specific photos on Flickr

Operation Monument by Greater Manchester Police

Six people have been arrested after an operation to tackle the violent theft of jewellery in Stockport.

Operation Monument was set up by Greater Manchester Police to target those suspected of being involved in a series of violent burglaries in Stockport.

The break-ins have been committed at the homes of predominately Asian families with the specific intent of stealing gold jewellery.

During a number of these burglaries the families themselves have been subjected to extreme and unprovoked levels of violence, with offenders using weapons such as knives, bats and crowbars to attack their victims.

Today, Thursday 11 December 2014, Greater Manchester Police carried out ten warrants in the Tameside, North Manchester and Stockport areas of Greater Manchester following an investigation to identify those responsible for these violent burglaries.

As a result, five people have been arrested on suspicion of conspiracy to commit burglary and robbery and remain in police custody for questioning.

One person has also been arrested on suspicion of possessing Class A drugs with intent to supply.

As part of the raids, officers have seized a number of vehicles, including off-road motorcycles, some Class A drugs and several thousand pounds in cash.

Detective Sergeant John O’Driscoll from Stockport, said: “Today's action demonstrates our ongoing commitment to dismantling criminals involved in these violent robberies.

“We are aware that there has been a recent spike in incidents where predominately Asian families have been targeted in their own homes and gold jewellery stolen, these criminals are having a serious impact on the Asian community with people no longer feeling safe at home.

"What today is all about is taking a stand against these offenders and sending out a message that we will not allow innocent members of our communities to be terrorised in this way and we will identify those responsible and bring them to justice.

"There are a number of steps we would advise people take to protect themselves against this type of crime. For instance, keeping your jewellery in a safety deposit box at your local bank rather than in your home, or if you would prefer to keep the jewellery at home invest in a good quality safe which complies with official insurance rating standards and is secured to a wall or to the floor.

"Other more simple steps include double-locking your doors and windows, use timer switches on lamps to give the impression somebody is at home or keep a light on in the evening when you leave, consider installing alarms and 'dusk to dawn' security lighting or installing CCTV cameras outside your home."

To find out more about Greater Manchester Police please visit our website.

www.gmp.police.uk

You should call 101, the new national non-emergency number, to report crime and other concerns that do not require an emergency response.

Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.

You can also call anonymously with information about crime to Crimestoppers on 0800 555 111.

Felix Gonzalez-Torres by Marc Wathieu

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 :

www.wiels.org/site2/event.php?event_id=160

Sport Specific Exercise by Team Swimex

2nd Regiment, Advanced Camp, Graduation | CST 2023 by U.S. Army Cadet Command (Army ROTC)

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

Kerrville-Schreiner State Park SP.58.37 by Texas State Archives

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"

Specific and Ser Cymru by Swansea University

Technology transfer fellow Matthew Davies gets a close look at Specific

Melissa Cruz García - VITRINE 29, 2012 by Ed Jansen

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.

www.melissacruzgarcia.com/

Murder... by Dawg Gone

1

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...

NIS by Buie

4 1

A specific tribute to my new followers in the UK. I know it's not the coaches that you normally share with us, but I hope you'll accept a night view of one of our light rail trains on the Canada Line, between YVR airport and Waterfront station in Vancouver.

Final Piece by Sam Davies

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.

"La Constancia" by Regina Giménez by Latitudes | Barcelona

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The manufacturing and printing of textiles formed the basis of the industrial revolution in Catalunya. Beyond the actual fabric, it is the machinery of its production and the people who operated it—especially women—that underpins Regina Giménez’s presentation of her graphic works as part of the Compositions programme. Taking place in one of the buildings that comprises Can Trinxet, a former textile factory complex that once employed the largest workforce in L’Hospitalet de Llobregat, Giménez’s intervention comprises painted compositions that are derived from schematic representations of machines and their components. Her abstractions have been applied on transparent panels that lean against a scarred factory wall, becoming devices that reanimate the marks and memories embedded in the building. An accompanying poster evokes the clamour that once would have filled the workshop in typographic form. Giménez has titled her project “La Constancia” (2016) in tribute to the labor union that called a general strike in 1913 to protest the conditions of the female and child workers who undertook the textile industry’s most monotonous and arduous tasks. – Latitudes

Regina Giménez (Barcelona, 1966) has exhibited individually at: ‘Architecture d’aujourd’hui’, The Green Parrot, Barcelona (2015); ‘Art de foc art de badoc’, Nadala 2015 Fundació Joan Miró, Barcelona (2015); ‘Simbols Convencionals’, Museu d’Art Modern de Tarragona (2012). She has recently participated in the following group shows: Biennal de Valls, Tarragona (2015); ‘Modernitat Amagada’, Casa Capell, Mataró (2013); ‘La casa de la playa’ para ‘Cas de estudi’, Can Felipa, Barcelona (2013).

Giménez is represented by Ana Mas Projects, L’Hospitalet/San Juan (Puerto Rico) and by Galería Miquel Alzueta, Barcelona.

––

“La Constancia” (2016) was commissioned for the second edition of the Barcelona Gallery Weekend (29 September–2 October 2016) as part of the “Composiciones” programme.

Curated by Latitudes for the second time (see 2015 edition), the project further explores Barcelona as a rich fabric of the historic and the contemporary, the unfamiliar and the conspicuous. Resisting an overall theme, and instead developing from the artists’ responses to the specificity of each context—people as well as places—the five art projects form a temporary thread that links evocative locations and public space, running parallel to the Weekend’s exhibitions in galleries and museums.

In its second edition, "Composiciones" presents interventions by Lúa Coderch (Club Billar Barcelona); Regina Giménez (Antigua Fábrica de Can Trinxet, L’Hospitalet de Llobregat); Lola Lasurt (Biblioteca Pública Arús); Robert Llimós (connecting all the participating galleries) and Wilfredo Prieto (Unitat Muntada de la Guàrdia Urbana de Barcelona). Their projects offer moments of intermission, intimacy and bewilderment throughout the weekend, highlighting some lesser-known aspects of the city’s cultural heritage and municipal life.

Conceived and curated by Latitudes | www.lttds.org

Photo: Roberto Ruiz / Courtesy: Barcelona Gallery Weekend.

Info: www.lttds.org/projects/composiciones2016/

Social media documentation: storify.com/lttds/composiciones-five-commissions-curated-...

Artem's Laguna Seca Blue BMW F82 M4 Heritage Edition with 18" ARC-8 Wheels in Anthracite by Apex Wheels

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:

www.instagram.com/ruskii_m4

specific rim by Stu

4 3

flickrmeet to witley court, worcs.

Asylum#15 by Mary Adrenaline

2

Candid shot captured during "Asylum", the first immersive, site-specific, interactive theatrical play in the style of Punch Drunk’s "Sleep No More", taking place in Phoenix Arizona. The show is produced by Vessel, co-directed by Rachel Bowditch and Eileen Standley, designed by a team of six designers featuring 5 dancers, 4 actors, and an aerialist.

VESSEL PROJECT

Location: The Ice House

Specific Gravity by Tim Patterson

When I started the SG (specific gravity) of my must was just a touch over 1.100. Now, after primary fermentation it shows about 0.995, which means over 13% alcohol has been created so far. The champagne yeast I used will live until 18% alcohol, but I expect to get around 15% in the finished product.

Note: The hydrometer in the photo shows around 1.000 (when it's fully floating). It is calibrated to work at 60°, and my apartment is in the mid-high 70's. So I also made a measurement with distilled water at the same room temperature to see what it should read, and made the adjustment to be a little more accurate.

50 MALVERN RD. MOORDOWN. BOURNEMOUTH. DORSET. NOVEMBER 2010 by GRANT

Not really too much to offer in the way of specific historical information but i've got enough photos to string together a 'then and now series' which may be of interest to someone.

With the research material to hand all i know is that in 1915 this was F. Barnes grocers shop and that by 1925 it had become Barfoot's grocers and off licence.

It remained as a grocers and off licence and later a wine and spirits merchants until 1975 but after that i can't say except that it was later converted into a residential property.

Moordown pre dates the official birth of Bournemouth in 1810 and was home to a very scattered rural community that farmed the local area. As what might be termed the 'Original Bournemouth' started to spring up around the area of today's town centre on the relatively barren heathland soil the more fertile soil in the vicinity of the river Stour Valley to the north and east had supported small communities for hundreds of years.

The early communities such as Wick, Iford, Holdenhurst, Throop, Muscliffe, Ensbury and Kinson had developed along the banks of the Stour since Saxon times and over time had spread further afield to Redhill, Moordown and Strouden although these communities still centred on the original villages rather than developing into villages in their own right.

Moordown really began to develop when Bournemouth started to grow in the mid 1800s which threw a much needed life line to the mainly poor agricultural workers in the area. Suddenly there was a new customer developing around the mouth of the Bourne stream that needed to be suppled with fresh produce, milk and meat and this new development drew many into the area to take advantage of the new opportunities.

As Bournemouth grew so did Moordown and the nearby community of Winton which had sprung up as an artisan or working class area for those involved in building or supplying goods and services to the new town that was rapidly expanding nearby.

In 1901 both Winton and Moordown became part of Bournemouth with their rural pasts quickly becoming a distant memory as both areas were developed as residential suburbs of Bournemouth.

Much is made of the infertile soil of the heath that lay between Poole and Christchurch and how it was unsuitable for traditional crop farming and that the only fertile land lay to the north and east in the vicinity of the Stour, although the soil must have been fertile enough in places other than just around the Stour Valley as there were farms in Winton as far up as today's junction with Wimborne Rd and Alma Rd where the Hop and Kilderkin pub now stands, previously the site of the Continental cinema, or the 'fleapit' as it was known locally.

Nearby Talbot Village founded in the mid 1800s included smallholdings and farms and is also some distance from the Stour.

Moordown history site. www.jp137.com/mh/

Paws in the Duke of York Square by Matthew Wells

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) |

TODAY AT THE WEB SUMMIT THERE WAS A PRESS CONFERENCE HOSTED BY AXELLE LEMAIRE [FRENCH MINISTER RESPONSIBLE FOR DIGITAL AFFAIRS]-109905 by William Murphy

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.

D345-0104-09.jpg by World Vision Somalia

Specific caption not available.

**Photos provided by WV Hong Kong

Summary: This is a non-standard IDP site. Around 850 families are staying in this IDP, family size: 6-12 members, average 6/ family. Families have been staying in the settlement, from a range of 2 to 10 years. The families came from other IDP settlements, southern Somali, or Somaliland. World Vision provided non-food item (NFI) kits to the 550 head of households and built latrines in the camp eight months ago. Each NFI kit includes cooking utensils, blanket, plastic sheet, jerry cans. Other INGOs worked in the settlement and helped building steel-sheet houses for households who are identified in the circumstances as woman-headed; members with a disability, low income, or many family-members.

Africa

King of All That is Paper by Doggy Wishbone

3 9

A very specific thing to rule over, I know. I don't want any gray areas. Unless it's gray paper.

www.dawngrace.com by Bella Rose Tattoo Chicago

1

Chinese angel and fire snake tattoo by Dawn Grace.

Please do not steal my photos.

These pictures are here to represent my work as a professional tattoo artist, and most of these designs were drawn specifically for each client. That said, i cannot email you pictures of my clients' custom work so that you can take it to another artist to have it done.

It's not fair to the people who pay to get tattooed by me. Tattooing is a personal decision, and should you decide to get tattooed, put thought into what you want and find an artist who is willing and able to draw and tattoo exactly what you desire.

Do not leave comments about my clients' bodies or choice of subject matter. Such comments are annoying and will be deleted immediately.

Peru's Wonders of the World by Matthew Wells

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) |

Kaarina Kaikkonen by NYC No Longer Empty

Something Out of Nothing

Organization: No Longer Empty

Location:Invisible Dog Art Center

51 Bergen Street, Brooklyn

October 3 - Nov 14, 2009

Beware: “The Invisible Dog“ is unleashed this Saturday, October 3rd! The latest group exhibition produced by No Longer Empty, “The Dog” is a show “out of nothing” in a warmly decrepit out-of-use belt factory on Bergen Street in Brooklyn.

Following the tails of the Improv Everywhere stunt last week, the show presents a multitude of site-specific works reflecting both the history of the space and the profound beauty of the Invisible Dog. A rift on the 70’s gag, it’s a void object waiting for creative minds and hands to bring it to life.

Here in the factory, artists grabbed the many trimmings, reels of fabric, leather and other materials and transformed them into something new. The artist duo Steven and William created a “chandelier” of abandoned belt buckles. Guerra del la Paz amassed tons of discarded clothing, one color at a time. Here, la Paz’s “trashy” tribute becomes an imposing, yurt-shaped spectral prism. In the neighborhood spirit, Tom Sanford brings Jonathan Lethem’s novel “Motherless Brooklyn”-- which takes place on this block, to life via a fantastic, larger than life mural. Even the freight elevator is transformed: here, Giuseppe Stampone takes us on a trip from Hell to Heaven al Dante.

The Invisible Dog Art Center | Click Here

The Invisible Dog, a new three-story art center in Cobble Hill, Brooklyn, is an exuberant example of the integration of forward thinking and care for the past. The art center, admittedly, had a leg up: its home came equipped with an irresistable history. Built in the late nineteenth century, the 20,000 square-foot factory went through a number of industrial incarnations before its owners struck gold in the 1970s with the invisible dog trick: a stiff lease and collar surrounding the empty space where a dog would be. A mixture of party-hearty silliness and tongue-in-cheek trompe l’oeil, the trick became an icon of its era. But eventually public taste moved on; meanwhile, over the years, the Brooklyn neighborhood was changing. The factory closed its doors in the late 1990s; the boarded-up building was a blight on its quiet Brooklyn block.

What happened then is a kind of urban fairytale. In December 2008, Muriel Guépin leased the storefront and turned it into Shop Art Gallery, a small gallery with decidedly democratic spirit. Soon after, Lucien Zayan, a recent New York immigrant, stumbled upon Shop Art and inquired after the building behind it. Zayan knew he had hit on something when he heard the building’s history: he’d spent his life working in the French theater, including the Aix-en-Provence festival and Paris’s renowned Théàtre de Odeon and Théàtre de la Madeleine, and he recognized the perfect mise-en-scène. With the support of the building’s current owners, he decided to turn the space into a large-scale art center.

Less than a year later, the Invisible Dog is up and running. The building has been restored for safety and cleaned, but otherwise preserved intact. The rawness of the unfinished space is integral to the Invisible Dog’s identity: Zayan wanted a place that artists could really use, not a pristine renovation without personality. The ceiling on the third floor was restored using floor boards found in other parts of the building, and the enormous elevator shaft (the elevator removed) will be left open, as a unique exhibition space. Everywhere, the commitment to collaboration and community is clear. The ground floor, with its 14-foot ceilings, will be used for public events, performances, educational programs, and exhibitions, organized by guest curators from around the world. The second floor, divided into studios, is already occupied by nine specially-selected artists on one-year leases. They meet regularly with Zayan to discuss their work and the project. The third floor, light-filled and spacious designed by Anne Attal, will be available for flexible rental by the general public.

Artists:

Thomas Bell

Ryan Brennan

Amanda Browder

Rosane Chamecki, Andrea Lerner & Phil Harder

Gina Czarnecki

Jeanette Doyle

Steve DeFrank

Richard Garet

Guerra de la Paz

Rafael Lozano-Hemmer

Kaarina Kaikkonen

Giles Lyon

Miguel Palma

José Parlá

Rey Parlá

Tom Sanford

Keith Schweitzer

Francesco Simeti

Alfred Steiner

Giuseppe Stampone

Defenstration - San Francisco by Konrad Summers

1

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.

PREPARATORY STUDY FOR VATICAN CORRIDOR, A Non-Specific Autobiography by rdlv1

Page 7

NOTE: The paragraph in brackets are those of the artist:

THE FIRST ARCH 1949–1951 Ages 17–18–19

Of all of the arches of VATICAN CORRIDOR, A Non-Specific

Autobiography, the events that occurred within this particular

arch are perhaps the most important in that they set indelibly

the direction of the life of the artist emotionally, intellectually,

and creatively. Prior to his seventeenth birthday, there were

many indications of who he was and of what he would

ultimately become. Like the majority of his peers, as a child

and as an adolescent he experienced the familiar problems,

joys, anger, frustration, sexual experimentation, familial

estrangement, and sibling rivalry commensurate with his age.

But he possessed an unbridled and unquenchable curiosity

about nearly everything he encountered and read. He made

toys and sculpted innumerable animals in clay. In high school,

he was an avid and accomplished student admired and praised

by his teachers and was socially adept with and honored by

his peers.

He proved a tenacious and talented art student in high

school. At age seventeen, he received from his art teacher,

Hazel Bartley, his first commission. The resultant INFANT

OF PRAGUE may be considered his first actual sculpture.

Using the coal-fired furnace to melt the copper required,

he cast the sculpture in the basement of his family home in

Toledo, Ohio, burning out the furnace in the process.

After graduation from high school, he left home to attend

Alfred University. In the Preparatory Study, he notes

"the necessity/decision/desire to “become;” 17. Leaving

home. The ‘who’ is very strong–young, vital, sexual,

beautiful, naive, fearless, boundless energy, a late emergence

from puberty. David? Theseus?"

With the exception of the INFANT OF PRAGUE, all

other actual work executed by him during that three year

period was the result of specific student assignments, only

rare examples of which have been photographed or are

otherwise recorded. They were purely experimental both of

ideas and materials and reflective of the “styles” and

metaphors of the time. Yet some of those experiments gave

hint of the artist he would become. In later life he spoke

of the period of the First Arch as an awaking from the

emotional and intellectual restraints imposed upon him by

his parents who only wished for him a “normal” life in

which he would use his education at Alfred University to

prepare him to enter a recognized trade, return to the family

fold, marry, reproduce and derive pleasure from playing the

piano and tennis. But his eyes were opening, his imagination

expanding, and the challenges ever more formidable and

freeing. He said: “Compared to the Jewish girls from New

York City, I was merely ignorant, unread, and inexperienced.”

The years at Alfred University proved invaluable

for it was there he recognized the impossibility of pursuing

a course antithetical to his emerging what. Numerous of his

student notebooks and essays have been preserved and these, more than anything else, indicate the formulation of the

ideas and concepts that have been subsequently analyzed and

developed and expanded by him during the decades thereafter. Some of the ideas in gestation during the years

seventeen through twenty, and even until the present, are

addressed by the then forty-two year old artist in the

contemplation of the creation of the First Arch:

[How does “whatness” occur? Does it begin to develop

simultaneously with the developing “who”? Is it created

because of or in spite of an initial flaw within the identity

of the “who”? I would like to believe that the inner-self, the

“what,” is born out of the “who’s” non-acceptance of the

doctrine of linear time–a non-acceptance of death—a desire

to create out of oneself a sphere whose inner walls reflect

the inner desire of all men regardless of time or space. This

would mean an acceptance of all man’s behavior. Nothing

would exist as external to the sphere—neither “good” nor

“evil”—one man=all men. Acceptance eliminates the

doctrine of linear time, and with it the theory of

oppositeness. Within the sphere, “good” or “bad” have no

meaning—neither do life or death; rather, there exists

synonymity, a relating and reflecting of oneself in terms and

degree of the evolving “what.” The possibility for the

creation of “whatness” exists in all men, but it seems such a

fragile and destructible thing. I believe that Everyman at one

point or another within the linear life-span of the “who” is

confronted by the initial choice for the creation of his

“whatness”—and because it is a choice, there are men who

choose not to create, but rather to remain within the

doctrine of linear time—within the theory of

oppositeness…to become historical artifacts stored within

the ever-changing metaphors of the absolute “who.” They

kill and are killed—an endless repetition of the murder of

their own “whatness.” These presences, too, must be

included in Vatican Corridor—but they will exist within the

spaces between the arches.

[If an initial moment of choice must be selected for the

creation of a second or non-linear self, perhaps that moment

would be when “who” one is detaches itself from what one

was in terms of the linear matrix? “Son of…” “Daughter

of…” etc. Because of this detachment and vulnerability of

the “who,” a choice is presented—a reinforcement of the

linear “who” through a posture of “I am me because I am

not you,” or a transposition of linear into spherical

“whatness:” One man=all men…“I am me because I am

you.” The inner wall of the First Arch must somehow carry

the significance of the initial choice—or rather, what it is

that confronts the “who” at the moment of initial

choice——: A blank? An undisturbed volume? A vision existing within a block? A kind of geometric “perfection”? A void? A vacant arch? Shadows of possibilities? A block barely opened or in the act of opening? A concave reflection of the outer-wall? A gestured void corresponding to the convex and volumetric “who”? Certain volumes to exist within the concavity as an indication of some sort of predetermined limitation upon

the “what” in reference to the influences imposed upon the

“who” in terms of the “who’s” linear “whatness”? A kind of

imposed pre-choice identity? In terms of non-specific

autobiography, could or would this imposition be sexual?

Should this indication of pre-choice identity take the form

of a brutalization through the arches until it, too, is

assimilated and accepted in terms of the evolving “what”?

[In this, the First Arch, there are no transpositions from

the outer to the inner walls. It is a statement more of “this is

the way it is” with only two elements specifically to be noted:

the arm of the figure in the outer wall is held back firmly by

the hand of restraint; the hand of the parents, society, the

church, anyone and everything that would disallow a

departure, an escape, from familiar and restrictive traditions,

perhaps. The other is the uncarved top of the head, clearly

indicating that the soon to begin emerging what already is in

possession of the one element that would make full transposition possible: whatness, the universality of Desire.]

At the conclusion of the preparatory study for the inner

wall of the First Arch, Robert Cremean wrote:

[Perhaps gestured outline of concave volumes should relate

to outer wall in terms of a more mature image—a reflection

of the outer wall’s vision rather than a mirrored duplication

of the actual “who” at the specific time of initial choice? The

gestured outline of the concave volumes would thus remain

static as a mature presence or receptacle throughout the series of arches. Would this mean then that the “what” exists as an established form—timeless and unchangeable—a constant

alternative to the mortality of the linear directed “who”?

Would this then also mean that choice is a constant possibility

for Everyman at any stage throughout the evolution of the

“who”? Then the choice for “whatness” is omnipresent? That

“whatness” by its very nature is omnipresent regardless of the

particularized “who”?

[The question of this “omnipresent” “whatness” persists

throughout the entire VATICAN CORRIDOR. For, if the

concept of “whatness” is present but not recognized and

embraced, which of the other transpositions are possible?

And if it is recognized but only partially understood and

accepted, is it possible to progress the full length of the

corridor or are we, as individuals sharing this “non-specific

autobiography,” ultimately locked into a particular “arch”

within this “corridor” of the self?]

The following is written in the Fourth Arch:

Within the evolution of the Inner Wall—the “what”—there

could exist an equation with the First Arch Outer Wall and

the Inner Wall of the Fourth Arch: An awareness of

“beyondness,” an expansion through exposure. The “what”

is very strong—young, vital, sensual, beautiful, naive,

fearless—boundless energy…

How I Spent My Afternoon by Kevin O'Mara

6 10

Today's trip to the center had a specific purpose - find a new notebook. Before I left I bought some piece of crap Mead notebook and after just a little over one week it's literally falling apart. I talked with my hosts today to find out A.) in what kind of store I could find a decent notebook [answer: a papelería (paper store) not a librería (bookstore)] and B.) where a store of that type was located. I got downtown, found the store right away, and spent the rest of the afternoon searching for the perfect bar in which to sit, drink, and transfer my notes.

I found this one. I've already forgotten the name, not that it matters, though you'd think I'd have written that down. Huh. Anyway, it was on some back alley with no tourists around, no English on the menu, and a bunch of Spaniards inside speaking so fast that I could hardly understand anything, and a cold case with a selection of tapas of various shapes and colors, none of which I recognized at all.

So that was wonderful. Truly wonderful. That's exactly where I wanted to be today, not in some dink tourist bar.

I have never owned a Moleskine pocket notebook before and I'm looking forward to abusing the hell out of it and seeing if it can hold up. Seriously, that Mead notebook is now a bunch of tangentially-related pieces of paper held together by a whisper of a wish and the promise of friendship past.

I thought of you while I was sitting there.

Brands Hatch Legends Of Brands Hatch Superprix DAY 3 11/07/21 by Ross Denyer

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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.

20. Super structure on a hull with wheels for dagger boards. by donald guodrian

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The rig is not complete. The jacks are not drawn in. This picture is for the dagger boards and in specific, detail, 41.

Detail, 41, makes it possible for a one dimensional force to change the plane of each dagger board into a working sail.

this might be tall.

The track towards Windriaan led via Spailboat.

Spailboat. The super structure is the core of stable sailing with machines. To take the wobbling out, the super structure was placed on a train. The track is now no longer water but a rails. Rails which loop with Maglev make Orbites strai. The rig is in fact making ( from) a sailing boat, a so called, Spailboat. For more Spailboat, please check the Spailboat show, on: www.flickr.com/spailboatspeedsailcrafts

The super structure is in fact, the invention. This universal super structure can be fitted on trains as well as on floating sub structures, like conventional hulls. The spin off, Obites strai, comes from a train over rails. See image 1.

This picture is a Spailboat with a lot of wheels for dagger boards.

Explanation going along with wheels for dagger boards. A one dimensional force operates a three dimensional movement of the daggerboars ( cutting wheels / like can openers, but then with buoyancy; like shown ). Making this plane differential possible is caused by detail 41. See for detail 41, site, www.flickr.com/photos/spailboatspeedsailcrafts. This detail makes it possible to use the dagger boards ( wheels ) which can be put up as wings too. Some wheels are working as planning foils and some are put up as wings. The substructure can also be made without wheels. Spailboat focusses, next to the amazing spin off, for now on the superstructure, not so much the substructure with the wheels. However, from the family can be millions of versions extracted. One of them stands here and the next one, in a long row, is printed on the next page.

We see wheels for dagger boards. The problem with wheels is to make the naves waterproof. These kind of problems needs for instance unirversities.

Why wheels? The substructures are preferably featured with wheels, for dagger boards, because of cavitation. And besides, spinning wheels can be used to drive turbines. For making the so wanted hydrogen.

Boven: de uitzetconstructie ten behoeve van zeilwerken om zo stabiel te kunnen zeilen. De bovenbouw is de eigenlijke uitvinding. Later werd de bovenbouw op een trein gezet. De bovenbouw is universeel en kan geplaatst worden op verschillende drijvende onderstellen.

Onder: Spailboat met wielen voor zwaarden.

Bijschrift voor onderste afbeelding. Er is met een enkelvoudige kracht een drie dimensionale oriëntatie te bewerkstelligen aangaande de zwaardwielen.Dit door detail 41. Dit detail maakt het mogelijk om wielen te gaan gebruiken. Vleugels uit zwaarden kan, met detail 41. Sommige zwaardwielen werken als planerende vlakken en anderen staan als vleugel. De watervoerende onderbouw kan ook zonder wielen worden uitgevoerd. Vooralsnog focust Spailboat zich op de bovenbouw. Maar er zijn natuurlijk wel schetsontwerpen van de watervoerende delen en de onderbouw. Het probleem met wielen voor zwaarden is de waterdichte afdichting tussen het wiel en de ophanging. Als dit probleem eenmaal opgelost dan is de weg open voor een hele serie ontwerpen. Er zijn wel honderden schetsontwerpen en sommige worden afgebeeld, zoals deze.Wielen spinnen, respectievelijk, draaien en kunnen zo een turbine aandrijven.

Omdat energie het doel is gaat het om de massa die beweegt. Omdat het wiebelen op het water moeilijk is op te vangen volgde een rails.

Windsurfen langs een rail leidt tot Orbites Strai. De rails loopt immers half wind, en over de evenaar komt dan een rondje.

Choreography- Locating dance by Lincoln School of Creative Arts

Site specific performances by 3rd year BA dance students, taken place in different locations around the University Campus: John Banks Laboratories, rooftop of the Art & Design building, and science ‘dry’ lab in the MHT building.

date: 3/12/2015

photo by Fenia Kotsopoulou

Site Specific (The Collection & Usher Gallery) by Lincoln School of Creative Arts

Site specific performances by BA Drama students at "The Collection" and "Usher Gallery".

Date: 9 May 2015

Time: 11am -3pm

photo by Fenia Kotsopoulou

Drop bar specific Entrada by Bedrock Bags

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Slightly narrower with a larger diameter than the standard Entrada

Felix Gonzalez-Torres by Marc Wathieu

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 :

www.wiels.org/site2/event.php?event_id=160

specific goal by Mac-xime

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ARCH604_A Dedicated Gallery for Specific Objects_1.01 by UNM-SAAPpics

student: Hong Yan

studio instructors: Gabriel Fries-Briggs with Darci Hazelbaker and Dale Rush (Marjorie Mead Hooker Memorial Visiting Professors)

Felix Gonzalez-Torres by Marc Wathieu

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 :

www.wiels.org/site2/event.php?event_id=160

2019-07-09 @16.32.49.70 ~ Haleakala Crater by Sansei247

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.

Ferrari 400 Superamerica Coupe Aerodinamico sn2841SA - 1961 by Peter Blackert

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For a full rundown on this specific car, please see the following link from Sotherbys:

rmsothebys.com/en/auctions/az17/arizona/lots/r194-1961-fe...

In summary, however, is that in the old days, Ferrari (man and company) obsessively built racing cars to win. The modest number of super-wealthy regularly sought out cars from Ferrari to drive on the road, with which he reluctantly complied.

Early on, these were barely different to the race cars, such as the 166, 212, and then 250 series. Once the 250 series was producing cars such as the 250 GT Lusso and GTE, the volumes were relatively high (in the hundreds), and so one could purchase a Ferrari by being merely very rich. For those clients who were more special, a series of low volume cars were still available, sold in single, or low double figures.

The 1961 400 Superamerica car shown here is a good example. Produced during the period of significant increase in Ferrari road car production, the 400 Superamerica Aerodinamico saw 17 cars produced.

The 400 saw a switch to the long-block Columbo V12 engine, as opposed to the Lampredi V12 seen in the preceding 410 Superamerica (which was rarer still). The last 410s visually linked the newer 400s, particularly the 'Superfast' cars.

Larger than it initially appears (and larger that 250/275/330 Ferraris of the period), this Lego model is a redo of an earlier attempt. Notable for the inclusion now of the large Technic piston engine.

Nolan N53 Off Road Helmets by Alex rider

On Road or Off Road both the riding conditions are different and hence have their special needs and requirements. It became more specific when a rider had to choose his riding helmet. Off road conditions are full of dust, sand, pellets, water and mud. Here a rider need a robust helmet which should be light on weight and must have everything to protect riders face, specially eyes from the foreign particles, whether it is dust or stone or mud.

Hence, Off Road helmets have a cap on the head which protect the rider for harmful UV Rays by sun, Rain water, also from the mud and stones bounced back from the wheels. There is a large visor on front to provide the complete and proper view to the rider and a high raised chin protector which protects the riders face in case if a rider falls.

Nolan N53 Helmets has launched its latest range of N53 off road helmets. These Helmets from Nolan Off Road Helmet series are the state of the art and their design, colors and graphics are truly inspired by the motocross 2020 edition. Nolan N53 Helmet comes in wide range of vivid colors like 60 Yellow LEDS, 62 Red Stroke, 63 Denim Blue, glossy black, Metal White and energetic graphics.

Nolan N53 Helmets are available at Riderscloseout.com with free shipping in India. The N53 Off Road Helmets comes with various handy features like the sporty design patterns, Air Booster technology for air ventilation clima comfort padding.

Here is the list of latest N53 Off road Helmet series available at riderscloseout.com.

1) Portland N53 off road Helmet

2) Savannah N53 Helmet

3) Buccaneer N53 Helmet

4) Whoop N53 Helmet

5) Vultr N53 Helmet

Portland N53 off road Helmet

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Savannah N53 Helmet

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Buccaneer N53 Helmet

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Whoop N53 Helmet

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Vultr N53 Helmet

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For More Details:

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Dailymotion: www.dailymotion.com/video/x7p85u4

What is Ritual Slaughter (Qurbani Ki Tareef) by DawateIslami

Sacrificing specific animal in specified days with the intention of pleasing Allah is called Qurbani (Ritual Slaughter) and sometimes the animal being sacrificed is termed as Ritual Slaughter. Ritual Slaughter is the Sunnah of Sayyiduna Ibrahim that has been retained for this Ummah and our Blessed Prophet (May Peace and blessing of Allah be upon him) was ordered to execute ritual slaughter. Allah has stated:

Translation: So offer the Salah for your Rab and execute the ritual slaughter. (Surah Kausar, Ayat-2, Parah-30)

(Bahar e Shariat, Vol-III, Page-327)

www.dawateislami.net

Specific Way of Seeing by Steve Skafte

1

Photographers have perhaps the least individual identity of any artists. Painters have countless choices of technique and medium, can create entirely from dreams or imagination – and when it comes to actually getting it across, the brushstrokes themselves are signature expressions. Sculptors are the same, able to shape their creations with a clear physical path from artist to art. Singers have a direct line to emotion through their voices, so many distinct ways to play it out that can be performed only by them (or a clever impersonator). But photographers, well, their work all tends to look alike. What's the reason for this? Clearly, we're creating more through a cold, mechanical method than the others. But mostly, I think it's an intersection of laziness and endless possibilities.

Taking a picture is very easy, so a lot of photographers create cleverly masked products of low effort. We don't wait for something special, that perfect light or time, and instead make the most of convenience. The first problem encourages another. After side-stepping the risk of chasing and missing an instant, it becomes a game of using different cameras, lenses, filters, settings, and editing techniques to make up the difference. It builds an attitude of getting it right later, rather than being deeply moved in the moment. It brings me down more to see a well-photographed scene that's dull and devoid of life, than to spot a badly-captured smartphone photo of a beautiful moment. At least with the second image, there's a sign of promise and hope for improvement in the photographer that took it. So how do you make a photograph that even approaches the individual expression of other art forms? It certainly can't be by doing more. How about less? That seems counter-intuitive to a medium constructed around selling toys to geeks, but I had to hone my way down to a more specific way of seeing.

I talk very little about my approach from a technical standpoint, but I think it's worth being less precious about the process. For thirteen years, I've used just one camera (Canon 5d Mark II) and one lens (Canon 50mm f1.4) for every single photo. The lens is fixed, I have to step forward or back from the subject. But my eyes can't zoom, so why should my camera? 50mm is the distance your eye sees at, so my images look the same as if you were standing there – minus some peripheral vision. Speaking of edges, I never crop. There's a natural feeling that comes with preserving to the limit of the original frame, including light falloff and distorted focus – and I don't want to lose that. My lens is permanently set to f1.4, which is a wide-open aperture. This does three things. First, it lets in all possible light, softening harsh sunlight and warming up shadows in darkness. Second, it captures truer colours and lets them bleed more gently into each other. Third, it narrows the depth of field for a razor focus. Headshots can have sharp eyes and blurry noses, images in the forest can have one tree stand out from the rest, and a derelict building can draw your eye by blurring all the trash and brush in the foreground.

I'm aiming at a natural reflection of how your brain works, ignoring anything beyond the most moving and significant sights. I limit myself to seeing the world in a way I consistently relate to, and can share honestly. The technical decisions are minor, leaving the rest left for luck, exploration, and overriding emotion. I want my photos to look like I took them, an ownership obvious in some instinctual sense to the viewer, but without showing off a self-important process. I shouldn't have to sign an image, to cover my failings of making clear who took it. The joy is all wrapped up in what happens when it happens, and sharing later. Just the knowledge that I was living intensely, and giving over at the end. If I tell it right, there's nothing to edit. There's no fun in that anyhow, stuck at the screen playing games with reality. With adventures to be having – I'd rather not.

October 31, 2022

Annapolis County, Nova Scotia

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Michael Howells' Good Morning, London by Matthew Wells

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) |

2019-07-09 @16.38.52.31 ~ Haleakala Crater by Sansei247