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Specific date: 12/21/1934
Pencil, red pouche, red & black ink on tissue; elevations, floor plan, plot plan. LN: 32.625 X HT: 22.25
Narcissus Garden, a site specific installation of one of Yayoi Kusama's most famous works, was installed in the Native Plant Garden at the New York Botanic Garden. It consists of 1,400 mirrored stainless steel balls floating and rearranging themselves in the water. Kusama first performed the Narcissus Garden in 1966 at the 33rd Venice Biennale, where she laid 1500 plastic mirrored orbs on the ground, selling them for $2 apiece to passersby. Named after a myth by Ovid named Echo and Narcissus, Kusama's intention was for everyone to see their own reflection in the orb, and in turn, fall in love with it. In subsequent exhibitions, Kusama had the orbs made from steel instead of plastic and in some installations, set them in bodies of water where they could shift with the course of the wind and current.
KUSAMA: Cosmic Nature, on display from April through October 2021 following a Covid-related postponement, showcases contemporary Japanese artist Yayoi Kusama's lifelong fascination with the natural world beginning with her childhood spent in the greenhouses and fields of her family’s seed nursery.
The New York Botanical Garden, spanning some 250 acres of Bronx Park, was founded in 1891 on part of the grounds of the Belmont Estate, formerly owned by the tobacco magnate Pierre Lorillard, after a fund-raising campaign led by Columbia University botanist Nathaniel Lord Britton, who was inspired to emulate the Royal Botanic Gardens in London.
Anselm Kiefer
I Sette Palazzi Celesti
L’installazione site-specific I Sette Palazzi Celesti, realizzata per HangarBicocca in occasione della sua prima apertura nel 2004, deve il suo nome ai Palazzi descritti nell’antico trattato ebraico Sefer Hechalot – il “Libro dei Palazzi/Santuari” risalente al IV-V sec. d.C. – dove si narra il simbolico cammino d’iniziazione spirituale di colui che vuole arrivare al cospetto di Dio.
L’opera rappresenta il punto d’arrivo dell’intero lavoro dell’artista e sintetizza i suoi temi principali proiettandoli in una nuova dimensione fuori dal tempo: essi contengono infatti in sé l’interpretazione di un’antica religione (quella ebraica); la rappresentazione delle macerie dell’Occidente dopo la Seconda Guerra Mondiale; la proiezione in un futuro possibile da cui l’artista ci invita a guardare le rovine del nostro presente.
Le sette torri, del peso di 90 tonnellate ciascuna, hanno altezze variabili tra i 14 e i 18 metri e sono realizzate in cemento armato utilizzando come elementi costruttivi moduli angolari ottenuti dai container utilizzati per il trasporto delle merci. Il loro antecedente è il progetto de La Ribotte a Barjac nel sud della Francia, residenza dell’artista tra il 1993 e il 2007, composto di edifici, cunicoli e gallerie che si snodano su una vasta superficie nella campagna francese.
Anselm Kiefer
The Seven Heavenly Palaces
The site-specific The Seven Heavenly Palaces installation, created for HangarBicocca in 2004, is one of the most important works by the German artist Anselm Kiefer. It takes its name from the palaces described in an ancient Hebrew tract, the Sefer Hechalot or "Book of Palaces", which describes the symbolic path of spiritual initiation of those who wish to enter into the presence of God.
The work represents the culmination of Kiefer's entire artistic career, summing up his main themes and projecting them into a new, timeless dimension. This can be seen in the way it interprets an ancient religion (Judaism) and represents the ruins of the West after the Second World War. It also shows us a projection into a possible future, from which the artist invites us to look back at the ruins of our own present.
The seven towers, which weigh 90 tonnes each and vary in height between 14 and 18 metres – are made of reinforced concrete, using the corner units from goods containers as construction modules. Their forerunner is the La Ribotte project in Barjac, in the South of France, where the artist lived from 1993 to 2007. This consists of buildings, passageways and tunnels that wind their way across a vast area of the French countryside.
I don't have any specific information about the large road transport fleet operated by South African Railways Road Transport Services; but it certainly operated some very interesting vehicles, including many large and rugged types for long-distance operation over unmade roads. This fictional ECW-bodied Albion could perhaps have been a one-off demonstrator (13-May-10).
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-Let There be Light –
42 Nights, over 28 Light Based Installations in 25 Locations throuhout Downtown Long Beach
Self Guided walking tour map and Cell Phone Audio Tour Guide available throughout Downtown and will be downloadable at
www.DowntownLongBeachArtWalk.com
Every Night is Art Walk Night this Holiday Season in Downtown Long Beach.
December 1 – January 10, 2010
Pedestrian Viewing 5pm - 1 am Nightly
Some exhibits are 24/7 Some Exhibits can only be viewed at night.
Pedestrian viewing Art Walk and Audio Tour throughout Downtown Long Beach.
Reception: December 19 5pm-9pm
"Let There Be Light"
Curated by Liza Simone
Richard Ankrom, Kent Anderson Butler, Laddie John Dill, Nancy Braver, Enrique Chiu, Susan Chorpenning, McLean Fahnestock, Candice Gawne, Richard Godfrey, Parichard Holm, Beth King, Helen Lessick, Karen Lofgren, Justin Lui, Joella March, Eric Medine, Uudam Nguyen, Rebecca Niederlander, Christina Pierson, Astra Price, Jeremy J Quinn, Deanne Sabeck, Ben Shaffer, Klutch Stanaway, David Svenson, Kazumi Svenson, Philip Vaughan, Meeson Pae Yang.
Experimental Video Project space at the Pike. Produced by Video Earth. VideoEarth.com
Call for projects. Equipment provided.
Phantom Galleries L.A. brightens up this holiday season by enlivening the streets of Downtown Long Beach with 28 light-based art exhibitions that illuminate 23-plus vacant storefront windows along Downtown Long Beach’s Pine Avenue, East 3rd Street, The Promenade and The Pike at Rainbow Harbor.
Each exhibition and site-specific installation is accompanied by a Guide by Cell Audio Tour, allowing viewers to listen to an illuminating description of the art on view.
Trifold map and of the exhibition sites are available at various Downtown Long Beach restaurants, vendors, hotels, as well as at exhibition locales. Maps may also be downloaded from PhantomGalleriesLA.com. The exhibitions are on view 24/7, yet it is recommended 5 pm- 1am order to see all the works turned on and at its best and brightest.
Deeane Sabeck, Beth King, Candice Gawne curated by Liza Mitchell. To make an appointment contact:
Parichard Holm curated by Ten Terrell.
Laddie John Dill, Candice Gawne, David and Kazumi Svenson recommended by the Museum of Neon Art.
New Site Specific work by Nancy Braver, Laddie John Dill, McLean Fahenstock, Helen Lessick, Christina Pierson, Ben Schaffer, Philip Vaughn, Meeson Pae Yang
Highlights (more info TBA)
Returning Phantom Galleries L.A. artist Richard Godfrey’s site-specific TwentyFourSeven installation is an exciting integration of light, space, and motion. His piece, TwentyFourSeven, is in constant rotation and infuses the storefront in a vibrant hue. (on view thru March 1, 2010)
Susan Chorpenning will present Fiat Lux IV, her most ambitious installment of her series Fiat Lux (“Let There Be Light,”), three in the series presented through Phantom Galleries L.A. The dazzling new work expands 11 ft x 35 ft, and will invigorate the space with the joyous commingling of numerous brightly-colored twinkle lights, lava lamps, collored bulb and light based works, both wall-bound and strung.
Known for his iconic neon sculpture set atop the Hayward Gallery in London, Philip Vaughn will present the West Coast debut of “Color Chart 1” featuring a colorful cascade of neon tubes.
Nancy Braver will display an enchanting mobile-like piece comprised of die-cut luminous butterflies, made of mirror that float, swirl, and cast a warm glow.
Laddie John Dill, a Los Angeles native, who was born in Long Beach creates a new site speicifc work utilizing silica sand mix and neon. (more info tba)
Seven days a week, from dusk till dawn, Long Beach locals and visitors, holiday shoppers, and art-minded and art-curious alike can embark on a self-guided Art Walk and Audio Tour of Let There be Light. At each storefront, viewers can connect via cell phone with a personalized message from the exhibiting artist or curator through the Guide by Cell Audio Tour, presented in partnership with The Long Beach Redevelopment Agency.
Trifold map and of the exhibition sites are available at various Downtown Long Beach restaurants, vendors, hotels, as well as at various exhibition locales. Maps may also be downloaded from PhantomGalleriesLA.com. The exhibitions are on view 24/7, yet it is recomended 5 pm- 1am order to see all the works turned on and at its best and brightest.
Partners "The Long Beach Redevelopment Agency is proud to partner with Phantom Galleries LA, not only to revive empty storefronts along our major corridors, but also to showcase the arts and build a sense of community and culture in our Downtown," said Craig Beck, Executive Director of the Long Beach Redevelopment Agency. LongBeachRDA.org
www.DowntownLongBeachArtWalk.com
Richard Ankrom
Kent Anderson Butler
Nancy Braver
Susan Chorpenning
www.phantomgalleriesla.com/gallery0168.htm
www.phantomgalleriesla.com/gallery0047.htm
SusanChor.com
Laddie John Dill
LaddieJohnDill.com
Refferred to by Kim Koga of the Museum of Neon Art
Enrique Chiu
enriquechiu.webs.com/
McLean Fahnestock
Richard Godfrey
Candice Gawne curated by Liza Mitchell
Parichard Holm
ParichardHolm.com
Helen Lessick
Karen Lofgren
Justin Lui
Joella March
Eric Medine
EricMedine.com
Rebecca Niederlander
UuDam Nguyen
Christina Pierson
ChristinaPierson.com
Astra Price
dwapproductions.com
Jeremy J Quinn
Deanne Sabeck
www.deannesabeck.com/index.htm
Ben Shaffer
Foreverever.com
KlutchStanaway.com
SolowayJonesGallery.com
Kazumi Kobayashi Svenson
David Svenson
Recommended by Kim Koga of The Neon Art Museum
Philip Vaughan
www.philipvaughan.net/sculpture.html
Meeson Pae Yang
Experimental Video Project Space
Various Artists TBA
Made Possible by VideoEarth.com
F8X- specific wheels required for brake clearance: www.apexraceparts.com/store/wheels/arc-8-wheels/18x10-et2...
Front: 18x9.5" ET22 with 275/35-18 Nitto NT01
Rear: 18x11" ET44 with 305/35-18 Nitto NT01
Factory M4 Competition Package Alignment Specs
Lowered on Macht Schnell Competition Springs w/ Factory EDC
Owner:
A Ride on the Rheingold, 12 March 1980
My March 1980 Eurailpass trip did not have too many specific objectives. I pretty much made up my itinerary as I went along, thinking "this might be a good idea" and doing it.
There were a few things I'd wanted to do and among them were rides on Germany's Rheingold and Le Mistral in France. Both were TEEs in 1980, 1st class only. The TEE network was not as extensivfe by 1980 as it had been a few years earlier with some TEEs having been replaced by or reclassified as Intercity trains with 2nd class as well as 1st class cars. In fact, Germany's Intercity fleet ran every hour with a diner and first class cars that came from the same pool as TEEs would use.
I'd read about the Rheingold in various publications since the 1960s. At one time, it had featured a dome car, but that was gone by 1980. It was one of the few European trains with a lounge car as well as a diner.
I''d wound up in Switzerland after starting my travels in Spain and probably decided to use the Rheingold to leave Switzerland when I got there. At the time, the Rheingold was a Geneva-Amsterdam train with through cars from Milan and Chur. The Milan car ran on the Tiziano, a Milan-Hamburg train classed an IC in Germany, and is what I rode as the Tiziano swapped directions and power in Luzern after crossing the Gotthard line.
The Rheingold trip was my first time in Germany after having been interested in Germany railways since the late 1960s when I got Marklin model trains, and I was very impressed by the 200 km/h running in placed behind a Class 103 electric as well as the overall eifficiency and level of service of the DB. I had gotten used to that level of service, if not quite the speed in several days in Switzerland, but the DB really made a strong positive impression. The Rheingold was one fo the few trains where I ate in the dining car...despite having a 1st class railpass, this was definitely a budget trip and I usually got food at grocery stores or cheap restaurants, as diners are expensive.
While waiting at Luzern for the Tiziano, the Metropolitano came through southbound. This was a Frankfurt-Milan IC train with FS 2nd class cars, DB 1st class and, in Switzerland, a Swiss diner and baggage car that looked quite a bit older than the sleek Italian and German coaches.
The trip on the Rheingold had a bit of comedy at the Dutch border...Dutch customs searched my bags. I had been on the road for close to 2 weeks since leaving my friends in Belgium and had gone through just about all of my clothes, underwear and socks in that time. I was planning to find a laundromat in Amsterdam as I'd have all day in the Netherlands, so the customs officer got a nosefull of my dirty laundry as he searched for contraband. I was thinking, "You don't smuggle drugs INTO the Netherlands, you buy them in Amsterdam and take them elsewhere!" I had nothing illegal with me, just a lot of film, cameras and dirty laundry.
The Rheingold stuck aroundd for a few more years at the TEE network turned into IC and EuroCity trains. I saw it in 1984, by which time, its cars had an extra stripe to distinguish them from the normal DB IC 1st class and dining cars.
I just checked and today there is no through Geneva-Amsterdam service. Taking a combination of TGV, and Thalys via Paris with a change of stations takes about 2 1/2 hours less time than the 1980 Rheingold did. From Basel, once again, the trip is faster, but entails several changes of trains, including one ICE and Thalys route with changes at Koln and Brussels. TGVs and ICEs do not lend themselves to having cars switched in and out.
Welcome fellow Paddington Bear spotter! My photostream features all 50 Paddingtons. If you would like to shortcut to a specific one, please use the links below
No. 1: Love, Paddington X (Lulu Guinness) |
No. 2: Texting Paddington (Westminster Academy) | No. 3: The Mayor of Paddington (Paddington Waterside and Costain) | No. 4: Bearing Up (Taylor Wimpey) | No. 5: Brick Bear (Robin Partington & Partners) | No. 6: Futuristic Robot Bear (Jonathan Ross) | No. 7: Paddington (Michael Bond) | No. 8: Paddingtonscape (Hannah Warren) | No. 9: The Journey of Marmalade (Hugh Bonneville) | No. 10: Paws Engage (Canterbury of New Zealand) | No. 11: Flutterby (Emma Watson) | No. 12: W2 1RH (Marc Quinn) | No. 13: Paws (Sally Hawkins) |
No. 14: Goldiebear (Kate Moss) | No. 15: Sparkles (Frankie Bridge) | No. 16: Bear Humbug (Ant and Dec) | No. 17: The Spirit of Paddington (Rolls-Royce Motor Cars) | No. 18: Thread Bear (Matthew Williamson) | No. 19: Golden Paws (David Beckham) | No. 20: Parka Paddington (Liam Gallagher) | No. 21: Bearer of Gifts (Hamleys) | No. 22: Little Bear Blue (Intel) | No. 23: Bearodiversity (Peru) | No. 24: Paddington the Explorer (Ripley’s Believe it or Not! London) | No. 25: Andrew Lloyd Webbear (Andrew Lloyd Webber) | No. 26: Blush (Nicole Kidman) | No. 27: The Bear of London (Boris Johnson) | No. 28: Paddington Jack (Davina McCall) | No. 29: Good News Bear (The Telegraph) | No. 30: Paddington is GREAT (Stephen Fry) | No. 31: Special Delivery (Ben Wishaw) | No. 32: Rainbow (Darcey Bussell) | No. 33: Bear Necessities (John Hurt) | No. 34: Sherlock Bear (Benedict Cumberbatch) | No. 35: Bear in the Wood (Rankin) | No. 36: Fragile (Ryan McElhinney) | No. 37: Shakesbear (Michael Sheen) | No. 38: Good Morning, London (Michael Howells) | No. 39: RGB (Zaha Hadid) | No. 40: Taste of Peru (Peru) | No. 41 Wonders of the World (Peru) | No. 42 Paddington Who? (Peter Capaldi) | No. 43 Gravity Bear (Sandra Bullock) | No. 44 Wish You Were Here (Nick Mason) | No. 45 Toggle (Benjamin Shine) | No. 46 Primrose Paddington (Julie Walters) | No. 47 Sticky Wicket (Ian Botham) | No. 48 Chief Scout Bear (Bear Grylls) | No. 49 The Special One (Chelsea FC) | No. 50 Dapper Bear (Guy Ritchie)
Haleakala Crater hike on 7/9/2019
I caught the first Hawaiian Airlines flight to Maui from Oahu which left at 5:05 am, arrival at 5:44 am.
I took a carryon duffel bag and a photo backpack ( no checked bags )
Picked up my rental car from Alamo and first stopped at 7-Eleven for water, food and snacks.
Maui Airport has changed. All the car rental companies moved to one central location reachable by tram. Additonally a specific Airport Access road was constructed and in use by this trip.
7:40 am left 7-Eleven for Haleakala.
7:30 am arrived at park entrance. $25 entrance fee by credit card only.
8:00 am arrived at Halemau'u trail head parking lot. Filled my CamelBak bladder with 3L of water, redistributed my equipment and used the bathroom to add a thermal underwear layer for the cold.
8:40 am left the parking lot and went to the Hitchhiking spot to wait for a ride. I was picked up by the 3rd car to come along. A single young male on vacation by himself. As I was grabbing my things to get into his car a mother and young son came up and asked to share the ride. I only waited maybe 5 minutes to catch a ride.
9:00 am arrived at the Summit Visitor Center parking lot. The driver had never been up to Haleakala even after visiting Maui a couple of times before, and he was considering doing a short hike while up there. I would be passed by him and the other hitch hiker about a mile down the trail later.
9:15 am after a short look around at the lookout and tightening up my boot laces, I started on Keonehe'ehe'e ( Sliding Sands Trail )
11:51 am I would get to the bottom of the crater and the trail for Holua cabins or Kapaloa, Paliku cabins. Ate lunch of one Spam musube.
12:06 pm I would start on the trial to Holua Cabin
12:59 pm top of the ascent to "Ka Moa o Pele"
1:24 pm trail juncture on the left of "Halali'i"
2:14 pm Silver Sword loop begin ( did not take the loop )
2:22 pm Silver Sword loop end
3:05 pm Holua Cabin - rested
3:32 pm left Holua Cabin and headed out on Halemau'u trail and the crater rim.
4:13 pm arrived at base of crater rim and the start of the switchbacks up the crater wall. rested and stretched.
4:27 pm started up the crater rim switch backs.
6:56 pm I would reach the flat narrow spot I consider the end of the switchbacks.
7:00 pm the temperature would be 56 degrees and dropping down to 52 degrees ( not including windchill )
7:10 pm Sunset, and I was hiking in dark shadow. Too dark to take meaningful pictures or pics of my watch.
8:00 pm I would reach the Halemau'u parking lot and my car.
8:30 pm I would finish unloading and repacking bags for going to my hotel and possibly doing some astro photography.
8:45 pm arrive at Kalahaku overlook to check out the possibility of astro photography. The 50% moon washed out the Milky way too much, stars were visible and I was starting to yawn. So I didn't, and I left at 9:05 pm for Kahului and a shower.
I used up all my water, when I got to my hotel and check, the hydration bladder was flat. Possibly one or two sips left in the tube. This was the 2nd time hiking this trail. Both times I brought a collapsable water bag w/filter to refil water at Holua and did not. If I do this again I really, REALLY need to refill water at Holua cabin.
The weather reports for the previous week were about the possibility of hurricane Barbera hitting the islands the day before my trip. Fortunately Barbera down graded and by the time of my trip and predictions for the summit were somewhat cloudy with occasional showers. While hiking I only encountered a few light drizzle/drops from the clouds that didn't require me to break out any of the rain gear I brought or to stow my cameras from rain.
The weather at the summit was cloudy and approximately 65 degrees with windchill. Along the hike until the ascent up the crater rim at the end, the temperature would not seem as cold as I expected or remember from my previous hike a couple of years ago. Possibly due to my wearing thermal underwear, hiking pants, a medium thick long sleeve athletic shirt beneath a button long sleeve hiking shirt and my broad brimmed hat of course. While moving I felt cool and relatively comfortable temperature wise, while raising a slight glistening sweat. At least it wasn't dripping into my eyes.
Keeping to my expected and normal average hiking pace of around 1 mph or less going down hill and across the flats, I would take pictures about every 1-2 hundred feet of the trail. Boring, but I like to document the trail condition. In addition to any interesting views, scenery or recording the weather.
I kept one of my watches attached to my sleeve so it would not be in skin contact and would mostly dangle in my body shade. This would give me a way of tracking my elevation and mostly the temperature.
There were many more day hikers actually crossing the crater along the same route I was going. Most notable was the mother and son that caught a ride with me. They met up with her husband and other son who caught another ride a bit later.
Probably all the hikers that were crossing the crater caught up to me and passed me, and they all started later than I did. The only people who caught up but didn't pass me were 3 female park rangers on their way to Holua Cabin and pretty much started doing their park ranger stuff in the area where they caught up to me and didn't catch up again.
I was constantly annoyed by the hikers I would see taking short cuts along the trail. I had to remind myself to not get pissy with them. I'm tempted to think the only other hikers on the trail that did not take short cuts were the park rangers I met.
Personally, I started the hike with a kinda sharp lower back pain, which had been ongoing since the previous week. But since this hike was already book and paid for I wasn't going to cancel. All thru the hike my back would be in constant pain and I would continually think I might have to give up hiking if my back doesn't get better. It was most painful going down hill, while the flats and going up weren't as bad.
I was hoping the strain and constant back movement would loosen up my lower back and aleviate my pain. Supprisingly, while getting on my stomach with all my gear still on me, when I got up my lower back was better. The pain would come and go, but could now be aleviated for short periods of time by taking off all my gear and bending over to stretch my back. When I would get home, my lower back pain issues would return to "normal"
Evidently, the dry cold air and constant breeze caused my face and lips to chap, which showed up a day after I got home.
Once again I brought chapstick but didn't use it.
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CamelBak Octane 16X Hydration Pack (3L Hydration bladder)
3 liters of water = 6.6 pounds
1x Nikon D700 w/battery grip - Nikon 28-300mm
1x Nikon D700 w/out grip - Rokinon 12mm f2.8 fisheye
Tokina 16-28mm f2.8
Camera & lens weight = 12 pounds
I brought both cameras to reduce the amount of time spent changing lenses and the possibility of getting grit on the camera sensors. Turns out I never changed to the 16-28 so never removed any lens. Yay, no spots in my pictures, Bo, lugged another heavy lens around for nothing. At least I left the 100mm macro in the car already.
The Final Day of Racing At Brands Hatch for The Superprix Weekend and After a Really Busy and Scattered Set Of Races The Previous day it was time to see which of the Drivers could Brave the Circuit One Last Time and Take Home Either a Championship Win or a Victory in their Specific Race.
Lets Get Straight to the Results.
Classic Formula Ford/Historic Formula 3 (Race 2 Result)
Classic Formula Ford and Historic Formula 3 Were up First and it was Time to see who could be The one to take the Checkered Flag First when they crossed the Line.
In First Place was (Cameron Jackson) in his Winkelmann WDF2 with a Lap Time of 1:39.257 and a Top Speed of 86.59mph. A Fantastic Victory Cameron Showing Incredible Car Control and Commitment to Win the Race.
In Second Place was (Ben Tinkler) in his Van Diemen RF80 with a Lap Time of 1:39.986 and a Top Speed of 85.77mph. A Really Great Drive from Ben to stay so close to Cameron and Keep Him on his toes the entire Time while Fighting for the Lead of the Race.
In Third Place was (Jordan Harrison) in his Lola T540E with a Lap Time of 1:39.994 and a Top Speed of 85.54mph. A Really Wonderfully Deserved Third Place for Jordan Pushing that Lola for everything it Has got to gain Third Place. Well Done.
Three Fantastically Fast Drivers all with Incredible Speed and Talent Showcasing The Best of what they Bring to Brands Hatch Every Year. An Amazing Last Race to Witness. Congratulations to The Race Winner and Keep Trying Hard Everyone Else.
HGPCA Pre 66 Grand Prix Cars (Race 20)
Next It was The Historic Grand Prix Cars and with a Massive Turn out for them it looks like Another Cracking Race to see from Start till Finish. Lets see who came out on Top.
In First Place was (Sam Wilson) in his Lotus 18 with a Lap Time of 1:39.384 and a Top Speed of 86.55mph. Amazing Work Sam Showing Colin Chapman How it Should be Done. He would have been Proud to Witness that Victory.
In Second Place was (Peter Horsman) in his Lotus 18/21 with a Lap Time of 1:41.296 and A Top Speed of 84.90mph. A Fantastic Drive by Peter to take Second Place in the Race.
In Third Place was (Miles Griffiths) in his Scarab Offenhauser with A Lap Time of 1:41.501 and A Top Speed of 84.38mph A Really Good Job there Miles Almost Matching Lap Times with Peter and Showing Some Incredible Car Control during The Race.
Another Fantastic Race for The Historic Grand Prix Cars and a Huge Congratulations to Sam for Taking Victory in the Last Race. Avery Well Done to Both Peter and Miles as well.
HSCC 70's Road Sports (Race 19)
Historic Road Sports took to the Track next and with some Legendary Cars from the Likes of Lotus Morgan and TVR it was Time to see who Had Stormed to Victory in the Last Race and Taken the Victory.
In First Place was (William Plant) in his Morgan Plus 8 with A Lap Time of 1:45.768 and A Top Speed of 70.67mph. Congratulations William on the Victory it was so Good to See a Morgan Take First Place while Watching this Exciting Race. An Amazing Drive.
In Second Place was (Jim Dean) in his Lotus Europa with A Lap Time of 1:46.411 and A Top Speed of 70.66mph. Another Incredible Drive from Jim to Take Second Place. Well Done
In Third Place was (Richard Plant) in his Morgan Plus 8 with A Lap Time of 1:47.697 and a Top Speed of 70.31mph. A Very Committed Drive from Richard and a Fantastic Third Place Finish that I'm sure the Whole Family will be Proud of.
Fantastic Racing from the 70's Road Sports to Finish the Days Racing for them Congratulations to William, Jim and Richard. Hope to see you Three Battling it out Again Soon.
Aurora Trophy With Geoff Lees Trophy
The Arora Trophy Roared onto the Grand Prix Circuit Next with Powerful V8 Engines thease Racing Cars could make the Ground Shake as they Thunder their way around the Race Track. Lets see who Managed to take that All Important Victory for their Final Race.
In First Place was (Martin Stretton) in his March 712 with a Lap Time of 1:25.976 and A Top Speed of 101mph. A Very Brave and Committed drive from Martin to Take Victory, Really Pushing the March to its Limits and hanging onto the Lead thought the Race.
In Second Place was (Mathew Wrigley) in his March 782 with a Lap Time of 1:25.127 and A Top Speed of 100.96mph. Another Incredible Driver Taking his Machinery to New heights and Keeping the March Name Alive in Historic Racing. Amazing Work Mathew.
In Third Place was (Samuel Harrison) in his Dallara 389 with A Lap Time of 1:29.552 and A Top Speed of 95.04mph. Amazing work Sam showing Insane Car Control even when Racing so Fast and for such A Long Time. Congratulations.
Another Amazing Race to Keep the Day going and showing the Amazing work that Each Team Does to ensure that their Driver and His Car are Ready to go. Well Done to all of the Teams and to the First Second and Third Place Winners as well. Looking Forward To seeing more Action this Year from the Aurora Trophy.
Guards Trophy (Race 21)
Next Up Guards Trophy with Another Range of Racing Machines from the Likes of Brabham Chevron and Lotus Lets see what will Happen and Who will be able to Drive their way to Victory in This Race.
In First Place was (Andy Newall) in his Chevron B6 with A Lap Time of 1:38.258 and A Top Speed of 83.84mph. Very Well Driven and Raced by Andy Showcasing the Power of the Chevron and taking it too its Limits in terms of Raw Speed and Performance.
In Second Place was the Duo of (Jackson S and Jackson C) in their Lenham P70 with A Lap Time of 1:38.008 and A Top Speed of 83.45mph. Fantastic Work to The Two Jacks who Really showed what Working Together Can Achieve during A Race. Well Done
In Third Place was the Duo of (Mitchell W and Mitchell B) in their Chevron B8 with A Lap Time of 1:38.368 and A Top Speed of 82.49mph. Another Amazing Duo who Have Taken Third Place and Kept the Fight Alive in their Respective Championship. Amazing work.
A Fantastic Race for the Guards Trophy Showing the Power of Each Race Car and what they Are Capable of When put into The Hands of the Right Drivers. Congratulations to Andy Mitchell W and Mitchell B as well as Jackson S and Jackson C for putting on One Hell of a Race. Keep up the Good Work Everyone Else and Never Stop Fighting for your Own Victories.
Historic Formula Ford (Race 16)
Next Up was Historic Formula Ford and some very Twitchy and Tricky Cars to be Driven Round the Circuit at Hight Speed. With Light Weight Chassis and Small Cockpits this was going to be a Very Exciting Race to Watch. Lets see who Came out Best of the Rest.
In First Place was (Cameron Jackson) in his Winkelmann WDF2 with A Lap Time of 1:38.596 and A Top Speed of 87.95mph. Another Incredible Drive From Cameron to Take Victory and show what A Truly Committed and Self Determined Driver is. He is an Inspiration to All Up Coming Formula Ford Racers.
In Second Place was (Tom Macarthur) in his Titan MK3 with A Lap Time of 1:38.484 and A Top Speed of 87.94mph. Another Really Brave and Heroic Driver Pushing His Formula Ford to its Limits and Keeping his Eye's on the Race Track. Amazing Work Tom.
In Third Place was (Horatio Fitzsimon) in his Merlin MK20A with A Lap Time of 1:38.513 And A Top Speed of 87.90mph. Very Well Done Horatio Fantastic Driving and A Well Deserved Third Place.
An Amazing Final Heat Race for the Formula Fords with Everyone Pushing As Hard as they Could for Victory. Keep Working Hard Everyone and Congratulations to Cameron Tom and Horatio.
Historic Road Sports (Race 17)
Historic Road Sports Next and it was Time to see what Each Driver could do in their Respective Race Car. Lets see how things Stacked up and who Came out on Top in the Race.
In First Place was (Kevin Kivlochan) in his AC Cobra with a Lap Time of 1:46.891 and A Top Speed of 72.19mph. What A Drive From Kevin to Take Victory Keeping that Cobra Far Ahead of the Rest of the Pack and Taking A Dominant Victory. Carol Shelby would have Loved to See That.
In Second Place was (John Davidson) in his Lotus Elan S1 with A Lap Time of 1:46.052 And A Top Speed of 72.16mph. Amazing Work John Keeping that Lotus on the Tarmac and Putting on One Hell of a Race for Everyone. Amazing Job.
In Third Place was (Rupert Ashdown) in his Lotus Elan S1 with A Lap Time of 1:47.481and A Top Speed of 71.61mph. Another Incredible Drive by Rupert Taking Third Place Very Well Deserved.
Historic Road Sports putting on Another Superb Race for the Season and Congratulations to Kevin John and Rupert on their Victories. Hope to see More of that This Year and Good Luck to Everyone Else Racing too.
Historic Touring Cars (Race 22)
The Final Race of The Day was Here and The Historic Touring Car Club did not Disappoint with Lotus Cortina's Mini Cooper S's and Ford Mustangs This was going to be a Final Battle of Titans. Lets See Who Managed to Take that Last Checkered Flag of the Day.
In First Place was (Steve Soper) in his Ford Mustang with A Lap Time of 1.47.084 and A Top Speed of 71.51mph. Awesome Drive Steve Fantastic to see that He Still has it in him After all The Years of Racing.
In Second Place was (Rob Fen) in his Ford Mustang with A Lap Time of 1:49.031 and A Top Speed of 70.93mph. Amazing Work Rob Pushing that Mustang Far and Wide to Hang onto that Second Place. Excellent Drive.
In Third Place was (Mark Martin in his Ford Lotus Cortina with A Lap Time of 1:49.905 and A Top Speed of 70.70mph. Very Well Done Mark Great Driving and Even a Wheel in the Air on Some Occasions Heading onto the Grand Prix Loop. What A Sight that Was to See.
And With that The Days Events came to an End for another year of Superprix Racing at Brands Hatch Amazing work to all of the Organisers and Race Drivers who took Part and Congratulations once again to all of the Race Winners. Keep Fighting Keep Wining and I'm Sure we will do it All Again Next Year.
www.flickr.com/photos/ugardener/albums/72157666600655501
HANK WILLIS THOMAS
'Blind Memory' and 'Freedom Isn't Always Beautiful'
Feb. 21 - Aug. 20, 2017
The SCAD Museum of Art presents "Blind Memory," a site-specific installation by Hank Willis Thomas in the museum’s Jewel Boxes exhibited concurrently with his exhibition "Freedom Isn’t Always Beautiful" in the Walter O. Evans Center for African American Studies.
Four new works in the exhibition explore the history of the museum complex as a railway depot and its relationship to the agricultural and labor practices of the past. Through the display of commodities that were exported from Savannah during "The Weeping Time" — a two-day period in March 1857, when 436 men, women and children were auctioned at a racetrack in the city (notable for being the largest sale of human beings in the history of the U.S.) — Thomas calls attention to suppressed or forgotten incidents that were nonetheless instrumental in shaping our contemporary social and political reality.
Thomas fills each of the four Jewel Boxes on the façade of the museum with an agricultural product — tobacco, cotton, rice and indigo — produced on nearby plantations by the labor of enslaved individuals. Each box also features an additional layer of archival documents and symbols related to this history. "Blind Memory" is a further iteration of Thomas’ practice exploring the interrelated concerns of the representation of race, the dialectic between images and text and the genealogy of historic iconographies relevant today.
The SCAD Museum of Art continues to explore Thomas’ work through "Freedom Isn’t Always Beautiful," a concise overview of the artist’s socially engaged practice. Composed of works from 2003 to the present, the exhibition explores the artist’s interrelated concerns regarding representations of race, the dialectic between images and text, and the genealogy of historic iconographies and their continued relevance.
Thomas employs stark contrasts, both formal and conceptual, to examine concepts of personhood, agency and commodification. The series "I Am A Man," 2009, uses the iconic Civil Rights Movement slogan as a starting point to explore the descriptive limitations of the phrase, while also paying homage to its original use. "I Am A Woman," "Am I A Man," "I Am Many" — these variations create semiotic slippages and nuances of meaning that reassert the affirmation of humanness and humanity at the core of the phrase's original use. Inscribed on signs carried by protestors during the sanitation workers strike in Memphis, Tennessee, in 1968, "I am A Man" can be traced further back to anti-slavery campaigns of the 18th century that asked "Am I Not A Man And A Brother?"
Through the use of reflective or shifting imagery and materials, including mirrors, holograms and lenticulars, "Freedom Isn't Always Beautiful" investigates the act of spectatorship and complicity. Seeing oneself reflected in the surface of the works implies participation and collusion in what is being represented. In works, such as "His Truth Is Marching On" and "Come Walk In My Shoes And I Will Show You Change," Thomas mines archival images, featuring cut outs from black and white vintage photographs by Spider Martin, taken during the Selma to Montgomery Civil Rights uprising and marches in Alabama, in 1965.
Works such as "Liberty," "From Cain't See in the Morning til Cain't See at Night" and "Icarus" tackle the theme of sport. These artworks draw a correlation between slavery and sport in terms of the commodification of black bodies. The artist also comments on labor, and the implicit stereotypes evident in the representation of such bodies in the media. Continuing his interrogation of modern messaging, Thomas appropriates the language and format of advertising to subvert its intended messages. In the work "Caesar’s Visa," a neon sign flashes between advertising slogans to reveal new readings and wordplay. "Wonder Woman" and "All Power to the People" engage with political messaging and propaganda, both past and contemporary. Manufactured in the form of oversized lapel pins and referencing significant political and social movements that emerged in the 1960s, the pins transcend their significance as tokens of personal political belief, to become amplified and monumental, perhaps even memorials of what they represent.
About the artist:
Hank Willis Thomas is a conceptual photo artist working primarily with themes related to identity, history and popular culture. He cofounded For Freedoms, the first artist-run super PAC. Thomas is a member of the Public Design Commission for the city of New York and has exhibited throughout the U.S. and abroad including at The International Center of Photography, Public Art Fund and Studio Museum in Harlem, New York; The Guggenheim Museum Bilbao, Spain; Musée du quai Branly, Paris, France; and Cleveland Museum of Art, Ohio, among others. Thomas’ artwork is in numerous public collections including the Museum of Modern Art, Solomon R. Guggenheim Museum, Whitney Museum of American Art and Brooklyn Museum, New York; High Museum of Art, Atlanta, Georgia; and National Gallery of Art, Washington, D.C.
Third-generation device significantly improves capture of circulating tumor cells -
System combining two approaches rapidly identifies cells from all types of solid tumors
BOSTON – A new system for isolating rare circulating tumor cells (CTCs) – living solid tumor cells found at low levels in the bloodstream – shows significant improvement over previously developed devices and does not require prior identification of tumor-specific target molecules. Developed at the Massachusetts General Hospital (MGH) Center for Engineering in Medicine and the MGH Cancer Center, the device rapidly delivers a population of unlabeled tumor cells that can be analyzed with both standard clinical diagnostic cytopathology and advanced genetic and molecular technology. The MGH team's report has been published in Science Translational Medicine.
"This new technology allows us to follow how cancer cells change through the process of metastasis," says Mehmet Toner, PhD, director of the BioMicroElectroMechanical Systems Resource Center in the MGH Center for Engineering in Medicine, the paper's senior author. "Cancer loses many of its tissue characteristics during metastasis, a process we have not understood well. Now for the first time we have the ability to discover how cancer evolves through analysis of single metastatic cells, which is a big step in the war against cancer.”
The new device – called the CTC-iChip – is the third microchip-based device for capturing CTCs developed at the MGH Center for Engineering in Medicine. The first two systems relied on prior knowledge of a tumor-specific surface marker in order to sort CTCs from whole blood and required significant adjustment for each different type of cancer. The systems also required four to five hours to process a single blood sample.
The only U.S. Food & Drug Administration-cleared, commercially available device for capturing and enumerating CTCs – the CELLSEARCH® system developed by Veridex, LLC – relies on magnetic nanoparticles that bind to the same epithelial protein used in the MGH -developed microchip-based devices and cannot always find CTCs present at very low numbers. In January 2011 the MGH entered into a collaborative agreement with Veridex and its affiliate Janssen Research & Development, LLC, to establish a center of excellence in research on CTC technologies.
Combining elements of both approaches – magnetic labeling of target cells and microfluidic sorting – the CTC-iChip works by putting a blood sample through three stages. The first removes from the sample, on the basis of cell size, all blood components except for CTCs and white blood cells. The second step uses a microfluidic process developed at the MGH to align the cells in a single file, allowing for extremely precise and rapid sorting. In the third stage, magnetically labeled target cells – either CTCs tagged via the epithelial marker or white blood cells tagged on known blood-cell antigens – are sorted out. Tagging white blood cells instead of CTCs leaves behind a population of unlabeled and unaltered tumor cells and doesn't rely on the presence of the epithelial marker or other known tumor antigens on the cell surface.
The new system was able to process blood samples at the extremely rapid rate of 10 million cells per second, handling a tube of blood in less than an hour. Both the mode of sorting out tagged CTCs, called tumor-antigen-dependent, and the technique that depletes white blood cells, called tumor-antigen-independent, recovered more than 80 percent of tumor cells from different types of cancer that had been added to blood samples. Comparison of the antigen-dependent-mode CTC-iChip with existing commercial technology for processing blood samples from patients with prostate, breast, pancreatic, colorectal and lung cancer showed the CTC-iChip to be more sensitive at detecting low levels of CTCs.
In the antigen-independent mode, the CTC-iChip successfully identified CTCs from several types of cancers that had lost or never had the epithelial marker, including triple-negative breast cancer and melanoma. CTCs isolated through this mode were put through standard cytopathological analysis, which revealed structural similarities to the original tumor, and detailed molecular genotyping of CTCs from a single patient found significant differences in gene expression patterns among individual CTCs.
"We're only beginning to identify potential applications of the ability to analyze how tumors mutate as they spread, but this should help improve our understanding of the fundamental genetic principles of metastasis," says Toner, the Benedict Professor of Surgery at Harvard Medical School (HMS). "We hope to develop this technology to the point where it could be used for early diagnosis, which is the 'Holy Grail' that all of us working on CTC technology have been striving for."
Ravi Kapur, PhD, of the Center for Engineering in Medicine, leader of the innovation team within the MGH Circulating Tumor Cell Center (www.massgeneral.org/research/resourcelab.aspx?id=50), says, "The CTC-iChip provides a first-in-class device for high-efficiency, high-speed tumor cell sorting from a clinically relevant blood volume. The chip is designed for mass manufacturing, and simple automation for clinical translation." The team is working with collaborators at Veridex and Janssen to refine the system for commercial development.
Study co-author Daniel Haber, MD, PhD, director of the MGH Cancer Center and Isselbacher/Schwartz Professor of Oncology at HMS, adds, "The study of cancer metastasis has been limited by the inability to quickly and reliably isolate tumor cells in transit in the blood. This new approach is likely to be a game changer in the field."
Support for this work comes from Veridex, a subsidiary of Johnson & Johnson, a "dream team" award from Stand Up to Cancer, and grants from the National Institutes of Health and other funders. The MGH has applied for a patent on the CTC-iChip technology. Co-lead authors of the Science Translational Medicine report are Emre Ozkumur and Ajay Shah of the MGH Center for Engineering in Medicine, and additional co-authors include Shyamala Maheswaran, PhD, of the MGH Cancer Center.
Massachusetts General Hospital (www.massgeneral.org), founded in 1811, is the original and largest teaching hospital of Harvard Medical School. The MGH conducts the largest hospital-based research program in the United States, with an annual research budget of more than $775 million and major research centers in AIDS, cardiovascular research, cancer, computational and integrative biology, cutaneous biology, human genetics, medical imaging, neurodegenerative disorders, regenerative medicine, reproductive biology, systems biology, transplantation biology and photomedicine. In July 2012, MGH moved into the number one spot on the 2012-13 U.S. News & World Report list of "America's Best Hospitals."
18 French start-ups have been selected, by a jury of experts from France and Ireland, on specific criteria such as the potential drive of their products or their offers, the relevance of their Business Plan and their potential for development. These gems, which will benefit from a privileged support, will exhibited at the French Pavilion, in the Web Summit’s main hall. They were also be guests of honour during the French Tech Night, which took take place at the Opium pub on November 4th at 6:30pm.
Axelle Lemaire (born 18 October 1974) is a French Socialist politician who currently serves as a Secretary of State in the French Government.
In 2012, she was elected as Deputy for the Third constituency for French overseas residents in the National Assembly of the French Parliament. In May 2014, Prime Minister Manuel Valls appointed her to the French Finance Ministry as minister responsible for Digital Affairs.
Since joining the Ministry for the Economy, Industry and Digital Affairs in Paris, Lemaire has been a leading proponent of net neutrality legislation. She is a major actor in the French Tech movement, which unites french digital startups worldwide.
French Tech is a label assigned to French metropolises recognised for their startup ecosystem. It is also a name used by technologically innovative French businesses.
The French Tech aims to provide a strong common visual identity to French startups as well as to promote entrepreneurial exchange between them.
Nine French cities received the French Tech label in November 2014 during a first wave of certification. Cities like Strasbourg, Mulhouse, Nice, Avignon, Angers, Brest and Saint-Étienne preferred to wait to register their candidatures later in 2015. In January 2015, Axelle Lemaire announced a budget of €15 million to develop the attractiveness of the French Tech abroad.
Axelle Lemaire also announced the establishment of 'French Tech Hubs' in major international cities like New York City, London, Tokyo, Singapore, Tel Aviv and São Paulo.Two of which (New York City and Tokyo) were already active in October 2015.
View at Felix Gonzalez-Torres "Specific Objects without Specific Form" retrospective at Wiels, february 2010.
WIELS premieres a major traveling retrospective of Felix Gonzalez-Torres’ oeuvre, including both rarely seen and more known artworks, while proposing an experimental form for the exhibition that is indebted to the artist’s own radical conception of the artwork.
Gonzalez-Torres (American, b. Cuba 1957-1996), one of the most influential artists of his generation, settled in New York in the early 1980s, where he studied art and began his practice as an artist before his untimely death of AIDS related complications. His work can be seen in critical relationship to Conceptual art and Minimalism, mixing political activism, emotional affect, and deep formal concerns in a wide range of media, including drawings, sculpture, and public billboards*, often using ordinary objects as a starting point—clocks, mirrors, light fixtures. Amongst his most famous artworks are his piles of candy and paper stacks from which viewers are allowed to take away a piece. They are premised, like so much of what he did, on instability and potential for change: artworks without an already preset or specific form. The result is a profoundly human body of work, intimate and vulnerable even as it destabilizes so many seemingly unshakable certainties (the artwork as fixed, the exhibition as a place to look but not touch, the author as the ultimate form-giver).
To present the oeuvre of an artist who put fragility, the passage of time, and the questioning of authority at the center of his artworks, the exhibition will be entirely re-installed at each of its venues halfway through its duration by a different invited artist whose practice has been informed by Felix Gonzalez-Torres’ work. A first version of Felix Gonzalez-Torres. Specific Objects without Specific Form by curator Elena Filipovic will open to the public and on March 5, 2010, the artist Danh Vo will re-install the exhibition, effectively making an entirely new show.
Text source :
The model and its assembly:
Believe it or not, but this is a real life background and also the model of a real P-51D. I came across this specific airplane rather accidently, but found its unique, improvised camouflage rather challenging – esp. when you build kits with enamels and brush like me. I still had a Hobby Boss P-51D in my vast kit pile, and so I decided to tackle this aircraft as a side project while waiting for parts for another project, since the kit could be built almost OOB, just the decals had to be puzzled together.
I only did minor changes to the kit. One addition is a pilot figure in order to cover the cockpit "bathtub", and a dashboard cover under the windshield inside of the cockpit was added, too. A pitot (made from a piece of wire) was added under the port wing, as well as a retractable landing light inside of the starboard main gear well.
Despite being of simple construction, the Hobby Boss kit shows good surface details, including engraved panel lines. It’s quickly built – the fuselage and the wings are both just single, massive(!) pieces. Due this construction, though, the kit is not a good choice for conversions. And one major flaw is the fact that the canopy frame is a fixed part of the fuselage, even though two canopies are supplies – a single piece for closed position, and separate windshield and hatch for a potentially open cockpit. But the latter can actually not be built, and separating the canopy frame from the massive fuselage is IMHO a messy task, and that’s the reason why I left the cockpit closed… Anyway, it is IMO still a good kit for the money, and a good choice as a basis for a simple livery alternative.
Beyond that, this model comes “clean” without any ordnance. Since I could not find any reference that would show or mention external loads under AURI Mustangs (not even drop tanks), I left the model this way, what underlines the Mustang's clean lines.
Painting and markings
Here, things become more interesting. My model depicts Angatan Udara Republik Indonesia’s F-51D “F-319” and is based (only) on aircraft profiles and sketches, which were themselves only prepared on the basis of poor photographs of AURI Mustangs during late operations against AUREV.
AURI Mustang F-319 (44-13045) took, according to an article in Air Enthusiast No.82, actively part in the fighting of 1958, and it is one of the few (maybe even the only) Mustang to sport a cammo scheme. In general, the AURI P-51Ds were left in a bare metal finish, with colored spinners and a black anti glare panel, sometimes decorated with huge shark teeth. Actually, these aircraft were inherited from Dutch forces after Indonesia' independence, and the national insignia just replaced with the AURI pentagon. Even the tactical codes were kept.
F-319 was obviously hastily camouflaged, and only on the upper sides and wrapped around the lower fuselage, probably in two shades of green, or in green and brown. The exact colors remain unknown, but any profile I found depicts F-319 in two shades of green, so I stuck with it, and it’s a nice color combo. F-319 was reportedly damaged during the attack against Amahai on 10 May 1958, after that the track is lost.
Anyway, key objective of this kit was to replicate that improvised cammo and weathered look that one might expect under harsh climate conditions and frequent use with poor maintenance in front line service.
All interior surfaces were painted in a zinc chromate green finish. I used Humbrol 150 as a basis color and added dry-brushed Testors 1715 on top of that. The landing gear was kept in Aluminum (HUmbrol 56). Everything "standard".
The model's lower sides were painted with 'Polished Aluminum' Metallizer from Testors. The upper surfaces, which would later be concealed by camouflage, were painted with acrylic paint, 'Aluminum' from Revell. The same color was also used for some contrast panels on the lower surfaces. Onto this basic finish, the decals were applied as a next step. AURI F-319 appears to have had its cammo scheme painted around its original markings and some access hatches, and simulating this would be IMHO achieved the easiest way by simply duplicating the process on the kit!
The decals themselves were puzzled together from several aftermarket sheets. The AURI insignia/national markings come from a generic TL Modellbau sheet, the tactical code and the “AURI” letters under the wing were cut and re-arranged from "USAF" letters in 1:72 scale. Improvisation rules, and the frugal modeler.
After the decals had been applied ans secured under a thin coat of clear, acryllic varnish, I used water and salt to mask panel lines and leading edges with tiny mottles and irregular "spot clusters". It’s actually a method that works well when you simulate rust and flaking paint on 1:35 tanks and such with an air brush, but I thought that it might also work here, too, since I wanted to let a lot of bare metal shine through the rather thin cammo paint.
After having thoroughly dried, the camouflage scheme was applied with a broad but flat, soft brush, with slightly thinned enamel paint and only with gentle strokes. An air brush would have been better suited, not to stir the masks on the metal paint below, but on the other side a brush allows a more tattered, uneven look, enhancing the flaked and worn effect and the realism of the finish.
The basic camouflage colors are Humbrol 120 (FS 34227, Light Green) and Humbrol 91 (Black Green). They create a good contrast - but BW pictures are hard to interprete. After this basic cammo paint had dried up, the salt masks were rubbed away, supported by hard brushes and even fine sand paper. Surely, some repair and additions had to be made, e .g. around the insignia and the tactical codes. In some areas, the chipping effect was enhanced with some dry brushing, e .g. with Humbrol 78, 75, and 116. A wash with thin black ink was applied in order to emphasize the kit’s engraved panel lines and the many surface details.
More to come...
student: Hong Yan
studio instructors: Gabriel Fries-Briggs with Darci Hazelbaker and Dale Rush (Marjorie Mead Hooker Memorial Visiting Professors)
Phosporescence @ my clock
Phosporescence is a specific type of photoluminescence related to fluorescence. Unlike fluorescence, a phosphorescent material does not immediately re-emit the radiation it absorbs. The slower time scales of the re-emission are associated with "forbidden" energy state transitions in quantum mechanics. As these transitions occur less often in certain materials, absorbed radiation may be re-emitted at a lower intensity for up to several hours.
In simpler terms, phosphorescence is a process in which energy absorbed by a substance is released relatively slowly in the form of light. This is in some cases the mechanism used for "glow-in-the-dark" materials which are "charged" by exposure to light. Unlike the relatively swift reactions in a common fluorescent tube, phosphorescent materials used for these materials absorb the energy and "store" it for a longer time as the subatomic reactions required to re-emit the light occur less often.
Most photoluminescent events, in which a chemical substrate absorbs and then re-emits a photon of light, are fast, on the order of 10 nanoseconds. However, for light to be absorbed and emitted at these fast time scales, the energy of the photons involved (i.e. the wavelength of the light) must be carefully tuned according to the rules of quantum mechanics to match the available energy states and allowed transitions of the substrate. In the special case of phosphorescence, the absorbed photon energy undergoes an unusual intersystem crossing into an energy state of higher spin multiplicity (see term symbol), usually a triplet state. As a result, the energy can become trapped in the triplet state with only quantum mechanically "forbidden" transitions available to return to the lower energy state. These transistions, although "forbidden", will still occur but are kinetically unfavored and thus progress at significantly slower time scales. Most phosphorescent compounds are still relatively fast emitters, with triplet lifetimes on the order of milliseconds. However, some compounds have triplet lifetimes up to minutes or even hours, allowing these substances to effectively store light energy in the form of very slowly degrading excited electron states. If the phosphorescent quantum yield is high, these substances will release significant amounts of light over long time scales, creating so-called "glow-in-the-dark" materials.
Most examples of "glow-in-the-dark" materials do not glow because they are phosphorescent. For example, "glow sticks" glow due to a chemiluminescent process which is commonly mistaken for phosphorescence. In chemi-luminescence, an excited state is created via a chemical reaction. The excited state will then transfer to a "dye" molecule, also known as a (sensitizer, or fluorophor), and subsequently fluoresce back to the ground state.
The study of phosphorescent materials led to the discovery of radioactivity in 1896.
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Avui no volia escriure gaire, així que fet un copy-paste d'aquest article a la Wikipedia.
Today I didn't feel like writing, so I've copy-pasted this article from Wikipedia.
After studies have been conducted on the specific group of users, it’s switched right into a profile or user persona that imitates a genuine customer. Basically, a persona is personified data produced from user behaviours, attitudes, discomfort points, as well as their wants and needs inside a particular product. Instead of tailoring an software developer to meet the requirements of the generic group, a persona was created having a specific number of users in your mind.
Personas illustrate the goals and behaviors of users while areas examine patterns in census for example age, location, sex, salary, and so forth. Both of them are essential however, personas offer lots of advantages throughout the development process.
1. Promote User-Focused Outcomes
Frequently, an application can morph in to the desires from the designer as opposed to the user. To avert this, the expansion process must focus on a person-focused goal all actions should be created using the consumer in your mind. With this to happen, they must adopt the outlook during the finish user to create an application that resonates using its users. Personas ought to be used through the development process and never as just one phase. Reinforcing the consumer persona through the entire process will be sure that the entire team remains centered on their primary goal. Without having done this, the end result from the final software developer might not match the users’ wants.
lady-smartphone-girl-technology
2. Establishes Consensus During Development
Raw information is frequently hard to interpret however, a persona encapsulates the study and communicates the trends to other people in a manner that they are able to understand and visualize. Inside a team of developers, you will find usually individuals with different skills and expertise that could cause a positive change of opinions. A person persona is a superb tool to prevent confusion and miscommunications through the development process. The persona communicates ideas and ideas using the team of developers, stakeholders, and users. Effectively, it helps to ensure that everybody is on a single page and understands who the prospective audience is.
Startup Stock Photos
3. Validates All Decisions
An application idea is made, but could it be really exactly what the user needs and wants? While it’s important to determine who the application will target, it’s more essential to understand the consumer particularly desires. Without validation, the end result won’t deliver just what the finish user needs and can ultimately be pointless. All decisions and actions which are made throughout the development process must have a person-focused reasoning. When the development process starts to stray from concentrating on meeting the users’ needs, the application will likely fail.
User personas are valuable for everybody throughout the development process to be able to boost the quality and efficiency of the work. A persona increases product quality since it directly addresses the finish users discomfort points and fixes issues that software developer presently experience. Understanding and meeting a particular categories of users’ needs will be sure that the application is really a success. Narrowing in on the specific group of users will yield greater download rates and most importantly, it'll keep up with the engagement from the users.
Haleakala Crater hike on 7/9/2019
I caught the first Hawaiian Airlines flight to Maui from Oahu which left at 5:05 am, arrival at 5:44 am.
I took a carryon duffel bag and a photo backpack ( no checked bags )
Picked up my rental car from Alamo and first stopped at 7-Eleven for water, food and snacks.
Maui Airport has changed. All the car rental companies moved to one central location reachable by tram. Additonally a specific Airport Access road was constructed and in use by this trip.
7:40 am left 7-Eleven for Haleakala.
7:30 am arrived at park entrance. $25 entrance fee by credit card only.
8:00 am arrived at Halemau'u trail head parking lot. Filled my CamelBak bladder with 3L of water, redistributed my equipment and used the bathroom to add a thermal underwear layer for the cold.
8:40 am left the parking lot and went to the Hitchhiking spot to wait for a ride. I was picked up by the 3rd car to come along. A single young male on vacation by himself. As I was grabbing my things to get into his car a mother and young son came up and asked to share the ride. I only waited maybe 5 minutes to catch a ride.
9:00 am arrived at the Summit Visitor Center parking lot. The driver had never been up to Haleakala even after visiting Maui a couple of times before, and he was considering doing a short hike while up there. I would be passed by him and the other hitch hiker about a mile down the trail later.
9:15 am after a short look around at the lookout and tightening up my boot laces, I started on Keonehe'ehe'e ( Sliding Sands Trail )
11:51 am I would get to the bottom of the crater and the trail for Holua cabins or Kapaloa, Paliku cabins. Ate lunch of one Spam musube.
12:06 pm I would start on the trial to Holua Cabin
12:59 pm top of the ascent to "Ka Moa o Pele"
1:24 pm trail juncture on the left of "Halali'i"
2:14 pm Silver Sword loop begin ( did not take the loop )
2:22 pm Silver Sword loop end
3:05 pm Holua Cabin - rested
3:32 pm left Holua Cabin and headed out on Halemau'u trail and the crater rim.
4:13 pm arrived at base of crater rim and the start of the switchbacks up the crater wall. rested and stretched.
4:27 pm started up the crater rim switch backs.
6:56 pm I would reach the flat narrow spot I consider the end of the switchbacks.
7:00 pm the temperature would be 56 degrees and dropping down to 52 degrees ( not including windchill )
7:10 pm Sunset, and I was hiking in dark shadow. Too dark to take meaningful pictures or pics of my watch.
8:00 pm I would reach the Halemau'u parking lot and my car.
8:30 pm I would finish unloading and repacking bags for going to my hotel and possibly doing some astro photography.
8:45 pm arrive at Kalahaku overlook to check out the possibility of astro photography. The 50% moon washed out the Milky way too much, stars were visible and I was starting to yawn. So I didn't, and I left at 9:05 pm for Kahului and a shower.
I used up all my water, when I got to my hotel and check, the hydration bladder was flat. Possibly one or two sips left in the tube. This was the 2nd time hiking this trail. Both times I brought a collapsable water bag w/filter to refil water at Holua and did not. If I do this again I really, REALLY need to refill water at Holua cabin.
The weather reports for the previous week were about the possibility of hurricane Barbera hitting the islands the day before my trip. Fortunately Barbera down graded and by the time of my trip and predictions for the summit were somewhat cloudy with occasional showers. While hiking I only encountered a few light drizzle/drops from the clouds that didn't require me to break out any of the rain gear I brought or to stow my cameras from rain.
The weather at the summit was cloudy and approximately 65 degrees with windchill. Along the hike until the ascent up the crater rim at the end, the temperature would not seem as cold as I expected or remember from my previous hike a couple of years ago. Possibly due to my wearing thermal underwear, hiking pants, a medium thick long sleeve athletic shirt beneath a button long sleeve hiking shirt and my broad brimmed hat of course. While moving I felt cool and relatively comfortable temperature wise, while raising a slight glistening sweat. At least it wasn't dripping into my eyes.
Keeping to my expected and normal average hiking pace of around 1 mph or less going down hill and across the flats, I would take pictures about every 1-2 hundred feet of the trail. Boring, but I like to document the trail condition. In addition to any interesting views, scenery or recording the weather.
I kept one of my watches attached to my sleeve so it would not be in skin contact and would mostly dangle in my body shade. This would give me a way of tracking my elevation and mostly the temperature.
There were many more day hikers actually crossing the crater along the same route I was going. Most notable was the mother and son that caught a ride with me. They met up with her husband and other son who caught another ride a bit later.
Probably all the hikers that were crossing the crater caught up to me and passed me, and they all started later than I did. The only people who caught up but didn't pass me were 3 female park rangers on their way to Holua Cabin and pretty much started doing their park ranger stuff in the area where they caught up to me and didn't catch up again.
I was constantly annoyed by the hikers I would see taking short cuts along the trail. I had to remind myself to not get pissy with them. I'm tempted to think the only other hikers on the trail that did not take short cuts were the park rangers I met.
Personally, I started the hike with a kinda sharp lower back pain, which had been ongoing since the previous week. But since this hike was already book and paid for I wasn't going to cancel. All thru the hike my back would be in constant pain and I would continually think I might have to give up hiking if my back doesn't get better. It was most painful going down hill, while the flats and going up weren't as bad.
I was hoping the strain and constant back movement would loosen up my lower back and aleviate my pain. Supprisingly, while getting on my stomach with all my gear still on me, when I got up my lower back was better. The pain would come and go, but could now be aleviated for short periods of time by taking off all my gear and bending over to stretch my back. When I would get home, my lower back pain issues would return to "normal"
Evidently, the dry cold air and constant breeze caused my face and lips to chap, which showed up a day after I got home.
Once again I brought chapstick but didn't use it.
-----------------------------------
CamelBak Octane 16X Hydration Pack (3L Hydration bladder)
3 liters of water = 6.6 pounds
1x Nikon D700 w/battery grip - Nikon 28-300mm
1x Nikon D700 w/out grip - Rokinon 12mm f2.8 fisheye
Tokina 16-28mm f2.8
Camera & lens weight = 12 pounds
I brought both cameras to reduce the amount of time spent changing lenses and the possibility of getting grit on the camera sensors. Turns out I never changed to the 16-28 so never removed any lens. Yay, no spots in my pictures, Bo, lugged another heavy lens around for nothing. At least I left the 100mm macro in the car already.
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
en.wikipedia.org/wiki/Thierry_Geoffroy
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
#protestart
ABI Resources Anime Art
What is Anime?
Anime refers to a specific style of cartoon produced or inspired by Japanese animation. Think of it this way: all anime shows are cartoons, but not all cartoons are anime. The art style associated with anime is very unique and recognizable. You’re probably familiar with the large eyes, wild hair, long arms and limbs, and more. This exaggerated design helps the characters more easily express emotions of which there are plenty in anime.
#anime #Japanese #animation #Japanimation #Japanime #manga
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On May 18, Solange performed "An Ode To," an interdisciplinary performance piece and meditation, that examined themes from "A Seat at the Table." Through movement, installation, and experimentation with reconstructed musical arrangements, Solange transformed the iconic Frank Lloyd Wright rotunda with her mesmerizing site-specific performance and melodic vocals. This performance was part of the Red Bull Music Academy Festival.
Photos: Carys Huws, Stacy Kranitz, and Krisanne Johnson
Visions of America: Amériques
Audio/Visual Performance conducted by Esa-pekka Salonen, performed by Los Angeles Philharmonic
6th of November, 2014
Walt Disney Concert Hall, Los Angeles
_
'The Los Angeles Philharmonic’s multimedia presentation of Edgard Varèse’s Amériques launched the new in/SIGHT series at Walt Disney Concert Hall,The presentation of Amériques is accompanied by the new Anadol site-specific architectural video installation, which was developed to illuminate and enhance the Varèse's composition and to activate the architecture of Walt Disney Concert Hall. The dynamic visual program created by Anadol uses custom-built algorithmic sound analysis to listen and respond to the music in real time, using architecture as a canvas and light as a material. Additionally, the movements of Salonen, as he conducts, will be captured by next generation Microsoft Kinect hardware and 3-D depth camera analysis to inform the visuals displayed. The result was a powerful and immersive experience for the audience that engaged their visual and auditory senses.'
Launching in/SIGHT – the LA Phil's groundbreaking series of concerts with video – this program embodies the vision of the New World as a place of unlimited artistic freedom. Amériques was the first musical piece that Varèse composed upon coming to New York and this project is fittingly the first site-specific audio-visual performance that I produce in the U.S. I approached this collaboration from the standpoint of a non-linear and ephemeral interaction between Salonen, Varèse, and me, and hope that I will be able to transform Varèse’s timeless musical fiction into an immersive visual medium through which a new kind of storytelling will occur. Rather than approaching this medium as a means of escape into some disembodied techno-utopian fantasy, this project sees itself as a means of return. It aims to facilitate a temporary release from our habitual
perceptions and culturally biased assumptions about being in the world, and to enable us, however momentarily, to perceive our own stories and the stories around us freshly.
In a recent interview with the Huffington Post, Anadol stated regarding this work, “Instead of creating a media screen, there will be a story inside the space. What happens if you add a video layer that speaks to the audience in a whole new experience? We're exploring the boundaries of what is real, what is physical, what is virtual…”
I would like to sincerely thank everyone who made this project possible. This project would never have been possible without the tremendous and generous support of Los Angeles Philharmonic, President and CEO Deborah Borda; Vice President of Artistic Planning Chad Smith; Artistic Administrator Meghan Martineau and Concert Operations Manager Taylor Saleeby. I would also like to thank for their open-handed support the University California, Los Angeles, Department of Media Arts’ faculty members, Microsoft Research, and Lili Cheng, Finally and specially I would like to thank Frank Gehry for his dreamful canvas and Esa-Pekka Salonen for his open-minded collaboration with me to discover “New Worlds.”
CREDITS
Video Artist: Refik Anadol
Artistic Management: Dave Hunt
Executive Producer: Efsun Erkilic
Senior Generative Designers: Sebastian Neitsch & Woeishi Lean
Senior 3D Designer: Raman K. Mustafa
Senior Animator: Simon Russell
Junior Animators: Bahadir Dagdelen, Michael Hsiu, Kian Khiaban, Toby Heinemann,
Laurence Menor.
Research Assistant: Jarad Solomon
Etnik/ Explosion
Installazione site-specific
A cura di Alessandra Ioalé
dal 2 al 31 luglio 2012
Firenze, Libreria Brac
Via de’ Vagellai 18r
Orari: da lunedì a sabato 11.30-24; domenica chiuso
Installazione site-specific ideata dall’artista Etnik per la libreria La Brac di Firenze. L’installazione è la realizzazione tridimensionale di una delle sue metafore critiche sugli agglomerati urbani, che caratterizzano le grigie periferie cittadine, elaborando il concetto di "gabbia urbana" in cui l'uomo è intrappolato.
Masse geometriche s’intersecano violentemente su piani opposti e punti di vista spiazzanti per rappresentare un cemento sempre più costrittivo e un equilibrio sempre più precario nella vita quotidiana di ognuno di noi. Costellazioni di linee sospese e fluttuanti in uno spazio indefinito in cui possiamo riconoscervi spaccati di linee metropolitane intrecciate ai profili delle grandi costruzioni di periferia, caratterizzati della massiccia presenza industriale; o l’intersezione di sagome di classiche costruzioni storiche, quali campanili e abitazioni rurali, alle tipiche dei cantieri edili. È l’elaborazione del concetto di “gabbia urbana” in cui l’uomo è intrappolato, attraverso l’esplorazione dell’incastro architettonico delle diverse strutture fortemente caratterizzanti le aree urbane periferiche. Cosa succede se una di queste micro-costellazioni conquistasse la terza dimensione, librandosi realmente nello spazio? In una sorta di dialogo, che Etnik intesse con gli spazi della libreria La Brac, luogo deputato al ristoro e alla lettura, l’opera site-specific “Explosion” ci permette di scoprire le suggestioni e le emozioni provocate ai giovani avventori, intenti a leggere o a gustarsi un buon pasto, che ne divengono osservatori dal basso. Il nucleo attorno a cui si sviluppa tutta l’installazione, studiata e realizzata ad hoc per lo spazio, è la scultura “Cubo”, da cui si sprigiona tutta una serie di elementi. Come nel sistema solare, Cubo rappresenta il pianeta attorno a cui ruotano, come satelliti, frammenti di specchio che, da angolature differenti, ne rimandano continuamente l’immagine riflessa, e parallelepipedi che, come piccole parti del tutto, ne ripropongono in sé alcuni elementi caratteristici ingranditi, portando alla luce ciò che costituisce e realizza l’incastro urbano.
Dopo vent’anni passati a dipingere spazi urbani di periferia e a cercarne di nuovi, Etnik inizia a riflettere molto sul concetto di “città”, scorgendone un nuovo punto di vista, assai diverso dal resto della cittadinanza, fino a farne soggetto principale di studio, aprendosi così al disegno, alla pittura e alla scultura in generale. Parallelamente alla creazione di murales infatti, Etnik porta avanti una personale ricerca artistica che nel 2003 vede la luce sotto il nome di “Città prospettiche”, di cui la scultura “Cubo” ne è la traduzione tridimensionale. Nel caso specifico, il concetto di città come “gabbia urbana” subisce un processo interpretativo diverso, sia nella trasposizione scultorea che in quella installativa, trovando maggior spettacolarità e arditezza. Non a caso l’installazione reca in sé due livelli interpretativi complementari: il primo risiede nel gioco ridondante di rimandi d’immagini riflesse e di particolari ingranditi della struttura, operando un’analisi ancora più profonda del punto di vista dell’artista sulla città e le parti di cui si compone; un secondo livello di lettura è da riconoscersi nel concetto di città nella città, dove il piccolo agglomerato urbano, “Cubo”, è inglobato nella magica atmosfera della piccola realtà della libreria, un’oasi ricavata a sua volta proprio nel cuore della città di Firenze in cui l’artista mette in atto la sua ironica e personale critica dietro cui si sottende il rapporto conflittuale che intrattiene con la città stessa, accentuando così la carica concettuale del messaggio primario dell’opera.
F8X- specific wheels required for brake clearance: www.apexraceparts.com/store/wheels/arc-8-wheels/18x10-et2...
Front: 18x9.5" ET22 with 275/35-18 Nitto NT01
Rear: 18x11" ET44 with 305/35-18 Nitto NT01
Factory M4 Competition Package Alignment Specs
Lowered on Macht Schnell Competition Springs w/ Factory EDC
Owner:
The model and its assembly:
Believe it or not, but this is a real life background and also the model of a real P-51D. I came across this specific airplane rather accidently, but found its unique, improvised camouflage rather challenging – esp. when you build kits with enamels and brush like me. I still had a Hobby Boss P-51D in my vast kit pile, and so I decided to tackle this aircraft as a side project while waiting for parts for another project, since the kit could be built almost OOB, just the decals had to be puzzled together.
I only did minor changes to the kit. One addition is a pilot figure in order to cover the cockpit "bathtub", and a dashboard cover under the windshield inside of the cockpit was added, too. A pitot (made from a piece of wire) was added under the port wing, as well as a retractable landing light inside of the starboard main gear well.
Despite being of simple construction, the Hobby Boss kit shows good surface details, including engraved panel lines. It’s quickly built – the fuselage and the wings are both just single, massive(!) pieces. Due this construction, though, the kit is not a good choice for conversions. And one major flaw is the fact that the canopy frame is a fixed part of the fuselage, even though two canopies are supplies – a single piece for closed position, and separate windshield and hatch for a potentially open cockpit. But the latter can actually not be built, and separating the canopy frame from the massive fuselage is IMHO a messy task, and that’s the reason why I left the cockpit closed… Anyway, it is IMO still a good kit for the money, and a good choice as a basis for a simple livery alternative.
Beyond that, this model comes “clean” without any ordnance. Since I could not find any reference that would show or mention external loads under AURI Mustangs (not even drop tanks), I left the model this way, what underlines the Mustang's clean lines.
Painting and markings
Here, things become more interesting. My model depicts Angatan Udara Republik Indonesia’s F-51D “F-319” and is based (only) on aircraft profiles and sketches, which were themselves only prepared on the basis of poor photographs of AURI Mustangs during late operations against AUREV.
AURI Mustang F-319 (44-13045) took, according to an article in Air Enthusiast No.82, actively part in the fighting of 1958, and it is one of the few (maybe even the only) Mustang to sport a cammo scheme. In general, the AURI P-51Ds were left in a bare metal finish, with colored spinners and a black anti glare panel, sometimes decorated with huge shark teeth. Actually, these aircraft were inherited from Dutch forces after Indonesia' independence, and the national insignia just replaced with the AURI pentagon. Even the tactical codes were kept.
F-319 was obviously hastily camouflaged, and only on the upper sides and wrapped around the lower fuselage, probably in two shades of green, or in green and brown. The exact colors remain unknown, but any profile I found depicts F-319 in two shades of green, so I stuck with it, and it’s a nice color combo. F-319 was reportedly damaged during the attack against Amahai on 10 May 1958, after that the track is lost.
Anyway, key objective of this kit was to replicate that improvised cammo and weathered look that one might expect under harsh climate conditions and frequent use with poor maintenance in front line service.
All interior surfaces were painted in a zinc chromate green finish. I used Humbrol 150 as a basis color and added dry-brushed Testors 1715 on top of that. The landing gear was kept in Aluminum (HUmbrol 56). Everything "standard".
The model's lower sides were painted with 'Polished Aluminum' Metallizer from Testors. The upper surfaces, which would later be concealed by camouflage, were painted with acrylic paint, 'Aluminum' from Revell. The same color was also used for some contrast panels on the lower surfaces. Onto this basic finish, the decals were applied as a next step. AURI F-319 appears to have had its cammo scheme painted around its original markings and some access hatches, and simulating this would be IMHO achieved the easiest way by simply duplicating the process on the kit!
The decals themselves were puzzled together from several aftermarket sheets. The AURI insignia/national markings come from a generic TL Modellbau sheet, the tactical code and the “AURI” letters under the wing were cut and re-arranged from "USAF" letters in 1:72 scale. Improvisation rules, and the frugal modeler.
After the decals had been applied ans secured under a thin coat of clear, acryllic varnish, I used water and salt to mask panel lines and leading edges with tiny mottles and irregular "spot clusters". It’s actually a method that works well when you simulate rust and flaking paint on 1:35 tanks and such with an air brush, but I thought that it might also work here, too, since I wanted to let a lot of bare metal shine through the rather thin cammo paint.
After having thoroughly dried, the camouflage scheme was applied with a broad but flat, soft brush, with slightly thinned enamel paint and only with gentle strokes. An air brush would have been better suited, not to stir the masks on the metal paint below, but on the other side a brush allows a more tattered, uneven look, enhancing the flaked and worn effect and the realism of the finish.
The basic camouflage colors are Humbrol 120 (FS 34227, Light Green) and Humbrol 91 (Black Green). They create a good contrast - but BW pictures are hard to interprete. After this basic cammo paint had dried up, the salt masks were rubbed away, supported by hard brushes and even fine sand paper. Surely, some repair and additions had to be made, e .g. around the insignia and the tactical codes. In some areas, the chipping effect was enhanced with some dry brushing, e .g. with Humbrol 78, 75, and 116. A wash with thin black ink was applied in order to emphasize the kit’s engraved panel lines and the many surface details.
F8X- specific wheels required for brake clearance: www.apexraceparts.com/store/wheels/arc-8-wheels/18x10-et2...
Front: 18x9.5" ET22 with 275/35-18 Nitto NT01
Rear: 18x11" ET44 with 305/35-18 Nitto NT01
Factory M4 Competition Package Alignment Specs
Lowered on Macht Schnell Competition Springs w/ Factory EDC
Owner:
Who: Small business owners seeking growth through the marriage of best business practices and technology
Why: Strengthen your competitive edge and make your business soar, by successfully applying the right technology to support the right business practices
What: A full-day conference with a unique interactive structure that will provide answers to help you with your specific business situation
Gain insight from experts in technology, sales, finance and marketing who specialize in helping small businesses make it all work together
Learn from small business owners who have achieved exceptional growth through an effective marriage of business savvy and technology
Exchange ideas with experts and peers.
Charles Hand, President, New York Metro Region, Verizon Wireless
Scott Vaccaro, Regional VP, Enterprise Rent-A-Car, NYC
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Tajin is the symbol of Moroccan cuisine. It's cooked in specific pottery plate with peaked lid. Traditionally it's eaten by right hand using bits of bread.
View at Felix Gonzalez-Torres "Specific Objects without Specific Form" retrospective at Wiels, february 2010.
WIELS premieres a major traveling retrospective of Felix Gonzalez-Torres’ oeuvre, including both rarely seen and more known artworks, while proposing an experimental form for the exhibition that is indebted to the artist’s own radical conception of the artwork.
Gonzalez-Torres (American, b. Cuba 1957-1996), one of the most influential artists of his generation, settled in New York in the early 1980s, where he studied art and began his practice as an artist before his untimely death of AIDS related complications. His work can be seen in critical relationship to Conceptual art and Minimalism, mixing political activism, emotional affect, and deep formal concerns in a wide range of media, including drawings, sculpture, and public billboards*, often using ordinary objects as a starting point—clocks, mirrors, light fixtures. Amongst his most famous artworks are his piles of candy and paper stacks from which viewers are allowed to take away a piece. They are premised, like so much of what he did, on instability and potential for change: artworks without an already preset or specific form. The result is a profoundly human body of work, intimate and vulnerable even as it destabilizes so many seemingly unshakable certainties (the artwork as fixed, the exhibition as a place to look but not touch, the author as the ultimate form-giver).
To present the oeuvre of an artist who put fragility, the passage of time, and the questioning of authority at the center of his artworks, the exhibition will be entirely re-installed at each of its venues halfway through its duration by a different invited artist whose practice has been informed by Felix Gonzalez-Torres’ work. A first version of Felix Gonzalez-Torres. Specific Objects without Specific Form by curator Elena Filipovic will open to the public and on March 5, 2010, the artist Danh Vo will re-install the exhibition, effectively making an entirely new show.
Text source :
View at Felix Gonzalez-Torres "Specific Objects without Specific Form" retrospective at Wiels, february 2010.
WIELS premieres a major traveling retrospective of Felix Gonzalez-Torres’ oeuvre, including both rarely seen and more known artworks, while proposing an experimental form for the exhibition that is indebted to the artist’s own radical conception of the artwork.
Gonzalez-Torres (American, b. Cuba 1957-1996), one of the most influential artists of his generation, settled in New York in the early 1980s, where he studied art and began his practice as an artist before his untimely death of AIDS related complications. His work can be seen in critical relationship to Conceptual art and Minimalism, mixing political activism, emotional affect, and deep formal concerns in a wide range of media, including drawings, sculpture, and public billboards*, often using ordinary objects as a starting point—clocks, mirrors, light fixtures. Amongst his most famous artworks are his piles of candy and paper stacks from which viewers are allowed to take away a piece. They are premised, like so much of what he did, on instability and potential for change: artworks without an already preset or specific form. The result is a profoundly human body of work, intimate and vulnerable even as it destabilizes so many seemingly unshakable certainties (the artwork as fixed, the exhibition as a place to look but not touch, the author as the ultimate form-giver).
To present the oeuvre of an artist who put fragility, the passage of time, and the questioning of authority at the center of his artworks, the exhibition will be entirely re-installed at each of its venues halfway through its duration by a different invited artist whose practice has been informed by Felix Gonzalez-Torres’ work. A first version of Felix Gonzalez-Torres. Specific Objects without Specific Form by curator Elena Filipovic will open to the public and on March 5, 2010, the artist Danh Vo will re-install the exhibition, effectively making an entirely new show.
Text source :
Haleakala Crater hike on 7/9/2019
I caught the first Hawaiian Airlines flight to Maui from Oahu which left at 5:05 am, arrival at 5:44 am.
I took a carryon duffel bag and a photo backpack ( no checked bags )
Picked up my rental car from Alamo and first stopped at 7-Eleven for water, food and snacks.
Maui Airport has changed. All the car rental companies moved to one central location reachable by tram. Additonally a specific Airport Access road was constructed and in use by this trip.
7:40 am left 7-Eleven for Haleakala.
7:30 am arrived at park entrance. $25 entrance fee by credit card only.
8:00 am arrived at Halemau'u trail head parking lot. Filled my CamelBak bladder with 3L of water, redistributed my equipment and used the bathroom to add a thermal underwear layer for the cold.
8:40 am left the parking lot and went to the Hitchhiking spot to wait for a ride. I was picked up by the 3rd car to come along. A single young male on vacation by himself. As I was grabbing my things to get into his car a mother and young son came up and asked to share the ride. I only waited maybe 5 minutes to catch a ride.
9:00 am arrived at the Summit Visitor Center parking lot. The driver had never been up to Haleakala even after visiting Maui a couple of times before, and he was considering doing a short hike while up there. I would be passed by him and the other hitch hiker about a mile down the trail later.
9:15 am after a short look around at the lookout and tightening up my boot laces, I started on Keonehe'ehe'e ( Sliding Sands Trail )
11:51 am I would get to the bottom of the crater and the trail for Holua cabins or Kapaloa, Paliku cabins. Ate lunch of one Spam musube.
12:06 pm I would start on the trial to Holua Cabin
12:59 pm top of the ascent to "Ka Moa o Pele"
1:24 pm trail juncture on the left of "Halali'i"
2:14 pm Silver Sword loop begin ( did not take the loop )
2:22 pm Silver Sword loop end
3:05 pm Holua Cabin - rested
3:32 pm left Holua Cabin and headed out on Halemau'u trail and the crater rim.
4:13 pm arrived at base of crater rim and the start of the switchbacks up the crater wall. rested and stretched.
4:27 pm started up the crater rim switch backs.
6:56 pm I would reach the flat narrow spot I consider the end of the switchbacks.
7:00 pm the temperature would be 56 degrees and dropping down to 52 degrees ( not including windchill )
7:10 pm Sunset, and I was hiking in dark shadow. Too dark to take meaningful pictures or pics of my watch.
8:00 pm I would reach the Halemau'u parking lot and my car.
8:30 pm I would finish unloading and repacking bags for going to my hotel and possibly doing some astro photography.
8:45 pm arrive at Kalahaku overlook to check out the possibility of astro photography. The 50% moon washed out the Milky way too much, stars were visible and I was starting to yawn. So I didn't, and I left at 9:05 pm for Kahului and a shower.
I used up all my water, when I got to my hotel and check, the hydration bladder was flat. Possibly one or two sips left in the tube. This was the 2nd time hiking this trail. Both times I brought a collapsable water bag w/filter to refil water at Holua and did not. If I do this again I really, REALLY need to refill water at Holua cabin.
The weather reports for the previous week were about the possibility of hurricane Barbera hitting the islands the day before my trip. Fortunately Barbera down graded and by the time of my trip and predictions for the summit were somewhat cloudy with occasional showers. While hiking I only encountered a few light drizzle/drops from the clouds that didn't require me to break out any of the rain gear I brought or to stow my cameras from rain.
The weather at the summit was cloudy and approximately 65 degrees with windchill. Along the hike until the ascent up the crater rim at the end, the temperature would not seem as cold as I expected or remember from my previous hike a couple of years ago. Possibly due to my wearing thermal underwear, hiking pants, a medium thick long sleeve athletic shirt beneath a button long sleeve hiking shirt and my broad brimmed hat of course. While moving I felt cool and relatively comfortable temperature wise, while raising a slight glistening sweat. At least it wasn't dripping into my eyes.
Keeping to my expected and normal average hiking pace of around 1 mph or less going down hill and across the flats, I would take pictures about every 1-2 hundred feet of the trail. Boring, but I like to document the trail condition. In addition to any interesting views, scenery or recording the weather.
I kept one of my watches attached to my sleeve so it would not be in skin contact and would mostly dangle in my body shade. This would give me a way of tracking my elevation and mostly the temperature.
There were many more day hikers actually crossing the crater along the same route I was going. Most notable was the mother and son that caught a ride with me. They met up with her husband and other son who caught another ride a bit later.
Probably all the hikers that were crossing the crater caught up to me and passed me, and they all started later than I did. The only people who caught up but didn't pass me were 3 female park rangers on their way to Holua Cabin and pretty much started doing their park ranger stuff in the area where they caught up to me and didn't catch up again.
I was constantly annoyed by the hikers I would see taking short cuts along the trail. I had to remind myself to not get pissy with them. I'm tempted to think the only other hikers on the trail that did not take short cuts were the park rangers I met.
Personally, I started the hike with a kinda sharp lower back pain, which had been ongoing since the previous week. But since this hike was already book and paid for I wasn't going to cancel. All thru the hike my back would be in constant pain and I would continually think I might have to give up hiking if my back doesn't get better. It was most painful going down hill, while the flats and going up weren't as bad.
I was hoping the strain and constant back movement would loosen up my lower back and aleviate my pain. Supprisingly, while getting on my stomach with all my gear still on me, when I got up my lower back was better. The pain would come and go, but could now be aleviated for short periods of time by taking off all my gear and bending over to stretch my back. When I would get home, my lower back pain issues would return to "normal"
Evidently, the dry cold air and constant breeze caused my face and lips to chap, which showed up a day after I got home.
Once again I brought chapstick but didn't use it.
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CamelBak Octane 16X Hydration Pack (3L Hydration bladder)
3 liters of water = 6.6 pounds
1x Nikon D700 w/battery grip - Nikon 28-300mm
1x Nikon D700 w/out grip - Rokinon 12mm f2.8 fisheye
Tokina 16-28mm f2.8
Camera & lens weight = 12 pounds
I brought both cameras to reduce the amount of time spent changing lenses and the possibility of getting grit on the camera sensors. Turns out I never changed to the 16-28 so never removed any lens. Yay, no spots in my pictures, Bo, lugged another heavy lens around for nothing. At least I left the 100mm macro in the car already.
Not a whif, but rather a custom build for a friend who recently sold his VW T2 camper - originally bought as a restauration project, but reality reared its ugly head and time turned out to be too sparse for this hobby.
However, I dediced to create a model of the specific T2 camper as a memorabilia piece, on a low budget, though.
The basis is a 1:43 scale die cast model from Premium Classixx, a manufacturer that also supplies VW's own fan shop. The company produces lots of limited series models (typically 500 per run), and they are nicely detailed (out- and inside), even though the paint is a bit thick.
I tried to find a basis that was close to the real bus, yet available and affordable - and in my shortsightedness I bought an orange/ivory T2a camper with a Westfalia tent roof, which appeared quite close to the original, at least at first glance.
I am not a VW expert, but I soon realized (actually while work was already in progress!) that the model I bought is T2a, while the bus I wanted to recreate is a later T2b!!! Rats!
At a cursory glance the differences are minimal, but they are there, and they are quite fundemantal.
For instance, front and rear differ between the two T2 models. On the front, the T2b blinkers are placed high, right under the windscreen, while the T2a has them further outside, above the bumbers. The latter are also different, they are extended around the corners, reaching under the front doors. The latter could be easily mended through trimming, while the blinkers were a more complicated affair - I filled the original openings and created a new air inlet for the front (well, it had to be re-done, anyway in the course of re-painting the bus) with new blinkers with a home-printed water-slide decal, some silver decal sheet and clear paint.
The rear end, esp. the brake lights, are totally different, but I left them as is, because a modification would have been much too complicated. But I am agitated that I did not notice the differences before I bought the bus model...
The tent roof is, BTW, also different, but I stuck to the OOB shape because I did not have a view from the top of the real bus' roof.
Internally, the camper received a complete re-design of the furniture, because the seats and other elements like the kitchen block were arranged almost completely different.
The upholstery and wall covers had also to be changed: the model came with an olive green interior (Yuck! Almost RLM02!) and red/blue seats, and I had to change them into a leather brown interior with green/yellow seats. In the original bus, the front seats had furthermore been replaced with more modern (Eighties Golf Mk. II?) parts with head rests, so they were modified accordingly and became two-tone grey.
Another neat internal detail from the original bus is a fake flower chain in rainbow colors that used to hang from the rear view mirror. This distinctive piece was scratched with wire, sawdust and enamel paint.
Music boxes were scratched, too, and hung into the boot, right behind the back window.
While the model came with painted/printed curtains in the windows, I had to re-do them, too, because their sand color would have been too dark; the paint was carefully wet-sanded away, as good as possible, and the free areas patched up with a pale yellow.
On the exterior, the colors had to be changed completely. The ivory roof and the bumpers became white, like the roof, while the wheels received yellow rims (their shape does not match the original rims, either...).
A really big challenge was the spare wheel that is attached to the bus' front: I was not able to get an additional wheel from the manufacturer, so I had to re-cast the spare wheel from one of the model's parts. With an alginate mold and 2C putty the stunt worked, somehow, but it took several attempts and experiments to get it more or less right.
Around the hull, several small details were added, e .g. an individual plug socket, a scratched tow coupling and other very small things.
On the model's basis (it comes in a clear display box with a piece of cobblestone street), I added a flat dish which traditionally collected oil from the engine - created from aluminum foil and a square plastic stencil.
The overall hull color was, after having been wet-sanded, changed from orange to a bright lime green. In order to stay close to the original and not present a "cleaned-up" result of a restauration, I tried to emulate the original's bus slightly shaggy look - after all, it never evolved from its "pre restauration" status to something more solid. Consequently, there's some visible rust, and on the flanks you can see the red primer coat shine through here and there, the original paint finish is rather cloudy and somewhat preliminary.
In order to re-create this look I gave the model a basic coat with mineral red, sanded it, and on top of that I added a coat of green (a mix of Humbrol 38 and 36, it comes surprisingly close to the real tone) with a flat, soft brush,for a slightly uneven, streaky look.
Some areas were later treated with a slightly different mix of the Humbrol colors, and some anti rust primer added at specific areas. Even though there are some areas where the paint gathered into a bumpy surface, the look I achieved is quite convincing!
Beyond the new T2b front grill, as mentioned above,many other things on the exterior were printed as decals at home. This includes the license plates, but also many stickers on the front and back end of the bus. Photographs of the original bus were the basis, and the result is good for the 1:43 scale.
Finally, the model received a coat with Italeri's Semi Gloss acrylic varnish, which creates a good finish that comes close to the original bus, which is/was also never really shiny.
Well, I hate building cars, and the bus was actually not an exception. But I took it as a challenge, and, after all, creating an individual present (with an emotional hook) is always a good motivation.
In the end I must be satisfied with the result, but the model became not as "good" or close to the real world bus as I had hoped for - but this might be crabbing on a very high level. But as long as you do not take a close look, the result is quite convincing, and I hope that the bus model will be well received.
The Vienna Stock Exchange, founded in 1771 as one of the oldest stock exchanges in the world, is now a modern, customer- and market-based financial services company. It not only operates the only securities exchange in Austria, but the Austrian electricity EXAA and the CEGH Gas Exchange of the Vienna Stock Exchange. The main business areas include trading in the cash market (equity market, bond market), at the futures market and in structured products. Additional services include sales data, index development and management, and financial market specific seminars and courses. The Vienna Stock Exchange is the initiator and as well as the stock exchanges of Budapest, Ljubljana and Prague, a 100 % subsidiary of the CEE Stock Exchange Group (CEESEG), the largest exchange group in Central and Eastern Europe.
History
The Vienna Stock Exchange was founded by Maria Theresa and is one of the oldest stock exchanges in the world. Initially, only bonds, bills and foreign exchanges were traded. The Austrian National Bank was in 1818 the first public company listed on the Vienna Stock Exchange.
In the middle of the 19th Century, the growing industrialization brought a huge economic boom and many companies financed themselves with stock issues on the bourse. A liberal economic policy favored hasty and sometimes unsound business ventures. These factors set off a wave of speculations that on 9 May 1873 with the Vienna stock market crash ended abruptly. About half of public companies disappeared from the exchanges. It took years till the stock market of the Vienna Stock Exchange recovered from this setback .
Old stock exchange building in Vienna's Ringstrasse, built in 1877 by Theophil von Hansen.
New regulations and stock exchange laws had become necessary in order to handle the increasingly lively trade in an orderly fashion. 1875 third exchange law was enacted in the history of the Vienna Stock Exchange, which guaranteed the complete autonomy of the Vienna Stock Exchange and a smooth trading process. 1877, the by Theophil von Hansen designed historic stock exchange building on Scots ring (Schottenring) was inaugurated.
From the end of the 19th Century until the outbreak of the First World War, the situation on the capital market further consolidated. During the First World War, the stock market was closed. Not until the end of 1919, the official stock trading was resumed and the Vienna Stock Exchange experienced again a strong inflow and a boom, which ended abruptly with a crash in March, 1924. Share prices rebounded in Vienna in the following years just slowy. However, the fall in prices on the New York Stock Exchange in October 1929 had no significant impact on Vienna.
Although the position of the Vienna Stock Exchange was severely diminished as a financial center by the fall of the monarchy, it kept for South Eastern Europe continued importance. Among the 205 shares that were traded on the Vienna Stock Exchange in 1937, yet there were 75 from the Succession States.
With the annexation of Austria to the German Reich in 1938, the Vienna Stock Exchange lost its independence and was subordinated to the German stock exchange law. Securities trading itself was - albeit very limited - continued until shortly before the end of the Second World War. In 1948 the stock market was reopened. The stock market suffered after the war by the nationalization of individual industries a certain narrowing. The bond market, however, had recovered after the currency reform in 1952.
A major fire on 13 April 1956 destroyed a part of the exchange building. The building was re-opened in December, 1959.
While the bond market of the Vienna Stock Exchange grew steadily, the stock trading continued to lead a shadowy existence. The big change came only in 1985, when an American analyst triggered a stock market boom by drewing the attention to the extremely high potential of the Austrian capital market. After two decades of stagnant rates, it came to price increases of 130 %. Revenues increased six-fold. That changed the hitherto rather subdued setting of economic policy to the stock market. A number of large companies in the following years went on the market, such as RHI, OMV (1987), Austrian Airlines, Verbund (1988), EVN (1989). From mid-1988 on the Vienna stock exchange once again began a stock market boom, which lasted until August 1990.
In December 1997, the Vienna Stock Exchange with the Austrian Futures and Options Exchange (ÖTOB) was fused to the new Wiener Börse AG.
In January 1998, the Vienna Stock Exchange moved to premises of the OeKB at Strauchgasse 1-3 and in the Wallnerstraße 8, 1014 Vienna.
Following the decision to privatize the Vienna Stock Exchange, the Exchange Chamber was dissolved in June 1999 and the ownership shares (50% of the shares) the Austrian issuers (except banks) offered to buy.
Since November 1999, the trade in securities takes place via the fully electronic trading system Xetra ®.
End of 2001, the Vienna Stock Exchange moved to the Palais Caprara-Geymüller.
The Vienna Stock Exchange had remained untouched by the market declines, as the major international exchanges experienced in late 2002. 2003, the cash market of the Vienna Stock Exchange began to revive. Austrian companies managed to position themselves after the EU enlargement in Eastern Europe well, which had a positive impact on the performance of the ATX. The rise of the Vienna Stock Exchange increased the interest of both domestic and international investors in the Austrian capital market.
An Austrian consortium of Austrian banks, the Vienna Stock Exchange, and OeKB, acquired in 2004 the majority of the Budapest Stock Exchange. This partnership was the foundation for an exchange network that has been steadily expanded through cooperation agreements with many exchanges in the Southeast European region, such as Bucharest, Zagreb, Belgrade, Sofia, Sarajevo, Montenegro, Macedonia and Banja Luka.
In July 2004, climbed the ATX, which represents the 20 largest listed companies in Austria, for the first time over the 2,000 point mark, in June 2005, it reached the 3,000-point mark and in May 2006 the ATX broke through the 4,000-point mark. In 2008, the Vienna Stock Exchange was unable to escape the turmoil in the international financial markets. Especially in the second half of the year had the ATX experienced large losses and closed at 1,750.83 points by the end of 2008. Was 2009 at the beginning of the year still overshadowed by the financial and economic crisis, which had in the previous year reached its peak, began after repeated strong losses from mid-March a rally. The boom on the Vienna Stock Exchange turned out in comparison to other international financial centers even significantly above average, and although the ATX in recent months tended sideways, it closed in 2009 with an increase of approximately 42.5 % at 2,495.56 points.
After the acquisition of majority stakes in the three neighboring exchanges of Budapest, Ljubljana and Prague in June 2008, the Vienna Stock Exchange in 2009 devoted to the intensive formation of the CEE Stock Exchange Group - initially in the form of a common brand. On 14 January 2010, the holding company CEESEG was entered in the commercial register. Subordinaded to it are now the stock exchanges of Vienna, Budapest, Ljubljana and Prague equally as affiliates. Sole shareholder of Wiener Börse AG is now the CEESEG, the previous shareholders of Wiener Börse AG are now shareholders of CEESEG.
Corporate Structure
The Vienna Stock Exchange is a 100 % subsidiary of CEESEG. This is 52% of Austrian banks and 48% of Austrian companies.
Largest securities offerings
Biggest IPOs:
2007: Strabag SE, € 1,325.4 million
2005: Raiffeisen International, € 1,113.8 million
2000: Telekom Austria, € 1,008 million
2003: Bank Austria Creditanstalt, € 957.9 million
2006: Austrian Post, € 651.7 million
Largest capital:
2006: First Bank, € 2,918 million
2007: IMMOEaST, € 2,835 million
2006: IMMOEaST, € 2,752 million
2009: First Group, € 1,740 million
2007: Raiffeisen International, € 1,237 million
Indices
Wiener Börse calculates and distributes a number of indices, including several Eastern European indices which are known under the name "CECE indices".
The most important index calculated by the Vienna Stock Exchange is the trade flow index ATX, which comprises the 20 most liquid Vienna values.
CEE stock indexes are available for the Czech Republic (CTX - Czech Traded Index), Hungary (HTX - Hungarian Traded Index), Poland (PTX - Polish Traded Index), Croatia, Serbia and Bulgaria as well as indexes for the entire region (CECE Composite Index, SETX, CECE CECE MID , NTX). Furthermore significant, a total of 10 CIS indices.
In addition, the Vienna Stock Exchange is calculating the China Traded Index (CNX) from the closing prices (about 8:45 clock).
Title: Barn (Stable)
Specific Date: 9/28/1936
Architect: Smith, Olin, draftsman
Remarks: Pencil and colored pencil on paper showing barn (stable), including front elevation, section A-A, rear elevation, end elevation, floor plan.
Dimensions: LN: 35.50" x WD: 24.375"
site specific vitrine
camera obscura, stereoscoop, mixed media
A recurring element in Melissa’s working process is the research and exploration of unstable media. This exploration results in drawings, objects, installations, machines and public-rural interventions. Cruz Garcia is interested in an artisan and portable way of creating performative machines and digital media intending to put the public in a situation where he/she is active part of the work. Using purely what the possibilities and the circumstances provide and in contrast with the concept-subject she is currently employing, Melissa aims to formulate hypothetical futures. She takes discarded materials attributed to different cultures, de-contextualizes and refreshes them by a physical and conceptual transformation.
I had a specific place to visit today, the Finger Lakes Trail near Will Warner Road in South Otselic. What I did not anticipate was coming across a memorial for 12-year-old Shyanne Somers of Otselic. She was killed at this location in either 2008 or 2009. It is hard to describe the feelings that came over me while photographing the memorial. Read more:
A man was convicted of murder Thursday for intentionally running over a 12-year-old baby sitter to keep her from talking about their time spent together.
George Ford Jr., 44, a contractor from Piscataway, N.J., was found guilty of second-degree murder in the death of Shyanne Somers. The verdict was read by Broome County Judge Joseph Cawley Jr. after a non-jury trial.
The girl's family left the courthouse without commenting.
Prosecutors said Ford was high on cocaine when he killed Shyanne to stop her from talking about what transpired during hours she spent alone with Ford before her death on an upstate New York road on July 8, 2007. The bulk of the prosecution's case was based on a GPS tracking device hidden in Ford's pickup truck by his estranged wife, who suspected he was having an affair.
"Thank God for Mrs. Ford, because when she gave us that GPS it told us where he was and what he did and proved that there was no accident there and that it was a homicide," Chenango County District Attorney Joseph McBride said.
Ford testified that he accidentally hit the girl after showing her his horses, which were boarded in a pasture 45 miles north of Binghamton. A doctor testified that an autopsy showed the girl died of severe traumatic injuries to her head and chest.
"He didn't kill her on purpose. It was an accident," defense attorney Randel Scharf said, adding that he felt prosecutors failed to prove intent to cause her death. "George feels terrible. He feels bad for the family. He feels bad for himself."
Scharf said he planned to appeal, but added the issues for appeal would be limited because it was a non-jury trial.
SAD beyond words...
Cadets from 2nd Regiment, Advanced Camp graduate at Fort Knox Ky., July 9, 2023. Specific cadets were given awards for various achievements throughout Advanced Camp. |Photo by Emily Hudson, Murray State University, Public Affairs Office
Not sure on the specific bus featured, but here is an interior view of one of Selwyn's Travel's Technobus Pantheons which are used on local circulars. Weird and quite wonderful buses, these. Picture taken on 18/11/11.
Site specific sculpture - plaster, yoghurt, chicken wire.
A site specific sculpture rises from the soil in the woods. Covered in yoghurt, it is gradually colonized by fungi, mould and vegetation. As the plaster rots and the chicken wire rusts, the form disintegrates, becoming one with it's environment. A walking stick, concealed in it's supporting arm is the only remaining fragment.
1997-present
(Site-specific installation on the corner of 6th and Howard St. in San Francisco)
This multi-disciplinary sculptural mural involves seemingly animated furniture; tables, chairs, lamps, grandfather clocks, a refrigerator, and couches, their bodies bent like centipedes, fastened to the walls and window-sills, their insect-like legs seeming to grasp the surfaces. Against society’s expectations, these everyday objects flood out of windows like escapees, out onto available ledges, up and down the walls, onto the fire escapes and off the roof. “DEFENESTRATION” was created by Brian Goggin with the help of over 100 volunteers.
The concept of “DEFENESTRATION”, a word literally meaning “to throw out of a window,” is embodied by both the site and staging of this installation. Located at the corner of Sixth and Howard Streets in San Francisco in an abandoned four-story tenement building, the site is part of a neighborhood that historically has faced economic challenges and has often endured the stigma of skid row status. Reflecting the harsh experience of many members of the community, the furniture is of the streets, cast-off and unappreciated. The simple, unpretentious beauty and humanity of these downtrodden objects is reawakened through the action of the piece. The act of “throwing out” becomes an uplifting gesture of release, inviting reflection on the spirit of the people we live with, the objects we encounter, and the places in which we live.
The ground level has served as a rotating gallery for the vibrant artwork of street muralists.