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A Room-A Loom began as a site-specific weaving experiment by Julia Sherman at workspace, a small project space in East L.A. Materials used thus far in the L.A. loom have included weeds, old clothing, Halloween costumes, computer cables, bubble wrap, plastic bags, John Baldessari's toilet paper, Sheep Dog fur, raw wool, yarn, pants, jeans, blankets, burlap sacks, palm fronds, pom-poms and more.
Copy is the first of several project spaces spanning the country and beyond to undertake A Room - A Loom. Eventually, there will be a group exhibition with all of the weavings from the various participating spaces.
As I was strolling around with my camera, without any specific purpose really, I was attracted by two colourful chairs placed over some snow. There was not any snow anywhere around, so naturally, I become curious.
As it happened, the chairs were part of an exhibition in Gallery Kalleria in Kallio /Berghäll, a suburb of Helsinki.
Through the display window, I saw paintings on the floor, and except for a young man sitting at a dest and a dog underneath, there was no one else inside, so I decided to walk in.
Lucas, the young man, and his one year old dog, Dalí, greeted me welcome. I asked for permission to make pictures and we started talking. We conversed first in Finnish but switched almost immediately into Swedish as soon as we understood that we both were more fluent in the latter language.
Lucas Vogt, 34y/o, is an artist, exhibiting currently with his friend Walter Götsch who wasn't present at the moment.
Their paintings were bright and very colourful. I got the feelings that those two were playful and enjoying to create their cheerful art.
I had to watch my steps in that tiny gallery, as I've mentioned, all the painting were scattered on the floor, but Lucas was friendly and made me feel comfortable, so we had a long conversation.
When I asked him to think about an advice he might want to give to his younger self, he thought for a moment and then said: "I think I would rather ask my younger self to give me an advice."
That was something really new to hear; I can't recall a single similar answer in all my years of interviewing strangers.
"I've lived through many different phases, and there are definitely some that were unnecessarily weighed down by fears. To the 10 year younger me I wouldn't say much. That Lucas had lots of vitality and curious defiance, which my current self could do good to be reminded of."
"What does life mean to you, Lucas?"
"As far as the meaning of life goes I quite like the Kafka quote, "The meaning of life is that it stops". Or, ends, rather. To me the realization that something is transient can be intimidating at first, but ultimately it is what helps me appreciate the rareness and uniqueness about being alive."
"What inspires you in life? What do you love about yourself?"
"The complexity and nuances the world is full of. Perhaps it astonishes more than inspires, but the astonishment is inspiring. I like it when people are active together and collaborate. I love when I manage to facilitate such group ventures and chain reactions."
"What would you say to the world if you could send a message out there?"
"Prioritize playfulness! Fit as much of it into your daily tasks and routines as you can!"
"What do you like to do in your spare time / hobbies?"
"I like running, laughing with friends, and sleeping with my arms and legs completely spread out."
# 19 Under the table
52 in 2021 Challenge
Albizia julibrissin / Persian Silk
Albizia julibrissin, the Persian silk tree, pink silk tree, or mimosa tree, is a species of tree in the Fabaceae family, native to southwestern and eastern Asia.[1]
Taxonomy
It was introduced to Europe in the mid-18th century by Italian nobleman Filippo degli Albizzi, and the name of its entire genus Albizzia is given after him.[2] The specific epithet julibrissin is a corruption of the Persian word gul-i abrisham (گل ابریشم), which means "silk flower" (from gul گل "flower" + abrisham ابریشم "silk").[2][additional citation(s) needed]
Albizia julibrissin was described by Antonio Durazzini.[who?] John Gilbert Baker used the same scientific name to refer to Albizia kalkora written by David Prain, the Mimosa kalkora of William Roxburgh.[clarification needed][citation needed]
Names
Albizia julibrissin is known by a wide variety of common names, such as Persian silk tree and pink siris. It is also called Lankaran acacia or bastard tamarind, though it is not too closely related to either genus. The species is called Chinese silk tree, silk tree or mimosa in the United States, which is misleading—the former can refer to any species of Albizia which is most common in any one locale; and, although once included in Mimosa, neither is it very close to the Mimoseae. To add to the confusion, several species of Acacia, notably Acacia baileyana and Acacia dealbata, are also known as "mimosa" (especially in floristry), and many Fabaceae trees with highly divided leaves are called thus in horticulture.
Its leaves slowly close during the night and during periods of rain, the leaflets bowing downward; thus its modern Persian name shabkhosb (شبخسب) means "night sleeper". This tendency also explains the Chinese common name hehuan, which means "shut happy" and symbolizes a happy couple in bed.[3] In Japan its common names are nemunoki, nemurinoki and nenenoki which all mean "sleeping tree". Nemu tree is a partial translation of nemunoki.
Description
Albizia julibrissin is a small deciduous tree with a broad crown of level or arching branches, growing to 5–16 m (16–52 ft) tall.[3] Its bark is dark greenish grey, becoming vertically striped with age. Its leaves are large and frond-like: They are bipinnate, divided into 6–12 pairs of pinnae, each with 20–30 pairs of leaflets. Individual leaflets are oblong, 1–1.5 cm (0.4–0.6 in) long and 2–4 cm (0.8–1.6 in) broad. The true leaves are 20–45 cm (8–18 in) long and 12–25 cm (5–10 in) broad.
The flowers bloom throughout the summer in dense inflorescences, which resemble starbursts of pink silky threads. The true flowers have small calyx and corolla (except the central ones), with a tight cluster of prominent stamens, 2–3 cm long and white or pink with a white base. They have been observed to attract bees, butterflies and hummingbirds.[2] Its fruit is a flat brown pod 10–20 cm (4–8 in) long and 2–2.5 cm (0.8–1.0 in) broad, containing several seeds inside.
There are two varieties:
Albizia julibrissin var. julibrissin – the typical variety, described above
Albizia julibrissin var. mollis – differs in the shoots being densely hairy
Habitat, cultivation and uses
Original habitats of the tree include regions from Iran (Persia) and the Republic of Azerbaijan to China and Korea.[4]
A. julibrissin is widely planted as an ornamental plant in parks and gardens, grown for its fine leaf texture, flowers and attractive horizontal canopy. Other positive attributes are a fast growth rate, low water requirements and the ability to thrive planted in full sun in hot summer climates.[5] It is frequently planted in semi-arid areas like California's Central Valley, central Texas and Oklahoma. Although capable of surviving drought, growth will be stunted and the tree tends to look sickly. As such it should be given infrequent, deep waterings during the summer, which will benefit growth and flowering.[5]
The broad crown of a mature tree makes it useful for providing dappled shade. The flower colour varies from white in A. julibrissin f. alba, to rich red-tipped flowers. Variants with cream or pale yellow flowers are also reported. Other cultivars are becoming available: 'Summer Chocolate' has red foliage ageing to dark bronze, with pale pink flowers; 'Ishii Weeping' (or 'Pendula') has a drooping growth habit.
A. julibrissin f. rosea
There is also a form, A. julibrissin f. rosea (pink silk tree) which has, in the past, been classed either as a variety or as a cultivar. This is a smaller tree, only growing to 5–7 metres (16–23 ft) tall, with the flowers always pink. Native to the northeast of the species' range in Korea and Northern China, it is more cold-tolerant than the typical form, surviving temperatures down to at least −25 °C (−13 °F). The selected cultivar A. julibrissin 'Ernest Wilson' (also known as 'E.H.Wilson' or 'Rosea') is a cold-tolerant tree with deep pink flower colour. In Japan, A. julibrissin f. rosea is often used for non-traditional bonsai. The name nemunoki* (ねむの木, Kanji: 合歓木) and its variants is a kigo representing the summer in haiku, especially a sleepy summer evening.[6]
A. julibrissin f. rosea has gained the Royal Horticultural Society's Award of Garden Merit;[7] likewise the cultivar 'Summer Chocolate'.[8]
Other uses
Silk tree wood may be used to make furniture.[9] It is also reportedly psychoactive as well, with the flowers being used to make teas. In Chinese medicine it is considered an antidepressant.[10]
Invasive species
In the wild, the tree tends to grow in dry plains, sandy valleys, and uplands. It has become an invasive species in the United States, where it has spread from southern New York, New Jersey and Connecticut, west to Missouri and Illinois, and south to Florida and Texas. It is cultivated in California and Oregon.[citation needed] Its seeds are wind-dispersed and numerous, and they are fertile even over long periods of drought. Each pod, which resembles a flattened bean pod made of paper, holds about 8 seeds on average. The pod bursts in strong winds, and the seeds can carry over long distances.
Breeding work is currently underway in the United States to produce ornamental plants which will not set seed and can be planted without risk.[citation needed] However, in the eastern United States it is generally a short-lived tree, being highly susceptible to mimosa vascular wilt,[11] a fungal disease caused by a species of Fusarium, though the disease does not seem to have seriously impacted its populations. Because of its invasive tendencies and disease susceptibility, it is rarely recommended as an ornamental plant in the United States, though it is still widely planted in parts of Europe.
Capitolo primo. L’astratta qualità del ricordo. (2016/2017) Chapter one. The abstract quality of remembrance. (2016/2017)
Site specific installation. Work in progress.
Rocky Mountain Regional Manager Brad Warren stands inside a bucket truck that has been bonded to an energized 345-kV transmission line allowing him to touch the energized line “bare-handed,” July 17, 2013. Western line crews use the bare-hand technique to perform specific maintenance activities while transmission lines remain energized. (Photo by Troy Jole)
This yellowish picture portrays specific spots at Terminal 1A Soekarno-Hatta Airport Jakarta parking lot. Women's room is about 50 meters behind this picture. Men's room meanwhile is 100 meters further back.
Imagine that your an adult male daily serves as informal MPV taxi driver. Your fellow driver also hang around here because here is the nearest parking space to arrival gate. Men's room is available 100 meters away at parking lot. You might go further 200 meters to use Men's room at main building. Or you can just open your MPV's door to make a pee because everyone else does.
And that was your mark.
This intra-specific display is known interchangeably as the piping display (because of the loud calls that accompany it) and the cocked tail display. "All oystercatchers are predominantly monogamous and breed in summer. During the piping courtship display, two birds utter a single piped note while walking, running, or flying closely parallel, turning often. This display may be joined by nearby pairs for a piping "tournament" and is also used as a mate greeting or territorial display" (Grzimek's Animal Life Encyclopedia 2004). Padden Creek Estuary, Bellingham, WA.
Week 2 Word Associations
What words or qualities come to mind: (This one was pretty specific and literal) Cold, scary, happy, sad, dreams, ambition, beginning, completion, job well done, my boy, pride & joy, long road, horizon, wide open, future, sky's the limit, walk away, Lots' wife, don't look back, serpents, danger, sailor, navigation, stars, explorer, brave new world, determination, creative, strong, buddy, friend, "what if", endos, stunts, tricks, mischief, be still wild thing, partner in crime.
How does the image make me feel: grateful, sad, selfish, excited, in awe, humble.
Does the image tell a story that relates to something going on in your life: This story IS my life. The boy IS my life. I was introduced to the location by a very special woman who has since passed away. I am forever grateful that she gave me this place. It is vast yet intimate. A place of squalls and storms and sharks, and yet the place where I feel safest. On this day I was taking this boy, my boy to Fullsail University where he would study film (that's my boy!). But since old Florida girls don't do anything the regular way, we took the backroads stopping at every park and any place where a great photo might live. We invented "drive by shooting" that day - taking photos through the window of our moving vehicle. Every bridge crossing must be recorded, it was a rule.
My goal in life was to raise a strong, independent, thoughtful, creative man. I succeeded and immediately had to let him go.
When I look at this image now I see the boy that raised me right back.
And if I am missing him, or my friend, or looking for myself, I only need to go this spot (in person or in the photo) and I can find us all there.
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-...
“I just want something to hold on to… And a little of that Human Touch”
Human Touch: Bruce Springsteen, Human Touch
This song has so many great words to it, that it is hard to pull out the one specific line that touches me the most and then describe why. I think it’s really been different lines for different times in my life.
I think what I always have taken away from this song is that we all go through periods of disillusionment with the world. We lose sight of what is right and wrong- good and bad. Who the good guys are and who the bad guys are. We go through periods where we reach out for things to comfort us, but in the end the thing that will fill us the most is that Human Touch.
That Human Touch is the sparked connection of a greater love that resides in all of humanity… and that human touch is not something to be nursed, sheltered or hidden away. It’s a gift we embrace and are supposed to share… to make this world a better place: to make this place more like the Love within us.
Lyrics:
You and me we were the pretenders
We let it all slip away
In the end what you don't surrender
Well the world just strips away
Girl, ain't no kindness in the face of strangers
Ain't gonna find no miracles here
Well you can wait on your blesses my darlin'
But I got a deal for you right here
I ain't lookin' for praise or pity
I ain't comin' 'round searchin' for a crutch
I just want someone to talk to
And a little of that Human Touch
Just a little of that Human Touch
Ain't no mercy on the streets of this town
Ain't no bread from heavenly skies
Ain't nobody drawin' wine from this blood
It's just you and me tonight
Tell me, in a world without pity
Do you think what I'm askin's too much
I just want something to hold on to
And a little of that Human Touch
Just a little of that Human Touch
Oh girl that feeling of safety you prize
Well it comes at a hard hard price
You can't shut off the risk and the pain
Without losin' the love that remains
We're all riders on this train
So you've been broken and you've been hurt
Show me somebody who ain't
Yeah, I know I ain't nobody's bargain
But, hell, a little touchup
and a little paint...
You might need somethin' to hold on to
When all the answers, they don't amount to much
Somebody that you could just to talk to
And a little of that Human Touch
Baby, in a world without pity
Do you think what I'm askin's too much
I just want to feel you in my arms
Share a little of that Human Touch
Feel a little of that Human Touch
Give me a little of that Human Touch
The specific construction of his bevor, made up of multiple plates, cannot be seen in any contemporary painting or illumination, only in English effigies of the period.
Also note the whirly flutings on his sallet.
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© Photograph by Noemí Jariod. Courtesy of the artist.
—
‘Schizophrenic Machine’ was the closure to the three-part project ‘COLLAPSE’ by Joan Morey (Malorca, 1972). This new site-specific performance took place on January 10, 2019, in the former prison La Modelo, a location that was kept in secret up until the 113 guests were driven in coaches from either Centre d'art Contemporani - Fabra i Coats, or the Centre d'art Tecla Sala.
The audience previously registered to attend the closed-door performance and agreed to comply with the strict dress code. The performance script integrated the 1904 chilling architecture of the prison through voice and technological devices such as drones, surveillance cameras, strobe lighting, an architecture scanning laser. Each one activated and deactivated the building's memories making ‘Schizophrenic Machine’ be Morey's first performance with no human actors as protagonists. ‘Schizophrenic Machine’ continued Morey's long-standing exploration of power structures and control of the body.
‘Schizophrenic machine’ took the physical and discursive past of La Model as a scenario for performance where bodies were not acting and the protagonist was the architecture itself. The Panopticon-inspired prison was inaugurated on June 9, 1904, and was conceived as a model for the Spanish penitentiary system: an example of the reintegration of criminals into society through discipline, isolation and religious morality. La Model was one of the main sites of political repression and social control in the city. Followers of all political persuasion passed through its cells, aside from common criminals, yet during the long totalitarian dictatorship of General Franco (1939–1975), it was especially notorious as a site for the repression of political dissidents. La Model closed on June 8, 2017, 113 years after its inauguration.
‘Schizophrenic machine’ took over the unoccupied building and created a phantasmagoric presence that activated and deactivated its own memory. Conceived as an all-encompassing experience the event took on a singular awareness of the building and the site. The sequential dramatisation of its radial spaces articulated a dystopian representational device. A cast of technological interpreters —voices, sound, lights, cameras, drones and other devices— took the place of performing bodies. Moreover, the panopticon architecture itself seemed to address spectators through a female voice that spoke on the principles of control, power and the paradigm of a surveillance society. La Model became a schizophrenic machine, an imperious disciplinary mechanism for the 21st century.
Produced by the Contemporary Art Center of Barcelona - Fabra i Coats as the third and final part of the ‘COLLAPSE’ project.
—
Since the late 1990s, Joan Morey (Mallorca, 1972) has produced an expansive body of live events, videos, installations, sound and graphic works, that has explored the intersection of theatre, cinema, philosophy, sexuality, and subjectivity. Morey’s work both critiques and embodies one of the most thorny and far-reaching aspects of human consciousness and behaviour – how we relate ourselves to others, as the oppressed or the oppressor. This central preoccupation with the exercise of power and authority seemingly accounts for the black and ominous tenor of his art.
COLLAPSE encompasses three parts. The first is presented over two floors of the Contemporary Art Centre of Barcelona - Fabra i Coats. ‘Desiring machine, Working machine’ is a survey of ten projects from the last fifteen years of the artist’s work. An exhibition display based around vitrines and video screens deployed as if sarcophagi or reliquaries, is presented alongside a continuous programme of audio works and a schedule of live performance extracts.
The second part of COLLAPSE takes place at the Centre d’Art Tecla Sala, L’Hospitalet de Llobregat (23 November 2018–13 January 2019) and is the definitive version of the touring exhibition ‘Social Body’.
Titled ‘Schizophrenic Machine’, the third and final part of the project comprises a major new performance event which will take place on January 10, 2019, at an especially resonant – yet deliberately undisclosed – location in Barcelona, where live action will be integrated within the longer narrative of the site’s physical and discursive past.
COLLAPSE is curated by Latitudes.
—> info: www.lttds.org/projects/morey/
—> info: ajuntament.barcelona.cat/centredart/es/projectes/anterior...
Evolution of receptor binding specificity of the Panama- and Fujian-like viruses.
A, Phylogenetic analysis of evolutionary history of human H3N2 viruses isolated in China from year 2000 to 2002 covering flu seasons from 1999–2000 to 2002–2003. The red stars denote the position of A/Panama/2007/1999 virus and A/Fujian/411/2002 virus on the phylogenetic tree. Key amino acid changes are shown at the indicted positions during the evolution from Panama-like viruses to Fujian-like viruses. B, Dynamic changes of amino acids at 13 sites that differ between Panama-like viruses and Fujian-like viruses alined along the phylogenetic tree in A. Color code of amino acids, represented by a single letter, is shown. ‘X’ and ‘-‘ indicates unknown amino acid and gaps, respectively in the HA sequence. C, Comparison of calculated binding strengths for all HAs in A to both avian (α2–3) and human (α2–6) receptor analogs, normalized to those of HA of A/Panama/2001/99 by . The heat map of binding strength is aligned with the corresponding HAs in the phylogenetic tree to indicate dynamic change of the binding strengths of these viral HAs to both avian and human receptors during evolution. Scale of normalized binding strength values is shown. From year 1999 to 2003, cool colours changed to be hot colours. It reflects the binding strength was decreased, especially for the avian receptor analog. The red stars denote the normalized binding strength values of A/Panama/2007/1999 virus and A/Fujian/411/2002 virus.
Etsy Beadweavers "A Touch of Royalty" Challenge
EBW challenge:
To bead a piece inspired by one specific royal figure.
Figure chosen: Queen Emma of Hawaii
(Emma Kalanikaumakaamano Kaleleonālani Naʻea Rooke of Hawaiʻi)
"She was different from any of her contemporaries. There’s no one like her...
A typically Victorian woman who remained quintessentially Hawaiian...
She wrote exquisite chants of lament in Hawaiian, craved Hawaiian food when she was away from it, loved to fish, hike, ride, and camp out, and, throughout her life, took very seriously her role as a protector of the people’s welfare. In a way, she was a harbinger of things to come in terms of Hawaii’s multi-ethnic, multi-cultural society. You have to be impressed with her eclecticism — spiritually, emotionally and physically. She was kind of our first renaissance queen."
~ Kanahele, author of "Queen Emma: Hawaii's Remarkable Queen"
• • • • • • • • •
the piece:
Cuff was woven using size 6 and 8 jade green glass beads in a "daisy chain" stitch embellished with pale pink and pearly ivory glass drop beads. Double layer fringe was then added using red glass drop beads and size 11 jade green glass beads. Green lucite monstera leaves and tiny beaded tropical flowers were finally added for decoration. Thin nylon cord is laced through gunmetal jump rings for a "fits all sizes" bracelet closure.
Measurements: 47mm wide (just under 2 inches) and 6 inches in length
Red and yellow were chosen because they signify royalty in
the Hawaiian culture. Many pictures of Queen Emma show a
cuff worn upon her wrist.
challenges for me included:
designing and beading and my first cuff, first time with daisy chain stitch
and designing my own double layer ruffled fringe.
• • • • • • • • •
voting has ended.
poll results available at the Etsy Beadweavers team blog→
www.etsy-beadweavers.blogspot.com
My entry received 33 votes, and earned 6th place. ♥
╙ Queen Emma cuff design and photos © 2011 Heart in Hawaii ╜
Sanctuary Park Cemetery Toronto Ontario Canada.
Members of the Order are aged 18 and older; men must be Master Masons and women must have specific relationships with Masons. Originally, a woman would have to be the daughter, widow, wife, sister, or mother of a master Mason, but the Order now allows other relatives[2] as well as allowing Job's Daughters, Rainbow Girls, Members of the Organization of Triangles (NY only) and members of the Constellation of Junior Stars (NY only) to become members when of age.
The Order was created by Rob Morris in 1850 when he was teaching at the Eureka Masonic College in Richland, Mississippi. While confined by illness, he set down the principles of the order in his Rosary of the Eastern Star. By 1855, he had organized a "Supreme Constellation" in New York, which chartered chapters throughout the United States.
In 1866, Dr. Morris started working with Robert Macoy, and handed the Order over to him while Morris was traveling in the Holy Land. Macoy organized the current system of Chapters, and modified Dr. Morris' Rosary into a Ritual.
On December 1, 1874, Queen Esther Chapter No. 1 became the first Prince Hall Affiliatechapter of the Order of the Eastern Star when it was established in Washington, D.C. by Thornton Andrew Jackson.[3]
The "General Grand Chapter" was formed in Indianapolis, Indiana on November 6, 1876. Committees formed at that time created the Ritual of the Order of the Eastern Star in more or less its current form.[4]
The emblem of the Order is a five-pointed star with the white ray of the star pointing downwards towards the manger. In the Chapter room, the downward-pointing white ray points to the West. The character-building lessons taught in the Order are stories inspired by Biblical figures:
Adah (Jephthah's daughter, from the Book of Judges)
Ruth, the widow from the Book of Ruth
Esther, the wife from the Book of Esther
Martha, sister of Mary and Lazarus, from the Gospel of Luke and the Gospel of John
Electa (the "elect lady" from II John), the mother
Order of the Eastern Star:
General Grand Chapter logo:
The Order of the Eastern Star is a Freemasonicappendant body open to both men and women. It was established in 1850 by lawyer and educator Rob Morris, a noted Freemason. The order is based on teachings from the Bible,[1] but is open to people of all religious beliefs. It has approximately 10,000 chapters in twenty countries and approximately 500,000 members under its General Grand Chapter.
Members of the Order are aged 18 and older; men must be Master Masons and women must have specific relationships with Masons. Originally, a woman would have to be the daughter, widow, wife, sister, or mother of a master Mason, but the Order now allows other relatives[2] as well as allowing Job's Daughters, Rainbow Girls, Members of the Organization of Triangles (NY only) and members of the Constellation of Junior Stars (NY only) to become members when of age.
History:
The Order was created by Rob Morris in 1850 when he was teaching at the Eureka Masonic College in Richland, Mississippi. While confined by illness, he set down the principles of the order in his Rosary of the Eastern Star. By 1855, he had organized a "Supreme Constellation" in New York, which chartered chapters throughout the United States.
In 1866, Dr. Morris started working with Robert Macoy, and handed the Order over to him while Morris was traveling in the Holy Land. Macoy organized the current system of Chapters, and modified Dr. Morris' Rosary into a Ritual.
On December 1, 1874, Queen Esther Chapter No. 1 became the first Prince Hall Affiliatechapter of the Order of the Eastern Star when it was established in Washington, D.C. by Thornton Andrew Jackson.[3]
The "General Grand Chapter" was formed in Indianapolis, Indiana on November 6, 1876. Committees formed at that time created the Ritual of the Order of the Eastern Star in more or less its current form.[4]
Emblem and heroines:
The emblem of the Order is a five-pointed star with the white ray of the star pointing downwards towards the manger. In the Chapter room, the downward-pointing white ray points to the West. The character-building lessons taught in the Order are stories inspired by Biblical figures:
Adah (Jephthah's daughter, from the Book of Judges)
Ruth, the widow from the Book of Ruth
Esther, the wife from the Book of Esther
Martha, sister of Mary and Lazarus, from the Gospel of Luke and the Gospel of John
Electa (the "elect lady" from II John), the mother
Officers
Officers representing the heroines of the order sit around the altar in the center of the chapter room.
Eastern Star meeting room:
There are 18 main officers in a full chapter:
Worthy Matron – presiding officer
Worthy Patron – a Master Mason who provides general supervision
Associate Matron – assumes the duties of the Worthy Matron in the absence of that officer
Associate Patron – assumes the duties of the Worthy Patron in the absence of that officer
Secretary – takes care of all correspondence and minutes
Treasurer – takes care of monies of the Chapter
Conductress – Leads visitors and initiations.
Associate Conductress – Prepares candidates for initiation, assists the conductress with introductions and handles the ballot box.
Chaplain – leads the Chapter in prayer
Marshal – presents the Flag and leads in all ceremonies
Organist – provides music for the meetings
Adah – Shares the lesson of Duty of Obedience to the will of God
Ruth – Shares the lesson of Honor and Justice
Esther – Shares the lesson of Loyalty to Family and Friends
Martha – Shares the lesson of Faith and Trust in God and Everlasting Life
Electa – Shares the lesson of Charity and Hospitality
Warder – Sits next to the door inside the meeting room, to make sure those that enter the chapter room are members of the Order.
Sentinel – Sits next to the door outside the chapter room, to make sure those that wish to enter are members of the Order.
Traditionally, a woman who is elected Associate Conductress will be elected to Conductress the following year, then the next year Associate Matron, and then next year as Worthy Matron. A man elected Associate Patron will usually be elected Worthy Patron the following year. Usually the woman who is elected to become Associate Matron will let it be known who she wishes to be her Associate Patron, so the next year they will both go to the East together as Worthy Matron and Worthy Patron. There is no male counterpart to the Conductress and Associate Conductress. Only women are allowed to be Matrons, Conductresses, and the Star Points (Adah, Ruth, etc.) and only men can be Patrons.
Once a member has served a term as Worthy Matron or Worthy Patron, they may use the post-nominal letters, PM or PP respectively.
Headquarters:
The International Temple in Washington, D.C.
Main article: International Temple
The General Grand Chapter headquarters, the International Temple, is located in the Dupont Circleneighborhood of Washington, D.C., in the former Perry Belmont Mansion. The mansion was built in 1909 for the purpose of entertaining the guests of Perry Belmont. This included Britain's Prince of Wales in 1919. General Grand Chapter purchased the building in 1935. The secretary of General Grand Chapter lives there while serving his or her term of office. The mansion features works of art from around the world, most of which were given as gifts from various international Eastern Star chapters.
Charities:
The Order has a charitable foundation[5] and from 1986-2001 contributed $513,147 to Alzheimer's disease research, juvenile diabetes research, and juvenile asthma research. It also provides bursaries to students of theology and religious music, as well as other scholarships that differ by jurisdiction. In 2000 over $83,000 was donated. Many jurisdictions support a Masonic and/or Eastern Star retirement center or nursing home for older members; some homes are also open to the public. The Elizabeth Bentley OES Scholarship Fund was started in 1947.[6][7]
Eureka Masonic College, also known as The Little Red Schoolhouse, birthplace of the Order of the Eastern Star
Signage at the Order of the Eastern Star birthplace, the Little Red Schoolhouse
Notable members
Clara Barton[8]
J. Howell Flournoy[9]
Eva McGown[10]
James Peyton Smith[11]
Lee Emmett Thomas[12]
Laura Ingalls Wilder[13]
H. L. Willis[14]
See also:
Achoth
Omega Epsilon Sigma
References:
^ "Installation Ceremony". Ritual of the Order of the Eastern Star. Washington, DC: General Grand Chapter, Order of the Eastern Star. 1995 [1889]. pp. 120–121.
^ "Eastern Star Membership". General Grand Chapter. Retrieved 2010-06-03. These affiliations include: * Affiliated Master Masons in good standing, * the wives * daughters * legally adopted daughters * mothers * widows * sisters * half sisters * granddaughters * stepmothers * stepdaughters * stepsisters * daughters-in-law * grandmothers * great granddaughters * nieces * great nieces * mothers-in-law * sisters-in-law and daughters of sisters or brothers of affiliated Master Masons in good standing, or if deceased were in good standing at the time of their death
^ Ayers, Jessie Mae (1992). "Origin and History of the Adoptive Rite Among Black Women". Prince Hall Masonic Directory. Conference of Grand Masters, Prince Hall Masons. Retrieved 2007-10-25.
^ "Rob Morris". Grand Chapter of California. Archived from the original on 2007-09-28. Retrieved 2007-10-01.
^ "OES Charities". Retrieved 2016-04-15.
^ "Elizabeth Bentley Order Of The Eastern Star Scholarship Award". Yukon, Canada. Retrieved 2009-11-05.
^ "Eastern Star has enjoyed long history". Black Press. Retrieved 2009-11-05. The Eastern Star Bursary, later named the Elizabeth Bentley OES Scholarship Fund, was started in 1947.[dead link]
^ Clara Barton, U.S. Nurse Masonic First Day Cover
^ "Sheriff 26 Years – J. H. Flournoy Dies," Shreveport Journal, December 14, 1966, p. 1
^ by Helen L. Atkinson at ALASKA INTERNET PUBLISHERS, INC
^ "James P. Smith". The Bernice Banner, Bernice, Louisiana. Retrieved September 13,2013.
^ "Thomas, Lee Emmett". Louisiana Historical Association, A Directory of Louisiana Biography (lahistory.org). Retrieved December 29, 2010.
^ Big Muddy online publications
^ "Horace Luther Willis". The Alexandria Daily Town Talk on findagrave.com. Retrieved July 25, 2015.
Official website:
Eastern Star Organizations at DMOZ
Pride of the North Chapter Number 61, Order of the Eastern Star Archival Collection, located at Shorefront Legacy Center, Evanston, Illinois, USA.
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A carbon offset is a reduction in emissions of carbon or greenhouse gases made in order to compensate for or to offset an emission made elsewhere
Carbon Offsets
Similar to going for a long walk after a big meal, carbon offsets are one way that consumers can “neutralize” their carbon emissions. However, they have been widely criticized by environmentalists and business people alike.
1.What is a carbon offset?
2.What are 3 specific examples of carbon offsets?
3.What is the difference between a regular carbon offset and a ‘gold standard’ offset?
4.What are some benefits of carbon offsets?
5.What are some criticisms of carbon offsets?
Using the information you have found, write a one page critical reflection that answers the following question:
Are carbon offsets an effective way to combat climate change?
Carbon Offsets
Similar to going for a long walk after a big meal, carbon offsets are one way that consumers can “neutralize” their carbon emissions. However, they have been widely criticized by environmentalists and business people alike.
1.What is a carbon offset?
2.What are 3 specific examples of carbon offsets?
3.What is the difference between a regular carbon offset and a ‘gold standard’ offset?
4.What are some benefits of carbon offsets?
5.What are some criticisms of carbon offsets?
Using the information you have found, write a one page critical reflection that answers the following question:
Are carbon offsets an effective way to combat climate change?
Examples: Wind mills, reforestation, hydro.
Small Hydro Power Project
The Changtan Hydro Power Project in Guizhou Province - China
The Changtan Hydro Power Project in Guizhou Province is a small-scale reservoir-based hydropower project in China. Total installed capacity of the project is 5 MW, consisting of two 2.5 MW turbines, with a predicted power supply of 19,501 MWh per annum.
The project utilises the hydrological resources of the Shiqian River in a small scale hydropower facility that generates low emission electricity for the South China Power Grid. The electricity currently generated by the grid is relatively carbon intensive. This project is expected to reduce emissions of greenhouse gases (GHG) by an estimated 16,447 t CO2e per year during the first crediting period.
The project is contributing to sustainable development of China
Increases employment opportunities in the area
Enhances the local investment environment and therefore improves the local economy
Diversifies the sources of electricity generation, which is important for meeting growing energy demands and the transition away from diesel and coal-supplied electricity generation
Makes greater use of renewable hydroelectric resources
Contributes to poverty alleviation through income and employment generation by employing people throughout the project operation
Issues
Climate change
Our projects
Take action
Science & policy
Health
Oceans
Wildlife & habitat
Freshwater
Purchasing Carbon Offsets is a guide to help Canadian consumers, businesses and organizations assess the quality of carbon offsets and the vendors that sell them. It includes a survey of 20 carbon offset vendors from Canada and around the world to help shed light on how these vendors are performing.
Carbon offsets
What is a carbon offset?
A carbon offset is an emission-reduction credit from another organization's project that results in less carbon dioxide or other greenhouse gases in the atmosphere than would otherwise occur. Carbon offsets are typically measured in tonnes of CO2-equivalents (or CO2e) and are bought and sold through a number of international brokers, online retailers and trading platforms.
For example, wind energy companies often sell carbon offsets. The wind energy company benefits because the carbon offsets it sells make such projects more economically viable. The buyers of the offsets benefit because they can claim that their purchase resulted in new non-polluting energy, which they can use to mitigate their own greenhouse gas emissions. The buyers may also save money as it may be less expensive for them to purchase offsets than to eliminate their own emissions.
Many types of activities can generate carbon offsets. Renewable energy such as the wind farm example above, or installations of solar, small hydro, geothermal and biomass energy can all create carbon offsets by displacing fossil fuels. Other types of offsets available for sale on the market include those resulting from energy-efficiency projects, methane capture from landfills or livestock, destruction of potent greenhouse gases such as halocarbons, and carbon-sequestration projects (through reforestation, or agriculture) that absorb carbon dioxide from the atmosphere.
Why some carbon offsets are better than others
As with any purchase, buyers need to choose their offsets carefully, particularly as the voluntary offset market is largely unregulated.
One issue to consider is the offset project type. For example, although quite popular, offsets from tree-planting projects are problematic for a number of reasons, including their lack of permanence and the fact that these projects do not address our dependence on fossil fuels. Similarly, offset projects involving the destruction of halocarbon gases such as HFC-23 have been subject to numerous criticisms, including the fact that they actually result in a perverse incentive (because of the sheer volume of offsets—and profits—that they generate) for more of the ozone-depleting gas to be created. The price of offsets from these projects is also so low (due to the very high global warming potential of the gas) that they tend to flood the market and squeeze out more sustainable offset projects, like solar and wind.
Another important issue to consider when purchasing offsets is "additionality". An offset project is considered additional if it isn't business as usual. Typically, this means that the project wouldn't have happened without the extra funding from the sale of offsets. Additionality is extremely important, as the entire concept of offsetting—i.e., purchasing greenhouse gas reduction credits from a project elsewhere to neutralize one's own emissions—is based on the premise that those reductions wouldn't have happened otherwise. Only by buying offsets that have met additionality criteria can you be assured that your purchase is resulting in a net benefit for the climate.
Other criteria of high-quality carbon offsets include: validation and verification of the project by reputable third-parties; steps by the project developer to ensure that each offset is only sold once (e.g., by listing the offsets on a public registry); and systems in place to control "leakage", where the creation of a GHG reduction in one region causes an unintended increase in GHG emissions somewhere else (for example, protecting a forest in one location could simply shift logging to a forested area in a new location).
The David Suzuki Foundation and the Pembina Institute have prepared a guide, Purchasing Carbon Offsets, to help Canadian consumers, businesses and organizations assess the quality of carbon offsets and the vendors that sell them. The following are some questions potential buyers can ask offset vendors:
What is/are the specific offset project type(s) (e.g., wind farm, methane capture, etc.) in your portfolio and where are the carbon offset projects located?
Have your carbon offsets been certified to a recognized standard (Gold Standard, CDM, VCS, Climate Action Reserve, Green-e Climate Protocol for Renewable Energy, etc.) to ensure quality? If so, please list the standard(s).
What steps have you taken to ensure that the carbon offsets you are selling are additional?
How do you ensure that the greenhouse gas reductions that your carbon offsets represent are quantified accurately?
Are 100 per cent of your offsets validated and verified by accredited third parties?
If you are selling offsets that will be created in the future (i.e., forward crediting), what mechanisms (insurance or otherwise) have you put in place to ensure those offsets will actually be delivered?
What percentage of your portfolio (by tonnes of CO2e) is made up of offsets from tree-planting or agricultural soils projects? If it is a significant percentage (more than 20 per cent of your portfolio), how do you address permanence risks?
Do you use a publicly accessible registry to track your offsets? If yes, please list the website. If not, how do you ensure that your offsets are only sold to one buyer? And do you "retire" offsets that you sell?
What is your company doing to educate consumers about climate change and the need for government policy to deal with it?
Are you a member of the International Carbon Reduction and Offset Alliance (ICROA), which has a Code of Best Practice that members must adhere to?
See the full guide for details on how to assess the information you obtain.
Standards for carbon offsets
Because it can be difficult for offset buyers to get clear answers to each of the above questions, a good way to ensure that your offset purchase is making a positive contribution to the climate is to purchase offsets that meet recognized standards. Just as consumers can feel confident when purchasing food products that meet strict third-party standards for organic agriculture, standards for carbon offsets provide assurance that certain criteria are met when the offset is developed and sold.
A number of standards exist for carbon offsets, including the VCS, Green-e (http://www.green-e.org/getcert_ghg_standard.shtml), and The Gold Standard. More standards are being announced regularly, and WWF has published a comparison of the most common offset standards. Each of these standards differs in key ways, with some being more rigorous than others.
The Gold Standard for carbon offsets
The Gold Standard is widely considered to be the highest standard in the world for carbon offsets. It ensures that key environmental criteria have been met by offset projects that carry its label. Significantly, only offsets from energy efficiency and renewable-energy projects qualify for the Gold Standard, as these projects encourage a shift away from fossil-fuel use and carry inherently low environmental risks. Tree-planting projects are explicitly excluded by The Gold Standard.
First, Gold Standard projects must meet very high additionality criteria to ensure that they contribute to the adoption of additional sustainable-energy projects, rather than simply funding existing projects. The Gold Standard also includes social and environmental indicators to ensure the offset project contributes to sustainable development goals in the country where the project is based. Finally, all Gold Standard projects have been independently verified by a third party to ensure integrity.
Currently, The Gold Standard is restricted to offset projects in countries that don't have emission reduction targets under the Kyoto Protocol, primarily developing countries. Supporting offset projects that meet The Gold Standard therefore helps these countries leapfrog us technologically so they don't go down the same fossil-fuel path as developed countries—which would be disastrous for the climate.
The Gold Standard is supported by more than 50 nongovernmental organizations worldwide including WWF International, Greenpeace International and the David Suzuki Foundation.
For a list of Gold Standard vendors, please see Carbon offset vendors—Gold Standard (in the 'Resources' section near bottom of the page).
This specific aircraft is often highlighted for its MT-7 seven-blade composite propellers. These propellers are designed to improve climb rates, fuel efficiency, and reduce cabin noise.
North Las Vegas Airport KVGT
Photo: TDelCoro
February 27, 2026
Site-specific інсталяція “HOME EAST” на сході ВДНГ (павільйон №7) – це вхід в Мистецтво війни і любові, це мистецтво про війну і її наслідки, про всі покинуті переселенцями будинки, про СХІД, про біжанців, про небезпеку, вимушену втечу і про надію на мир.
У рамках фестивалю ГОГОЛЬFEST 2015
Автор: Вальдемарт Клюзко (Waldemart KLYUZKO)
Superb vintage portrait of French actress Danielle Darriux by Ray Jones, 1938. This specific photograph was mentioned in the book, "The Art of the Great Hollywood Photographers" by Kobal, pp. 114. The quientessential Hollywood glamour photograph. Danielle Darrieux was born in 1917 in Bordeaux, France, but raised in Paris. She was only 14 when she auditioned for a secondary role in Le Bal (1931): she got the part and the producer offered her a five-year contract. She had her first romantic lead in La Crise est Finie (1934) and scored an international hit with the historical drama Mayerling (1936), in which she played Marie Vetsera, opposite Charles Boyer. In 1938 she went to Hollywood to appear in the fine comedy The Rage of Paris (1938), but quickly returned to Paris. After a three-year break during the Occupation, she made a comeback in 1945, appearing both on stage (in "Tristan et Isolde") and on screen (in Au Petit Bonheur (1946)). In the next three decades she found several important roles, in films like La Ronde (1950), Madame de... (1953) - in which she gave her best performance, as a society lady torn between her husband and her lover - and Les Demoiselles de Rochefort (1967). In 1970 she replaced Katharine Hepburn on Broadway in "Coco". Afterwards, she made occasional screen and stage appearances. But she made a triumphant comeback in 2002, playing Catherine Deneuve's mother in the international hit 8 femmes.
SPECIFIC is an Innovation and Knowledge Centre. It aims to develop coated glass and steel products that capture, store and release solar energy, turning buildings into power stations. The centre brings together world class academic and industrial expertise in the fields of photovoltaics, solar thermal, batteries, chemical conversion and wide area lighting, alongside unique sheet and coil printing and coating facilities.
SPECIFIC is led by Swansea University in partnership with industrial partners Tata Steel, BASF and NSG Pilkington and research partners Imperial College London, Cardiff University, Bath University, Bangor University and Sheffield University; it is funded by EPSRC, Technology Strategy Board and the Welsh Government.
SPECIFIC's aim is to transform world-class research and innovative technology into a new, £1billion industry.
Another specific feature of Himba women is their hair. They use hair extensions which are braided and covered with the same mixture of butterfat and red ochre as applied to their skin. It takes about three days for their hairdo to be finished. This hairstyle is specific to women who reach adult age. Men normally have short hair. For children, the hairstyle is different between boys and girls.
A site specific promenade performance visiting the unseen corners of The Lyceum.
Step behind the curtain for a unique perforamnce in the darkest corners of The Lyceum. You will be guided where no backstage tour goes - where hidden places meet the hidden voices of youth. This will be a unique theatrical adventure full of surprise and no little terror with live music and lively encounters inspired by The Lyceum's secret spaces.
Devised by members of the Lyceum Youth Theatre with direction from Mark Thomson, Amanda Gaughan, Christie O'Carroll and John Glancy, this is a special one-off production as part of our 50th Anniversary celebrations.
Photo credits: Mark Thomson and the ensemble
via
A brief overview of the wide range of body/art practices on the subcontinent, exploring more popularized appearances as well as highly specific regional adaptations. The latest entry in the encyclopedia, we are always excited to post articles covering the breadth and scope of body/art’s use around the globe
| ‘Tattooing, piercing, and the use of henna are widely practiced on the Indian subcontinent, among tribal peoples as well as among caste Hindus. Women in India have practiced tattooing since at least the fifteenth century and probably before. Indigenous tribal groups use tattoos to mark tribal identity, individual identity, marriageability, and sometimes ritual status. Designs include symmetrical patterns, birds, and animals, and tattooing was also seen as a purely decorative practice, used to beautify the individual. Men sometimes wore tattoos as well, but this is far more common today than it was in the past. Among the Mers, for example, girls are tattooed starting at seven or eight, starting with their forearms and hands. Later, their feet, calves, neck, and chest are tattooed. Dots and lines are used to create gods, animals, domestic images, and plants. Among the Naga of Northeast India, women were tattooed on the back of the knee if they were married, and men wore facial tattoos that demonstrated their achievements in warfare and headhunting.
Tattoos are also used by some caste Hindus; this probably derives from Hinduism as both Krishna and Vishnu wore tattoos, and one theory explains women’s facial tattoos as a way of identifying women who were captured by Muslims in the Middle Ages. Hindus also saw tattoos as evidence of earthly suffering, so wearing a tattoo could act as penance for one’s sins and get one entry into heaven. The Bhils, on the other hand, saw tattoos as evidence of good deeds that also could ease entry into the afterworld. Women in the Gujarat region see the tattoo as the only items that stay on her body after her death, so her tattoos are used to identify her in heaven. Finally, Christian Indians had birds tattooed on their arms and thighs as symbols of the Holy Ghost. In any case, tattoos for Hindus were certainly used to mark status, especially for women. Forehead tattoos were common, and higher caste women had fewer tattoos. Also, tattoos implied chastity and fidelity for a woman, and most women were tattooed prior to marriage, since tattoos were often a sign that she was marriageable. Traditionally, tattoos were created on women by women, using three needles, wrapped together, and dipped in ink, and primarily utilized abstract designs. While they were not applied in a ritual context, they still were seen as an important rite of passage for a woman. Today, however, some men, often from the Waghari tribe, work as itinerant tattooists, traveling around the country tattooing at festivals and markets with an electric machine, and sheets of Indian flash with peacocks, gods, flowers, watches, and other local symbols…. | full article
Tattoo Concierge | The Artists’ Choice
Body Art In India appeared first on Tattoo Concierge
Lúa Coderch’s intervention for the "Composiciones" programme brings a mysterious and improbable apparition to life in the home of the Club de Billar Barcelona. Beneath the Teatre Coliseum in Gran Vía there is a rainbow. Coderch guides sunlight and a spectrum of colours down into the underground gaming space with a series of precisely positioned mirrors and prisms, as if evoking the mechanics, geometry and artistry involved in billiards. Accompanying the rainbow is a turntable and a transparent vinyl record that can be used to play an audio recording of a female voice. This voice narrates and interprets what can be seen in front of us, and the process that led to its appearance. The title of her intervention, “The Rainbow Statement” (2016), refers to one of the verbal tricks used by fortune-tellers and clairvoyants in ‘cold reading’ an individual’s life or personality. Suggestively nebulous assertions maximize the chance of apparently specific and meaningful paranormal insights hitting the mark. “The Rainbow Statement” is either an experiment of the imagination or a phenomenon of optical science with which Coderch seems to have invented a form of psychic meteorology, or spectral physics. – Latitudes
Lúa Coderch (Iquitos, Perú, 1982) obtained an MA in Artistic Production and Research (2012) and a degree in Fine Arts at the Universidad de Barcelona (2010). Amongst her individual exhibitions are: ‘Night in a Remote Cabin Lit By a Kerosene Lamp’, Galería Àngels Barcelona (2015); ‘Or’, Fundació Suñol, Barcelona (2014–2015); ‘La parte que falta’, Galería Bacelos, Madrid (2014); ‘La muntanya màgica’, Espai 13, Fundació Joan Miró, Barcelona (2013–14). She has participated in the following group shows: ‘¿Por qué no lo llamas entropía?’, Edición 0 Encuentro de Cultura Contemporánea de Guadalajara, México (2015); ‘The World of Interiors’, The Green Parrot, Barcelona (2014), ‘El futuro no espera’, La Capella, BCN Producció (2014).
Coderch is represented by galería Bacelos (Madrid/Vigo) and àngels barcelona.
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“The Rainbow Statement” (2016) was commissioned for the second edition of the Barcelona Gallery Weekend as part of the “Composiciones” commissions programme.
Curated by Latitudes for the second time (see 2015 edition), "Composiciones" 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-...
The specific identity of the sitters in this, Titian’s largest group portrait, is disputed, but the man in the centre is most likely Andrea Vendramin (1481–1547), while the one on his right is his brother Gabriel Vendramin (1484–1552), a significant collector of works of art. The boys are the former’s seven sons. The reliquary of the True Cross on the altar still exists in the Scuola di S. Giovanni Evangelista in Venice. It was presented to an earlier Andrea Vendramin, Guardian of the Scuola, on behalf of this confraternity in 1369. On one occasion he is said to have rescued it from a canal.
The painting was surely made for a specific site in the family’s Venetian palazzo. During execution, however, it was cut down on the left, probably because the patron changed the intended location. This accounts for the slightly awkward accommodation of the three boys at far left, who were surely painted by the artist's workshop. The two boys on the far right were probably also painted by an assistant: they are markedly drier of execution than the freely and luminously painted boy holding a puppy. Parts of the paint surface have become transparent with time, revealing to the naked eye Titian’s vigorous preparatory underdrawing of Gabriele.
Who: Small business owners seeking growth through the marriage of best business practices and technology
Why: Strengthen your competitive edge and make your business soar, by successfully applying the right technology to support the right business practices
What: A full-day conference with a unique interactive structure that will provide answers to help you with your specific business situation
Gain insight from experts in technology, sales, finance and marketing who specialize in helping small businesses make it all work together
Learn from small business owners who have achieved exceptional growth through an effective marriage of business savvy and technology
Exchange ideas with experts and peers.
Charles Hand, President, New York Metro Region, Verizon Wireless
Scott Vaccaro, Regional VP, Enterprise Rent-A-Car, NYC
Lisa McCarthy, Intuit Professional Advisor and Accounting Resource LLC
Harry Brelsford, President, SMB Nation
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).
On the regular season opener at Red Bull Arena, the New York Red Bulls defeated the Chicago Fire by a score of 1-0 on March 27, 2010.
A very specific request for a couples 50th wedding anniversary, the little dog is a copy of sandy the dog they own
Here are most of the presents that we got this year. We got a lot of stuff from our wishlist, which was very awesome. A lot of specific stuff that we wanted, but not quite enough to get ourselves with immediacy. Yay, Christmas!
Avengers wallet, Betrayal At The House On The Hill board game, Crumb comic, Cthulu coaster, Dollhouse comic, Hive board game, It's The ID comic, Jack Staff comic, Joking Hazard card game, Knife Blood comic, Last Night On Earth board game, Mr. Pickles shirt, My Little Pony bag, My Little Pony socks, Stephen King The Stand comic, blanket, car computer, chocolate covered cherries, coffee mug, fireproof gloves, heat, hot sauce, lighter, markers sharpies pens, mints, mugs, poop emoji, purse, sweater, throat drops, towels.
cartoon: My Little Pony: Friendship Is Magic.
I don't need Google. My husband knows everything.
downstairs, Clint and Carolyn's house, Alexandria, Virginia.
December 26, 2016.
Pic by Carolyn.
... Read my blog at ClintJCL at wordpress.com
... Read Carolyn's blog at CarolynCASL at wordpress.com
BACKSTORY: We got some awesome and useful stuff this year.
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
QUALIFICATIONS
C.H.E.K Exercise Coach
C.H.E.K Holistic Life Coach Level 1
Advanced Back Care Specialist
SA Fitness First “Personal Trainer of the Year” 2011
Pre/Post Natal Pregnancy
Registered Advanced Punchfit
SPECIALTIES
Advanced long term weight loss
Strength and conditioning
Female specific conditioning
Back and shoulder rehabilitation
Motocross/kite surfing specific training
Core conditioning/Muay Thai KIckboxing
aaroncrosstraining@gmail.com
Tel 0403 534 611
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In her intervention, Lola Lasurt has collaborated with the Biblioteca Pública Arús, a study centre founded in 1895 with outstanding collections related to the labour movement, anarchism, Freemasonry and Sherlock Holmes. The project centres on a series of grisaille paintings forming a pictorial frieze that hangs from the balcony above a presentation of books in the Arús’s display cases. Under the title “Donació” (Donation), 2016, Lasurt departs from 135 publications that once formed the personal library of Assumpta Corbera Santanach that were gifted in 2010 to the Arús after her death. Corbera Santanach identified as a feminist and a Freemason; she was not a public figure. Yet the impulse of Lasurt’s project is not primarily biographic or historiographic, but bibliographic and pictorial. Accordingly, “Donació” attempts to narrate changes in social and cultural attitudes through the selection and redrafting of images that appear on the pages of the bibliographic bequest. Treating the publications as an intimate accumulation of ‘alternative’ knowledge and a representation of a self-education, Lasurt is interested in the portrayal of a private political imagination in the midst of what is now a public collection. – Latitudes
Lola Lasurt (Barcelona, 1983) studied Fine Arts (2005) at the Universitat de Barcelona and obtained a postgraduate in Aesthetics and Contemporary Art Theory, Universitat Autònoma Barcelona (2007) and an MA in Artistic Production and Research (2009). She has been resident at HISK, Ghent; La Ene, Buenos Aires and at the Greatmore Art Studios, Cape Town. She has exhibited individually at ‘Promenade’, 105 Besme, Brussels (2015); ‘Exercici de ritme’, Galeria Joan Prats, Barcelona (2015); ‘Doble autorización‘, as part of the exhibition cycle ‘Arqueología preventiva’, Espai 13, Fundació Joan Miró, Barcelona (2014); ‘Amnèsies’, Espai2, Terrassa (2012), ‘El Gegant Menhir’, Museu Joan Abelló, Mollet del Vallès (2011). Amongst her group shows are ‘Young Belgian Art Prize 2015’, Bozar, Brussels (2015); ‘Write of Spring’, Het Paviljoen, Ghent (2014); ‘Narrativas domésticas: más allá del álbum familiar’, Visiona, Huesca (2013); ‘Los inmutables’, DAFO, Lleida (2012); ‘La gran aventura’, Can Felipa, Barcelona (2012); ‘Learn and Teach’, Greatmore Art Studios, South Africa (2012).
Lasurt is represented by Galeria Joan Prats, Barcelona.
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“Donació” (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-...
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.
Gryskopvisvanger
(Halcyon leucocephala)
The grey-headed kingfisher (Halcyon leucocephala) has a wide distribution from the Cape Verde Islands off the north-west coast of Africa to Mauritania, Senegal and Gambia, east to Ethiopia, Somalia and southern Arabia and south to South Africa.
The first formal description of the grey-headed kingfisher was by the German zoologist Philipp Ludwig Statius Müller in 1776. He coined the binomial name Alcedo leucocephala. The current genus Halcyon was introduced by the English naturalist and artist William John Swainson in 1821. The name of the genus is from the classical Greek alkuōn, a mythical bird, generally associated with the kingfisher. The specific epithet leucocephala is from the classical Greek leukos meaning "white" and -kephalos for "-headed".
Five subspecies are recognised:
H. l. acteon (Lesson, R, 1830) – Cape Verde Islands
H. l. leucocephala (Statius Müller, PL, 1776) – Senegal and Gambia to northwest Somalia, north Tanzania and north DR Congo
H. l. semicaerulea (Gmelin, JF, 1788) – south Arabian Peninsula
H. l. hyacinthina Reichenow, 1900 – southeast Somalia to Tanzania
H. l. pallidiventris Cabanis, 1880 – south DR Congo to northwest Tanzania and south to north South Africa
The sexes are similar. The adult of the nominate race H. l. leucocephala has a pale grey head, black mantle and back, bright blue rump, wings and tail, and chestnut underparts. Subspecies H. l. pallidiventris has a darker grey head and paler chestnut underparts but is otherwise similar. The beak is long, red and sharp. This bird grows to an average length of 21 cm (8.3 in). The song is a succession of notes, ascending, descending and then ascending again, becoming increasingly strident. The warning call is a series of sharp notes, "tchk, tchk, tchk, tchk".
The grey-headed kingfisher is found in tropical and semi-tropical Africa and the Arabian Peninsula. Its range includes Angola, Benin, Botswana, Burkina Faso, Burundi, Cameroon, Cape Verde, Central African Republic, Chad, Congo, Democratic Republic of Congo, Djibouti, Eritrea, Ethiopia, Gabon, Gambia, Ghana, Guinea, Guinea-Bissau, Ivory Coast, Kenya, Liberia, Malawi, Mali, Mauritania, Mozambique, Namibia, Niger, Nigeria, Oman, Rwanda, Saudi Arabia, Senegal, Sierra Leone, Somalia, South Africa, South Sudan, Sudan, Swaziland, Tanzania, Togo, Uganda, Yemen, Zambia and Zimbabwe.[1] Its typical habitat is woodland, scrub and cultivated areas, up to altitudes of about 2,200 metres (7,200 ft).
A dry-country kingfisher of scrub and woodland, solitary or in pairs, often found near water, but unlike most kingfishers is not aquatic. Perches on a branch, unmoving for long periods while watching the ground for signs of insects or small lizards, bobbing head before diving on prey. In appearance very like the brown-hooded kingfisher but with a red rather than red and black bill and similar to the woodland kingfisher, but the woodland kingfisher lacks the chestnut belly and has greater coverage of cyan feathers on the back. Nests in holes in steep riverbanks and is aggressively protective of its nest by repeated dive-bombing of foraging monitor lizards. It is parasitised by the greater honeyguide. This species migrates at night and is often killed by flying into obstacles such as buildings, towers and powerlines.
WIkipedia
The Empire Supporters Club (ESC) celebrate the first New York Red Bull goal at Red Bull Arena.
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).
On the regular season opener at Red Bull Arena, the New York Red Bulls defeated the Chicago Fire by a score of 1-0 on March 27, 2010.
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A lovely Deep South Svastra, S. petulca to be specific. A nice pollen shot. You can see the huge bushy pollen carrying hairs on its hind legs, designed to carry dry pollen unlike Honey Bees and Bumble Bees which mix their pollen with nectar. I am guessing it is some sort of composite given it is blow out orange and that Svastras are known to favor that family of plants. Collected by Mimi Jenkins near Charleston, SC and Anders Croft's first bee photographs (Excellent work Anders, remind me to double your pay).
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All photographs are public domain, feel free to download and use as you wish.
Photography Information: Canon Mark II 5D, Zerene Stacker, Stackshot Sled, 65mm Canon MP-E 1-5X macro lens, Twin Macro Flash in Styrofoam Cooler, F5.0, ISO 100, Shutter Speed 200
Beauty is truth, truth beauty - that is all
Ye know on earth and all ye need to know
" Ode on a Grecian Urn"
John Keats
You can also follow us on Instagram - account = USGSBIML Want some Useful Links to the Techniques We Use? Well now here you go Citizen:
Art Photo Book: Bees: An Up-Close Look at Pollinators Around the World
www.qbookshop.com/products/216627/9780760347386/Bees.html...
Basic USGSBIML set up:
www.youtube.com/watch?v=S-_yvIsucOY
USGSBIML Photoshopping Technique: Note that we now have added using the burn tool at 50% opacity set to shadows to clean up the halos that bleed into the black background from "hot" color sections of the picture.
www.youtube.com/watch?v=Bdmx_8zqvN4
PDF of Basic USGSBIML Photography Set Up:
ftp://ftpext.usgs.gov/pub/er/md/laurel/Droege/How%20to%20Take%20MacroPhotographs%20of%20Insects%20BIML%20Lab2.pdf
Google Hangout Demonstration of Techniques:
plus.google.com/events/c5569losvskrv2nu606ltof8odo
or
www.youtube.com/watch?v=4c15neFttoU
Excellent Technical Form on Stacking:
Contact information:
Sam Droege
sdroege@usgs.gov
301 497 5840
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Jan. 6, 2016. Boston, MA.
More than 150 people holding signs and candles attended a vigil, organized by Centro Presente, at the Massachusetts State House to protest the arrest of 121 immigrants last weekend, primarily in Texas, Georgia, and North Carolina, targeting a specific group of adults and children from Central America who arrived illegally after May 1, 2014, and had been ordered deported by an immigration judge. Although nobody has been detained in New England advocates are planning forums to educate immigrants about their rights in case of a raid.
© 2016 Marilyn Humphries
Lionel Messi is no stranger to decorating his body with body art such as tattoos. He loves his tattoos and says that every one has specific meaning to him.
"PASSAGEM" - obra site specific realizada a partir de pesquisas de campo, imersões e coletas de material vegetal pertencentes à paisagem do lugar. A instalação possui 18 metros de comprimento e estabelece uma relação de escala com o corpo do observador que adentra seu espaço interno, ativando a estrutura física do lugar e resignificando nossa própria percepção do espaço e daquilo que se constrói enquanto paisagem.
PASSAGEM - Site Specific - SESC de Presidente Prudente - 2016
Galhos secos, cimento, terra e grama, 3 x 5 x 18 metros.
Márcio Diegues