(more pictures you can see by clicking on the link at the end of the side!)

Photo: Vienna City Park plan - Flower - Lake

City Park Plan - Flower - Lake Ltd. © Vienna - specific

The Viennese City Park stretches from the park ring in the first district of Vienna up to the Haymarket in the third district of Vienna and is a of both tourists and local citizens well-visited park in Vienna. Its area is 65,000 m².

History

Yet in the Biedermeier the Water Glacis was a popular entertainment venue before the Karolinenstadttor (city gate). As part of the by the demolition of the city wall happened remodeling in the Ringstrasse, the project of a public park has been promoted on that site by the then Mayor of Vienna, Andreas Zelinka. This park was designed in the style of English gardens by the landscape painter Josef Selleny, the plannings were carried out by the city gardener Rudolf Siebeck. On 21th August 1862 the city park was opened as the first public park in Vienna.

Vienna River flows through the city park

The Wien River flows through the city park, Vienna © concrete

"Wien" (Vienna River) in the city park

On the right bank of the river Wien (Wienfluss) was 1863 the so-called children's park, today mainly characterized by paved playgrounds and sports facilities, which over the Karoline bridge (Karolinenbrücke) (since 1918 Stadtparkbrücke), built in 1857, with the on the left bank situated town park is connected.

In the years 1903-1907 was in the parking area after the regulation a by Friedrich Ohmann and Josef Hackhofer planned Vienna river engineering structure with the river gate, pavilions and river banks built, which is one of the sights in the park.

In earlier times visitors of the park for the stay in placed chairs had to pay fees that were collected by the chair women (the so-called Sesselweiber).

Attractions in the park

Kursalon

The Kursalon

The water Glacis was a spa pavilion in which healing waters for drinking cures were served. To that affect, in the years 1865 to 1867 for the city park also the Kursalon was built according to plans of Johann Garben. This historicist imposing home in the style of the Italian Renaissanceg is located at the John street (Johannesgasse) and has a large terrace in the park:

After the opening on 8th May 1867 were originally forbidden pleasures. As this concept was not adopted, yet on 15th October in 1868 was taking place the first concert of Johann Strauss (son) whereupon became the Kursalon a popular dance and concert venue in particular at the time of the Strauss brothers. Today, the Kursalon after a renovation phase is again venue for balls, concerts, clubbings and conferences and houses a café-restaurant.

Photo: Johann Strauss monument in the city park; © RM

Monuments

With the gilded bronze statue of Johann Strauss (son) stands in the city park one of the best known and most frequently photographed monuments in Vienna. It was on 26th June 1921 unveiled and is framed of a marble relief by Edmund Hellmer. The gilding was removed in 1935 and in 1991 applied again. Other monuments there are, for example, of Franz Schubert, Franz Lehar and Robert Stolz and Hans Makart, the City Park is in monuments and sculptures the richest park in Vienna.

The dairy (Meierei)

The former milk bar was built as part of the Wienflußverbauung (Vienna river engineering structure) according to plans by Friedrich Ohmann and Josef Hackhofer from 1901 until 1903. After suffering heavy damages during the Second World War the building was extended in the reconstruction. Today is in the dairy after another annex a restaurant.

Planting

The planting of the city park is characterized by a great diversity of species and is, as possible, focused on a year-round flowering. Through an avenue to the ring road noise and exhaust gases are filtered. Some trees are protected, such as a ginkgo, a crown of thorns (Honeylocust, Christusdorn), cottonwood tree and Caucasian wingnut.

www.wien-konkret.at/sehenswuerdigkeiten/stadtpark/

Ambling out of Jaisalmer train station in late morning, we were immediately accosted by the throngs of drivers – mostly working for specific hotels – who were trying to pick us up. Since I’d booked a room at the Roop Mahal, this wasn’t an issue. It took a minute to find the guy, but he was there to drive us the whole 1-2 km to the hotel, which was at the base of the fort on the west side.

The biggest reason to come to Jaisalmer, the Golden City (since most places are primarily built of sandstone) is to see the fort, which is on a bit of a hill overlooking an otherwise flat desert. As it’s in the desert, the temperatures in the day, even in late September, were close to 40 degrees Celsius (a little over 100F).

According to Lonely Planet India, the fort was built in 1156 by the Rajput ruler Jaisal and reinforced by subsequent rulers. It “was the focus of a number of battles between the Bhatis, the Mughals of Delhi and the Rathores of Jodhpur.”

Nowadays, it’s a living fort. Jaisalmer Fort has plenty of residents, restaurants, souvenir stands, havelis (old-style housing with ornate architecture: carved stone doorways, lattice screens, balconies, and turrets). The havelis are often hotels now, and almost every hotel here has a rooftop restaurant to enjoy the surrounding view. Our hotel, the Roop Mahal, also had a rooftop restaurant where I ate a few times. The food was…not great, but certainly not bad.

In addition to the havelis, there are also quite a few temples. Specifically, there are seven Jain temples (that you can tour for 150 rupees/15 RMB/$2.50USD). These temples were visually quite attractive inside – some more than others – and also had plenty of worshippers coming in and out. I was impressed by the intricacy of the details and sandstone carving, the intimacy of the art, and the way natural light was used in the temples. I don’t believe tripods were allowed inside the temple, which made a lot of shooting quite difficult, but not impossible. The only other rule is that you have to take your shoes off outside and pay someone (usually about 100 rupee) to “watch” your shoes.

After having a meal in the fort (and, excitedly, finding a spice shop where I bought the first of many Indian spices to bring back to China with me), my travel partner arranged for us to go out to the desert and ride camels. (The hotelier also offered something similar, but was a bit expensive.)

Later in the day, around 5:00, if I recall correctly, a guy came to pick us up at the hotel in a jeep and four of us – me, my travel partner, and two Israeli women – started our drive out to Sam, about 50 km west of Jaisalmer (and less than 100 km – maybe less than 50 – from the Pakistani border to the west).

En route, we had to make a few required stops (per our drivers). The first place was so forgettable that I can’t even recall the name of it or what it was. The second place was just to see a small village (really, two buildings) and a whole lot of kids running up to you begging for money in exchange for pictures.

After that, we finally made it out to the desert, where we rode camels for about half an hour and then stopped at a rather random place where we were eventually given a home-cooked Indian meal, vegetarian, that consisted of dal, naan, and a few curries. It was delicious, and had to be eaten completely in Indian style (no utensils of any kind).

While watching the sunset and the subsequent moonrise, we eventually bade our Israeli friends farewell (as they were spending the night in the desert) and headed back to town. Along the way, I caught a glimpse of a late night cricket match, and it was the only time during this trip I’d see that. When we got back to the hotel, we just needed to wait there for an hour or two before they were kind enough to drive us to the train station around 11:00 p.m. so we could catch our midnight train to Jodhpur…the Blue City.

For HYxOffTheWall, Jeanette Hayes reflected the specific locale of her work juxtaposing the contemporary architecture of Hudson Yards with an Albert Bierstadt painting from 1868. This painting is an archetype of the Hudson River School, an artistic movement from the 19th century that reflected on discovery, exploration and settlement along the Hudson River. Hayes sees an alignment of this with the vision of Hudson Yards for a new era of community, culture, and commerce. The artist also incorporates viewer participation, with hidden QR codes embedded into her work. The infinite vastness of possibility that those artists saw in nature, Hayes sees in architecture, contemporary art and technology.

HYxOffTheWall, on exhibit at The Shops & Restaurants at Hudson Yards from March 2019 to January 2020, features large-scale tableaus, interactive displays and murals from 13 artists. The exhibit was curated and produced by CultureCorps.

In a site-specific installation, Artistic Bokeh presents a collaboration with Georgios Papadopoulos (GR) and Société Réaliste (FR) thematizing the symbolic value of artistic production and its subordination by the valuation of markets.

"There is never enough money, especially for cultural production; but also too much since money and market tend to impose their interpretation of artistic and cultural value. The system of prices organizes an order of meaning, where taste, subjectivity and community are reconfigured according to the mandates and the geopolitics of the market. In this hostile environment, the artist needs to create new possibilities of independence at the same time as she has to survive and thrive, despite the exploitative conditions of employment that more often than not define artistic work. Too Much Money is not the solution. but a tiny a reminder of the poverty of the artist in a system that celebrates (and profits from) the value of art."

(Text: G.Papadopoulos)

A lecture-performance of C.Lisecki / G.Papadopoulos will mark the opening on Thursday, February 27, accompanied by the film screening of "Art Accounts Deutsche Bank (2013)" by Carsten Lisecki.

artisticbokeh.com

Site-specific installation: Philips Hue light bulbs, Philips Hue wireless bridge, ethernet bridge, router, Raspberry Pi, open-source and custom software.

A former hairdressers on Arachovis Street forms the context for an installation of “smart” lights programmed according to statutory international working hours. Operating at fixed hours, they take into account the limits to weekly working hours, periods of rest and holiday. James Bridle employs the increasingly widespread technology of the “internet of things” to make visible the EU Working Time Directive (2003/88/EC) which was created to protect workers’ rights. When activated, the light bulbs shine continuously during working hours, go dim and change colour during overtime and non-working hours. In addition, the lights change periodically to visualise the different actual working hours around the globe.

Cheaper by the Dozen continues James Bridle’s interest in algorithmic law, the processes of automation, and the political implications of the "internet of things". By addressing the guidelines to working hours in the context of a deactivated hairdressers shop, the artist draws upon the sensitivities and prejudices inherent to national working rhythms and the gross domestic product. More specifically, Bridle took inspiration from Frank and Lillian Gilbreth, pioneers of scientific management and the study of time and motion, who measured and assessed workers’ productivity through the technique of light painting. Their theoretical heritage was fundamental to the deployment of labour practices in the 20th century, just as the implementation of often opaque political intent in software is fundamental to those of the 21st century. By inserting other social values into the software layer of contemporary labour practices, the work seeks to challenge the logic of technodeterminism and alienation deployed by late capitalism.

Photographs by Paris Tavitian.

The term domain-specific language (DSL) has become popular in recent years in software development to indicate a programming language or specification language dedicated to a particular problem domain, a particular problem representation technique, and/or a particular solution technique. The concept isn't new—special-purpose programming languages and all kinds of modeling/specification languages have always existed, but the term has become more popular due to the rise of domain-specific modeling. Domain-specific languages are 4GL programming languages.

The opposite is a general-purpose programming language, such as C or Java, or a general-purpose modeling language such as the UML.

Examples of domain-specific languages include spreadsheet formulas and macros, YACC grammars for creating parsers, regular expressions, Generic Eclipse Modeling System for creating diagramming languages, Csound, a language used to create audio files, and the input language of GraphViz, a software package used for graph layout.

Creating a domain-specific language (with software to support it) can be worthwhile if the language allows a particular type of problems or solutions to them to be expressed more clearly than pre-existing languages would allow, and the type of problem in question reappears sufficiently often. Language Oriented Programming considers the creation of special-purpose languages for expressing problems a standard part of the problem solving process.

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Damn Small Linux or DSL is a free Linux distribution for the x86 family of personal computers. It was designed to run graphical applications on older PC hardware—for example, machines with 486/early Pentium processors and very little memory. DSL is a Live CD with a size of 50 MB. What originally started as an experiment to see how much software could fit in 50 MB eventually became a full-fledged Linux distribution. It can be installed on storage media with small capacities, like bootable business cards, USB flash drives, various memory cards, and Zip drives.

o

Design Science License (DSL) is a copyleft license for free content such as text, images, and music. The DSL was written by Michael Stutz.

o

DSL or xDSL, is a family of technologies that provide digital data transmission over the wires of a local telephone network. DSL originally stood for digital subscriber loop, although in recent years, the term digital subscriber line has been widely adopted as a more marketing-friendly term for ADSL, which is the most popular version of consumer-ready DSL. DSL uses high frequency, while regular telephone uses low frequency on the same telephone line.

Typically, the download speed of consumer DSL services ranges from 256 kilobits per second (kbit/s) to 24,000 kbit/s, depending on DSL technology, line conditions and service level implemented. Typically, upload speed is lower than download speed for Asymmetric Digital Subscriber Line (ADSL) and equal to download speed for the rarer Symmetric Digital Subscriber Line (SDSL).

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The Nintendo DS Lite is a dual-screen handheld game console developed and manufactured by Nintendo. It is a slimmer, brighter, and more lightweight redesign of the Nintendo DS, designed to be aesthetically sleeker while taking styling cues from the Game Boy Advance SP, and to appeal to broader commercial audiences. It was announced on January 26, 2006, more than a month before its initial release in Japan on March 2, 2006 due to overwhelming demand for the original model.[3] It has been released in Australia, North America, Europe, New Zealand, Singapore, and defined regions in South America, the Middle East and East Asia. As of June 30, 2008, sales of the DS Lite have reached 58.72 million units worldwide.

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

Some background:

The Israel Aircraft Industries Kfir (Hebrew: כְּפִיר, "Lion Cub") was an Israeli all-weather multirole combat aircraft based on the French Dassault Mirage 5, with Israeli avionics and an Israeli-built version of the General Electric J79 turbojet engine. The project that would ultimately give birth to the Kfir can be traced back to Israel's need for adapting the Dassault Mirage IIIC to the specific requirements of the Israeli Air Force (IAF). The all-weather, delta-winged Mirage IIICJ was the first Mach 2 aircraft acquired by Israel from then-close ally France and constituted the backbone of the IAF during most of the 1960s, until the arrival of the Douglas A-4 Skyhawk and, most importantly, the McDonnell Douglas F-4 Phantom II, by the end of the decade. While the Mirage IIICJ proved to be extremely effective in the air-superiority role, its relatively short range of action imposed some limitations on its usefulness as a ground-attack aircraft.

Lacking funds, the F-21Bs have been soldiering on as the Õhuvägi’s sole supersonic jet fighter, even though the procurement of second-hand F-16s from USAF overstock had been considered. This came to no fuition and in 2020 the small F-21B fleet was still active. By the time it had been reduced to only six operational aircraft, though, after two had been lost over the years through accidents, and the rest had been mothballed and partly used for spares. A replacement is still not in sight, even though F-16s are still at the top of the Estonian wish list, and French Mirage 2000s were considered, too.

General characteristics

Crew: One

Length (incl. pitot): 15.73 m (51 ft 6 1/4 in)

Wingspan: 8.22 m (26 ft 11½ in)

Height: 4.61 m (14 ft 11 3/4 in)

Wing area: 34.8 m² (374.6 sq ft)

Empty weight: 7,285 kg (16,060 lb)

Loaded weight: 11,603 kg (25,580 lb) with two 500 L drop tanks, two AAMs

Max. take-off weight: 16,200 kg (35,715 lb)

Powerplant:

1× General Electric J-79-J1E turbojet (IAl Bedek-built) with a dry thrust of 52.9 kN (11,890 lb st)

and 79.62 kN (17,900 lb st) with afterburner

Performance

Maximum speed: 2,440 km/h (2 Mach, 1,317 knots, 1,516 mph) above 11,000 m (36,000 ft)

Combat radius: 768 km (415 nmi, 477 mi) in ground attack configuration, hi-lo-hi profile,

with seven 500 lb bombs, two AAMs, two 1,300 L drop tanks

Service ceiling: 17,680 m (58,000 ft)

Rate of climb: 233 m/s (45,950 ft/min)

Armament:

2× Rafael-built 30 mm (1.18 in) DEFA 553 cannons, 140 RPG

7× hardpoints under the wings and fuselage for up to 5,775 kg (12,730 lb) of payload

The kit and its assembly:

Another Kfir, I just love the creative potential of this aircraft. And this build is - finally - the last one in a trio of fictional Post-Soviet Baltic air force aircraft (including a Lithuanian MiG-2000 and an Latvian F-5E). The Estonian sibling was inspired by the rather unrelated question: what had become of the F-21As that had served in the United States for a couple of years as aggressors for dissimilar flight training? These apparently were the first Kfirs ever built (almost the entire small C.1 fleet), but after their short use the airframes would certainly still have had some flying hours left, so that they might have found a new use? Potential operators from the period before the millennium that came to my mind were Mexico (Mexico actually wanted to buy 24 Kfirs, but this deal was vetoed by the USA because of the J79 engine), Botswana and Latvia, but I eventually settled for Estonia because I had been wanting to create a modern-day whif for this Baltic country for some time - to complete the whiffy aircraft trio.

There’s only a single OOB Kfir C.1 out there, AFAIK, the venerable Italeri F-21A kit. There are certainly better Kfirs available, but modding a later C.2/7 into the early variant would take some effort. Losing the canards is probably the simpler task, but the wings are very different: they lack the dog tooth and have a Mirage-III-esque simple slot in the leading edge. A wing transplant might do the trick, but this would require a sound donor kit, and I did not want to spend too much money on this project.

The F-21 was mostly built OOB, with its traditional flaws like the poorly fitting cockpit tub (which received widened side consoles, and the seat received elector trigger handles made from wire), sinkholes on the wing root and the complex/jagged seam area between fuselage, air intakes and wings.

I wanted to give the aircraft an update, though, so I decided to provide it with a better radar for maritime strikes in the form of a French Agave multi-role system (used in the Super Étendard, too, and by 1990 not state-of-the-art anymore), which would also make the use as the Exocet ASM as a prime weapon against sea targets and the Kfir’s new role as a defensive strike aircraft plausible. To change the look a little more I also added a radar warning fairing to the fin under the dielectric fin, made from styrene strips.

The ordnance was inspired by the French practice to carry only a single Exocet missile under one Super Étendard wing and a drop tank under the other; the missile came from an Italeri NATO weapons set, the drop tank is the large OOB tank - both just mounted on pylons on the inner underwing stations while the ventral hardpoint was omitted. The outer wing stations thankfully already come with molded AAM launch rails, I just replaced the OOB ACMI pods with modern Sidewinders.

Painting and markings:

The funnier part, and initially I thought about keeping one of the USN/USMC grey-in-grey aggressor paint schemes. But then I rather went for something darker, suitable for low-level operations over the sea, and found Estonia’s (early sole) L-39 Albatros trainer, which carried for some time a disruptive paint scheme in three blue and grey tones (probably FS 36440 or something lighter, 35164 and 35109) with very light grey, almopst white (FS 36622 and/or 36495?) undersides.

Using photos of this singular aircraft as benchmark I designed my own camouflage pattern for the Kfir’s delta wing layout and reduced the colors to just FS 35164 and 35109 from above, while FS 36440 was used as the third upper tone as well as for the uniform undersides. Looks almost decorative, but in the air the scheme appears to be quite effective, esp. against clouds but also over a cluttered underground, as it reall breaks up the aircraft's outlines.

A light black ink washing was applied as well as post-panel-shading with brushes. The cockpit interior became medium grey, the landing gear white, very conservative.

Decals and markings were puzzled together, asp. the Estonian trianglesof relatively small size were hard to procure - they actually belong to a real-world post WWI Sopwith Camel (from two PrintScale sheets to get four of them), and the had the added value of a whote edge that would add contrast to the markings on the grey/blue surfaces. The only other national marking is a fin flash, which had to be painted, though.

Tactical markings are minimal, and I adapted a code style from the Estonian L-39 which looked quite American. Stencils were taken from the Kfir's OOB sheet. Finally, the model was sealed with matt acrylic varnish (Italeri).

A relatively simple whif project (after the long and tedious fight with the V 200/Märklin 3021 conversion), since the model was mostly built OOB with just minor cosmetic changes - just tha radome was added/changed and the ordnance. However, despite its exotic operator, the Estonian Kfir look attractive and purposeful in its subdued yet flashy grey/blue scheme (the blue turned out much brighter than expected!), even though the question how plausible it looks is better left open. :D

For photovoltaics to succeed they must move quickly from the lab bench to the factory floor.

The SPECIFIC project, led by Swansea Uni, with Tata Steel as one of the key partners, is developing a range of solar cell technologies and processing techniques that will allow high-efficiency thin-film photovoltaics to be manufactured at scale using earth-abundant, low cost materials.

They are also working to understand the stability and lifetime of these devices, by characterising their degradation mechanisms and finding ways to improve longevity.

They consider ourselves ‘technology agnostic’, which means that they work with the most promising photovoltaic technologies to find ways to manufacture them at scale.

Currently they have people working on four distinct technologies: perovskites, CZTS (copper, zinc, tin, sulphur), organic photovoltaics and dye sensitised solar cells.

#21CSteel

The initial ideas development worksheet for the site specific artwork brief.

February 2011

In a site-specific installation, Artistic Bokeh presents a collaboration with Georgios Papadopoulos (GR) and Société Réaliste (FR) thematizing the symbolic value of artistic production and its subordination by the valuation of markets.

"There is never enough money, especially for cultural production; but also too much since money and market tend to impose their interpretation of artistic and cultural value. The system of prices organizes an order of meaning, where taste, subjectivity and community are reconfigured according to the mandates and the geopolitics of the market. In this hostile environment, the artist needs to create new possibilities of independence at the same time as she has to survive and thrive, despite the exploitative conditions of employment that more often than not define artistic work. Too Much Money is not the solution. but a tiny a reminder of the poverty of the artist in a system that celebrates (and profits from) the value of art."

(Text: G.Papadopoulos)

A lecture-performance of C.Lisecki / G.Papadopoulos will mark the opening on Thursday, February 27, accompanied by the film screening of "Art Accounts Deutsche Bank (2013)" by Carsten Lisecki.

artisticbokeh.com

Step 3: Sort and display specific types of data using the filters at the top right.

zoomcharts.com/en/gallery/all:dashed

The possibilities for data analysis are opened up with ZoomChartsâ advanced data visualization software. Start planning for the future today with the Dashed Line tool, one of the many options available in the ZoomCharts line that adds a layer of flexibility to your data presentation.

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- Designate between current and proposed figures with separate line styles

- Expand and zoom in and out of data with a simple click or scroll

- Filter and display data according to specific time intervals

- Export data to open in various file types

Check out ZoomCharts products:

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#zoomcharts #timechart #timecharts #time #interactive #data #datavisualization #interactivedatavisualization #dashed #dashedlines #proposeddata #future #forecast #forecastdata #iphone

This specific perspective shows that the volume knob is well centered.

Click on the following link to see a thread at Head-Fi.org about the unboxing

and first impressions: 

Schiit Asgard

Photographic techniques capture electromagnetic wavelengths beyond human vision, revealing features invisible to the naked eye. These signals are processed into interpretable forms using methods like color mapping.

Pink lacks a specific electromagnetic wavelength, while grey poses a limitation due to its representation of only intensity—a blend of light and dark without spectral specificity. Imaging techniques reliant on spectral variation produce identical results for greyscale images unless non-visible data is present. Deviations from this uniformity may indicate errors, misinterpretations, or unknown phenomena.

Contention persists over analytical debates, including dismissible claims like Van Allen belt dangers and contested evidence of lunar mirrors. The precision of laser reflections targeting a moving 3x3-foot marker on the Moon highlights technical skill but often fails to resolve skepticism. For instance, a 0.1° shift moves a laser spot 670 km across the Moon's surface.

Forensic analysis (2022, 2023) of Apollo 11–17 photographs assessed authenticity claims. Images of humans in space, Earth, and the Moon's distant views were validated, but Moon landing visuals showed variations, suggesting diverse techniques may have replicated certain elements.

PEMi (Photoelectromagnetic Image) software enhances forensic analysis by differentiating natural and artificial light sources, revealing hidden features. Each PEMi-ID links to original sources, ensuring traceability and comparison.

Further exploration is available:

Lehti, A. (2024). The Silence of Inquiry: Forensic Reflections Reveal a Crisis of Perception. figshare. doi.org/10.6084/m9.figshare.28078982

Credits

2022-2025 © Andrew Lehti

1961–2023 © NASA, ESA

Software: PEMi (GitHub: andylehti/PEMi.git)

Explore PEM-I: pemimage.streamlit.app

CC BY-SA 4.0 License: creativecommons.org/licenses/by-sa/4.0/

Research:

Lehti, Andrew (2024). Cognitive Psychology and the Education System. figshare. Collection. doi.org/10.6084/m9.figshare.c.7532079

CC BY-SA 4.0

This work is licensed under the Creative Commons Attribution-ShareAlike 4.0 International License. To view a copy of this license, visit creativecommons.org/licenses/by-sa/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.

I am fascinated by 3D computer graphics. In each of my series, I try to explore the essence and specificities of this technique of image creation.

In this specific series, my research focuses on duplication. It is a function that can be more generally associated to the digital world.

An object, once created (modeled) in 3D, can be infinitely duplicated. The concept of the original is no longer relevant. More precisely, I would say that the original no longer exists, as each instance is absolutely identical.

The object loses its ability to fascinate. It is taken out of context and becomes a mere shell. It is now only an atom, only the whole matters. The objects are made of a uniform material that appears to blend into the underlying expanse. By a strange mitosis phenomenon, the objects proliferate infinitely, at the expense of all that is natural and human. This proliferation levels and sterilizes everything in its way.

Each image is built from the same 3D scene, except that one object simply replaces another. The same framing, the same lighting, the same number of objects, the same arrangement, the same material that is purposely not that of the real object.

Each object is chosen for reasons that are foremost esthetic. The objects must visually lend themselves to duplication – in terms of shape and proportion.

The choice of the orientation of the objects is also crucial to the final result. Several criteria are relevant and are linked to the object itself (lighting, visible part of the object, etc) and to the entirety of the image (use of space, production of lines, etc.).

Beyond thinking about the media itself, the series implicitly conjures up industrialization, the mass production of objects. Warhol first confronted and then wedded artwork (until then unique) to mass production. It is not the subject that interests me in this series. To me, duplication always relates to a political and cultural realm, to the standardization of our society and of how it thinks.

hugoarcier.com/en/duplicate-serial-objects/

----------------------------------------------

Dans chacune de mes séries je réfléchis sur les images de synthèse (3d), cette technique de création d'images qui me fascine. Je cherche ce qui la constitue.

Dans cette série précisément, ma recherche se focalise sur la fonction de duplication. Caractéristique que l'on peut d'ailleurs associer plus largement au monde du numérique dans son ensemble.

Un objet, une fois créé (modélisé) en 3d, peut être dupliqué à l'infini. La notion d'original disparaît complètement, je dirais plus exactement qu'elle n'existe pas, chaque exemplaire étant rigoureusement identique.

L'objet en lui-même perd alors son pouvoir de fascination. Il est sorti de son contexte, dématérialisé. Il n'est plus qu'un atome, seul importe l'ensemble. La matière uniforme des objets semble déteindre sur le support lui-même. Par un étrange phénomène de mitose, ils prolifèrent à l'infini au détriment de la nature et de l'humain. Prolifération qui nivelle et stérilise tout sur son passage.

Chaque image est construite à partir de la même scène 3d, un objet étant simplement remplacé par un autre. Même cadrage, même lumière, même nombre d'objets, mêmes emplacements, même matière qui volontairement n'est pas celle de l'objet véritable.

Chaque objet est choisi pour des raisons avant tout plastiques. Il faut que ces objets se prêtent visuellement à la duplication - en termes de formes et de proportions.

Le choix de l'orientation des objets est aussi déterminant dans le résultat final. Plusieurs critères interviennent, liés à l'objet en lui-même (prise de lumière, forme visible, etc.) et à la globalité de l'image (composition de l'espace, génération de lignes, etc.).

Au-delà de la réflexion sur le média lui-même, la série évoque implicitement l'industrialisation, la fabrication d'objets en série. Warhol avait confronté puis marié l'œuvre d'art (jusqu'alors unique) à la fabrication en série. Ce n'est pas vraiment le sujet qui m'intéresse dans cette série, et au-delà de ce postulat, la fonction de duplication renvoie pour moi immanquablement à une dimension politique et culturelle, à l'uniformisation de notre société et de sa pensée.

hugoarcier.com/en/duplicate-serial-objects/

© All Rights Reserved

Site specific theatre theater performance perform performance art

site-specific theatricality installation site specific create process San Francisco bay area

Poland Prague Cargo Ship Art ship Theatrical

Theatrically devised collaborate collaborative

collaboratively thetre thatre theter theatr theate

teatr divadlo predstaveni predstavani ensemble work

artwork scultpture installation umeni compose composed

composer hudba react reaction place site room

performed Boston New York Los Angeles experimental

avant garde experiment performative installation

instalation install sculpt puppet puppeteer oakland

company scrap and salvage James Mulligan Rafal

Klopotowski Emiko Lewis Frank Lee Erin Blendu Eric

ANdler Molly Rhodes Emily Rosenthal Allison Wyper

bluespace 1000 van ness 1k this end up #3 hold piwnica

marchewy lorca project

Read the full post www.web-strategist.com/blog/2014/05/26/study-how-corporat...

Researcher Dr Rachel Woods with a steel sheet on the production line at SPECIFIC, which develops "Active Buildings" that generate, store and release their own solar energy.

SPECIFIC is an academic and industrial consortium led by Swansea University with Akzo Nobel, NSG Pilkington, Tata Steel and Cardiff University as strategic partners.

SPECIFIC is funded by the EPSRC, Innovate UK and the European Regional Development Fund through the Welsh Government.

#21CSteel

Robert Llimós presents a new version of an action that was originally created in the summer of 1972. One of the very few performative works of an artist primarily known for his paintings and sculptures, “Los Corredores” (The Runners), was first realized as part of the legendary avant-garde art festival known as Los Encuentros de Pamplona (The Pamplona Meetings). On that occasion, three people dressed in identical running gear speed-walked throughout the city, connecting the various venues of the festival. As his project for the Composiciones programme, Llimós’s Los Corredores is now restaged on the streets of Barcelona. Three athletes criss-cross the city, seemingly rushing to see every venue of the Gallery Weekend. As in Pamplona, the white sports kits have been adorned by Llimós with black diagonal brushstrokes that symbolize the idea of painting. At times the speed-walking trio carry flowers, or have their ankles joined with elastic ribbon—a painting-as-workout that has left the studio for the street with decoration, discipline, and a dynamic sense of urgency. – Latitudes

Robert Llimós’s (Barcelona, 1943) long trajectory as a painter and sculptor began in the sixties within the Nueva Figuración (New Figuration) movement (1965-1968). Between 1969-1973 he went through a more conceptual phase returning to figurative painting with a greater emphasis on colour. His work has been exhibited individually at the Museum Bochum, Germany (1994), Galería Alejandro Sales, Barcelona (2009); Fundació Vila Casas, Barcelona (2010). in 1972 he was part of the landmark international avant-garde art festival Encuentros de Pamplona (The Pamplona Encounters), as well as participating in the unofficial programme of Documenta 5, Kassel. He has exhibited in institutions such as the Museo del Barrio, Nueva York (1976 and 1978); Fundació Miró, Barcelona (1979, 1983 and 1992); Museu d’Art Contemporani de Barcelona (1996, 1997 and 2005); Museo Reina Sofía, Madrid (2004 and 2009) and the Fundació Suñol, Barcelona (2010), amongst others. Since 2009 Llimós has been producing work depicting extraterrestrial life forms and flying objects. In 1994 the Generalitat de Catalunya awarded him the Fine Arts Award. Two of his public sculptures can be seen in Barcelona: “Marc” (1997) in the Olimpic area and “Mirastels” (2006) a floating sculpture in the Port of Barcelona.

––

“Los Corredores” (1972/2016) was commissioned for the second edition of the Barcelona Gallery Weekend (29 September–2 October 2016) as part of the “Composiciones” programme.

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

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

Conceived and curated by Latitudes | www.lttds.org

Photo: Roberto Ruiz / Courtesy: Barcelona Gallery Weekend.

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

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

Haleakala Crater hike on 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 carry-on 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. Additionally 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 collapsible water bag w/filter to refill 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 Barbara hitting the islands the day before my trip. Fortunately Barbara 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. Surprisingly, 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 chapstic but didn't use it.

-----------------------------------

CamelBak Octane 16X Hydration Pack (3L Hydration bladder)

3 liters of water = 6.6 pounds

1x Nikon D700 w/battery grip - Nikon 28-300mm

1x Nikon D700 w/out grip - Rokinon 12mm f2.8 fisheye

Tokina 16-28mm f2.8

Camera & lens weight = 12 pounds

I brought both cameras to reduce the amount of time spent changing lenses and the possibility of getting grit on the camera sensors. Turns out I never changed to the 16-28 so never removed any lens. Yay, no spots in my pictures, Bo, lugged another heavy lens around for nothing. At least I left the 100mm macro in the car already.

Red Bull Arena, a soccer-specific stadium located in Harrison, New Jersey, opened in March 2010. The 25,189-seat soccer-specific stadium designed by Rossetti Architects, serves as the home to the New York Red Bulls of Major League Soccet (MLS).

The rear of the T-shirt says: "Supporting lesbian, gay, bisexual & trans homeless young people".

That's a very specific target of people to support.

Presumably he is a Street Fundraiser, or Chugger "Charity Mugger" (if one wants be less generous with the description). He is waiting for a bus home after a long day trying to get people to sign up to a small monthly donation via direct debit.

Just so everything is clear, I've posted this picture as this is an unusual sight and I'm slightly taken aback at how narrow the target of people they will help. No other reason.

Nice stripey Taxi on the road.

en.wikipedia.org/wiki/Street_fundraising

The Albert Kennedy Trust

www.akt.org.uk

In 1989, 16 year old Albert Kennedy fell to his death from the top of a car park in Manchester whilst trying to escape from a group of homophobic bullies pursuing him in a car. Albert was a runaway from a children's home and was suffering depression. In his short life he had experienced rejection and abuse from society.

RENEE PETROPOULOS

“PERSHING SQUARE/TITLE”

Curated by Susan Horowitz- Independent Curator for Phantom Galleries LA

PERSHING SQUARE/ TITLE GUARANTEE BUILDING LOFTS

1929-31 JOHN & DONALD PARKINSON ARCHITECTS

CITY OF LA HISTORIC-CULTURAL MONUMENT- DESIGNATED 1984

411 West 5th Street Los Angeles, 90013

car radio (106.9 fm) when traveling in the vicinity

Exhibit runs: April 22- June 30, 2008.

Pedestrian viewing 24/7

PERSHING SQUARE/TITLE is a site-specific visual and sound installation by artist Renee Petropoulos. This project continues Renee Petropoulos' exploration of the relationship between the architectural and social culture of LA. The starting point for this project is the original function of the building which housed the Title Guarantee and Trust Co., a business comprised of holding the deeds to LA properties. The work consists of a series of audio commentaries by various voices (people) revealing their points of view on different LA locations. Both amateur and authoritative voices are included and the often poetic, emotional nature of the language of these perceptions reveals unexpected passions for the historic and the current elements of the city. Descriptions of hospital rooms, immigration offices, cinema locations and palatial pink factories serve to illuminate our cumulative and collective response to LA. The fusion of the public and private perceptions of the city furthers ideas about architecture, ownership and individual interior reflection.

The project will be in constant evolution reflecting a changing situation through both audio and visual encounters. The audio component of the interviews will be broadcast from the building being available at street level, and through your car radio (106.9fm) when traveling in the vicinity and via the PhantomGalleriesLA.com website, excerpts made of vinyl lettering, culled from the interviews will be added one sentence at a time on a weekly basis to the Title Guarantee Building Art Space Windows.

“PERSHING SQUARE/TITLE” at the Art Deco/ Zigzag Moderne LA Historic-Cultural Monument on Pershing Square, presents a compelling urban street experience of encountering diverse perspectives of LA. The Pershing Square area is central to Downtown LA’s extraordinary urban transformation as a vital place to work, live and visit. It is a resonant place to consider the issues raised by this public art work.

Media contact Phantom Galleries LA:

Liza Simone

213.626.2854

Liza@PhantomGalleriesLA.com

www.phantomGalleriesLA.com

Upcoming Title Guarantee Building Art Space Exhibits:

July curated by Dangerous Curve DangerousCurve.org

August curated by LACDA lacda.com

September curated by Edgar Varela Fine Art EdgarVarelaFineArts.com

LA artist Renee Petropoulos has produced permanent public art here including her mural in the rotunda of the LA Central Library, installations in Culver City and the Metro Green Line in El Segundo. She has exhibited her work extensively and produced temporary and permanent installations internationally. Her recent 2007 exhibition, Social Arrangements, featured five related ongoing projects encompassing painting, sculpture and audio. She is represented here by the Rosamund Felsen Gallery (rosamundfelsen.com/petropoulos/index.php). and is currently a professor in the graduate division of the Otis College of Art and Design.

Susan Horowitz is an independent curator and artist. She is working with Phantom Galleries LA to curate exhibits that illuminate contemporary urban issues. Her photo/text art work focuses on an exploration of the complex relationship between the individual, nature, and architecture of the urban West. Her current exhibition LA CONTINUUM, a collaboration with Carol Bishop, is a collection of glimpses of the flux of urban land, development and architecture. Hennessey and Ingalls Art and Architecture Books in Santa Monica (hennesseyingalls.com).

WEBSITE - susanhorowitz-laprojects.com

Phantom Galleries LA is a Los Angeles County based organization that transforms properties in transition into 24/7 public art galleries. Each installation is a unique relationship between the participating Artist, Curator, and Property Owner. Exhibits are curated by local Arts Organizations, Galleries, Independent Curators, and Artists. The project gives local artists an opportunity to exhibit their work, while fostering economic development by drawing attention to available retail space. PGLA promotes the creative communities of Los Angeles to a broader audience and encourages the appreciation and participation in the arts among community members and organizations creating a win/ win situation that benefits the entire community as a whole. Art is a necessary part of everyday life.

Title Guarantee Building Lofts

While the exterior architecture has qualified the building for inclusion on the Nation Historic Register, the completely reconstructed interiors are perfect for today’s modern living. Experience the excitement of the new Downtown Los Angeles and live in a landmark. For further information about The Title Guarantee Building Lofts contact 213. 627.3939 or titleguaranteebuilding.com

For further information about this exhibit contact - susanhorowitzproject@mac.com

For further information about Phantom Galleries LA contact Liza@PhantomGalleriesLA.com www.PHANTOMGALLERIESLA.COM

INSTALLATION IMAGES + STREAMING AUDIO ON PHANTOMGALLERIESLA.com

Phantom Galleries LA is proud to announce their invitation to curate and oversee exhibits showcasing the Art and Culture of Downtown Los Angeles at the new Title Guarantee Building Public Art Window Space. Exhibits are curated by Downtown LA Arts Organizations, Galleries, Independent Curators, and Artists and/or focus on topics about Downtown Los Angeles.

'Hair ice' forms only in very specific conditions. There must be moist air slightly below freezing temperature, and it grows on moist rotting dead wood which contains the fungus Exidiopsis effusa. Direct sunlight can melt the fine filaments, so it's usually found in the shade. Found on dead rhododendron in woodland near my house.

Regular operation of low-floor double-deckers in the Rosso fleet at weekends is generally confined to specific diagrams which don't usually include the 464 Rochdale-Accrington service, so this Saturday afternoon shot of ex-Arriva London Volvo / Wright 122 in Bacup sneaks into the 'unusual' category - at least for now.

Installazione site specific per il cortile di Palazzo Strozzi a Firenze

In occasione della Notte Bianca di Firenze del 30 aprile 2012, la Fondazione Palazzo Strozzi presenta la nuova installazione dell’artista italiano Loris Cecchini, appositamente pensata per il Cortile di Palazzo Strozzi: un insieme di grandi forme scultoree sospese che entreranno in dialogo con le misure perfettamente geometriche di questo luogo simbolo del Rinascimento fiorentino.

Durante la settimana tra lunedì 23 e domenica 29 aprile, sarà possibile vedere il backstage dell’installazione in corso nello spazio del Cortile che rimarrà regolarmente aperto al pubblico, così come le mostre Americani a Firenze e American Dreamers. L’artista e lo staff di Palazzo Strozzi saranno al lavoro e potrai scoprire come si trasformerà il cortile e come prenderà forma l’opera giorno dopo giorno.

L’installazione è resa possibile dal supporto di J.P. Morgan e grazie alla collaborazione dell’Associazione Partners Palazzo Strozzi.

www.strozzina.org/exhibitions/aerial-boundaries-loris-cec...

Would you like a take a shortcut to a specific Snowman?

01. A Partridge in a Pear Tree (Donna Newman) | 02. Two Turtle Doves (Laura-Kate Chapman) | 03. Three French Hens (Jessica Perrin) | 04. Four Calling Birds (Mik Richardson) | 05. Five Gold Rings (Adam Pekr) | 06. Six Geese a Laying (Donna Newman) | 07. Seven Swans Swimming (RP Roberts) | 08. Eight Maids Milking (Megan Heather Evans) | 09. Nine Ladies Dancing (Jenny Leonard) | 10. Lords Leaping (Sally Adams) | 11. Eleven Pipers Piping (Amanda Quellin) | 12. Twelve Drummers Drumming (Sue Guthrie)

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.

From The Consumerist, a graphic comparison of American Airlines' gender-specific search engines. (Posted for my RHET 3401 class.)

Little specific information about "Silver Galaxy Granite" from India is available. It has a foliated texture, so it is a metamorphic rock - it appears to be a gneiss. The dark red areas are very likely garnets. The matrix includes a sparkly component - likely mica.

I've seen this material attributed to Andhra Pradesh State (= southern Indian) and Rajasthan State (= northwestern India). Verified quarry location info. is lacking.

Europa: Pasajes de Invierno, una instalación site specific de Florentino Díaz comisariada por Carlota Álvarez Basso para el programa de intervenciones Abierto x Obras, en la antigua cámara frigorífica de lo que fue el matadero municipal. La pieza se inscribe además en la programación de PhotoEspaña 2015.

La pieza conformada a partir de materiales de derribo, representa un barracón sobre el que no cesa de caer la lluvia. En su interior, pantallas de video nos muestran las imágenes de vidas anónimas del siglo XX, recogidas de álbumes encontrados en mercadillos, con el Winterreise (Viaje de invierno) de Schubert sonando de fondo. Según la comisaria Carlota Álvarez Basso, son “historias que hablan de los momentos de felicidad ajena que han caído en el olvido, de la fragilidad de nuestra existencia y de la inconsistencia de la memoria, tanto de la individual como de la colectiva”.

“El espectador debe recorrer estos pasajes de invierno a través de estos videos en los que, paradójicamente, no cabe imaginar el trágico destino que aguarda a sus protagonistas, y que nos hacen pensar en el incierto destino que nos espera” señala Florentino Díaz. Respecto al título, Díaz se inspira en El Libro de los Pasajes, el gran proyecto inacabado de Walter Benjamin, fallecido en 1940, que “cuestiona el desarrollo de una historia que hasta ese momento no había cumplido las expectativas de liberación humana, y que en sus ruinas mostraba la imposibilidad de alcanzar sus metas últimas”, explica el artista.

Las obras de Florentino Díaz (Cáceres - 1954) se caracterizan, desde los años 1990, por el uso de materiales e imágenes recuperadas, elementos aparentemente sencillos pero cargados de sentido y de connotación emocional. Desde hace muchos años Florentino Díaz ha ido guardando pequeños tesoros encontrados en el Rastro de Madrid o de las ciudades que visitaba en sus viajes. Objetos, libros, fotografías que a veces nos desvelan y otras se guardan los secretos de vidas e historias de otro tiempo. El artista es además un referente cuyo trabajo ha girado siempre en torno al concepto de lo doméstico, de la casa, concebida como un espacio cada vez más difícil de habitar. Sus instalaciones se han expuesto en centros nacionales e internacionales, como el CAB DE Burgos, MEIAC de Badajoz, Museo Barjola de Gijón, Casal Solleriç Espai 4 de Mallorca, Museo de Cáceres, Salón de los 16, Kunstamt Kreuzberg-Bethanien de Berlín, y en ferias como Art Cologne, MACO-MEXICO, Liste The Young Art Fair de Basel, Art Chicago, Busan Bienal de Corea. Y forma parte de colecciones privadas, museos e instituciones como CGAC de A Coruña, Colección La Caixa, Fundación Coca-Cola España, Colección Banco de España, Museo de Cáceres, entre otras.

Abierto x Obras

Abierto x Obras, en Matadero Madrid, es un programa de intervenciones site specific que incentiva el carácter experimental de la creación contemporánea a través de planteamientos que exploran la relación entre el arte y el lugar que lo acoge, la antigua cámara frigorífica del Matadero. Desde 2007 Abierto x Obras ha acogido las intervenciones de artistas como Daniel Canogar, Jannis Kounnellis, Román Signer, Carlos Garaicoa, Fernando Sánchez Castillo, Jordi Colomer, Los Carpinteros, Cristina Lucas, o Eugenio Ampudia, entre otros. Próximamente se podrá disfrutar del trabajo del artista británico Haroon Mirza.

#Singapore - #StrengthsFinder #Maximizer likes to soar with apex predators; the ones that dominate the top of that specific ecosystem. Maximizers run with the alphas and can quickly size up if a person belongs to the elite. They are constantly looking out for Eagles within their team The definition of StrengthsFinder Maximizer's GENIUS The genius of Maximizer talents is in your natural discrimination toward better and your preference for working with and toward the best #StrengthsFinderMaximizer #StrengthsFinderGenius #GallupStrengthsFinder #CliftonStrengths #StrengthsQuest #StrengthsSchool #Gallup #StrengthsFinderSG #Asia #HumanResource #SelfImprovement #SelfDevelopment #TeamBuilding #Workshop #StrengthsCoach #ProfessionalDevelopment #StrengthsFinderCoach #CoachJasonHo Jason Ho • SouthEast Asia & Singapore's 1st StrengthsFinder Certified Coach • Strengths School™ Singapore ift.tt/2bfTd4k

Would you like a take a shortcut to a specific Snowman?

01. A Partridge in a Pear Tree (Jodie Silverman) | 02. Two Turtle Doves (Megan Evans) | 03. Three French Hens (Lei-Mai Lemaow) | 04. Four Calling Birds (Jenny Leonard) | 05. Five Gold Rings (Adam Pekr) | 06. Six Geese a-Laying (Matilda Elizabeth) | 07. Seven Swans a-Swimming (Laura-Kate Chapman) | 08. Eight Maids a-Milking (Donna Newman) | 09. Nine Ladies Dancing (Lizzie Rose Chapman) | 10. Ten Lords a-Leaping (Hammo) | 11. Eleven Pipers Piping (Jess Loveday) | 12. Twelve Drummers Drumming (Jessica Perrin)

A Corroboree is a specific form of ritual carried out by Indigenous peoples across Australia. During the ceremony, an interface between humanity and the Dreaming – a period of time which constitutes a major part of Indigenous belief – is created, via the use of singing, dancing, costume, and artistic expression.

Events from the Dreaming – or Dreamtime – are re-enacted, and a strong spiritual bond between the people of this planet and the ecosystems which make up the planet itself, is formed.

Side Specific

2009

T.A.M.A.

Project "Side Effects"

Collectif (Lucy Ota, Maria Papadimiitriou, Gabi Scardi)

(travaux sur la situation des Roms en Europe)

Musée d'art contemporain

10ème Biennale de Lyon

Served on Japan Airlines, this yogurt seems to indicate an expiration date that is oddly specific -- December 21, 2010, A.D.

I ran out of the specific leads I was using and no other leads matched so I never finished this. If I can find more light tone graphite mech pencil leads that match I may eventually finish it. Started approx 12 years ago

In the last couple of years or so, Surrey CC have gone for stop specific timetables, which is fair enough as it's the way things are going industry-wide.

Personally, I'm not a fan - as stop specific gives less information, and I can read a bus timetable.

New timetables are now up ready for the SCC Bus Review changes to the 34 and 35 from 30th August 2015. Here's the Camberley-bound stop at Woking station.

Two questions arise: how do you know it goes via Hermitage Estate on Sundays (indeed the route bar at the top says 'Knaphill Surrey Hermitage' (=Hermitage, The Surrey) so specifically says that Sunday buses go that way when they don't)?

Secondly, why isn't it combined with the 35 times on one sheet?!

Also, the 134 is missing so it only shows the 1550 departure as a 34 on non-schooldays only.

A general issue with stop specific timetables is that they only give an approximate journey time, for example the 34 to Camberley here is shown as 55 minutes to reach the destination. But, on long routes, there can be significant variance. For example, a quick look at the timetable shows one journey timed to do it in 40 minutes!

The Broadway, Woking, Surrey.

PT-Specific-Spectacles-March 2007

Aaron Buchan – Level 3 Senior Trainer

FF Trainer of the Year – 2011

Creator/Manager of Cross Training Systems

Since becoming a Personal Trainer, I have always had a passion towards helping people achieve their goals. I have often wondered what would be the best way to achieve the best results in the fastest possible way? That’s what prompted me to start developing Cross Training Systems – easy to follow structured programs suited to every individual’s needs.Aaron profile pic new

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Tel 0403 534 611

Ask each one of the catering services probably the most relevant questions with regards to the located event. Questions you should ask might connect with availability on the specific date, kind of menus, capability to help with particular needs, and also the deposit and payment needs.

Essence pk

spray paint on safety cabinets

stie specific artwork @ Casa Delle Letterature - Rome

time lapse here:

youtu.be/IsUmmd6vJrA

“Associated” is a site specific show in a severely damaged brownstone, currently with a Vacate Order, issued by the DOB. As you may recall, the huge fire on Nov 12th 2010 at the Associated Supermarket on 5th Avenue and 17th Street not only damaged the supermarket building including the Open Source Gallery, but also a brownstone next door. The 3 family house, the Gallery owners’ home, was also rendered uninhabitable by the blaze.

There is no exact date for the show. There will be a 2 week window when the Vacate Order will be dropped and the contractors will start their work. All participating artists are prepared to install their work any day within the next month.

opening up with the

OPEN SOURCE CARNIVAL

The Carnival involves a public celebration combining some elements of circus, performance, public fair and party. We encourage people to dress-up in costumes during the celebration and to bring a little bit of money for the future of OPEN SOURCE.

Participants

Sara Bouchard, Christian Brown, Reamonn Byrne, Wendy Chu, Ethan Crenson, Hubert Dobler, Peter Feigenbaum, Pirmin Hagen, Fumie Ishii, Der Kommissar, Stefanie Koseff, James Leonard, Loadingdock5, Katerina Marcelja, Amanda C. Mathis, Patrick May, Nolan McKew, Annelise E. Ream, Jason Reppert, Raphaela Riepl, Evan Robarts, Frank Scheiderbauer, Allison Read Smith, Miho Suzuki, Kathleen Vance, Letizia Werth, Lily White, Monika Wuhrer

Research engineer Joel Troughton and technology transfer fellows Cecile Charbonneau and Matthew Davies

Amphorae are specific vessels that were used for storing and transporting olive oil, wine, salted fish and preserved fruit. They were also used for building as construction and insulating material, as well as for filling in swampy areas. The characteristic Istrian amphora has a very pronounced egg-shaped body with long neck narrower than the body and small handles on opposite sides.

I'm starting to purchase some relatively expensive gemstones. I wanted to know how I could be sure of what I was purchasing when there are some misleading trade names and vendors that may not ask as many questions of their supplier as they should.

Calculating the specific gravity of your new sparklies is a good method and can be done fairly inexpensively.

blog.autochthonous-evolved.com/2013/04/making-sure-your-g...

Restaurant and colourful informal seating at the Soho office of media agency Specific Media