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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.
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).
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
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:
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:
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.
"Sweeping Away Gender-Specific Toys and Labels" by HIROKO TABUCHI via NYT t.co/prAVgzZkvo (via Twitter twitter.com/felipemassone/status/659046658248998912)
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.
Hunakai or Beach morning-glory
Convolvulaceae
Indigenous to the Hawaiian Islands (Niʻihau, Kauaʻi, Oʻahu, Molokaʻi, and Maui)
Oʻahu (Cultivated)
The Hawaiian name Hunakai means "sea foam" which is appropriate for its shoreline habitat. This name is also shared by the sanderling (Calidris alba), a migratory shorebird that quickly runs along the receding waves on sandy shores in search of small edible creatures. This habit of these tiny birds apparently reminded the early Hawaiians of the sea foam or hunakai left behind by the waves.
In some areas of the world, this morning-glory is used for inflammation, swelling and sores, and for treating postpartum pain and stomach pain.
Etymology
The generic name Ipomoea is derived from the Greek ips, worm, and homoios, similar to, meaning worm-like, in reference to the twining habit.
The specific epithet imperati is derived from the Latin imperatus, ruler or emperor.
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.
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.
Location: The Ice House
DM009 MONO
Features:
- Ultralight weight.
- 1 Piece monocular configuration.
- Aero-space grade 6061 T6 forged aluminum material.
- Seamless design.
- Full elongated spoke design to lip fringe.
- Deep concave profile.
- CNC lathed under-cut spoke end refining.
- Tailor-made and built-to-order for specific vehicle fitment.
- Milled back-side pocketing for un-sprung mass reduction, promotion of cornering dynamics, stopping power and acceleration.
- Quarter inch width increment availability.
- Boundless finishing options.
Available Diameter: 17 - 24"
Available Width: 8 - 13"
Un faisceau de lumière qui pointe vers une zone spécifique à l'intérieur de l'église abandonnée de St-Matthew. La légende pourrait-elle être vraie?
A beam of light pointing to a specific area inside the abandoned church of St-Matthew. Could the legend be true?
L’église anglicane St. Matthew trône mystérieusement au milieu d’un champ près d’un boisé délaissé, sur la route 209, à 2,7 km du village de Saint-Chrysostome, non loin de Sainte-Clotilde-de-Châteauguay en Montérégie. Construite en 1847 au lieu-dit d’Edwardstown, la petite église fait étran gement dos à la route, mais face au soleil couchant. Fait plus curieux encore, les pierres tombales de son cimetière font plutôt face au soleil levant. Depuis toutes ces années, les environs de l’église St. Matthew suscitent toutes sortes de ouï-dire à l’effet qu’ils seraient hantés. Certaines nuits, des témoins sont convaincus d’avoir aperçu des silhouettes vaporeuses circuler près de la vieille église, d’autres auraient éprouvé des sensations désagréables d’étouffement à quelques mètres seulement du bâtiment. Quelques téméraires ayant pénétré illicitement à l’intérieur auraient même photographiés de multiples orbes et des brouil lards laiteux. Le vieux sanctuaire serait-il vraiment hanté ? Malgré les sérieuses interdictions de fréquenter les lieux, ceux-ci se révèlent bien inspirants pour les imaginations fertiles.
monlivredesombres.wordpress.com/2016/03/28/lobscur-secret...
St. Matthew Anglican Church mysteriously sits in the middle of a field near a deserted woodland on Route 209, 2.7 km from the village of Saint-Chrysostome, Québec. Built in 1847 at the place of Edwardstown, the small church is strangely not facing the road, but facing the setting sun. Even more curiously, the gravestones of his cemetery face rather the rising sun. For the past several years, the vicinity of St. Matthew Church has said to be haunted. Some nights, witnesses are convinced of having seen vaporous silhouettes circulating near the old church, others would have experienced unpleasant sensations of choking just a few meters from the building. Some reckless ones who had penetrated illegally inside would have even photographed multiple orbs and milky bumps. Would the old sanctuary really be haunted? In spite of the serious prohibitions of frequenting the places, these are proving very inspiring for the fertile imaginations.
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)
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"
Lauren Breunig performing in "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.
Location: The Ice House
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.
With the aging of the Grumman S-2 Tracker and the increasing effectiveness of Soviet submarines, the US Navy issued a requirement for a new carrier-based ASW aircraft. Lockheed won the contract, partnering with LTV to design carrier-specific equipment and Univac to design the ASW suite. The resulting S-3A Viking first flew in January 1972 and entered the fleet in February 1974.
While the S-2 integrated the hunter-killer team concept into a single airframe, the S-3 went one step further by completely computerizing the sub-hunting process, integrating the entire sensor suite into one system rather than in several as on the S-2. Initially, this employed a Univac AN/AYK-10 computer served by Texas Instruments AN/APS-116 radar and AN/ASQ-81 MAD sensor in a retractable tail boom. Flown by a crew of four, the S-3’s interior was so efficient that one aviation writer described it as the most compactly designed aircraft in history.
The S-3A--nicknamed "Hoover" for the sound of its engines-- acquired a reputation for being a reliable, easy to fly aircraft, and spawned a number of variants, including the US-3A carrier-onboard delivery (COD) transport aircraft and the ES-3A Shadow Elint variant. A dedicated KS-3A tanker never went into production, but S-3s were increasingly equipped with buddy refuelling packs. When the KA-6D Intruder dedicated tanker was retired from the US Navy in the mid-1990s, the S-3 took over the role, though its relatively slow speed meant it could not accompany strikes into enemy territory. Despite that, the S-3 always had the capability to carry not only antisubmarine ordnance such as torpedoes and depth charges, but also bombs and later the AGM-84 Harpoon antiship missile and AGM-65 Maverick AGM. The S-3’s antiship capability was used in both Gulf Wars: in 1991, a S-3 sank an Iraqi attack boat with conventional bombs, while in 2003 a S-3 destroyed an Iraqi command post with a Maverick in Basra.
Beginning in 1991, the S-3As in service were modified to S-3B standard, with upgraded avionics and a new APS-127V synthetic-aperature radar, giving the S-3B a significant ship-detection and SAR capability as well. Though the ES-3A was withdrawn from service in the mid-1990s, several S-3Bs were converted to littorial reconnaissance (Gray Wolf) and ground surveillance (Brown Boy) roles. With the reduction of submarine threats to the US Navy, the S-3 fleet is being gradually retired; those remaining in service have had their ASW equipment removed and serve primarily as tankers. Their role has been largely replaced by the SH-60B/F Seahawk series, and, aside from a handful of test aircraft, the S-3 was retired in 2009.
This particular S-3B is Bureau Number 159731, which entered service sometime in the 1980s. Its history is obscure until 2000, when it flew with VS-29 ("Dragonfires") aboard USS Carl Vinson; in 2004, it was transferred to VS-41 ("Shamrocks") at NAS North Island, California. In 2006, it was withdrawn from service and donated to Patriots Point and the USS Yorktown.
When I took this picture in 2014 aboard the USS Yorktown, the museum foundation was in the middle of repainting it, hence its worn condition (note also the rust on the deck; the humid South Carolina climate is hell on preserved ships and aircraft). The "S" above the aircraft number indicates that the squadron was given an award by the US Navy for safety.
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/
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 :
A mono conversion of a grey old day on the Pembrokeshire Coast Path at Porthgain.
You do not have the right to copy, reproduce or download my images without my specific permission, doing so is a direct breach of my copyright.
TS-VFX-00809
A T-800 Terminator in a scene from Warner Bros. Pictures’ action/sci-fi feature “Terminator Salvation,” a Warner Bros. Pictures release. The film stars Christian Bale and Sam Worthington.
PHOTOGRAPHS TO BE USED SOLELY FOR ADVERTISING, PROMOTION, PUBLICITY OR REVIEWS OF THIS SPECIFIC MOTION PICTURE AND TO REMAIN THE PROPERTY OF THE STUDIO. NOT FOR SALE OR REDISTRIBUTION. ALL RIGHTS RESERVED.
Design Thinking works to create concept-nets (schema) through the process of at least two levels of abstraction; this first level of abstraction is when we move from the level of specific examples (three or more) to the level of our first common concept, which in turn allows us to gather many additional ideas beneath this extracted concept; the second level of abstraction is when we move from a collection of common concepts (each formed from a collection of specific ideas) to a higher level of a meta-concept, which in turn allows us to gather many additional concepts and it is here at this second level of abstraction that we can give a name to the concept net.
Shells are an abundant resource in all coastal Senegal and especially in Saloum river delta. Some islands are only made of shells (meaning that the ground itself is made of shells), like Fadiouth Island. However even on sand and earth ground, shells can be useful, just as shows the photo here: concrete is made of cement, sand, and shell. Without cement, traditional banco mixes sand and earth before sun baking: in these regions, shell was and is still very often added in this mix.
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Les amas coquillers sont très fréquents sur tout le littoral, mais plus encore dans la mangrove, où il leur arrive couramment de devenir des îles, comme Fadiouth par exemple. Cependant même en dehors de ces îles ou de ces amas, l'abondance des coquillage est tel qu'ils sont ajoutés au sable et au ciment, ou parfois même encore au sable et à la terre pour former des briques qui cuisent au soleil.
(By Jean Marc Demol)
© All rights reserved. Fekete Nándor Photography 2013
((lens: Canon EF 135 mm f2 L USM))
Busójárás means Buso-walking in Hungarian, and it's an age-old annual tradition and event specific to the town of Mohács.
The History Behind Busójárás (Buso-Walking)
In 1526, Sultan Suleiman of the Ottoman Empire marched his pompous army into Europe with the sole intention to crush and conquer everything in his path. Having defeated the peoples of the Balkan, the Sultan who liked to be referred to as "The Magnificent," reached the borders of the then flourishing Kingdom of Hungary. He decided to take his campaign to the next level by entering what was then considered to be civilized Europe.
Royal Hungary, perceiving that the Ottomans were not unassailable and intending to withstand their onslaught, built up an immense army that employed the technology of King Frances I of France. The bulk of the army consisted of heavily armored medieval knights and cavalry made up of adventurous mercenaries for the main. They faced the significantly larger army of Suleiman, which was the most modern and professional army of the time.
Owing to their outdated technology, the Hungarian army was crushed in many battles, Mohács being the decisive one.
Historical Facts
Mohács is known for two famous battles in Hungarian history:
The first battle of Mohács was fought on August 29, 1526 between the Kingdom of Hungary led by King Louis II of Hungary and Bohemia and the army of the Ottoman Empire commanded by Sultan Suleiman the Magnificent. It resulted in the defeat of Hungary.
This defeat eventually led to the partition of Hungary for centuries to come between the Ottoman Empire, the Habsburg Monarchy, and the Principality of Transylvania.
The second battle of Mohács, 1687, a.k.a. the Battle of Berg Harsány, happened between the army of Sultan Mehmed IV of the Ottoman Empire, and the forces of Holy Roman Emperor Leopold I, led by Charles of Lorraine.
This battle resulted in a devastating defeat for the Turks. These two battles marked the beginning and end of the Ottoman occupation of Hungarian territory.
The Legend Behind Busójárás (Buso-Walking)
According to legend, after the defeat the Hungarian people fled the battlefield and the town of Mohács to seek refuge in the nearby woods and swamps and lay hidden. On one night, while they were sitting around the campfire and discussing how to make new league against the Turkish foes, they were visited by a Šokci man who gave them counsel.
"On a dark, stormy night that is soon to come, you can return home with a vengeance and restore peace to the land. Craft new weapons and carve hideous devil masks for your people, and wait for the night when a masked warrior will come to you and lead you to victory."
A few days later, as promised by the old man, there came a dark, stormy night, and a masked warrior of tall and robust stature marched into camp. The people stood in readiness to put on their masks made of gnarled wood, and follow the command of the newcomer. They lit fires and swarmed into Mohács making as much noise as they could.
Upon seeing this, the Turks were terrified and thought that they invaded the land of imps and demons and fled the town in hysterical fright before the sun came up.
This possibly fictitious event gave birth to the tradition of Busójárás (Buso-Walking) that Hungarians celebrate in February every year. It is like a pagan ritual whose purpose is to chase away winter and let the sunny season set in.
Buso-Walking, The Festival
Buso-walking is a yearly folk festival held in February in the town of Mohács, usually lasting from Thursday to Tuesday. It signifies the end of the carnival season before Ash Wednesday. The biggest celebration occurs on Sunday and the festival ends two days later with a symbolic ritual called 'The Burial of Farsang,' 'Shrove Tuesday,' or 'Mardi Gras.'
The celebrations feature Busós, folk music performances, masquerading, parading, and dancing. It all beings with a landing on the opposite bank of the river, followed by a parade from Kóló Square to Main Square. The festivities include saying farewell to winter by burning a pyre, which is the equivalent of burning winter itself, and also dancing in circles around the pyre.
Busójárás is attended by groups of performers and visitors alike from many neighboring countries like Croatia, Serbia, Slovenia, Romania, Poland and Bulgaria, where similar celebrations are held for many different reasons.
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.
Flower Obsession, a site specific interactive installation, was designed by Yayao Kusama in 2020. First developed for children as part of the Queensland Art Gallery's APT 2002: Asia Pacific Triennial of Contemporary Art in 2002, Kusama's obliteration rooms are simple in design--every visitor is given sheet of stickers that they are asked to place wherever they want in the room. The rooms have been part of her repertoire ever since, but this is the first time she extended the idea to a greenhouse.
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. It contains 48 different gardens and plant collections.
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
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 :
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)
Hot Air Ballooning Cappadocia:
A must do in Cappadocia is take a balloon ride in order to see the sights from a vantage point like no other. On this 1-hour flight at sunrise you will experience the changing colors and the unique landscapes that scatter the region.
Enjoy a unique hot air balloon flight over the fairy chimneys and rock cut churches. This exhilarating experience in Cappadocia is one of the best places around the world to fly with hot air balloons.
www.britannica.com/place/Cappadocia/media/94094/229210
CAPPADOCIA WORLD HERITAGE LIST :
www.whc.unesco.org/en/list/357
In a spectacular landscape, entirely sculpted by erosion, the Göreme valley and its surroundings contain rock-hewn sanctuaries that provide unique evidence of Byzantine art in the post-Iconoclastic period. Dwellings, troglodyte villages and underground towns – the remains of a traditional human habitat dating back to the 4th century – can also be seen there.
Brief synthesis
Located on the central Anatolia plateau within a volcanic landscape sculpted by erosion to form a succession of mountain ridges, valleys and pinnacles known as “fairy chimneys” or hoodoos, Göreme National Park and the Rock Sites of Cappadocia cover the region between the cities of Nevşehir, Ürgüp and Avanos, the sites of Karain, Karlık, Yeşilöz, Soğanlı and the subterranean cities of Kaymaklı and Derinkuyu. The area is bounded on the south and east by ranges of extinct volcanoes with Erciyes Dağ (3916 m) at one end and Hasan Dağ (3253 m) at the other. The density of its rock-hewn cells, churches, troglodyte villages and subterranean cities within the rock formations make it one of the world's most striking and largest cave-dwelling complexes. Though interesting from a geological and ethnological point of view, the incomparable beauty of the decor of the Christian sanctuaries makes Cappadocia one of the leading examples of the post-iconoclastic Byzantine art period.
It is believed that the first signs of monastic activity in Cappadocia date back to the 4th century at which time small anchorite communities, acting on the teachings of Basileios the Great, Bishop of Kayseri, began inhabiting cells hewn in the rock. In later periods, in order to resist Arab invasions, they began banding together into troglodyte villages or subterranean towns such as Kaymakli or Derinkuyu which served as places of refuge.
Cappadocian monasticism was already well established in the iconoclastic period (725-842) as illustrated by the decoration of many sanctuaries which kept a strict minimum of symbols (most often sculpted or tempera painted crosses). However, after 842 many rupestral churches were dug in Cappadocia and richly decorated with brightly coloured figurative painting. Those in the Göreme Valley include Tokalı Kilise and El Nazar Kilise (10th century), St. Barbara Kilise and Saklı Kilise (11th century) and Elmalı Kilise and Karanlık Kilise (end of the 12th – beginning of the 13th century).
Criterion (i): Owing to their quality and density, the rupestral sanctuaries of Cappadocia constitute a unique artistic achievement offering irreplaceable testimony to the post-iconoclastic Byzantine art period.
Criterion (iii): The rupestral dwellings, villages, convents and churches retain the fossilized image of a province of the Byzantine Empire between the 4th century and the arrival of the Seljuk Turks (1071). Thus, they are the essential vestiges of a civilization which has disappeared.
Criterion (v): Cappadocia is an outstanding example of a traditional human settlement which has become vulnerable under the combined effects of natural erosion and, more recently, tourism.
Criterion (vii): In a spectacular landscape dramatically demonstrating erosional forces, the Göreme Valley and its surroundings provide a globally renowned and accessible display of hoodoo landforms and other erosional features, which are of great beauty, and which interact with the cultural elements of the landscape.
Integrity
Göreme National Park and the Rock Sites of Cappadocia, having been extensively used and modified by man for centuries, is a landscape of harmony combining human interaction and settlement with dramatic natural landforms. There has been some earthquake damage to some of the cones and the pillars, but this is seen as a naturally occurring phenomenon. Overuse by tourists and some vandalism have been reported and some incompatible structures have been introduced.
The erosional processes that formed the distinctive conical rock structures will continue to create new fairy chimneys and rock pillars, however due to the rate of this process, the natural values of the property may still be threatened by unsustainable use. The cultural features, including rock-hewn churches and related cultural structures, mainly at risk of being undermined by erosion and other negative natural processes coupled with mass tourism and development pressures, can never be replaced. threats Some of the churches mentioned by early scholars such as C. Texier, H.G. Rott and Guillaume de Jerphanion are no longer extant.
Authenticity
The property meets the conditions of authenticity as its values and their attributes, including its historical setting, form, design, material and workmanship adequately reflect the cultural and natural values recognized in the inscription criteria.
Given the technical difficulties of building in this region, where it is a matter of hewing out structures within the natural rock, creating architecture by the removal of material rather than by putting it together to form the elements of a building, the underlying morphological structure and the difficulties inherent in the handling of the material inhibited the creative impulses of the builders. This conditioning of human effort by natural conditions persisted almost unchanged through successive periods and civilizations, influencing the cultural attitudes and technical skills of each succeeding generation.
Protection and management requirements
The World Heritage property Göreme National Park and the Rock Sites of Cappadocia is subject to legal protection in accordance with both the Protection of Cultural and Natural Resources Act No. 2863 and the National Parks Act No. 2873. The entire territory between the cities of Nevşehir, Ürgüp and Avanos is designated as a National Park under the Act No. 2873. In addition, natural, archaeological, urban, and mixed archaeological and natural conservation areas, two underground towns, five troglodyte villages, and more than 200 individual rock-hewn churches, some of which contain numerous frescoes, have been entered into the register of immovable monuments and sites according to the Act No. 2863.
Legal protection, management and monitoring of the Göreme National Park and the Rock Sites of Cappadocia fall within the scope of national and regional governmental administrations. The Nevşehir and Kayseri Regional Conservation Councils are responsible for keeping the register of monuments and sites, including carrying out all tasks related to the legal protection of monuments and listed buildings and the approval to carry out any restoration-related works. They also evaluate regional and conservation area plans prepared by the responsible national and/or local (i.e. municipal) authorities.
Studies for revision and updating of the existing land use and conservation plan (Göreme National Park Long-term Development Plan) of 1981 were completed in 2003. The major planning decisions proposed were that natural conservation areas are to be protected as they were declared in 1976. Minor adjustments in the peripheral areas of settlements and spatial developments of towns located in the natural conservation sites including Göreme, Ortahisar, Çavuşin, Ürgüp and Mustafapaşa will be strictly controlled. In other words, the Plan proposes to confine the physical growth of these towns to recently established zones. Hotel developments will take into account the set limits for room capacities. Furthermore, the plan also suggested that local authorities should be advised to review land use decisions for areas that have been reserved for tourism developments in the town plans.
Preparation of conservation area plans for the urban and/or mixed urban-archaeological conservation sites within the historic sections of Göreme are in place and provide zoning criteria and the rules and guidelines to be used in the maintenance and restoration of listed buildings and other buildings which are not registered, but which are located within the historic zones. Similar planning studies for the towns of Ortahisar and Uçhisar are in place. Once finalised, a conservation area plan for the urban conservation area in Ürgüp will be in place. All relevant plans are kept up to date on a continuing basis.
Appropriate facilities aimed at improving the understanding of the World Heritage property have been completed for the subterranean towns of Kaymaklı and Derinkuyu, and are required for Göreme and Paşabağı.
Monuments in danger due to erosion, including the El Nazar, Elmalı, and Meryemana (Virgin Mary) churches, have been listed as monuments requiring priority action. Specific measures for their protection, restoration and maintenance are required at the site level.
While conservation plans and protection measures are in place for individual sites, it is recognised by the principal parties responsible for site management that an integrated Regional Plan for the Cappadocia Cultural and Tourism Conservation and Development Area is required to protect the World Heritage values of the property. Adequate financial, political and technical support is also required to secure the management of the propert
www.nationalgeographic.com/travel/world-heritage/cappadocia/
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.
Art Gallery of Ontario, 317 Dundas Street West, Toronto, Canada
by navema
A site-specific work by American artist Barbara Kruger was currently on display along the façade of the Art Gallery of Ontario (AGO) in Toronto. The public installation was located on the north facade of the Frank Gehry designed gallery as part of the Scotiabank Contact Photography Festival. The piece was created by Kruger in response to the festival’s theme ‘pervasive influence’. The work consists of a series of found images and statements that includes ‘shove it’, ‘love it’, ‘kiss it’, believe it’ and ‘shame it’. The project aims to explore ‘how photography informs and transforms human behavior, especially via the medium’s connections to mass media, advertising, consumerism, and propaganda.’ The installation was on view from May 1, 2010 until August 30, 2010.
For more info, visit: scotiabankcontactphoto.com/events/185
ABOUT BARBARA KRUGER:
Since the 1980s, the American conceptual artist Barbara Kruger has deftly dissected the visual and graphic codes of advertising, consumerism, marketing and propaganda. Her bold works – declarative texts juxtaposed with found images – question the assumptions embedded in advertising and the limits of individual agency in a consumer society. Kruger’s works highlight photography’s complicity in reinforcing ideologies of power and control; in maintaining gender stereotypes; and in stimulating consumer desire. The message of her work remains relevant, and her critical stance remains potent as the boundaries between advertising, journalism, and entertainment continue to shift and blur. She has said, “I work with pictures and words because they have the ability to determine who we are and who we aren’t.”
Kruger was born in Newark, New Jersey, in 1945, and studied at Syracuse University, the School of Visual Arts, and Parsons School of Design, New York. Her work is in the collections of major national and international museums, and she has had solo exhibitions at the Museum of Contemporary Art, Los Angeles; Whitney Museum of American Art, New York; Palazzo delle Papesse, Centro Arte Contemporanea, Siena, Italy; Museum of Contemporary Art, San Diego; Moderna Museet, Stockholm; and Mary Boone Gallery, New York. The artist lives in Los Angeles, where she is a professor at UCLA, and New York City.
Much of Kruger's graphic work consists of black-and-white photographs with overlaid captions set in white-on-red Futura Bold Oblique. The phrases included in her work are usually declarative, and make common use of such pronouns as "you", "I", "we", and "they". The juxtaposition of imagery and text containing criticism of sexism and the circulation of power within cultures is a recurring motif in Kruger's work. The text in her works of the 1980s includes such phrases as "Your comfort is my silence" (1981), "You invest in the divinity of the masterpiece" (1982), and "I shop therefore I am" (1987). She has said that "I work with pictures and words because they have the ability to determine who we are and who we aren’t.
Kruger's words and pictures have been displayed in both galleries and public spaces, as well as framed and unframed photographs, posters, postcards, t-shirts, electronic signboards, billboards and on a train station platform in Strasbourg, France. For the past decade Kruger has created installations of video, film, audio and projection. Enveloping the viewer with the seductions of direct address, her work is consistently about the kindnesses and brutalities of social life: about how we are to one another.
For more info, visit: www.arthistoryarchive.com/arthistory/feminist/Barbara-Kru...
Humble kuluʻī or Kaʻala rockwort
Amaranthaceae (Amaranth or pigweed family)
Endemic to the Hawaiian Islands (Waʻianae Mts., Oʻahu; and Lualaʻilua Hills, East Maui)
IUCN: Endangered
Oʻahu (Cultivated)
Nototrichium is an endemic Hawaiian genus of at least three species.
Flowers and fruits
www.flickr.com/photos/dweickhoff/27965070010/in/photostream/
Apparently, the flowers and wood of kuluʻī (Nototrichium spp.) were packed into a hallow stem such as bamboo (ʻohe), lit on fire and thrown from a particular cliff. The fiery material would eject much is an aerial display much like modern-day fireworks. A close relative, pāpala (Charpentiera spp.) were also used in a similar manner.
Etymology
The generic name Nototrichium comes from the Latin nota, remarkable and tricho, hair, probably referring to the dense pubescence of the plants. However, Nototrichium humile does not have the characteristic downy silvery hairs on the foliage like its two cousins ( N. divaricatum, N. sandwicense).
The Latin specific epithet humile, means low or humble.
NPH00001
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.
Description
Physical Description
Sharps sporting percussion rifle, .44 caliber.
Specific History
This Sharps rifle was made especially for John Brown, though it bears no maker’s mark. Brown carried this weapon on his Kansas campaign in 1856 and later presented it to Charles Blair of Collinsville, Connecticut. In 1857, Brown contracted Blair to forge pikes for the clandestine slave insurrection he was planning for Harpers Ferry.
General History
As a boy of five, John Brown witnessed a slave his own age being beaten with a fire shovel. He vowed to become a foe of slavery. By the mid-1800s, Brown was fulfilling his vow. The Kansas-Nebraska Act of 1854 allowed the two states to decide the issue of slavery by a popular ballot. The fight in Kansas was so intense that the state earned the nickname “Bleeding Kansas.” As Missouri pro-slavery “Ruffians” flocked to Kansas, the New England abolitionists bankrolled “Free-Soilers” to move to the settlement of Lawrence, Kansas. Henry Ward Beecher raised money to purchase Sharps rifles for use by antislavery forces in Kansas. Rifles, said Beecher, are “a greater moral agency than the Bible” in the fight against slavery. The guns were packed in crates labeled "Bibles" so they would not arouse suspicion. Soon the Sharps rifles sent to Kansas were referred to as “Beecher’s Bibles.” In 1856, after abolitionists were attacked in Lawrence, John Brown led a raid on scattered cabins along the Pottawatomie Creek, killing five people. Kansas would not become a state until 1861, after the Confederate states seceded. John Brown had another plan to bring about an end to slavery, a slave uprising. Brown contracted with Charles Blair, a forge master in Collinsville, Connecticut, to make 950 pikes for a dollar apiece. Brown would issue the pikes to the slaves as they revolted. On October 16, 1859, Brown led his group to Harpers Ferry where he took over the arsenal and waited for the slaves to revolt. The revolt never came. Two days later Robert E. Lee and his troops overran the raiders and captured John Brown. Brown was found guilty of murder, treason, and inciting slave insurrection and was hanged on December 2, 1859.
Object Name
rifle
user
Brown, John
Physical Description
steel (overall material)
wood (overall material)
brass (overall material)
Measurements
overall: 123.3424 cm; x 48 9/16 in
Place Made
United States
used in
United States: Kansas
associated place
United States: Missouri
ID Number
1982.0025.01
accession number
1982.0025
catalog number
1982.0025.01
subject
Military
Firearms
ThinkFinity
event
Kansas Struggle
Expansion and Reform
See more items in
Armed Forces History: Armed Forces History, General
ThinkFinity
Exhibition
"The Price of Freedom: Americans at War"
Data Source
National Museum of American History, Kenneth E. Behring Center
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Countdown Day #14
Today is many things ....
it marks the middle of the week, when we can all begin to see the light of the weekend approaching again ....
it is officially 2 weeks from now that I will be enjoying the Alaskan way of life .....
and there's one more thing that I celebrate today, but I'll wait on that one for just a few moments.
In 2010, it was probably our best year in returning to Katmai NP & Preserve and photographing the coastal brown bears. That year we visited in July with the specific purpose of spending time with the sows who had their cubs with them. We hit it just right .... there were numerous sets of sows and their cubs, anywhere from 1-4 each (cubs, that is with each sow). We traveled the landscape of Katmai, walking on their same game trails, with reminders of their presence all around us, be it bedded down areas, fresh scat, fresh scents, or my personal favorite always, tufts of their fur on branches that they undoubtedly rubbed themselves against. I've never felt such excitement in anticipation of catching the first glimpse of them, which is always way high on the "thrill meter". :-)
This day was no different.
What was different that year was the closeness that we found ourselves in amongst the magnificent bears.... not that we tried, it just happened. See, often sows will use humans to protect their cubs from other sows, or the occasional and unwelcome boar, as they set off for a fresh catch of incoming salmon. My heart was racing on that trip, on more than one occasion, due to the encounter that they allowed us to be a part of. The other thrill and added bonus to being there with so many sows and their cubs was observing their behaviors with them, especially during feeding time. They would gather up their cubs, slowly make their way to a more secluded section, while their cubs grew even more anxious than us for what was to come. Yes, it was time for their mom to take a break, lay down, and offer them up a special treat ... "liquid gold", or nourishing milk. How fun it was to watch them compete over getting the best spot for the feeding and bonding session. Like our own babies, they are quite frantic in the beginning, though after time, they relax and it's almost more of a "cuddle time", if you will. If the wind is not working against you and you're still, you can actually hear them purring.... just melts your heart. :-)
So, as I mentioned earlier, today is also a celebratory day and I chose with image for a reason. See, August 1-7th, 2013 is World Breastfeeding Week and I can't think of anything that could be more natural, nurturing, and bonding than time spent feeding our young, the way nature intended it, no matter the species.
Thanks for stopping by to view and especially for all of your thoughts and comments.
© Debbie Tubridy / © TNWA Photography - All of my images are protected by copyright and may not be used on any site, blog, or forum without my permission.
Website: www.tnwaphotography.com
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)
Painshill (formally Painshill Park) is a restored, 18th-century English park and landscape garden in Cobham, Surrey, England. It was created between 1738 and 1773 by the owner, Charles Hamilton, from an area of heathland and woodland. Painshill is laid out as a series of scenes, crafted by combining architectural features with trees and shrubs, many of which are non-native species. Several of the surviving follies are listed in their own right, including the Gothic Tower, at the western end of the park, and the Gothic Temple, which overlooks the northern part of the lake. The Grotto, the largest in England,[3][4] is decorated with crystalline mineral stones, including quartz, feldspar and Blue John.
In designing Painshill, Hamilton was influenced by 17th-century landscape artists, whose works he had encountered on Grand Tours in continental Europe. Instead of trying to replicate specific artworks, Hamilton used the techniques of landscape painting to create scenes with contrasting emotional tones – from the solemnity of the dark evergreens surrounding the Mausoleum, to the brighter trees and flowers at the Temple of Bacchus. Advocates of the Picturesque were complimentary of Hamilton's work, particularly the hillier, western half of the park, which Horace Walpole likened to a "kind of Alpine scene".[5] International visitors to the park and garden included John Adams, the future American president, who wrote that "Paines Hill is the most striking piece of art that I have yet seen."[6]
Hamilton borrowed heavily to finance his work and was forced to sell Painshill in 1773. The estate passed through a series of private owners until the Second World War, when it was requisitioned for military use. In the late 1940s, it was divided into lots and parts were used for commercial forestry and pig farming. The architectural features began to decay and much of the land became overgrown. Concerns over the condition of the park were voiced in the following decades, leading to the purchase of over 150 acres (61 hectares) by Elmbridge Borough Council in the late 1970s and early 1980s. In June 1984, around 212 acres (86 ha) of Hamilton's original estate was designated a Grade I Park and Garden on the register of historic parks and gardens maintained by Historic England.[1]
Restoration of Painshill began in the early 1980s, with the aim of reinstating Hamilton's original design wherever possible. Surviving architectural features, including the Gothic Temple and Ruined Abbey, were restored, and those that had disappeared completely, such as the Turkish Tent and the Hermitage, were reconstructed. The part of the park owned by the borough council was reopened to the public on summer weekends from mid-May 1989 and seven-days-a-week from April 1997. In January 1999, the park was awarded a Europa Nostra medal for its "exemplary restoration",[7][8] and in May 2006, the plantation of non-native trees on the Chinese Peninsula was awarded "national collection status" by the National Council for the Conservation of Plants and Gardens. Since 2000, Painshill has been used as a filming location for the feature films Dorian Gray and Suffragette and for the television series Black Mirror and Bridgerton.
Creation of the park
A print of an engraving showing a wooden bridge spanning a body of water, with a small group in a rowing boat
William Woollett, A View from the West Side of the Island in the Garden of the Hon. Charles Hamilton Esq. at Painshill near Cobham in Surrey. Engraving. Yale Center for British Art, New Haven.
Charles Hamilton was born in 1704 in Dublin, the 9th son and 14th child of James Hamilton, 6th Earl of Abercorn.[16] In 1718, he became a pupil at Westminster School, where he was a contemporary of John Petty, 1st Earl of Shelburne, the future owner of Bowood House.[17] He began studying at Oxford University in 1720, where he formed friendships with Henry Hoare, who would later create the gardens at Stourhead, Wiltshire, and the brothers Stephen Fox, the future 1st Earl of Ilchester, and Henry Fox, the future 1st Baron Holland. After gaining a BA in 1723, Hamilton set off on his first Grand Tour in 1725 and, while in Rome, collected numerous artworks and became familiar with the landscape paintings of Claude Lorrain, Nicolas Poussin and Salvator Rosa. He returned from Europe two years later and became the member of the Irish House of Commons for Strathbane.[16][18] During his second visit to Rome in 1732, Hamilton was introduced to George Knapton, the artist and dealer, and his portrait was painted by Antonio David.[16][19]
Hamilton began to acquire property at Painshill in 1737, purchasing William Bellamy's freehold and lease from the Crown, and adding additional land to create an estate of more than 200 acres (81 ha).[13][16][a][b] He moved to Painshill in 1738 and began to create the park shortly afterwards. A map by John Rocque, dated 1744, indicates that the first part of the lake had been dug out and formal areas of planting at the Amphitheatre and Keyhole had been created.[20][c] In the mid-1740s, Hamilton began planting exotics, non-native species of trees and shrubs, some of which were supplied as seeds by John Bartram, an American horticulturalist.[21][22]
A watercolour painting of the interior of a cavern with stalactite-like projections hanging from the roof
Elias Martin, Grotto at Painshill, near Cobham. Watercolour on paper. Nationalmuseum, Stockholm.
The earliest known folly to have been erected at Painshill was the Chinese Seat, described and sketched by Sophia Newdigate after a visit in August 1748. It is not mentioned in any subsequent first-hand account and Michael Symes, a garden historian, suggests that it was replaced by the Hermitage, first recorded in 1752.[23][24][25] The majority of the other architectural features were constructed in the late 1750s and early 1760s, although work on the Grotto continued until around 1770. Towards the end of the 1760s, Hamilton constructed a brickworks in the southern part of the park in an attempt to develop an income stream from his land; the scheme was a financial failure and he constructed the Ruined Abbey in 1772 to conceal the remains of the works.[26][27]
The portico of a classical-style temple on a hillside (far left) overlooking lower lying land (centre and right)
Elias Martin, View of the Temple of Bacchus and in the background the Gothick Temple in the park at Painshill. 1770. Drawing. Nationalmuseum, Stockholm.
Although a relatively private person, Hamilton nevertheless entertained small parties of guests in the garden. On those occasions, refreshments were probably served in some of the follies, especially the Temple of Bacchus.[28] Painshill was also open to respectable visitors, not specifically invited by Hamilton, who were generally shown round by the head gardener for a tip after giving their names.[1][29] Among those to write about their experiences were William Gilpin, a leading advocate of the Picturesque, who considered Painshill "one of the most beautiful things of the kind I have seen",[30] and Thomas Whately, the landscape garden author, who wrote that "a boldness of design, and a happiness of execution, attend the wonderful efforts which art has there made to rival nature."[31] Thomas Jefferson and John Adams, future American presidents, toured the garden in 1786, and Adams wrote in his diary that "Paines Hill is the most striking piece of art that I have yet seen."[6][32] Other international visitors included Prince Franz of Anhalt-Dessau[33] and Count Ferenc Széchényi, a Hungarian statesman and founder of the National Museum of Budapest.[34] Views from Painshill were painted on some pieces of the Frog Service commissioned by Catherine the Great of Russia from Wedgwood.[35][36][37] In the early 19th century, Jane Austen and John Claudius Loudon visited the garden.[38][39]
Although Hamilton had received an income while working as Clerk Comptroller to Frederick, Prince of Wales, between 1738 and 1747,[16][40] he also borrowed money from Henry Hoare and Henry Fox to finance the work at Painshill. The repayment of these loans became due in 1773 and Hamilton was forced to sell the estate to Benjamin Bond Hopkins.[26][36][d] In around 1778, Bond Hopkins commissioned Richard Jupp to build a new mansion to the south of Hamilton's residence, which became the site of the stables.[41][42] Bond Hopkins continued to invest in the park, constructing the Bath House and a boat house, as well as planting new trees.[26][e] He died in 1794 and, three years later, the trustees of his estate sold Painshill to Robert Hibbert, a merchant...Wikipedia
...specific type of signal due to the signal box standing at the platform end. A 23 rumbles in with an evening rush hour commuter train (11/4/1974)
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.
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Argos. Although its specific purpose is unknown, the Pyramid of Elliniko was probably built as a tomb or memorial from 2000 - 600 BC.
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 :
Melanie Gibson: Site-specific installation
Norwich Fringe Festival, Norwich, Norfolk, England, UK
7-22 October 2006