestrated by Chef Jeremiah Bullfrog of the gastroPod on November 15, 2015.
twitter: @frodnesor
instagram: @frodnesor
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.
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.
Jenna Seidel, Chief, Data Orchestration Services, National Security Agency, speaks to the crowd gathered in Club Meade during Thursday's Women's Equality Day Observance.
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.
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.
Graphic from 3/27/18. Commnetary below is from Feb. 22, 2019.
"Ten things I like and don't like, including the Warriors' genius
Andre Iguodala, still a genius
Iguodala is one of the greatest fast-break orchestrators in league history, and perhaps my favorite to watch. When he snares a rebound and begins Golden State's assault up the floor, he bounces -- literally -- with the impatience of a savant who sees an opportunity invisible even to his smartest teammates:
You can see his brain working.
If you're half-watching, it's easy to miss Iguodala's subtle genius. Just before midcourt, Iguodala motions for Curry, running the right wing, to slide up toward him. He turns his body that way, feigning a pass. But it's a ploy. Iguodala knows Curry's cut will draw Chasson Randle -- Washington's last line of defense -- up toward the 3-point arc, and reveal a layup for Alfonzo McKinnie.
After McKinnie scores, Iguodala does not acknowledge him. He points back at Curry, recognizing the cut.
Iguodala in full flight downloads the other nine guys on the floor almost in layers -- as ocean waves cascading around him. He has an uncanny sense for when a wave is about to crash over him, and whom it will leave open in its wake.
Lowe: Khris Middleton is a rare kind of second star
He's an All-Star now, but the Bucks will need an even better version of Middleton to reach their peak with Giannis.
Lowe: Who's on notice after this NBA trade deadline
Zach Lowe breaks down the teams and players on notice after a whirlwind trade deadline.
"He's as smart as any player I've ever been around," Steve Kerr tells ESPN.com. Iguodala looks rejuvenated (two clutch free throws missed last night against the Kings notwithstanding!). He's shooting 37 percent from deep, and can lock fools down when it matters.
As ever, the Warriors don't become the Warriors -- a blur you hear and feel as much as see -- until Iguodala ambles off the bench. After a slow start, the Death Lineup is plus-60 in just 137 minutes together -- equivalent to a mammoth plus-16.5 points per 100 possessions."
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13.3.14 .
India 2014: Rise Up Against Corrupt Communal Corporate Gameplan! .
With the 2014 Lok Sabha at the doorstep, the carefully orchestrated campaign for past few years to project Narendra Modi as the next Prime Minister of the count~y has crossed all limits. PR managers and media blitzkneg are trying to paint Modi, who presided over a horrific communal genocide in 2002, as the messiah .
of ·good governance' and 'economic growth,' now far removed from any communal politics. We are being told: Forget 2002, Forget the rapes, murders and fake encounters, Forget the state machinery's role in 2002, and Parade Modi model of 'growth', 'development' and 'good governance.' .
But Modi himself has brazenly affirmed time and again that contempt, hatred, and violence towards the minorities and denigration ofthe oppressed sections isembedded in his imagery, his metaphors, and his politics. His own speeches make it very clear that Modi's communal plank isn't a thing of the past-it's very much his recipe for power in the present and near future. We have already seen him refer to the victims of the Gujarat genocide as 'puppies crushed under a car,' and his jeering reference to the 'burqa' of secularism (rather than the word 'purdah' which is used by Hindus and Muslims alike)! .
Here is a sample of the calculated communal colour ofModi's RECENT speeches: At Khandwa in November 2013 he said, ·La/ Bahadur Shastri used to talk of 'green revolution' but the UPA Government is encouraging 'pink revolution' by promoting meat exports. They are giving subsidy to set up slaughterhouses ... cows and other animals are getting slaughtered ... Export cotton and pay tax. export mutton and get subsidy." This is directly in line with the Sangh's communal propaganda against 'cow slaughter,' demonising the minority communities by associating them with .
'slaughtering cows and other animals.' Farmers' groups demand subsidies for their products without pitting this against subsidies .
for meat producers, but Modi gives farmers' demands a communal twist .
At Agra in November 2013, he accused the UPA Government of "neglecting and doing injustice to 75 percent of the people and .
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playing games for 25 percent of the people." .
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And his latest call at an Assam rally (22 Feb) of accommodating Hindu migrants from Bangladesh in India while distinguishing .
those who are brought for 'vote bank'! .
The Modi Government has refused to abide by the Gujarat High Court verdict of February 2013 to implement minority .
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scholarships in Gujarat. In its affidavit, the Gujarat Government has attacked the Sachar Committee, saying "The Sachar Committee .
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is neither constitutional nor statutory. ... The Committee's target was to help the Muslims only." .
The style of Modi's campaign for the 'Statue of Unity' (the statue of Sardar Patel) is another exampJe of his fascist political .
imagination. He asked people to JOin the campa1gn for 'one resolution, one goal, one direction, one voice and one determination'. .
In deed for Modi, it is not "unity in diversity" but "unity in uniform1tyfi! Modi made it very clear what this 'oneness' was all about: .
India has been a witness to such disciplined joint participation on religious occasions and joint celebrations of an entire .
neighbourhood when India wins a cricket match, he sa1d. His slogan of 'one emotion, one nation, one culture, one resolution, .
one goal, one smile' smacks of a regimented and guided 'democracy', where any dissent or difference, and any protection for .
minorities will be viewed as 'anti national' and ruthlessly crushed. .
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The recent Muzaffarnagar riots showed how the Sangh brigade in UP, under the leadership of Modi's right-hand man Amit .
Shah, carefully engmeered a communal hate campaign and carnage to reap votes through communal polarisation. It was typical .
ModJtva bred m RSS schoolm action UP. The patriarchal inst1tut1ons of Khap were mobilised and vicious rumour campaign was .
engineered in the name of combating "love jihad" leading to the killing of scores of Muslims and displacements of several .
thousands .
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Clearly, BJP's model of imagining India is based on an ideology w hich is against our secular democratic constitution and divisive. Modt himself has claimed that he is a 'Hindu-Nationalist' What about the rights of the minorities if the country is constituted on the 1dea of 'Hmdu nationalism?' Can the struggle of the dallts and women against the history of oppression legitimised m practice and scriptures of 'sanatana dharma', be a part of this nationhood? One example of the perverted vision of "Hindu Nationalism" is Modi's own statement about the Dalits who are forced to perform manual scavenging, contained in pages 48-49 of Karmayog, a collection of Narendra Modi's speeches to lAS officials at vanous points, published by the Gujarat govt in 2007· "I do not believe that they have been doing this JOb just to sustain their livelihood. Had this been so. they would not have continued with this type ofJOb generation after genera/Jon . At some point of time, somebody must have got the enlightenment that it is their (Va/mikis') duty to work for the happiness of the entire society and the Gods; that they have to do this job bestowed upon them by Gods; and that this job ofcleaning up should continue as an internal spiritualactivity for centuries. Th1s should have continued generat1on after generat1on. It IS 1mposs1ble to believe that thelf ancestors did not have the choice of adoptmg any other work or busmess." (http 1/blogsJimesofindia.mdiatimes com/true-lies/entry/modi-s-splritual-potion-to-woo-karmayogis) After the embarrassing exposure, Modi withdrew all the copies of the book, but he did not change his ideas. In 2009, addressmg 9,000-odd safa1 karmachans. (sanitation workers) he likened the safai karmachans' job of cleaning up others d1rt' to that of a temple priest. He told them, "A priest cleans a temple every day before prayers, you also clean the city like a temple. You and the temple priest work alike"! 11 And in 2013 Gujarat budget, allocated a sum of Rs 22.5 lakhs for giving trainmg in Karmkand (rituals} to Safa1 Kamdars 1 .
This is the RSS model of "samajik samrasta" and clear an attempt to reverse the pioneering role of Babasaheb Dr. B.R. Am bedkar against untouchability and the formulation ofIndian constitution. If anything has to be termed anti-nattonal, then that is nothing but BJP's. perverted notion of nationalism and reversal of struggle against casteism, communalism and gender-violence .
Modi's contempt for the facts of history -no doubt a result of his saffronised education in the Sangh -has been amply demonstrated many times, wtfh h1m even gettmg Mohandas Karamchand Gandhi's name wrong and confusing freedom fighter Shyamaji Krishna Varma w11h Jan Sangh founder Shyama Prasad Mookherjee. .
P.T.O. .
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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.
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/.
In this photo: Vanda Otero, Graça Reis, Carlos Eduardo Santos, Josehr Santos.
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 + 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.
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.
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/
www.goldstar.com/purchases/11665042/attendance#attendance...
"Ennio Morricone", "Composer", "Musician", "orchestrator", "conductor"," trumpet player",acrylic on canvas, by Fin Collins, part of The Film Icons Collection www.filmiconsgallery.com
Annual celebration of all things pig orchestrated by Chef Jeremiah Bullfrog of the gastroPod on November 15, 2015.
twitter: @frodnesor
instagram: @frodnesor
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.
A.R.R.G.H. (Artists for Research, Reconnaissance and General Hijinks) orchestrating a pirate radio broadcast of the Bumpkin Island Gamelan performance.
42° 16' 52.00" N 70° 53' 15.4" W (Stephanie Cardon and Courtney Lockemer). A.R.R.G.H. (Artists for Research, Reconnaissance and General Hijinks) engaged in five days of sculptural and performative piracy on Bumpkin Island. By blurring the line between originator and artist, the pirate-provocateurs explored the benefits of protecting one's creations versus making open-source artwork.
Bumpkin Island Art Encampment 2009 The 2009 Bumpkin Island Art Encampment took place from July 30 to August 3, 2009. For five days, eight artist groups took temporary ownership of plots of land on Bumpkin Island. As "homesteaders," they built a kind of home on the land, lived on the land for five days, and improved the land through site-specific, temporary performance or installation art.
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.
The Apache gunship demostrates its fire power to the crowds at Cosford air show, with a well orchestrated pyrotechnic display.
AV Festival 06 and The Sage Gateshead presented a new specially commissioned concert by one of the world’s finest composers, Michael Nyman. A prolific composer, it is through film that Nyman’s work has reached its largest audience. He is famous for the score to Jane Campion’s The Piano, and his collaborations on the films of Peter Greenaway. In 1997 Nyman composed the music for Andrew Niccol’s film Gattaca, an experience that deepened Nyman’s personal interest in bioscience and eugenics. Nyman has also worked with these concepts in other scores, culminating in the creation of an opera, Facing Goya, which takes as its premise the cloning of the great Spanish artist from genetic data in his skull.
For AV Festival 06, Nyman created a major new concert with the Northern Sinfonia and guests: David Lockington, Conductor; Hilary Summers, Contralto; and Sarah Leonard, Soprano. The concert explored the way that biotechnology and cloning are changing our visions of life and art, and drew on Nyman’s scores of both Gattaca and Facing Goya, as well as his score for Jean Vigo’s 1930 short film A Propos de Nice.
The concert also marked Nyman’s first foray into visual art, with his own images of human life transformed into video by the group, YEAST. The event included an exclusive pre-concert on-stage interview with Michael Nyman by bio-ethicist Dr Tom Shakespeare.
Spc. Morgan Yankee, a cadet at Marquette University, readies water for members of the Army All American Band during a practice at the Alamo Dome Jan. 7 San Antonio, Texas. Soldier mentors from the Army Band along with Soldier mentors who have performed in past bowls gave advice and aided the students throughout the week leading up to the bowl performance.The top high school band and color guard members around the U.S. traveled to San Antonio, Texas to practice for the Army All American Bowl half time performance, where their skills will be showcased on Saturday, Jan. 9, 2016, and will be broadcast live nationally on NBC at 1 p.m. Eastern.
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.
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.
More than 120 participants from 76 countries and 30 nationalities mix at IMD's executive program Orchestrating Winning Performance in Singapore.
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.
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/
www.goldstar.com/purchases/11665042/attendance#attendance...
Annual celebration of all things pig orchestrated by Chef Jeremiah Bullfrog of the gastroPod on November 15, 2015.
twitter: @frodnesor
instagram: @frodnesor
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.
Winter light at the Old Sydney Customs House courtyard max's the 3D effect of the wrought iron railings.
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.