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Your Colour Perception is Liz West’s largest site-specific installation to date, incorporating all 5000 square feet of Castlefield Gallery’s New Art Spaces Federation House fourth floor in Manchester. West will react to the architectural space using colour and light to create vast immersive installation art. This presentation of new work was open for the weekend 31st January and 1st February between, intentionally utilising the darkness outside to raise the strength of the illumination and colouration in the work. Using the enormous space to install a light work in the darkest Winter months will allow the colour to bleed with more saturation than if displayed any other time of the year.
The Mirror Space is a site-specific interactive and performative installation conceived for the Buffer Zone. Its aim is to provide a space for reflection and connection. The Mirror Space is a space for reflecting on the known and unknown and for dreaming new connections and healing stories. It is both what the historian Pierre Nora defines as a milieu de mémoire for Cypriots, within the lieu de mémoire of division and war that is the Buffer Zone.
The Mirror Space is an open metal skeleton construction with a wooden stage approximately 7m x 5m in area and 4m in height. Its aesthetic echoes the watchtowers in the Buffer Zone and also has a post-industrial aesthetic of international non-places or non-lieux in the terminology of the philosopher Marc Augé . The stage has benches facing away from each other and outwards from the structure towards the two 'sides' of the buffer zone. The structure has panels of mirror adhesive placed in such a way that when the participants are seated they see not themselves, but the faces of the participants sitting behind them and facing away from them.
Relation of Performance to the theme/buffer zone:
The Mirror Space is a peaceful place for reflection on the in-between space of the Buffer Zone, and a place where the mirrors reflect not the face of the one who gazes but the face of the 'other' who is gazing away. Though you have your back turned on them, you see the face of the other. It is a space that is both playful and loving, a space open to chance encounters and coincidental synchronicities created by the magic of mirrors, intellectual reflection and emotional perception. Participants are free to perform as they please within this space of dreaming.
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Here is the entrance to a room of goodness.
Barry McGee "Site-Specific Loft Installation" at the Roberts and Tilton Gallery in L.A.
Project Room
Barry McGee (TWIST)
Site-Specific Loft Installation
"Running concurrently with the group exhibition Do Not Stack, McGee takes over the project space, transforming the room’s physical relationship with the visitor into an interactive viewing. A distinctive cluster of McGee’s various paintings, works on paper and urban objects can be accessed by ascending through the floor of the utilitarian structure to the lofted space above."
Barry McGee "Site-Specific Loft Installation" at the Roberts and Tilton Gallery in L.A.
I spoke with the director of the gallery. He said that the gallery offered this 10' x 10' room to Barry McGee to do something with it. He said they got to talking and then Barry asked, "Can I build a loft?" And they did. A real interesting space. Well worth a visit in my opinion.
Intersection, a colorful, site-specific mural was produced by three artists, Heidy Garay, Mikell Fine Isles and Sam Vernon, in partnership with the Dumbo Business Improvement District for a corrugated metal fence on Front Street in Dumbo. This mural symbolizes the constant movement of DUMBO. The curved lines, painted in seven distinct colors, play on the straight, unwavering lines of the corrugated metal fence. The piece is meant to brighten the landscape underneath the Manhattan Bridge, while referencing the New York City Subway map as well as the cross-sections of cultures in this neighborhood.
NYCDOT Urban Art Program, pARTners
Intersection by Heidy Garay, Mikell Fine Isles, and Sam Vernon
Presented with DUMBO Business Improvement District
Front and Adams Streets, Brooklyn
In no specific order: Avery Allen, Michael Doan, Derek Diaz, Nathan Glass, Brad Langford, Lorne Miller, Brad Pascall, Geoff Geini, Aaron Leonard, Jerry Petingalo, Michael Schiavone, Robbie Payne, Brian Depp, Travis Payne, Kevin Michaelcavage, Brian Nanne, Reed Broadhurst, Brett Campbell, Nick Romano, Andrew Trecroce, Head Coach - Jim Capy, Assistant Coach - Don Gagnon, Trainer - Robert Gauthier.
Names provided from the roster submitted to the league.
Photo by Richard Charlebois.
Siete tapices descansan sobre el suelo de la antigua cámara frigorífica de Matadero Madrid. Representan algunas de las firmas de antiguos comercios de La Habana con nombres evocadores como La Lucha, Pensamiento, Sin rival o Reina. Textos que pueden leerse habitualmente en los suelos de esta ciudad porteña y sobre los que Carlos Garaicoa (La Habana, 1967) interviene alterando su significado original por otros como La lucha es de todos o Reina destruye o redime.
Foto: Ricardo Cases.
Fin de silencio forma parte de una serie de trabajos que Garaicoa comenzó en 2006 con la intervención sobre fotografías de rótulos y suelos habaneros y que ahora culmina con la creación de este lugar alfombrado. Este diálogo con el espacio urbano y la arquitectura es una constante en el trabajo de Carlos Garaicoa, cuya obra crea analogías sobre estas estructuras físicas y ciertos modelos de organización social. A través de la deconstrucción de estos contextos vivenciales en objetos, dibujos, fotografías o vídeos, Garaicoa nos propone nuevas lecturas de la ciudad, de sus modos de gobierno y de un posible cambio social.
Carlos Garaicoa, que vive entre Madrid y La Habana, estudió ingeniería termodinámica en el Instituto Técnico Hermanos Gómez de La Habana, y pintura en el Instituto Superior de Arte de la misma ciudad. Con multitud de compromisos internacionales, entre sus últimas exposiciones individuales cabe destacar Overlapping, en el Irish Museum of Modern Art; Bienes Mostrencos, en el Museo de Arte Moderno de Medellín; La enmienda que hay en mí, en Grachip Studio de Tampa, o El punto, la línea y el plano, en la Galería East Central de Londres. Además ha participado en grandes citas artísticas como Bienal de Venecia, Documenta de Kassel, Bienal de La Habana o Bienal de Sao Paulo.
En Silencio es una instalación site specific realizada por la artista brasileña Sandra Cinto y comisariada por David Barro para el programa Gran Escala de Matadero Madrid. Un programa que propone a una serie de artistas abordar un espacio de naturaleza industrial y grandes dimensiones, ahora resuelto por Sandra Cinto como un paisaje imaginario, íntimo y rotundo, aunque se estructure desde lo frágil. Si por un lado se reivindica el silencio en una sociedad invadida por el ruido, por otro esa tentativa, silenciada, individual, se resuelve expandida, rotunda, colectiva. La experiencia es física, pero sobre todo psíquica, mental.
El espacio abismal de Matadero se convierte ahora en una habitación dominada por una mesa donde Sandra Cinto, escenifica un sentimiento, el de la dificultad de la creación, de componer, de manifestarse. En Silencio hace que el tiempo se pare como cuando estamos ante una fotografía antigua. Como cuando la música no suena, la creación es un callejón sin salida, igual que cuando una escalera no conduce a ningún lugar o cuando los libros no se pueden abrir.
Sandra Cinto. Nacida en Santo André (Brasil) en 1968, Sandra Cinto vive y trabaja en São Paulo, donde codirige el espacio-taller de artistas Ateliê Fidalga. Además de las habituales muestras en las galerías que la representan, como Casa Triângulo en São Paulo y Tanya Bonakdar en Nueva York, ha realizado exposiciones individuales en el Museo de Arte Moderna de São Paulo, Seattle Art Museum, Instituto Tomie Ohtake o, actualmente, en el Centro Atlántico de Arte Moderno de las Palmas de Gran Canaria, así como colectivas como las celebradas en Museum of Contemporary Art de Miami, Museum of Contemporary Art de San Diego o el Centre Georges Pompidou. Seleccionada en importantes proyectos editoriales como Vitamin D (Phaidon), su obra se encuentra en colecciones como la Fundación ARCO, Centro Galego de Arte Contemporánea, Museo de Arte Moderna de São Paulo, Centro de Arte Contemporânea de Inhotim o The Philips Collection.
My research questions are:
• Are there certain aspects of this shop (coffee drinks; workers; social spot, etc.) that brings people into this specific shop?
Why should we care?:
I think this kind of research is geared towards people who love coffee and want to be in a warm and inviting environment. I think my research is important because I think people should care about the quality and service they are consuming and supporting at Batdorf and Bronson.
Contextual Research:
What initially started as the Dancing Goats Espresso Company, which was a café that featured espresso drinks and desserts eventually grew into an Olympia specialty coffee roaster called Batdorf & Bronson Coffee Roasters. This featured a small coffee house and a wholesale division with 10 local accounts. Since 1990, Batdorf & Bronson Coffee Roasters now has a roaster in Atlanta, Georgia; Olympia, Washington, and six retail and licensed locations. There was a couple (Larry and Cherie) who were the founders of Batdorf and Bronson; they were committed to the “ultimate quality” as they selected coffees whose distinctive characteristics could be carefully coaxed out in the roasting process.
Here is a bit of information that I missed, while looking for background information. Batdorf and Bronson was actually founded by retired academics Dick Batdorf and Shannon Bronson before being acquired by Larry and Cherie. And thanks to Van Stevens, he was able to provide with more background information, "
Dick roasted at night in the back of the little café on Capitol Way, which is now the Pie Lady, I believe. Then he would sell it out of the café, and deliver it to local businesses from the back of his VW Rabbit. Dick died of a heart attack in 1990, then Cherie and Larry Challain – who had been Dick’s customers and friends - took over the business, keeping the same name. That’s kind of an ‘in a nutshell’ version of the history. Really though, B&B’s history, and why people hang out there, is just part of a fairly rich café culture in Olympia. In fact, one woman who hangs out at B&B regularly these days, brought the first espresso machine to an Oly café back in 1978. Her name is Carolyn Street Lafonde, and the café she opened was called Café Intermezzo." (Van Stevens)
Observations:
I visited 3 different locations in Downtown Olympia, there was a Batdorf on Capitol Way and the other two was near the Farmer’s Market. All three locations served coffee, but one of the locations was the actual Coffee Roaster. When I went to the coffee shop on Capitol Way, I went and ordered banana bread (It’s delicious!) and found a seat. I chose to bring a couple of my friends with me because I did not want to be there alone, watching people and taking notes. If I saw that going on, I would be a little creeped out. So therefore, I thought it was helpful to have my friends there with me. We sat in the coffee shop for nearly 3 hours. I just observed the people that were there and took notes on what they were doing. I had my handy-dandy notebook with me, so if people saw, they would just assume that I was writing in a journal or something. I did have my camera with me and I went into stealth mode and snapped nearly 50 pictures of the ‘going-ons’ in Batdorf. Luckily, no one saw what I was doing, I’m just that good! (ha-ha). I did the same thing at the coffee shop near the Farmer’s Market, but the stay there was short. I also recorded ambient noise, when people sat near us I would set it closer to them and cover it with a newspaper and just let it record, I was very sneaky when I did this!
When I went to the actual coffee roaster, I was an idiot and forgot to bring the voice recorder to record our entire tour conversation. I was so mad about that! But I was able to email him (Van Stevens aka Coffee Man) and ask him a couple questions, but I have yet to hear from him. I also, asked if I could take a few pictures of the roaster and he gave me his consent. And I did take a little video of the coffee roaster just to show people the inside of it.
Contextual Research:
I found the bulk of my information on the website and gained more on my tour of the coffee roaster. It was hard to find a whole bunch of information on Batdorf and Bronson because I was assuming that it was because it was a local business. There were a few websites that did talk about the history of the place, especially Dancinggoats.com. Van Stevens gave me a lot of information, but I was a genius and forgot to bring my voice recorder! But he did email me with more background information.
Interviews:
Interviews were so hard for me. I was able to interview a couple people via internet. We did some emailing back and forth.
Reflect:
•My research may be relevant to anthropologists because they could use this information if they were to study social patterns/cultures within coffee shops. Is it the coffee that brings people in or the environment?
•Future Research: I would do a lot of things differently. Well for one, I should have brought a voice recorder, so I could record the actual conversation between Van and myself on the tour. I found it hard to work out a time to interview people, so I had to resort to my friends that go to Batdorf’s frequently. I really enjoyed doing this project; I had a blast being all stealthy, when it came to taking pictures and recording ambient noise. I think I would obtain better information if I did this study for a couple of months.
Arcangelo Sassolino, site specific installation
Exhibition view "Francis Bacon and Existential Condition in Contemporary Art", CCC Strozzina, Palazzo Strozzi, Firenze
© photo Martino Margheri
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Here's a great example of why breed specific legislation based on visual ID doesn't work. Judging only from this photo, I'm not sure if this is a small heavy boned, box faced American Bulldog or if it's a regular sized American Pit Bull Terrier or a mix of both or neither. The eye placement and ear set along with the short muzzle and rear conformation look like an American Bulldog, but I've seen purebred APBTs with similar features. The poor guy looks malnourished and down on his hocks but still manages to wag his tail. Luckily, he's been labeled a "Boxer mix" and will have a chance at being adopted if he's not claimed, which his condition hints will probably not happen. If you are an American Bulldog conformation person, let me know what you think this one might be, as I don't really see the Boxer in him.
Patriots’ Day brought to life all that the fifth-grade students have learned about the American Revolution. Students took part in gender-specific classes as one would have done in the 1800’s. In period-specific costumes and persona, the boys experienced militia training and learned Latin. The girls experienced refinement training that included lessons in conversation and sewing and even had a period-proper tea. The training was under the direction of a trained school master and lady of genteel. The students sampled period-specific snacks and participated in 19th century dancing and crafts such as knot tying, candle making, copper making and corn husk dolls. The crescendo to this day-long event was playing a role in the reenactment of a revolutionary wartime reception.
Narcissus Garden, a site specific installation of one of Yayoi Kusama's most famous works, was installed in the Native Plant Garden at the New York Botanic Garden. It consists of 1,400 mirrored stainless steel balls floating and rearranging themselves in the water. Kusama first performed the Narcissus Garden in 1966 at the 33rd Venice Biennale, where she laid 1500 plastic mirrored orbs on the ground, selling them for $2 apiece to passersby. Named after a myth by Ovid named Echo and Narcissus, Kusama's intention was for everyone to see their own reflection in the orb, and in turn, fall in love with it. In subsequent exhibitions, Kusama had the orbs made from steel instead of plastic and in some installations, set them in bodies of water where they could shift with the course of the wind and current.
KUSAMA: Cosmic Nature, on display from April through October 2021 following a Covid-related postponement, showcases contemporary Japanese artist Yayoi Kusama's lifelong fascination with the natural world beginning with her childhood spent in the greenhouses and fields of her family’s seed nursery.
The New York Botanical Garden, spanning some 250 acres of Bronx Park, was founded in 1891 on part of the grounds of the Belmont Estate, formerly owned by the tobacco magnate Pierre Lorillard, after a fund-raising campaign led by Columbia University botanist Nathaniel Lord Britton, who was inspired to emulate the Royal Botanic Gardens in London.
Specific date: 4/30/1936
Artist: Hammond. Pencil & ink on tissue; plot plan, elevations, details. LN: 34.375 X HT: 23.875
Chiharu Shiota, site specific installation
Exhibition view "Francis Bacon and Existential Condition in Contemporary Art", CCC Strozzina, Palazzo Strozzi, Firenze
© photo Martino Margheri
Ship Union Pacific. Just an experiment, I've never done any TtV action photography. Seems to have worked here!
Dust and crud courtesy of the ol' Full-Vue, with some added work for that Lomaux look.
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
The Cathedral Church of St. John the Divine, New York
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Anne Patterson, Divine Pathways, site-specific textile installation.
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
© Photograph by Noemí Jariod. Courtesy of the artist.
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‘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.
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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...
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.
CAMP ZAMA, Japan - Hundreds of Soldiers, Airmen, civilians and their families from the Camp Zama community kicked off Army Birthday Week with sports, games and tournaments designed to build camaraderie and esprit de corps throughout U.S. Army Japan Command. For five days dozens of units from the U.S. Army, U.S. Air Force and the Japan Ground Self-Defense Force will compete in various challenges to test their cumulative strength, speed, endurance and dexterity. From team sports, golf scrambles and swim relays to bowling tournaments, relay races and free throw competitions, the Army Birthday Week events offer a variety of team competitions and individual contests that maximize appeal across the entire sports spectrum.
The “Not in My Squad” challenge offered the most unique competition appearing in this week’s lineup. Nine representatives from Camp Zama’s Army and Air Force units endured a series of physically draining events spread along a three-mile route. The teams worked together to carry five-gallon cans of water to each event where they performed various exercises comprising hundreds of pushups, situps, pullups, tire flips and kettle bell curls. The challenge concluded with a role-play scenario that tested the teams’ cumulative knowledge about how to handle a sexual harassment incident.
A unit that wins first place in a specific event earns five points, while second and third place finishes earn three and two points respectively. Every unit that participates in an event earns one point.
As of June 15, 2016, U.S. Army Aviation Battalion maintains the lead with 35 points. The 441st Military Intelligence Battalion holds second place with 29 points and Medical Department Activity-Japan pulled into third place with 27 points. U.S. Army Japan (USARJ) remains in fourth place with 23 points. Since Monday USARJ has earned third place in the soccer tournament, second place in the "Not in My Squad" challenge, and first place in the swim relay.
On Friday, June 17, all teams will convene at the Camp Zama High School sports complex to compete to foot races and cheer on their comrades in the annual tug-of-war bout and soccer match between the JGSDF’s Central Readiness Force U.S. service members stationed Camp Zama.
U.S. Army Photo by Sgt. John L. Carkeet IV, U.S. Army Japan
Please see notes for my thoughts on each weapon
Ordered via Toywiz.com
This is my first first time ever ordering Brickarms. However, I have been interested for some time and had bought some at Brickfest 2009!
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.
Built at Governor Macquarie's direction on a site selected for that specific purpose, it is one of the most beautiful buildings in Australia. The corner stone was laid by Governor Macquarie in October 1817. The church was consecrated in December 1822 with Samuel Marsden conducting the opening service. It is the masterpiece of Francis Greenway, the convict architect, who was retained by Governor Macquarie to rectify the poor standard of building in the colony. It is one of the few early buildings which is cluttered by its modern surroundings. It can be seen from a great many parts of the Hawkesbury, and is the district's famous landmark. In the 1867 flood it was the chief point of safety for flood victims.
Even older than then church is the graveyard. The earliest marked grave in Andrew Thompsons who died in 1810. There are a number of other graves of prominent pioneers, including a number who sailed to Australia with the First Fleet. These graves are identified by a small plaque. William Cox is also buried here, and of particular interest is the Tebbut family vault, with its astrological features on each corner.
Built at Governor Macquarie's direction on a site selected for that specific purpose, it is one of the most beautiful buildings in Australia. The corner stone was laid by Governor Macquarie in October 1817. The church was consecrated in December 1822 with Samuel Marsden conducting the opening service. It is the masterpiece of Francis Greenway, the convict architect, who was retained by Governor Macquarie to rectify the poor standard of building in the colony. It is one of the few early buildings which is cluttered by its modern surroundings. It can be seen from a great many parts of the Hawkesbury, and is the district's famous landmark. In the 1867 flood it was the chief point of safety for flood victims.
Even older than then church is the graveyard. The earliest marked grave in Andrew Thompsons who died in 1810. There are a number of other graves of prominent pioneers, including a number who sailed to Australia with the First Fleet. These graves are identified by a small plaque. William Cox is also buried here, and of particular interest is the Tebbut family vault, with its astrological features on each corner.
This specific area of the north aisle was damaged by fire in 2003 (the Norman arcading on the right still bears some scars) which was luckily extinguished before serious damage was done. The cathedral has since been entirely cleaned and restored inside.
Peterborough Cathedral is one of England's finest buildings, an almost complete Romanesque church on an impressive scale sitting behind one of the most unique and eccentric Gothic facades found anywhere in medieval Europe. The church we see today is little altered since its completion in the 13th century aside from inevitable 19th century restorations and the serious depradations of Civil War damage in the mid 17th century.
The bulk of the church is 12th century Norman, retaining even its apse (a rarity in England) and even the original flat wooden ceilings of nave and transept. The nave ceiling retains its early medieval painted decoration with an assortment of figures set within lozenge shaped panels (mostly overpainted in the 18th and 19th centuries but the overall effect is preserved). The 13th century west facade is the most dramatic and memorable feature of the building, with three vast Gothic arches forming a giant porch in front of the building, a unique design, flanked by small spires and intended to be surmounted by two pinnacled towers rising just behind the facade, though only that on the north side was finished (and originally surmounted by a wooden spire which was removed c1800). The central tower is a surprisingly squat structure of 14th century date (with a striking vaulted ceiling within) and along with its counterpart at the west end makes surprisingly little presence on the city's skyline for such an enormous building. The final addition to the church prior to the Reformation is the ambulatory around the apse, a superb example of late medieval perpendicular with a stunning fan-vaulted ceiling.
Given the vast scale of the building it is perhaps surprising to learn that it has only had cathedral status since 1541, prior to that it had been simply Peterborough Abbey, but it was one of the most well endowed monastic houses in the country, as witnessed by the architecture. It was once the burial place of two queens, Katherine of Aragon lies on the north side of the choir and Mary Queen of Scots was originally interred here before her son James I had her body moved to the more prestigious surroundings of Westminster.
Sadly the cathedral suffered miserably during the Civil War when Parliamentarian troops ransacked the church and former monastic buildings in an orgy of destruction, much of which was overseen by Cromwell himself in person (which helps ex[lain its thoroughness). Tombs and monuments were brutally defaced, nearly all the original furnishings and woodwork were destroyed, along with every bit of stained glass in all the vast windows (only the merest fragments remain today in the high windows of the apse). Worse still, the delightful cloisters on the south side, once famed for the beauty of their painted windows, were demolished leaving only their outer walls and some tantalising reminders of their former richness. The magnificent 13th century Lady Chapel attached to the north transept (an unusual arrangement, similar to that at Ely) was another major casualty, demolished immediately after the war so that its materials could be sold in order to raise funds for the restoration of the cathedral following the Cromwellian rampage.
In the following centuries much was done to repair the building and bring it back into order. There were major restorations during the 19th century, which included the dismantling and rebuilding of the central tower (following the same design and reusing original material) owing to impending structural failure in the crossing piers.
What we see today is thus a marvel of architecture, a church of great beauty, but a somewhat hollow one owing to the misfortunes of history. One therefore doesn't find at Peterborough the same clutter of the centuries that other cathedrals often possess (in terms of tombs and furnishings) and there are few windows of real note, but for the grandeur of its architecture it is one of the very finest churches we have.
For more history see the link below:-
The hidden cost, the forgotten victims – Europe’s children. A live radio and web streamed debate from the European Parliament in Brussels discussed if Europe’s judicial systems are sufficiently adapted to the specific vulnerabilities and needs of children.
During the debate, the European Union Agency for Fundamental Rights (FRA) released the results of the report “Child-friendly justice – perspectives and experiences of professionals” and explained to the public the findings of the study.
The bilingual debate was moderated by journalist Andrea Díez Sanromá of Castilla y Léon esRadio (in Spanish) and Brian Maguire of the Euranet Plus News Agency in Brussels (in English). The debate also featured students of the Euranet Plus campus radio network from Romania (UBB Radio, Cluj-Napoca), Spain (Universidade de Vigo) and Finland (Radio Moreni, Tampere).
Get all the details at
euranetplus-inside.eu/citizens-corner-debate-on-how-to-ma...
“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 thirteenth installment of Gestures: An Exhibition of Small Site-Specific Works opens with a public reception on July 24, 2009 from 7:30 PM to 9:30 PM.
In 2001, the Mattress Factory initiated the Gestures exhibition series to present new works by regional artists. In each exhibition, participants include individuals from a wide range of creative practices. Past participants in Gestures shows have included florists, architects, graphic designers and a wig maker.
The exhibition, showing in the Gallery at 1414 Monterey Street through January 10, 2010, is guest-curated by Katherine Talcott (Independent curator and newly-appointed Administrator for the City of Ann Arbor, Michigan’s Percent for Art Program) and features artists Stephanie Armbruster, Jeremy Boyle, Nayda Collazo-Llorens, Jonny Farringdon, Victoria Hruska & La Toya Frasier, Gary Huck, Andrew Ellis Johnson, Amanda Long, Lindsay O' Leary, Drew Pavelchak, Renee Piechocki, John Riegert, The Urban Gardener: Joan Kimmel & Lynne Weber, Patricia Villalobos Echeverria and Dror Yaron.
Exhibition poster designed by Brett Yasko.
A new world-class research and technology facility to support the growth of a new industry centre in Wales is to be opened in June by Mrs Edwina Hart, MBE CStJ AM, Minister for Economy, Science and Transport. The facility, based in Baglan, South Wales has been made possible by the SUPER project (SPECIFIC Up-scaling Pilot Engineering Resource) which has received almost £2 million funding through the Welsh Government’s Academic Expertise For Business programme (A4B).
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.
––
“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-...
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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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InteliGEN
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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
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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
Aaron Buchan – Level 3 Senior Trainer
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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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