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I often have regrets of not carrying a specific lens or so during a hike (mostly that would be my 100mm macro), but this one was about tripod. Since it was a long hike, and we weren't expecting any waterfalls to shoot, I had left behind my tripod. On hindsight that wasn't a smart move.
comming down the Siyeh pass towards the sunrift gorge, the trail passes along a beautiful creek carved into red rocks that forms cascades intermittently. The sight was very pretty even in the absence of sunlight. I wanted to capture the silky flow of water, but without a tripod, long shutter speeds are a tricky business. So finally after a bit of compromise on shutter speed, I tried a few shots around 1/6th of a sec which if you go by the books is not a good idea to shoot handheld when you are shooting at 40mm. Oh did I say it was very windy ? Anyhow books apart, I still wanted to give it a go... so after few attempts, holding my breath, keeping my legs apart for stability etc and holding the hands close to the body to minimize the shake as much as possible, I also put the camera on a two second timer to avoid shaking it while pressing the shutter button. And all that improvisation lead to this shot. It ain't much... but it could have been worse.
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Beyond the city walls 2012
Site specific installation with Corn79
Sarà il Castello Orsini di Soriano nel Cimino (VT), già carcere fino al 1989, ad ospitare la prima grande Mostra del ciclo di rassegne dell'Esposizione Nazionale delle Arti Contemporanee, previste per il 2012.
Con la Direzione artistica di Paolo Berti, a cura di Fabio Weik e Michele Wad Caporosso, coadiuvati da Anita Gentile, dopo una settimana di workshop, il 21 luglio alle 18,00, i cancelli del “Ferrigno” Castello si apriranno e le grandi Sale ospiteranno le opere dei migliori artisti contemporanei della Street Art internazionale, per “Beyond the city walls 2012.”
Alla sua seconda edizione, avendo tra marzo e aprile 2011, già invaso, artisticamente le stanze di Giulia Farnese e Vicino Orsini nell'omonimo Palazzo cinquecentesco di Bomarzo, ( altro gioiello dell'arte manieristica della metà del XVI secolo), nel prossimo luglio verrà riproposto il meglio del Writing internazionale.
Saranno infatti presenti con le loro opere, molte delle quali create in loco, nel periodo di residenza degli autori, Rems182_Truly Design, Shepard Fairey “OBEY”, Fabio Weik, VESOD, Francesco Pogliaghi, Manuel Di Rita “PEETA”, FLY CAT, Corn79 & MrFijodor, Massimo Gurnari, James Hancock Gulliver.
Oltre i muri delle città per ritrovarsi artisticamente e mentalmente tra le mura che trasudano la storia di nove secoli, sarà la sfida che per la seconda volta gli Artisti affronteranno, collocando la loro fatica e la loro creatività tra Sale e spalti, torri merlate e camminatoi, dall'alto dei Cimini, con intorno la vastità della pianura Teverina e la cinta degli Appennini.
Il Vernissage verrà preceduto, nei giorni antecedenti, da una serie di Eventi nella Città, con partecipazioni, perfomances e Jams, nelle sere tra il 18 e il 20 luglio, contaminando anche la musica del Tuscia In Jazz Festival, presente a Soriano nel Cimino in contemporanea.
Questo Evento, di portata e valore internazionale, è stato realizzato dall’Associazione Premio Centro, grazie alla fattiva collaborazione del Comune di Soriano nel Cimino e dell’Assessorato alla Cultura che ha immediatamente condiviso il progetto, rendendosi disponibile per la sua realizzazione, nell’ambito della ben più vasta Esposizione Nazionale.
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.
Built in 1903-1905, this Prairie-style mansion was designed by Frank Lloyd Wright for Larkin Company executive Darwin D. Martin, whom built the house as a way to bring his family, which had been scattered in various parts of the United States when his mother had died early in his childhood. The house was the culmination of immense personal wealth and professional success that Martin had enjoyed in his life despite his difficult childhood, starting as a soap seller in New York City, being hired by the Larkin Company in 1878, before moving to Buffalo and becoming the single office assistant to John D. Larkin in 1880, and in 1890, replaced Elbert Hubbard, who was a person that Martin immensely admired, as the Corporate Secretary of the Larkin Company. When the Larkin Company was seeking a designer for a major new office building for the company at the turn of the 20th Century, Martin, whom had witnessed Wright’s work in Chicago and Oak Park, wished to hire the architect as the designer of the new building, but needed to convince the skeptical John D. Larkin and other executives at the company of Wright’s suitability for the project. As a result, Martin decided to have Wright design his family estate. Darwin D. Martin became such a close friend of Wright that he commissioned the family’s summer house, Graycliff, located south of Buffalo on the shores of Lake Erie, to be designed by Wright in 1926, and spearheaded the effort to assist Wright with his finances when his personal residence, Taliesin, was threatened with foreclosure in 1927.
The main house is made up of four structures, those being the house itself, which sits at the prominent southeast corner of the property closest to the intersection of Summit Avenue and Jewett Parkway of any structure on the site, the pergola, which is a long, linear covered porch structure that runs northwards from the center of the house, the conservatory, which sits at the north end of the pergola and features a statue of the Winged Victory of Samothrace, which is visible from the front entrance to the house down the long visual axis created by the pergola, and the carriage house, which sits immediately west of the conservatory and behind the west wing of the house, enclosing the rear of the house’s main garden.
On the grounds of the mansion are two other houses, those being the Barton House, built at the northeast corner of the property along Summit Avenue to house Darwin D. Martin’s sister, Delta Martin Barton, and her husband, George F. Barton, which was the first structure to be built on the property and very visually similar to the main house, using the same type of bricks and incorporating many smaller versions of features found on the main house, and the Gardener’s cottage, built in 1909 to house gardeners who maintained the grounds of the property, which is the smallest and plainest of the three houses, which is sandwiched into a narrow strip of the property between two other houses, fronting Woodward Avenue to the west.
The main house features a buff roman brick exterior with raked horizontal mortar joints and filled in vertical joints, giving the masonry the appearance of being made of a series of solid horizontal bands with recessed joints, accentuating the horizontal emphasis of the house’s design and creating texture with shadows. The roof is hipped with wide overhanging eaves, with the gutters draining into downspouts that drop water into drain basins atop various one-story pillars at the corners of the house, with the roof having a T-shaped footprint above the second floor and three separate sections above the first floor, which wrap around the second floor to the south, west, and north, with the roof soaring above a porte-cochere to the west of the house, as well as a separate roof suspended above a porch to the east. The house’s roof is supported by pillars that sit near, but not at the corners of the building, with windows wrapping the corners. The windows are framed by stone sills and wooden trim, with some windows featuring stone lintels. The front door is obscured inside a recessed porch on the front facade, with the tile walkway to the door turning 90 degrees upon its approach to the doorway, a quite common feature of many of Wright’s houses at the time. The house is surrounded by a series of low brick walls with stone bases and stone caps, with sculptural decorative stone planters atop the pillars at the ends of many of these walls, with some of the planters containing carefully chosen decorative vegetation, and others serving as semi-hidden drainage basins for the adjacent one-story roofs.
Inside, the house features a foyer with a head-on view of the pergola and the conservatory to the north, simple but finely crafted wooden trim elements, the beautiful Wisteria Mosaic Fireplace between the foyer and dining room on the first floor that reflects light in different ways via various types of tile with different types of glazing, rough plaster painted a variety of colors, careful use of shadow to highlight certain elements while obscuring others, art glass windows featuring stained glass and clear glass panes in decorative patterns, wooden built ins and Frank Lloyd Wright-designed furnishings, a large kitchen with lots of white surfaces and wooden cabinets overlooking the garden, a living room with a vaulted ceiling and brick fireplace featuring an arched hearth opening, extensive use of expansion and compression via ceiling height to drive movement through the space, ventilation ducts that can be operated via decorative casement windows at the pillars ringing the various spaces of the house, wooden screens to obscure the staircase and second floor, custom light fixtures, art glass ceiling panels, and five large doors with art glass lights to the eastern porch on the first floor. The second floor of the house has multiple bedrooms with a variety of Frank Lloyd Wright built-in and freestanding furniture, wooden trim, and multiple bathrooms. The house is further decorated with Japanese art pieces procured by Wright in Japan, as well as being heavily inspired by traditional Japanese architecture, with usage of shadow and light to obscure and highlight different features, as well as the general form of the house, with the wide eaves providing ample shade to the interior during the summer months, while still allowing light to easily enter the space during the darker winter months.
To the north of the main house is an approximately 90-foot-long pergola with evenly spaced brick pillars framing the tile walkway, decorative wooden trim on the ceiling at each column, light fixtures at each column, and a glass transom and a door with large glass lights and a narrow frame providing a nearly unobstructed view of the interior of the conservatory at the north end of the pergola, focusing the attention of visitors upon their entrance to the house, as the conservatory and pergola form a continual visual axis from the foyer to the statue of the Winged Victory of Samothrace that stands in the northern end of the conservatory. This entire section of the house was rebuilt during its restoration, having been demolished in the 1960s after falling into disrepair. The pergola features a gabled roof that terminates at the bonnet roof around the perimeter of the conservatory to the north and at the first floor hipped roof of the house to the south.
The conservatory sits at the north end of the pergola, and has a latin cross footprint, with a glass skylight roof with a gabled section running north-south and a pyramidal hipped section at the crossing. The skylight terminates at a parapet that surrounds it on all sides, which features distinctive and decorative “birdhouses” at the north and south ends, apparently intended to house Blue Martins, but were not designed appropriately for the specific needs of the species, and have thus never been occupied. Two of the birdhouses survived the decay and demolition of the original conservatory in the 1960s, and were prominently displayed atop a wall in front of the house until the restoration of the complex in 2007. The interior of the conservatory features only a few concrete planters flanking the walkways and below the large Winged Victory of Samothrace that sits in the northern alcove of the space, with this apparently not having been what the Martin family had in mind, leading to the erection of a prefabricated conventional greenhouse made of metal and glass to the west of the Carriage House shortly after the house’s completion. The conservatory utilizes the same small tile on the floor as other areas of the house, with suspended wooden trim frames breaking up the large void of the space into smaller sections, supporting the space’s light fixtures and carefully framing the planters, fountain, and sculpture.
To the west of the conservatory is the two-story Carriage House, which features a simple pyramidal hipped roof with wide overhanging eaves, recessed corner pillars with central sections featuring wrap-around bands of windows on the second floor, a large carriage door in the center of the south facade, flanked by two smaller pillars and two small windows, and a one-story rear wing with a hipped roof. The interior presently houses a gift shop, but is set up like the original structure, demolished in the 1960s, would have been, with horse stables, red brick walls, a utility sink, and a simple staircase to the upper floor.
The house complex was home to the Martin family until 1937, when, owing to financial difficulties brought on by the loss of the family fortune during the 1929 Black Friday stock market crash and Darwin D. Martin’s death in 1935, the house had become too difficult for the family to maintain, with the family abandoning the house, allowing it to deteriorate. Additionally, Isabelle Reidpath Martin, Darwin’s widow, did not like the house’s interior shadows, which made it difficult for her to see. D.R. Martin, Darwin’s son, tried to donate the house to the City of Buffalo and the State University of New York system for use as a library, but neither entity accepted the offer, and the house remained empty until 1946, when it was taken by the city due to back taxes. In 1951, the house was purchased by the Roman Catholic Diocese of Buffalo, which intended to convert the house into a summer retreat for priests, similar to the contemporaneous sale of Graycliff by the Martin family to the Piarists, a Catholic order. However, the property languished until 1955, when it was sold to architect Sebastian Tauriello, whom worked hard to save the architecturally significant and by-then endangered property, hoping the house would avoid the fate that had befallen the Larkin Administration Building five years prior. The house was subdivided into three apartments, with the carriage house, pergola, and conservatory demolished and the rear yard sold, and two uninspired apartment buildings with slapped-on Colonial Revival-style trim known as Jewett Gardens Apartments, were built to the rear of the house. In 1967, the University at Buffalo purchased the house, utilizing it as the university president’s residence, with the Barton House and Gardener’s Cottage being parceled off, both converted to function as independent single-family houses. The university attempted to repair the damage from years of neglect and did some work to keep the house functioning, modernizing portions of the interior and returning several pieces of original furniture to the house. The house would exist in this condition for the next half-century.
In 1975, the house was listed on the National Register of Historic Places, and in 1986, was listed as a National Historic Landmark. In 1992, the nonprofit Martin House Restoration Corporation was founded with the goal of eventually restoring the historically and architecturally significant complex, and opening it as a museum. In 1994, the organization purchased the Barton House, and had the Martin House donated by the University of Buffalo in 2002. The restoration of both houses began under the direction of Hamilton Houston Lownie Architects shortly thereafter, and the Jewett Gardens Apartments were demolished upon the acquisition of the site by the nonprofit around the turn of the millennium. In 2006, the Gardener’s cottage was purchased from private ownership, and work began to rebuild the lost Pergola, Conservatory, and Carriage House, which were completed in 2007. Additional work to restore the house continued over the next decade, restoring the various interior spaces, with extensive work being put in to restore the kitchen and bedrooms. Finally, in 2017, the last part of the house was restored, being the beautiful Wisteria Mosaic Fireplace between the dining room and foyer, which had been extensively altered. An addition to the grounds, located on the former rear yard of an adjacent house, is the contemporary, sleek glass and steel-clad Eleanor & Wilson Greatbatch Pavilion Visitor Center, designed by Toshiko Mori, with a cantilevered roof that appears to float and tapers to thin edges, with glass walls on three sides, which houses the visitor information desk, ticket sales, presentation space, a timeline of the Martin House’s history, and restrooms. The restoration of the house marks one of the first full reconstructions of a demolished Frank Lloyd Wright structure, and is one of several significant works by the architect in Buffalo, including three designs that were built posthumously in the early 21st Century - the Fontana Boat House in Front Park, the Tydol Filling Station at the Buffalo Transportation Pierce Arrow Museum, and the Blue Sky Mausoleum at Forest Lawn Cemetery, which was designed for the Martin family in 1928, but not built until 2004.
Today, the restored Darwin D. Martin House complex serves as a museum, allowing visitors to experience one of the largest Prairie-style complexes designed by Frank Lloyd Wright, faithfully restored to its circa 1907 appearance, giving visitors a sense of the genius and design philosophy of Wright.
This lady underwent bilateral gender specific high flex knee replacements ten months ago for rheumatoid arthritis. She can squat comfortably due to the flexibility provided by the prostheses.
Deep knee bending or flexion is dependent on prosthesis design, technique and hard work by the patient to get full knee bend.
Patient is a 68 year old lady with rheumatoid arthritis. Bilateral or double knee replacement surgery was performed by Dr. A.K.Venkatachalam of www.kneeindia.com in April 2008. This photo was taken in February 2009 showing that she can sit cross legged.
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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.
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
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-...
Bukit Kuang, Kedah, Malaysia.
"Tunggul cantum getah berakar bogel"
Freshly pulled bare-root budded stumps from Hevea rubber ground nursery ready for planting in earth-filled poly-bags. After a bit of trimming to the excessive secondary roots and the long tap roots the stumps are promptly planted to avoid dessication.
Note: The greenish portion at the stumps with the polythene tape removed are the successful bud patches with the specific rubber clone.
Chiharu Shiota, site specific installation
Exhibition view "Francis Bacon and Existential Condition in Contemporary Art", CCC Strozzina, Palazzo Strozzi, Firenze
© photo Martino Margheri
Haleakala Crater hike on Haleakala Crater Hike on 7/9/2019
I caught the first Hawaiian Airlines flight to Maui from Oahu which left at 5:05 am, arrival at 5:44 am.
I took a carry-on duffel bag and a photo backpack ( no checked bags )
Picked up my rental car from Alamo and first stopped at 7-Eleven for water, food and snacks.
Maui Airport has changed. All the car rental companies moved to one central location reachable by tram. Additionally a specific Airport Access road was constructed and in use by this trip.
7:40 am left 7-Eleven for Haleakala.
7:30 am arrived at park entrance. $25 entrance fee by credit card only.
8:00 am arrived at Halemau'u trail head parking lot. Filled my CamelBak bladder with 3L of water, redistributed my equipment and used the bathroom to add a thermal underwear layer for the cold.
8:40 am left the parking lot and went to the Hitchhiking spot to wait for a ride. I was picked up by the 3rd car to come along. A single young male on vacation by himself. As I was grabbing my things to get into his car a mother and young son came up and asked to share the ride. I only waited maybe 5 minutes to catch a ride.
9:00 am arrived at the Summit Visitor Center parking lot. The driver had never been up to Haleakala even after visiting Maui a couple of times before, and he was considering doing a short hike while up there. I would be passed by him and the other hitch hiker about a mile down the trail later.
9:15 am after a short look around at the lookout and tightening up my boot laces, I started on Keonehe'ehe'e ( Sliding Sands Trail )
11:51 am I would get to the bottom of the crater and the trail for Holua cabins or Kapaloa, Paliku cabins. Ate lunch of one Spam musube.
12:06 pm I would start on the trial to Holua Cabin
12:59 pm top of the ascent to "Ka Moa o Pele"
1:24 pm trail juncture on the left of "Halali'i"
2:14 pm Silver Sword loop begin ( did not take the loop )
2:22 pm Silver Sword loop end
3:05 pm Holua Cabin - rested
3:32 pm left Holua Cabin and headed out on Halemau'u trail and the crater rim.
4:13 pm arrived at base of crater rim and the start of the switchbacks up the crater wall. rested and stretched.
4:27 pm started up the crater rim switch backs.
6:56 pm I would reach the flat narrow spot I consider the end of the switchbacks.
7:00 pm the temperature would be 56 degrees and dropping down to 52 degrees ( not including windchill )
7:10 pm Sunset, and I was hiking in dark shadow. Too dark to take meaningful pictures or pics of my watch.
8:00 pm I would reach the Halemau'u parking lot and my car.
8:30 pm I would finish unloading and repacking bags for going to my hotel and possibly doing some astro-photography.
8:45 pm arrive at Kalahaku overlook to check out the possibility of astro-photography. The 50% moon washed out the Milky way too much, stars were visible and I was starting to yawn. So I didn't, and I left at 9:05 pm for Kahului and a shower.
I used up all my water, when I got to my hotel and check, the hydration bladder was flat. Possibly one or two sips left in the tube. This was the 2nd time hiking this trail. Both times I brought a collapsible water bag w/filter to refill water at Holua and did not. If I do this again I really, REALLY need to refill water at Holua cabin.
The weather reports for the previous week were about the possibility of hurricane Barbara hitting the islands the day before my trip. Fortunately Barbara down graded and by the time of my trip and predictions for the summit were somewhat cloudy with occasional showers. While hiking I only encountered a few light drizzle/drops from the clouds that didn't require me to break out any of the rain gear I brought or to stow my cameras from rain.
The weather at the summit was cloudy and approximately 65 degrees with windchill. Along the hike until the ascent up the crater rim at the end, the temperature would not seem as cold as I expected or remember from my previous hike a couple of years ago. Possibly due to my wearing thermal underwear, hiking pants, a medium thick long sleeve athletic shirt beneath a button long sleeve hiking shirt and my broad brimmed hat of course. While moving I felt cool and relatively comfortable temperature wise, while raising a slight glistening sweat. At least it wasn't dripping into my eyes.
Keeping to my expected and normal average hiking pace of around 1 mph or less going down hill and across the flats, I would take pictures about every 1-2 hundred feet of the trail. Boring, but I like to document the trail condition. In addition to any interesting views, scenery or recording the weather.
I kept one of my watches attached to my sleeve so it would not be in skin contact and would mostly dangle in my body shade. This would give me a way of tracking my elevation and mostly the temperature.
There were many more day hikers actually crossing the crater along the same route I was going. Most notable was the mother and son that caught a ride with me. They met up with her husband and other son who caught another ride a bit later.
Probably all the hikers that were crossing the crater caught up to me and passed me, and they all started later than I did. The only people who caught up but didn't pass me were 3 female park rangers on their way to Holua Cabin and pretty much started doing their park ranger stuff in the area where they caught up to me and didn't catch up again.
I was constantly annoyed by the hikers I would see taking short cuts along the trail. I had to remind myself to not get pissy with them. I'm tempted to think the only other hikers on the trail that did not take short cuts were the park rangers I met.
Personally, I started the hike with a kinda sharp lower back pain, which had been ongoing since the previous week. But since this hike was already book and paid for I wasn't going to cancel. All thru the hike my back would be in constant pain and I would continually think I might have to give up hiking if my back doesn't get better. It was most painful going down hill, while the flats and going up weren't as bad.
I was hoping the strain and constant back movement would loosen up my lower back and aleviate my pain. Surprisingly, while getting on my stomach with all my gear still on me, when I got up my lower back was better. The pain would come and go, but could now be aleviated for short periods of time by taking off all my gear and bending over to stretch my back. When I would get home, my lower back pain issues would return to "normal"
Evidently, the dry cold air and constant breeze caused my face and lips to chap, which showed up a day after I got home.
Once again I brought chapstic but didn't use it.
-----------------------------------
CamelBak Octane 16X Hydration Pack (3L Hydration bladder)
3 liters of water = 6.6 pounds
1x Nikon D700 w/battery grip - Nikon 28-300mm
1x Nikon D700 w/out grip - Rokinon 12mm f2.8 fisheye
Tokina 16-28mm f2.8
Camera & lens weight = 12 pounds
I brought both cameras to reduce the amount of time spent changing lenses and the possibility of getting grit on the camera sensors. Turns out I never changed to the 16-28 so never removed any lens. Yay, no spots in my pictures, Bo, lugged another heavy lens around for nothing. At least I left the 100mm macro in the car already.
Visions of America: Amériques
Audio/Visual Performance conducted by Esa-pekka Salonen, performed by Los Angeles Philharmonic
6th of November, 2014
Walt Disney Concert Hall, Los Angeles
_
'The Los Angeles Philharmonic’s multimedia presentation of Edgard Varèse’s Amériques launched the new in/SIGHT series at Walt Disney Concert Hall,The presentation of Amériques is accompanied by the new Anadol site-specific architectural video installation, which was developed to illuminate and enhance the Varèse's composition and to activate the architecture of Walt Disney Concert Hall. The dynamic visual program created by Anadol uses custom-built algorithmic sound analysis to listen and respond to the music in real time, using architecture as a canvas and light as a material. Additionally, the movements of Salonen, as he conducts, will be captured by next generation Microsoft Kinect hardware and 3-D depth camera analysis to inform the visuals displayed. The result was a powerful and immersive experience for the audience that engaged their visual and auditory senses.'
Launching in/SIGHT – the LA Phil's groundbreaking series of concerts with video – this program embodies the vision of the New World as a place of unlimited artistic freedom. Amériques was the first musical piece that Varèse composed upon coming to New York and this project is fittingly the first site-specific audio-visual performance that I produce in the U.S. I approached this collaboration from the standpoint of a non-linear and ephemeral interaction between Salonen, Varèse, and me, and hope that I will be able to transform Varèse’s timeless musical fiction into an immersive visual medium through which a new kind of storytelling will occur. Rather than approaching this medium as a means of escape into some disembodied techno-utopian fantasy, this project sees itself as a means of return. It aims to facilitate a temporary release from our habitual
perceptions and culturally biased assumptions about being in the world, and to enable us, however momentarily, to perceive our own stories and the stories around us freshly.
In a recent interview with the Huffington Post, Anadol stated regarding this work, “Instead of creating a media screen, there will be a story inside the space. What happens if you add a video layer that speaks to the audience in a whole new experience? We're exploring the boundaries of what is real, what is physical, what is virtual…”
I would like to sincerely thank everyone who made this project possible. This project would never have been possible without the tremendous and generous support of Los Angeles Philharmonic, President and CEO Deborah Borda; Vice President of Artistic Planning Chad Smith; Artistic Administrator Meghan Martineau and Concert Operations Manager Taylor Saleeby. I would also like to thank for their open-handed support the University California, Los Angeles, Department of Media Arts’ faculty members, Microsoft Research, and Lili Cheng, Finally and specially I would like to thank Frank Gehry for his dreamful canvas and Esa-Pekka Salonen for his open-minded collaboration with me to discover “New Worlds.”
CREDITS
Video Artist: Refik Anadol
Artistic Management: Dave Hunt
Executive Producer: Efsun Erkilic
Senior Generative Designers: Sebastian Neitsch & Woeishi Lean
Senior 3D Designer: Raman K. Mustafa
Senior Animator: Simon Russell
Junior Animators: Bahadir Dagdelen, Michael Hsiu, Kian Khiaban, Toby Heinemann,
Laurence Menor.
Research Assistant: Jarad Solomon
Visions of America: Amériques
Audio/Visual Performance conducted by Esa-pekka Salonen, performed by Los Angeles Philharmonic
6th of November, 2014
Walt Disney Concert Hall, Los Angeles
_
'The Los Angeles Philharmonic’s multimedia presentation of Edgard Varèse’s Amériques launched the new in/SIGHT series at Walt Disney Concert Hall,The presentation of Amériques is accompanied by the new Anadol site-specific architectural video installation, which was developed to illuminate and enhance the Varèse's composition and to activate the architecture of Walt Disney Concert Hall. The dynamic visual program created by Anadol uses custom-built algorithmic sound analysis to listen and respond to the music in real time, using architecture as a canvas and light as a material. Additionally, the movements of Salonen, as he conducts, will be captured by next generation Microsoft Kinect hardware and 3-D depth camera analysis to inform the visuals displayed. The result was a powerful and immersive experience for the audience that engaged their visual and auditory senses.'
Launching in/SIGHT – the LA Phil's groundbreaking series of concerts with video – this program embodies the vision of the New World as a place of unlimited artistic freedom. Amériques was the first musical piece that Varèse composed upon coming to New York and this project is fittingly the first site-specific audio-visual performance that I produce in the U.S. I approached this collaboration from the standpoint of a non-linear and ephemeral interaction between Salonen, Varèse, and me, and hope that I will be able to transform Varèse’s timeless musical fiction into an immersive visual medium through which a new kind of storytelling will occur. Rather than approaching this medium as a means of escape into some disembodied techno-utopian fantasy, this project sees itself as a means of return. It aims to facilitate a temporary release from our habitual
perceptions and culturally biased assumptions about being in the world, and to enable us, however momentarily, to perceive our own stories and the stories around us freshly.
In a recent interview with the Huffington Post, Anadol stated regarding this work, “Instead of creating a media screen, there will be a story inside the space. What happens if you add a video layer that speaks to the audience in a whole new experience? We're exploring the boundaries of what is real, what is physical, what is virtual…”
I would like to sincerely thank everyone who made this project possible. This project would never have been possible without the tremendous and generous support of Los Angeles Philharmonic, President and CEO Deborah Borda; Vice President of Artistic Planning Chad Smith; Artistic Administrator Meghan Martineau and Concert Operations Manager Taylor Saleeby. I would also like to thank for their open-handed support the University California, Los Angeles, Department of Media Arts’ faculty members, Microsoft Research, and Lili Cheng, Finally and specially I would like to thank Frank Gehry for his dreamful canvas and Esa-Pekka Salonen for his open-minded collaboration with me to discover “New Worlds.”
CREDITS
Video Artist: Refik Anadol
Artistic Management: Dave Hunt
Executive Producer: Efsun Erkilic
Senior Generative Designers: Sebastian Neitsch & Woeishi Lean
Senior 3D Designer: Raman K. Mustafa
Senior Animator: Simon Russell
Junior Animators: Bahadir Dagdelen, Michael Hsiu, Kian Khiaban, Toby Heinemann,
Laurence Menor.
Research Assistant: Jarad Solomon
Sanctuary Park Cemetery Toronto Ontario Canada
If anyone can pass along the names of their lodge(s) I will add that data.
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.
“Associated” is a site specific show in a severely damaged brownstone, currently with a Vacate Order, issued by the DOB. As you may recall, the huge fire on Nov 12th 2010 at the Associated Supermarket on 5th Avenue and 17th Street not only damaged the supermarket building including the Open Source Gallery, but also a brownstone next door. The 3 family house, the Gallery owners’ home, was also rendered uninhabitable by the blaze.
There is no exact date for the show. There will be a 2 week window when the Vacate Order will be dropped and the contractors will start their work. All participating artists are prepared to install their work any day within the next month.
opening up with the
OPEN SOURCE CARNIVAL
The Carnival involves a public celebration combining some elements of circus, performance, public fair and party. We encourage people to dress-up in costumes during the celebration and to bring a little bit of money for the future of OPEN SOURCE.
Participants
Sara Bouchard, Christian Brown, Reamonn Byrne, Wendy Chu, Ethan Crenson, Hubert Dobler, Peter Feigenbaum, Pirmin Hagen, Fumie Ishii, Der Kommissar, Stefanie Koseff, James Leonard, Loadingdock5, Katerina Marcelja, Amanda C. Mathis, Patrick May, Nolan McKew, Annelise E. Ream, Jason Reppert, Raphaela Riepl, Evan Robarts, Frank Scheiderbauer, Allison Read Smith, Miho Suzuki, Kathleen Vance, Letizia Werth, Lily White, Monika Wuhrer
The Asian water monitor (Varanus salvator) is a large varanid lizard native to South and Southeast Asia. It is one of the most common monitor lizards in Asia, ranging from coastal northeast India, Bangladesh, Sri Lanka, mainland Southeast Asia, and southern China to Indonesian islands where it lives close to water. It is listed as Least Concern on the IUCN Red List. It was described by Laurenti in 1768 and is among the largest squamates in the world.
Etymology
The generic name Varanus is derived from the Arabic waral (ورل), which translates as "monitor". The specific name is the Latin word for "saviour", denoting a possible religious connotation. The water monitor is occasionally confused with the crocodile monitor (V. salvadorii) because of their similar scientific names.
Some common names for the species are Malayan water monitor, common water monitor, two-banded monitor, rice lizard, ring lizard, plain lizard, no-mark lizard and water monitor etc.
Taxonomy
Stellio salvator was the scientific name used by Josephus Nicolaus Laurenti in 1768 for a water monitor specimen.
The family Varanidae contains nearly 80 species of monitor lizards, all of which belong to the genus Varanus. There is a significant amount of taxonomic uncertainty within this species complex. Morphological analyses have begun to unravel this taxonomic uncertainty but molecular studies are needed to test and confirm the validity of certain groupings within this genus. Research initiatives such as these are very important to assess changes in conservation assessments.
Subspecies
V. s. salvator is the nominate subspecies and is now restricted to Sri Lanka, where it is known as the kabaragoya (කබරගොයා) in Sinhala and kalawathan in Tamil.
V. s. andamanensis, the Andaman Islands water monitor, inhabits the Andaman Islands and the Southern Nicobar Islands.; the type locality is Port Blair.
V. s. bivittatus (Mertens 1959), the two-striped water monitor, is common to Java, Bali, Lombok, Sumbawa, Flores, Alor, Wetar, and some neighbouring islands within the Sunda archipelago in Indonesia; the type locality is Java.
V. s. macromaculatus, the Southeast Asian water monitor, is found in mainland Southeast Asia, Singapore, Sumatra, Borneo, and smaller associated offshore islands. The type specimen was captured in Thailand.
V. s. ziegleri, Ziegler's water monitor, is from Obi Island.
Melanistic V. s. macromaculatus
Varanus cumingi, Varanus marmoratus, and Varanus nuchalis were classified as subspecies until 2007, when they were elevated to full species.
The black water monitor from Thailand (type locality: Amphoe La-ngu, Satun Province and Thai-Malaysian border area was formerly the subspecies V. s. komaini, but now is regarded as a junior synonym and melanistic population of V. s. macromaculatus.
Description
The water monitor is a large species of monitor lizard. Breeding maturity is attained for males when they are a relatively modest 40 cm (16 in) long and weigh 1 kg (2.2 lb), and for females at 50 cm (20 in). However, they grow much larger throughout life, with males being larger than females. Adults rarely exceed 1.5–2 m (4 ft 11 in – 6 ft 7 in) in length, but the largest specimen on record, from Sri Lanka, measured 3.21 m (10.5 ft). A common mature weight of V. salvator can be 19.5 kg (43 lb). However, 80 males killed for the leather trade in Sumatra averaged only 3.42 kg (7.5 lb) and 56.6 cm (22.3 in) snout-to-vent and 142 cm (56 in) in total length; 42 females averaged only 3.52 kg (7.8 lb) and 59 cm (23 in) snout-to-vent and 149.6 cm (58.9 in) in total length, although unskinned outsized specimens weighed 16 to 20 kg (35 to 44 lb).
Another study from the same area by the same authors similarly estimated mean body mass for mature specimens at 20 kg (44 lb) while yet another study found a series of adults to weigh 7.6 kg (17 lb). A sample of 55 Asian water monitors found them in the weight range of 2 to 32 kg (4.4 to 70.5 lb). The maximum weight of the species is over 50 kg (110 lb). In exceptional cases, the species has been reported to reach 75 to 90 kg (165 to 198 lb), though most such reports are unverified and may be unreliable.
They are the world's second-heaviest lizard, after the Komodo dragon. Their bodies are muscular, with long, powerful, laterally compressed tails. The scales in this species are keeled; scales found on top of the head have been noted to be larger than those located on the back. Water monitors are often defined by their dark brown or blackish coloration with yellow spots found on their underside - these yellow markings have a tendency to disappear gradually with age. This species is also denoted by the blackish band with yellow edges extending back from each eye. These monitors have very long necks and an elongated snout. They use their powerful jaws, serrated teeth and sharp claws for both predation and defense.
In captivity, Asian water monitors' life expectancy has been determined to be anywhere between 11 and 25 years depending on conditions, in the wild it is considerably shorter.
Distribution and habitat
The Asian water monitor is widely distributed from India, Bangladesh, Sri Lanka, Myanmar and Thailand, Cambodia, Laos, Vietnam, the Chinese Guangxi and Hainan provinces, Malaysia, Singapore to the Sunda islands Sumatra, Java, Bali, Borneo and Sulawesi. It inhabits primarily lowland freshwater and brackish wetlands. It has been recorded up to an elevation of 1,800 m (5,900 ft).
The Asian water monitor is semiaquatic and opportunistic; it inhabits a variety of natural habitats though predominantly resides in primary forests and mangrove swamps. It has been noted that it is not deterred from living in areas of human disturbance. In fact, it has been known to adapt and thrive in agricultural areas as well as cities with canal systems, such as in Sri Lanka, where they are not hunted or persecuted. Habitats that are considered to be most important are mangrove vegetation, swamps, wetlands, and elevations below 1,000 m (3,300 ft). It does not thrive in habitats with extensive loss of natural vegetation and aquatic resources.
Behaviour and ecology
Water monitors defend themselves using their tails, claws, and jaws. They are excellent swimmers, using the raised fin on their tails to steer through water. When encountering smaller prey items, the water monitor will subdue it in its jaws and proceed to violently thrash its neck, destroying the prey's organs and spine which leaves it dead or incapacitated. The lizard will then swallow it whole.
In dominantly aquatic habitats their semiaquatic behavior is considered to provide a measure of safety from predators. Paired with their generalist diet, this is thought to contribute to their ecological plasticity. When hunted by predators such as the king cobra (Ophiophagus hannah) they will climb trees using their powerful legs and claws. If this evasion is not enough to escape danger, they have also been known to jump from trees into streams for safety, a tactic similar to that of the green iguana (Iguana iguana).
Like the Komodo dragon, the water monitor will often eat carrion. They have a keen sense of smell and can smell a carcass from far away. They are known to feed on dead human bodies. While on the one hand their presence can be helpful in locating a missing person in forensic investigations, on the other hand they can inflict further injuries to the corpse, complicating ascertainment of the cause of death.
The first description of the water monitor and its behaviour in English literature was made in 1681 by Robert Knox, who observed it during his long confinement in the Kingdom of Kandy: "There is a Creature here called Kobberaguion, resembling an Alligator. The biggest may be five or six feet long, speckled black and white. He lives most upon the Land, but will take the water and dive under it: hath a long blue forked tongue like a sting, which he puts forth and hisseth and gapeth, but doth not bite nor sting, tho the appearance of him would scare those that knew not what he was. He is not afraid of people, but will lie gaping and hissing at them in the way, and will scarce stir out of it. He will come and eat Carrion with the Dogs and Jackals, and will not be scared away by them, but if they come near to bark or snap at him, with his tail, which is long like a whip, he will so slash them, that they will run away and howl."
Water monitors are prone to attacking humans when threatened, and should be handled with caution. The bite of a water monitor can inflict a severe injury.
Diet
They are carnivores, and consume a wide range of prey. They are known to eat fish, frogs, rodents, birds, crabs, and snakes. They have also been known to eat turtles, as well as young crocodiles and crocodile eggs. Water monitors have been observed eating catfish in a fashion similar to a mammalian carnivore, tearing off chunks of meat with their sharp teeth while holding it with their front legs and then separating different parts of the fish for sequential consumption.
The diet of the Asian water monitor in an urban area in central Thailand includes fish, crabs, Malayan snail-eating turtles (Malayemys macrocephala), Chinese edible frogs (Hoplobatrachus rugulosus), birds, small rodents, domestic cats (Felis catus) and dogs (Canis familiaris), chickens (Gallus gallus domesticus), food scraps and carcass. The stomachs of 20 adult Asian water monitors caught on Redang Island contained mostly human food waste, followed by turtle eggs and hatchlings, crabs and lizard eggs.
Venom
The possibility of venom in the genus Varanus is widely debated. Previously, venom was thought to be unique to Serpentes (snakes) and Heloderma (venomous lizards). The aftereffects of a Varanus bite were thought to be due to oral bacteria alone, but recent studies have shown venom glands are likely to be present in the mouths of several, if not all, of the species. The venom may be used as a defensive mechanism to fend off predators, to help digest food, to sustain oral hygiene, and possibly to help in capturing and killing prey.
Predation
Adult water monitors have few natural predators, and are only known to be preyed on by saltwater crocodiles (Crocodylus porosus).
Threats
Monitor lizards are traded globally and are the most common type of lizard to be exported from Southeast Asia, with 8.1 million exported between 1998 and 2007 for the international leather market.[28] The Asian water monitor is one of the most exploited varanids; its skin is used for fashion accessories such as shoes, belts and handbags which are shipped globally, with as many as 1.5 million skins traded annually. Other uses include a perceived remedy for skin ailments and eczema, novelty food in Indonesia, and a perceived aphrodisiac, and as pets. In India, several tribal communities hunt these monitor lizards for their meat, fat and skin and the eggs are also harvested. They are often considered as pests and their populations are also threatened by habitat loss and habitat fragmentation.
Conservation
In Nepal, it is a protected species under the Wild Animals Protection Act of 2002. In Hong Kong, it is a protected species under Wild Animals Protection Ordinance Cap 170. In Malaysia, this species is one of the most common wild animals, with numbers comparable to the population of macaques there. Although many fall victim to humans via roadkill and animal cruelty, they still thrive in most states of Malaysia, especially in the shrubs of the east coast states such as Pahang and Terengganu. In Thailand, all monitor lizards are protected species. It is still common in large urban areas in Thailand and is frequently seen in Bangkok's canals and parks. Because of this, it is currently listed as Least Concern in the IUCN Red List. These classifications have been made on the basis that this species maintains a geographically wide distribution, can be found in a variety of habitats, adapts to habitats disturbed by humans, and is abundant in portions of its range despite large levels of harvesting.
Loss of habitat and hunting has exterminated water monitors from most of mainland India. In other areas they survive despite being hunted, due in part to the fact that larger ones, including large females that breed large numbers of eggs, have tough skins that are not desirable.
In Sri Lanka, it is protected by local people who value its predation of "crabs that would otherwise undermine the banks of rice fields". It is also protected as it eats venomous snakes.
The species is listed in Appendix II of the Convention on International Trade in Endangered Species (CITES) meaning international trade (import/export) in specimens (including parts and derivatives) is regulated.
A site specific work by Patrick Dougherty. Built of locally collected red maple and sweet gum saplings the whimsical installation was built on site in a two story gallery space overlooking the garden of the Gibbs Museum in Charleston, South Carolina. The spire look forms were inspired by the distinctive church spires of Charleston.
Fun little lens that can pull the viewer's attention to a specific spot like a magnet. It can be surprisingly sharp too, if focused properly (which isn't that easy to do).
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Un objectif très amusant qui attire l'oeil de l'observateur vers un point précis comme un aimant. Le piqué peut être étonnament bon si le focus est bien fait, même si ce n'est pas toujours facile.
I've been into photography just lately (end of August 2007 to be specific)...and to me I consider this a big achievement...alhamdo lillah
I would like to thank all my Flickr friends, I wouldn't have made it through without you.
Honestly!! I had soo much fun, met knew people from all over the world that share the same passion, learnt ALOT from those who I respect much, you know your selves!! got inspired continuously and, best of all, fell in love more and more with Photography!
NOTE: I must've missed someone from my whopping over 1200 contact list, please please dont be mad, I LOVE YOU ALL!!
I AM SENDING A BIG THANK YOU TO YOU
________________________________________________________________
6. The "Shisha Boy" [Photomatix HDR Only]
7. Oroba Tunnel in Salah Salem Road [Cairo]
8. Meet Mo'men
Created with fd's Flickr Toys.
Specific date: 11/07/1936
Artist: Fielding, V.H. Ink drawing on ruled paper. LN: 36.17" x HT: 23.13"
Matadero Madrid presenta, el viernes 5 de febrero, a las 19 h., (SELFI), un proyecto específico creado por Darya von Berner y comisariado por Carlota Álvarez Basso para la antigua cámara frigorífica del que fuera el matadero de Madrid, como parte de su programa Abierto x Obras. Se trata de una instalación que versa sobre la percepción, la atención, la ecología y el selfi.
La cámara digital ha sido una revolución técnica que, además de contribuir a la secularización, la democratización y la banalización de la fotografía, ha provocado un cambio radical en nuestra manera de expresarnos, de convivir y de comunicarnos con los demás. Plataformas como Instagram, Flickr, Photobucket, Tumblr o Picasa han modificado definitivamente la forma de escribir nuestras biografías y han decretado la muerte de los tradicionales álbumes de fotos familiares. La reciente aparición del selfi, además de visibilizar el narcisismo de nuestra sociedad, ha forjado un nuevo género fotográfico a caballo entre el autorretrato y la fotografía “conversacional”: ahora las imágenes actúan como mensajes fotográficos o como relatos visuales.
En (SELFI) hay dos auténticos protagonistas: la propia sala de Abierto x Obras y el visitante activo. Gracias a la creativa iluminación orgánica de la sala, ésta se expone por primera vez ante el público en su integridad. También se duplica el espacio arquitectónico sugiriendo que la nave se hace un selfi, un imaginario y grandioso autorretrato. Sólo la percepción atenta de la obra por parte del visitante permitirá que una nueva imagen de sí mismo le sea revelada al observarse y ser observado por los demás.
DARYA VON BERNER nació en México y creció en Madrid. Estudió en la School of Visual Arts de Nueva York, completando su formación con artistas como Antonio López, Tony Crag y Jannis Kounellis. Actualmente es artista residente en Luxemburgo en el proyecto BeHave/Public Art Experience. En 2015 ha realizado instalaciones en Amsterdam Light Festival, Tschumipavijlion Groningen (Holanda) y Paisagem de luz (Bahía, Brasil).
Antes, sus intervenciones de arte público, han tenido lugar en Dessau (Triennale der Moderne Bauhaus), Berlín, Colonia, Frankfurt (Ernst May Haus) y Göttingen (Kunstverein). En Italia (Flash Art Museum, Museo Perugia). En Holanda (Peace Palace, Den Haag; WWVF Stedelijk Museum, Amsterdam). En Bruselas (Nuit Blanche) y en Suiza (Art Basel). En España: Donostia (Arteleku), Córdoba (Fundación Capital Cultural), Murcia (Sala Verónicas), Madrid (CentroCentro, Tabacalera, Noche en Blanco, PhotoEspaña, Doméstico). En EEUU (Emory Museum, Nexus Art Center), Tokio (Mori Art Museum) y en Turquía (III Bienal Estambul).
Abierto x Obras, en Matadero Madrid, es un programa de intervenciones site specific que incentiva el carácter experimental de la creación contemporánea a través de planteamientos que exploran la relación entre el arte y el lugar que lo acoge, la antigua cámara frigorífica del Matadero. Desde 2007 Abierto x Obras ha acogido las intervenciones de artistas como Daniel Canogar, Jannis Kounnellis, Román Signer, Carlos Garaicoa, Fernando Sánchez Castillo, Jordi Colomer, Los Carpinteros, Cristina Lucas, o Eugenio Ampudia, entre otros.
Abierto x Obras / Matadero Madrid
Del 5 de febrero al 31 de julio. Martes a viernes, de 16 a 21 h. Sábados, domingos y festivos de 11 a 21 h.
Imagen: Paco Gómez / Matadero Madrid
The evolution of civilization in different cultures and parts of the world indicates a strong connection between in-depth knowledge in biology and the specific culture's potential for development. Without a doubt, a healthy relationship is seen with this rule, even in other sciences, but it is particularly evident in biology, as this is so close to human health and well-being.
This focus on Entoto Natural Park with the orientation of native trees and plants reflects the intentions of this context and helps most appropriately both nature and man to develop together in a mutually reinforced relationship that resembles a type of symbiosis.
In cases where this symbiosis is successful, there is a strong connection between knowledge and respect for nature values. However, it is the man who makes the most significant profit of elevated living standards and economics, while nature follows a subordinate role that is only favoured in a longer perspective of the implications of human knowledge.
It is, therefore, the hope that Entoto Natural Park will benefit the will of education and the desire of a future in prosperity, while nature automatically receives the development of civilization by contributing to improved climate and a remarkably increased yield of crops as well as greatly enhanced freshwater reservoirs.
www.thereporterethiopia.com/article/saving-natural-mainst...
The Eucalyptus Problem
On the Entoto mountain and many other places around Addis Ababa, the existing vegetation is Eucalyptus globulus This is an Australian tree brought to Ethiopia some 100 years ago. At that time most of the area around the town had been deforested due to the need for wood construction and fuel.
The introduction of the new species was very successful, as its speed of growing surpassed the indigenous trees. Some of the eucalyptus on Entoto have their origin in that first phase of reforestation, but plantations have been added now and then through this century.
At present, the bulk of the park area is covered by eucalyptus plantations. The new species is an important part of the Ethiopian history, but at the same time, it is a tree that not belongs to the Ethiopian flora.
Biodiversity: Foreign trees often have difficulties in adjusting to its new environment. The Eucalyptus is growing apparently without trouble, but it is not capable of sexually reproducing itself, i.e. the seeds do not germinate in the Ethiopian soils. Therefore the standard procedure of introduction is the planting of seedlings.
The young trees soon start to compete very efficiently with other vegetation. It is a fast grower, easily reaching above other trees and suppressing them. At the same time, a chemical component in the leaves and roots prevents the growth of both other trees and herbs.
This leads to a monoculture with eucalyptus as the only tree species and eventually no ground cover at all.
The eucalyptus demands large quantities of water. Areas which earlier were periodically wet and with a flora adjusted to such conditions, get drained by planted eucalyptus. Because of the poor flora and the lack of plants needed by specialised insect and birds, the biodiversity of a eucalyptus plantation is extremely low.
Also, when timber is continuously being taken out of the area without no input of fertilizer, the soil quality gradually decreases, reducing the possibilities of the reintroduction of indigenous species.
Erosion: Because there is no ground cover, the only thing to hold the soil is the web of roots of the trees. The soil-holding capacity of eucalyptus is very moderate compared with the trees initially covering the slopes of Entoto.
This causes severe erosion, easily observed in the water running through Addis in connection with the rainy seasons. For every rain period, the layer of fertile soil gets thinner. If nothing is done now, in a couple of years, there will be nothing left for new vegetation, and the erosion will be irreversible.
Flooding: On Entoto, every leaf and every branch have fallen to the ground is collected by people, whereas in a natural forest, organic material from leaves, wood, roots etc. is left to be decomposed in the soil. The organic matter improves the soil structure, leading to a higher infiltration rate and a much better water-storage capacity.
Even if the eucalyptus is a tree with a very high water consumption, the total amount of water taken up by the vegetation is probably higher in a juniper forest, as the total biomass is more significant abundant. The entire surface of leaves, needles, branches etc. should also be much larger, thus increasing the amount of precipitation returned to the atmosphere by evaporation.
As the water catchment of the eucalyptus plantation is very low, it cannot counterbalance the uneven distribution of rain. The result is flooding in the downslope areas, in this case, the northern district of Addis. In August 1994, three people were drowned because of such flooding.
Land Use: The bulk of the area is used as a plantation. Eucalyptus has been grown for a long time, mainly for the production of construction wood. Fallen branches for fuelwood are collected by people living in the area, as well as outsiders.
Some females are actually sweeping the ground for some single twigs Lately, the illegal cutting of trees has accelerated, large amounts of timber being brought out.
The normal land use on this kind of soil would be cattle raising and mixed farming (Foth 1984), and this can still be seen to some extent. One part in the upper eastern part and another in the western is used for crops and cattle breeding.
Where the eucalyptus has not yet ruined the ground vegetation cover, sheep are brought for grazing. There are fenced pastures for the animals, but instead, they are guarded by shepherds. Inside the proposed park area there are about 60 households.
Already today, visitors come to Entoto for recreation purposes, as it is the only forest-like area in the vicinity of the city, and because of the beautiful views from the mountain.
Indigenous species
There is also an area in southeast containing junipers, but these are facing a significant threat from fuelwood collectors. On the steep hillsides and in the gorges and gullies in the lower part, there still remain trees of indigenous species like Juniperus procera, Podocarpus gracilior, Dovyalis abyssinica, Olea europea var,Africana, and Ficus sp
A few solitary indigenous trees stand in open areas, e.g. Hagenia abssinica and Hypericum sp. In the upper eastern part, there are beautiful meadows with a high diversity of herbs, and several species can also be found along the brooks ( Håkan Blanck and Pia Englund, Entoto Natural Park 1995).
Although the eucalyptus is a tree with very high water consumption, the total amount of water taken is used within its own biomass and not effectively distributing it to the environment and the natural groundwater reservoirs. This is very scientifically evident and contrary to the distinctly higher level of absorbed and distributed water of the native Juniper forest with its healthy undergrowth.
In a site-specific installation, Artistic Bokeh presents a collaboration with Georgios Papadopoulos (GR) and Société Réaliste (FR) thematizing the symbolic value of artistic production and its subordination by the valuation of markets.
"There is never enough money, especially for cultural production; but also too much since money and market tend to impose their interpretation of artistic and cultural value. The system of prices organizes an order of meaning, where taste, subjectivity and community are reconfigured according to the mandates and the geopolitics of the market. In this hostile environment, the artist needs to create new possibilities of independence at the same time as she has to survive and thrive, despite the exploitative conditions of employment that more often than not define artistic work. Too Much Money is not the solution. but a tiny a reminder of the poverty of the artist in a system that celebrates (and profits from) the value of art."
(Text: G.Papadopoulos)
A lecture-performance of C.Lisecki / G.Papadopoulos will mark the opening on Thursday, February 27, accompanied by the film screening of "Art Accounts Deutsche Bank (2013)" by Carsten Lisecki.
DESCRIPTION
Physical Description
Brass-mounted, 12 7/8-inch blade, wooden grips. Leather scabbard.
Specific History
This bowie knife was found on the battlefield of Perryville, Kentucky.
General History
It is claimed that the bowie knife was designed by Rezin Bowie, the brother of James Bowie, and made by blacksmith James Black. The blade, made of steel, was up to 14 inches long. Its shape enabled the cowboy or mountain man to skin or disembowel an animal. In general, the bowie is usually classified as any large knife with a chipped point. It was popular from the 1840s through 1865 andused by United States troops during the Mexican War and on the frontier during the disturbances in Kansas and Missouri in the 1850s. During the Civil War, it was popular with Confederate soldiers, whose arms generally were inferior.
LOCATION
Currently not on view
OBJECT NAME
knife
ASSOCIATED DATE
1862
PHYSICAL DESCRIPTION
steel (overall material)
wood (overall material)
MEASUREMENTS
overall: 5 in x 17 3/4 in x 1 1/2 in; 12.7 cm x 45.085 cm x 3.81 cm
FOUND IN
United States: Kentucky
ID NUMBER
AF*32398
CATALOG NUMBER
32398
ACCESSION NUMBER
68826
SUBJECT
Military
ThinkFinity
EVENT
Civil War
Civil War and Reconstruction
SEE MORE ITEMS IN
Armed Forces History: Armed Forces History, Military
ThinkFinity
DATA SOURCE
National Museum of American History, Kenneth E. Behring Center
Visions of America: Amériques
Audio/Visual Performance conducted by Esa-pekka Salonen, performed by Los Angeles Philharmonic
6th of November, 2014
Walt Disney Concert Hall, Los Angeles
_
'The Los Angeles Philharmonic’s multimedia presentation of Edgard Varèse’s Amériques launched the new in/SIGHT series at Walt Disney Concert Hall,The presentation of Amériques is accompanied by the new Anadol site-specific architectural video installation, which was developed to illuminate and enhance the Varèse's composition and to activate the architecture of Walt Disney Concert Hall. The dynamic visual program created by Anadol uses custom-built algorithmic sound analysis to listen and respond to the music in real time, using architecture as a canvas and light as a material. Additionally, the movements of Salonen, as he conducts, will be captured by next generation Microsoft Kinect hardware and 3-D depth camera analysis to inform the visuals displayed. The result was a powerful and immersive experience for the audience that engaged their visual and auditory senses.'
Launching in/SIGHT – the LA Phil's groundbreaking series of concerts with video – this program embodies the vision of the New World as a place of unlimited artistic freedom. Amériques was the first musical piece that Varèse composed upon coming to New York and this project is fittingly the first site-specific audio-visual performance that I produce in the U.S. I approached this collaboration from the standpoint of a non-linear and ephemeral interaction between Salonen, Varèse, and me, and hope that I will be able to transform Varèse’s timeless musical fiction into an immersive visual medium through which a new kind of storytelling will occur. Rather than approaching this medium as a means of escape into some disembodied techno-utopian fantasy, this project sees itself as a means of return. It aims to facilitate a temporary release from our habitual
perceptions and culturally biased assumptions about being in the world, and to enable us, however momentarily, to perceive our own stories and the stories around us freshly.
In a recent interview with the Huffington Post, Anadol stated regarding this work, “Instead of creating a media screen, there will be a story inside the space. What happens if you add a video layer that speaks to the audience in a whole new experience? We're exploring the boundaries of what is real, what is physical, what is virtual…”
I would like to sincerely thank everyone who made this project possible. This project would never have been possible without the tremendous and generous support of Los Angeles Philharmonic, President and CEO Deborah Borda; Vice President of Artistic Planning Chad Smith; Artistic Administrator Meghan Martineau and Concert Operations Manager Taylor Saleeby. I would also like to thank for their open-handed support the University California, Los Angeles, Department of Media Arts’ faculty members, Microsoft Research, and Lili Cheng, Finally and specially I would like to thank Frank Gehry for his dreamful canvas and Esa-Pekka Salonen for his open-minded collaboration with me to discover “New Worlds.”
CREDITS
Video Artist: Refik Anadol
Artistic Management: Dave Hunt
Executive Producer: Efsun Erkilic
Senior Generative Designers: Sebastian Neitsch & Woeishi Lean
Senior 3D Designer: Raman K. Mustafa
Senior Animator: Simon Russell
Junior Animators: Bahadir Dagdelen, Michael Hsiu, Kian Khiaban, Toby Heinemann,
Laurence Menor.
Research Assistant: Jarad Solomon
Just staring
From time to time I like to sit down, and just stare at the horizon, just loking away, wothout looking something in specific.
Like if I was waiting for something out of the ordinay to appear there, where my eyes can barely see the details, where it's difficult to see where the land endas, and the sky starts.
A daydreamer look, thats what a friend used to call it.
Is this being Jessica something similar, is it dreaming awake of something that is not there????
Confused.
Kisses
Jessica.
PS, about the pic, well finally got to use the new black-white shoes. It was fun.
First one, the long wig , still with the braids,,
Then I undid the braids, it was sad, it was a lot of work to make them. SO back is the long black hair.
Next the usual Jessica hair.
And the fourth one, thats my hair, yes, no wig in that one, one year and three months, and it is now that long, Me likes, still needs to grow a bit bigger.
Solo viendo
De vez en vez, me gusta sentarme en algun lado, i solo quedarme viendo con la vista en el horizonte, pero sin obnservar realmente algo en especifico.
Como si esperara que de repente algo fuera de lo ordinario apareceria, ahi donde mis ojos ya no son capaces de distinguir lo sdetalles, ahi donde es complicado saber donde termina la tierra y comienza el cielo.
Tienes mirada de soñar despierto, como un amigo solia decir
Es esto de ser Jessica algo simila, es esto un sueño despierto de algo que no esta ahi????
Confuso
Kisses
Jessica.
PS, sobre la foto, pues finalmente use ya los nuevos zapatos blanco y negro. Fue divertido.
La primera, la foto con las trenzitas, su despedida.
Luego pues deshice las trenzitas, fue triste, tanto trabajo que me costo hacerlas. Pero ya ta de regreso el pelo largo negro.
Luego la usual de Jessica.
Y la cuarta, la que les presumo, si mi cabello naturalito, en efecto, no llevo peluca en esa. Un año y tres meses, y ya va asi de larguito. Me gusta, aunque aun le falta un poco mas de crecimiento.
Welcome fellow Paddington Bear spotter! My photostream features all 50 Paddingtons. If you would like to shortcut to a specific one, please use the links below
No. 1: Love, Paddington X (Lulu Guinness) |
No. 2: Texting Paddington (Westminster Academy) | No. 3: The Mayor of Paddington (Paddington Waterside and Costain) | No. 4: Bearing Up (Taylor Wimpey) | No. 5: Brick Bear (Robin Partington & Partners) | No. 6: Futuristic Robot Bear (Jonathan Ross) | No. 7: Paddington (Michael Bond) | No. 8: Paddingtonscape (Hannah Warren) | No. 9: The Journey of Marmalade (Hugh Bonneville) | No. 10: Paws Engage (Canterbury of New Zealand) | No. 11: Flutterby (Emma Watson) | No. 12: W2 1RH (Marc Quinn) | No. 13: Paws (Sally Hawkins) |
No. 14: Goldiebear (Kate Moss) | No. 15: Sparkles (Frankie Bridge) | No. 16: Bear Humbug (Ant and Dec) | No. 17: The Spirit of Paddington (Rolls-Royce Motor Cars) | No. 18: Thread Bear (Matthew Williamson) | No. 19: Golden Paws (David Beckham) | No. 20: Parka Paddington (Liam Gallagher) | No. 21: Bearer of Gifts (Hamleys) | No. 22: Little Bear Blue (Intel) | No. 23: Bearodiversity (Peru) | No. 24: Paddington the Explorer (Ripley’s Believe it or Not! London) | No. 25: Andrew Lloyd Webbear (Andrew Lloyd Webber) | No. 26: Blush (Nicole Kidman) | No. 27: The Bear of London (Boris Johnson) | No. 28: Paddington Jack (Davina McCall) | No. 29: Good News Bear (The Telegraph) | No. 30: Paddington is GREAT (Stephen Fry) | No. 31: Special Delivery (Ben Wishaw) | No. 32: Rainbow (Darcey Bussell) | No. 33: Bear Necessities (John Hurt) | No. 34: Sherlock Bear (Benedict Cumberbatch) | No. 35: Bear in the Wood (Rankin) | No. 36: Fragile (Ryan McElhinney) | No. 37: Shakesbear (Michael Sheen) | No. 38: Good Morning, London (Michael Howells) | No. 39: RGB (Zaha Hadid) | No. 40: Taste of Peru (Peru) | No. 41 Wonders of the World (Peru) | No. 42 Paddington Who? (Peter Capaldi) | No. 43 Gravity Bear (Sandra Bullock) | No. 44 Wish You Were Here (Nick Mason) | No. 45 Toggle (Benjamin Shine) | No. 46 Primrose Paddington (Julie Walters) | No. 47 Sticky Wicket (Ian Botham) | No. 48 Chief Scout Bear (Bear Grylls) | No. 49 The Special One (Chelsea FC) | No. 50 Dapper Bear (Guy Ritchie)
Haleakala Crater hike on Haleakala Crater Hike on 7/9/2019
I caught the first Hawaiian Airlines flight to Maui from Oahu which left at 5:05 am, arrival at 5:44 am.
I took a carry-on duffel bag and a photo backpack ( no checked bags )
Picked up my rental car from Alamo and first stopped at 7-Eleven for water, food and snacks.
Maui Airport has changed. All the car rental companies moved to one central location reachable by tram. Additionally a specific Airport Access road was constructed and in use by this trip.
7:40 am left 7-Eleven for Haleakala.
7:30 am arrived at park entrance. $25 entrance fee by credit card only.
8:00 am arrived at Halemau'u trail head parking lot. Filled my CamelBak bladder with 3L of water, redistributed my equipment and used the bathroom to add a thermal underwear layer for the cold.
8:40 am left the parking lot and went to the Hitchhiking spot to wait for a ride. I was picked up by the 3rd car to come along. A single young male on vacation by himself. As I was grabbing my things to get into his car a mother and young son came up and asked to share the ride. I only waited maybe 5 minutes to catch a ride.
9:00 am arrived at the Summit Visitor Center parking lot. The driver had never been up to Haleakala even after visiting Maui a couple of times before, and he was considering doing a short hike while up there. I would be passed by him and the other hitch hiker about a mile down the trail later.
9:15 am after a short look around at the lookout and tightening up my boot laces, I started on Keonehe'ehe'e ( Sliding Sands Trail )
11:51 am I would get to the bottom of the crater and the trail for Holua cabins or Kapaloa, Paliku cabins. Ate lunch of one Spam musube.
12:06 pm I would start on the trial to Holua Cabin
12:59 pm top of the ascent to "Ka Moa o Pele"
1:24 pm trail juncture on the left of "Halali'i"
2:14 pm Silver Sword loop begin ( did not take the loop )
2:22 pm Silver Sword loop end
3:05 pm Holua Cabin - rested
3:32 pm left Holua Cabin and headed out on Halemau'u trail and the crater rim.
4:13 pm arrived at base of crater rim and the start of the switchbacks up the crater wall. rested and stretched.
4:27 pm started up the crater rim switch backs.
6:56 pm I would reach the flat narrow spot I consider the end of the switchbacks.
7:00 pm the temperature would be 56 degrees and dropping down to 52 degrees ( not including windchill )
7:10 pm Sunset, and I was hiking in dark shadow. Too dark to take meaningful pictures or pics of my watch.
8:00 pm I would reach the Halemau'u parking lot and my car.
8:30 pm I would finish unloading and repacking bags for going to my hotel and possibly doing some astro-photography.
8:45 pm arrive at Kalahaku overlook to check out the possibility of astro-photography. The 50% moon washed out the Milky way too much, stars were visible and I was starting to yawn. So I didn't, and I left at 9:05 pm for Kahului and a shower.
I used up all my water, when I got to my hotel and check, the hydration bladder was flat. Possibly one or two sips left in the tube. This was the 2nd time hiking this trail. Both times I brought a collapsible water bag w/filter to refill water at Holua and did not. If I do this again I really, REALLY need to refill water at Holua cabin.
The weather reports for the previous week were about the possibility of hurricane Barbara hitting the islands the day before my trip. Fortunately Barbara down graded and by the time of my trip and predictions for the summit were somewhat cloudy with occasional showers. While hiking I only encountered a few light drizzle/drops from the clouds that didn't require me to break out any of the rain gear I brought or to stow my cameras from rain.
The weather at the summit was cloudy and approximately 65 degrees with windchill. Along the hike until the ascent up the crater rim at the end, the temperature would not seem as cold as I expected or remember from my previous hike a couple of years ago. Possibly due to my wearing thermal underwear, hiking pants, a medium thick long sleeve athletic shirt beneath a button long sleeve hiking shirt and my broad brimmed hat of course. While moving I felt cool and relatively comfortable temperature wise, while raising a slight glistening sweat. At least it wasn't dripping into my eyes.
Keeping to my expected and normal average hiking pace of around 1 mph or less going down hill and across the flats, I would take pictures about every 1-2 hundred feet of the trail. Boring, but I like to document the trail condition. In addition to any interesting views, scenery or recording the weather.
I kept one of my watches attached to my sleeve so it would not be in skin contact and would mostly dangle in my body shade. This would give me a way of tracking my elevation and mostly the temperature.
There were many more day hikers actually crossing the crater along the same route I was going. Most notable was the mother and son that caught a ride with me. They met up with her husband and other son who caught another ride a bit later.
Probably all the hikers that were crossing the crater caught up to me and passed me, and they all started later than I did. The only people who caught up but didn't pass me were 3 female park rangers on their way to Holua Cabin and pretty much started doing their park ranger stuff in the area where they caught up to me and didn't catch up again.
I was constantly annoyed by the hikers I would see taking short cuts along the trail. I had to remind myself to not get pissy with them. I'm tempted to think the only other hikers on the trail that did not take short cuts were the park rangers I met.
Personally, I started the hike with a kinda sharp lower back pain, which had been ongoing since the previous week. But since this hike was already book and paid for I wasn't going to cancel. All thru the hike my back would be in constant pain and I would continually think I might have to give up hiking if my back doesn't get better. It was most painful going down hill, while the flats and going up weren't as bad.
I was hoping the strain and constant back movement would loosen up my lower back and aleviate my pain. Surprisingly, while getting on my stomach with all my gear still on me, when I got up my lower back was better. The pain would come and go, but could now be aleviated for short periods of time by taking off all my gear and bending over to stretch my back. When I would get home, my lower back pain issues would return to "normal"
Evidently, the dry cold air and constant breeze caused my face and lips to chap, which showed up a day after I got home.
Once again I brought chapstic but didn't use it.
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CamelBak Octane 16X Hydration Pack (3L Hydration bladder)
3 liters of water = 6.6 pounds
1x Nikon D700 w/battery grip - Nikon 28-300mm
1x Nikon D700 w/out grip - Rokinon 12mm f2.8 fisheye
Tokina 16-28mm f2.8
Camera & lens weight = 12 pounds
I brought both cameras to reduce the amount of time spent changing lenses and the possibility of getting grit on the camera sensors. Turns out I never changed to the 16-28 so never removed any lens. Yay, no spots in my pictures, Bo, lugged another heavy lens around for nothing. At least I left the 100mm macro in the car already.
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-...
Photo citation: Ted Auch, FracTracker Alliance, 2021.
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Sichem/ Dalkey Cemetery.
This is the only specific Lutheran cemetery that we know of on the Adelaide Plains. The cemetery, Lutheran church and government school were all established here by 1872 when the land had been recently acquired. The Hundred of Dalkey was declared in 1856 but no one took up land here until 1865. The first to do so was Ernst Traeger who took up 600 acres of land in 1865 which he soon increased to 1,700 acres. His grain was carted by teams to Port Wakefield the nearest township. The other pioneering families were two Schaeche families and the Stein family. They were soon followed by other German families – Winter, Lange, Beinke, Schoenbergh, Zobel etc. More German settlers followed in the mid-1870s. Wilhelm Schaeche sold five acres to the Lutheran church for a church, school and cemetery. 1869 was the year in which the school opened and it was also used as a church until a new church was built a year or so later. A new stone Lutheran school was built in 1906 but that school closed during World War One in 1917 by act of parliament. (Sichem was not one of the 69 SA place names changed by that 1917 as it was only a locality and that locality already had the name of Dalkey.) Pupils from Sichem School then had to transfer to the government Dalkey School which operated in the Bible Christian church. (The Dalkey School had opened in 1879 and finally closed in 1946.) The Sichem Lutheran church closed in 1899 as a new Lutheran church opened in Balaklava. Like the school room it was eventually demolished. The District Council of Dalkey was formed in Traeger’s home in 1875 and for many years into the 1890s Ernst Traeger was a local councillor. When the council chamber was built in the 1882 it was sited in Owen. Eventually in the 1930s it became the District Council of Owen. Locally the English settlers of Dalkey district called the village German Town rather than Sichem. Sichem was a Hebrew city near Canaan. The most famous resident of Sichem was a son of Ernst Traeger who invented the pedal radio which was essential for the establishment of the Royal Flying Doctor Service and later the School of the Air. Another Traeger son established an implements business in Hamley Bridge. The Sichem or Dalkey cemetery was established around 1870. Although later headstones were all written in English look for some of the early ones like the Neumann family headstones and Traeger family headstones which are written in old German script. Dalkey was named by Governor MacDonnell in 1856 for the Hundred. Dalkey was a seaside place in Dublin the home place of Governor MacDonnell the first Catholic governor of South Australia.
This is a self portrait he took with Mom's collaboration. He set up the lighting and camera (he was learning about lighting with a specific set of lights at that time). Mom tripped the shutter, coaching dad about his expression -- he could not be induced to smile in front of the lens in those years. He then developed the negative and made the print. Dad was working for the Oregon Travel Bureau, and we lived in Salem. I remember the "Errol Flynn" style mustache, which disappeared a couple of years later after he opened his studio in Junction City. The first visual memories I have of my father are very like this photograph. I recently found this print in a box of my mother's effects.
For a brief biography of my father, read the essay below.
My father was born Francis Rudolph Schultz on Jan 18, 1921, in Forest Grove, Oregon, to Rudolph and Clarissa Burnett Schultz. On his mother’s side the family was proudly Scotch Irish. His father’s side, the Schultz’s, stemmed from West Prussia, and family research has traced back as far as his great, great, grandfather, Johann, Ferdinand, Rudolph von Schultz, who, in the 19th century, established a family estate in West Prussia near the city of Danzig.
His immediate ancestors settled in Forest Grove. Dad’s father, uncles, and grandfather were retailers of various meat products. Bacon, ham and sausage were a family specialty.
My father did not acquire the nickname “Dutch” until after his childhood. In his early years, he was known to his family as Francis. His uncle and cousin called him Frank. His grandfather, on some occasions, called him Frisco. To his chums he was just plain “Schultz.”
Dad was somewhat adventurous as a youngster, and sometimes got into trouble as a result, but he nearly always managed to land on his feet, even if he got some bruises on the way. He was also quite inquisitive and liked to figure out how things worked. There was an inventive streak in him. Stories of various childhood projects have come down through the years. Dad had several boyhood friends who enjoyed tinkering, as well, and in an unused chicken house near his home they used to dabble at all kinds of things together. They even got it into their heads to build an airplane. As my Dad tells the story, they cobbled together quite a contraption from various spare parts they had been able to forage from the neighborhood. There were wings, a propeller, even an engine of sorts. The contrivance was just large enough to accommodate one passenger. They took their whimsey to the top of a hill, the designated pilot climbed inside, and they gave it a push. Instead of soaring into the sky, the contraption rolled end over end down the hill and collapsed into a heap. The poor pilot spent several days in bed nursing the bruises and abrasions that were the consequences of this tumble. There were a number of other projects from this team of designers. They attempted several times to assemble radio broadcast and receiving devices, and they did manage to create a working telephone system between several of their homes.
Taking apart old motorcycles and reassembling them into units of very curious proportions was another thing Dad liked to do. Apparently, some of the unhappier landings of his life occurred as a result of driving these machines through their paces. But Dad was always able to get back on his feet after mishaps.
My favorite story from my father’s childhood is the following adventure, and it illustrates several characteristics of my father’s personality. When my father was ten or so, a neighbor drove him and one of his friends to a local quarry for some target practice. The neighbor rather un-wisely decided to sit-out the session in the car and let the boys go shooting on their own. It was quite late in the afternoon, and daylight was waning. The town was a good ten miles away, so the two boys promised to return the instant they heard the horn. Then they left to savor their independence. Being at liberty, the two managed to wander some distance from the car as the sun sank lower and lower in the sky. The horn eventually sounded. Predictably, the boys took their time returning. Sure enough, when they arrived at the appointed spot, the car had vanished. It seems the neighbor had driven down the road just out of sight, thinking the two boys needed to be taught a good lesson. His plan was to wait for them along the highway, and when they arrived he would deliver a stern lecture – and that would be that. However, the boys, thinking themselves quite abandoned, concluded that they should return to town along some nearby railroad tracks. This was in 1932, and the story of the notorious Lindbergh kidnapping had been playing in the papers; at school they had been warned to avoid walking along highways without the company of an adult. So, there they were, completely alone with a great deal of ground to cover. They resolutely began the journey up the tracks, and after walking a great distance, the two boys came to a large bridge spanning what appeared to be a deep ravine. At least appearances gave that impression, because the bridge was heavily laden in fog, and the distant murmur of what sounded like rapids came to their ears through the fog. They were uneasy about crossing the bridge. But they had already come a long way, so they decided to press ahead, come what may. They groped their way to the middle of the bridge only to discover the structure was undergoing major repairs. There were no tracks, no ties, just a gap of indefinite length hovering in the midst of the heavy fog. My father’s friend sensibly opted to clamber along one of the bridge’s structural girders at the side. My father chose a bolder solution. He took a running leap directly into the fog. It’s obvious he had a happy landing, since I’m here to recount to you that, as dawn blushed over the horizon, the two boys arrived back in town, just as search parties were organizing, and my father’s tearful mother was waiting with warm clothes, a mother’s forgiveness, and hot food.
The above story relates one of the first of my father’s lucky leaps; he actually became very good at running and jumping. A few years later, he was able to turn that particular skill to his advantage.
In the late 30's, my father attended high school in Forest Grove, and during those years he was a champion athlete at the state and local level. Several of the records he established in track events stood for many ears. One of them was still cited under his name when he and I dropped by Forest Grove High School in the late seventies to see what the current records were.
As a result of his athletic talent, my father attended the University of Oregon for two years on a track scholarship. It was during this period he acquired the nickname, “Dutch.” As my father told it, one of his coaches said, “There’s no way I’m going to call you Francis. From now on, you’re going to be “Dutch.” My father’s namesake happened to be the notorious New York gangster and bootlegger, Dutch Schultz, who in the 1930's grabbed more than his share of headlines. The name stuck, and since then, everyone called my father, “Dutch.”
In 1941, my father left college and began working for the Firestone company. That year he also met and married Wilma Wing. I’m happy to say that also stuck, and for 61 years my parents were called Dutch and Wilma Schultz.
Very soon after my parents were married, world war II broke out, and my father joined the Navy. He was very interested in the Navy’s lighter than air division. In order to be eligible he was required to sign-up for a unit from which half would be tapped for commando training, and the other half would be assigned to lighter than air. It was explained that the commandos would have extremely hazardous duty, and casualty rates were likely to be high. But Dad took the risk. Once again, he took that leap into the dark and landed squarely on his feet. He logged over 3,000 hours as a communication specialist aboard blimps assigned to submarine patrol and ship escort along the Pacific coast. Some of these patrols extended as far as 600 miles from the shore. It was from his navy training that he acquired some of his first solid knowledge in electronics, which was a life-long preoccupation with my father.
One of Dad’s fondest memories from this time was when the ships were bringing troops home at the end of the war. Their blimp went out to sea to meet the ships to escort them into port. The blimps had been fitted with external speakers, and, hovering over the ships, they broadcast the latest swing hits down to the enthusiastic troops who were crowded on the decks of the ships.
Just after the war ended, I was born, and my parents returned to Oregon. Because of the G. I. Bill, my father was able to study photography at what was then known as the Eugene Vocational School. That institution later became Lane Community College. After father concluded his studies, we moved to Salem where he worked for several years as a photographer for the Oregon Travel Bureau. But Dad wanted a business of his own. In 1949, we moved to Junction City where he opened his own studio. For several years, he was also a partner in an aerial photography business. So another of his accomplishments was to become a pilot.
I hope you will forgive a son’s pride in his Dad. But I think my father was a wonderful photographer. During the 10 years he operated his studio, and afterwards, I think he was one of the best photographers in the state. And so did the Oregon Photographer’s Association; he received a number of awards from that organization. With my father, perfection of his craft was an obsession. In his photographs he always strove for total clarity and the richest possible detail; he was also widely known for his expertise at re-touching, a painstaking process he applied directly to the negative with the most infinite care. I remember seeing him working for hours, peering through a magnifying glass, applying a specialized etching knife, and employing finely pointed graphite leads.
In 1956 my brother Bradley was born, then in 1958 my sister. With a larger family to support, my father decided to close his studio in 1959. But he continued to practice photography up to the end of his life. Through the 60's and 70's, he worked in the McKay brothers grocery stores, and then for Western Farmer’s. He went to work for Country Coach in 1982 at the age of 61. He commented many times that this last job was by far the most enjoyable and fulfilling of his entire work career. He served as Country Coach’s Tools Specialist until April of 2002, and his duties drew on his life-long fascination with the intricacies of machinery and electronics. He loved this work, and he loved being in the company of his fellow workers.
Breed-specific legislation (BSL), aka "pit bull bans", failed in hundred of cities over the past 30 years and are always a tremendous waste of public resources. Still, Mayor Denis Coderre think it's gonna work in Montreal. But eh, it's not his money, just ours. Meanwhile, nobody's safer because it doesn't work.
Election is November 5th, 2017. Vote Coderre out, Montreal.
This mural behind 6554 rue Saint-Hubert in Montreal was done by artist Jean Labourdette, aka Turf One. Photo has been taken on September 27th, 2016.
© Photograph by Noemi Jariod. Courtesy of the artist.
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‘Schizophrenic Machine’ was the closure to the three-part project ‘COLLAPSE’ by Joan Morey (Mallorca, 1972). This new site-specific performance took place on January 10, 2019, in the former prison La Model, 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.
© Text by Latitudes.
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...
Recently I was blessed by the music gods with winning tickets from MCB to attend a concert last minute at the Magic Stick downtown featuring Olivia Jean, and Benjamin Booker. For those out of the loop, our beloved Magic Stick is being turned into a genre specific electronic music venue. So I am compelled to attend as many shows as possible at this historic downtown music hot spot. This is the place where many have seen their first show, or their favorite band for the first time. Its where I first discovered the Black Keys for $15 in front of a crowd of 50 people. The energy which surrounds the venue is awesome, and the high quality indie acts are practically next to nothing to see. So I couldn’t turn down another chance to celebrate the wonder that is the Magic Stick, before it morphs into its next life of techno.
I arrived at the door an hour early, and the whole place was packed. Winning the tickets last moment from MCB, I had no idea of what I was in for. Rumors swirled around the waiting crowd about one of the musicians allegedly punching out a fan at a previous show, and the madness that followed. Truth or fiction who knows, but in music world all the best stories hold a thread of truth. The waiting area in the bar was packed with eager fans ready to rush the stairs and make their way to the closest spot they could in front of the stage.Gaging the chatter of the crowd, most seemed to be at the event for Olivia Jean, but their still we’re a lot of people charged as hell to see Benjamin Booker.
As soon as the lights went down and Olivia Jean hit the stage, she owned it. Bringing her Detroit charm and style back from Nashville. She became the obvious hometown favorite. Produced by Jack Whites Third Man Records, her music sounds to me like Amy Weinhouse and the White Stripes had an Electric baby. Her music filled the air with purple hues of attitude and a soulful finesse that danced between genre’s and stereotypes. I heard influences in garage rock, rockabilly, and Motown soul and would not be surprised if she ends up on the main stream touring circuit soon.
As far as Benjamin Booker and Co. I can only say that I am almost certain the man is possessed by some folk/blues madman of yesteryear. As soon as he hit the stage he was at a level 12. I was trying my best to sketch the guys on stage but was unable to properly capture the essence of his moment.Benjamin has pure soul, and the energy he delivered on stage really leaves you feeling he’s giving it his all up there. He attacked the microphone with such intensity, it was like a man professing his love to a woman who no longer wanted his attention; only to watch him win her and become putty in his hands.
Unfortunately none of the bands lived up to the wild hype and legends which permeated the waiting masses before the show .No punches were thrown,no chairs tossed into the spotlights by some acid faced teenager. Just straight soul filled music, at a venue packed to the gills with people to see their new favorite band. It makes me sad to think of the Magic Stick as anything but a safe haven for our hometown rockers, and new bands cutting their teeth on the touring circuit. However at least it will remain a house of music, but to me the Magic Stick will always be that place to go and discover that next big act before they sell out, fad away, or tickets to their shows become as much as my car payment.
Site-specific functionalization of Carbon Nanotubes by Focused Ion Beam
Carbon nanotubes (CNTs) have been considered as one of the building blocks in nanodevices. Functionalization of the CNTs can alter the electronic, mechanic and even magnetic properties of the CNTs, allowing access to advanced nanoarchitectures. Although advanced achievements on functionalization of CNTs using both physical and chemical methods have been reported, controlled functionalization on CNTs at specific site in sub-micrometer or even nanometer scale remains a major challenge. The Focused Ion Beam (FIB) irradiation offers a high-quality solution for site-specific functionalization of CNTs. The use of low keV ions (5keV and 10keV) creates active sites for further functionalization along predefined regions of the CNT surface while the core-shell structures can be preserved. The present work studies the effect of the ion dose and energy in the CNTs’ electronic and structural properties. As-irradiated CNTs are studied by high resolution transmission electron microscopy and scanning transmission X-ray microscopy to investigate the effect of the irradiation using different parameters. Further study of evaporated metal nanoparticles on FIB-irradiated CNTs will confirm the successful site-specific functionalization of CNTs.
After identifying the specific nature of your physical challenges, you will be assigned specific stretches, movements, and exercises to optimally insure proper recovery and to restore your health and fitness. This occurs in a phased approach:
Phase I involves range of motion enhancement patterns and stretches designed to restore joint function.
Phase II involves core stability exercises designed to increase a joint’s weight-bearing ability while at the same time increasing pain-free range of motion.
Phase III involves specific strength and conditioning exercises designed to enable you to perform desired activities of daily living at least as well as, if not better than, you did before you were injured.
All images are RAW and unedited. Purchased products will have basic editing included. If there are specific edit requests, please note in an email.
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We only offer images for sale electronically unless otherwise noted. These electronic images will be sent via e-mail and will be large enough to print off a 4x6" photo quality print. If you'd like a larger copy, please email for details.
$5 per image.
Please send all orders to MMellinger3191@gmail.com
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Otherwise known as IMETS and FBANS, incident meteorologists and fire behavior specialists play a key role in large fire management. The specialists provide information that helps with key decision making.
Weather is one of the primary factors that influences fire behavior in addition to other factors like fuel conditions and topography. IMETs track weather data such as temperature, relative humidity, wind speed and direction. This information helps inform fire managers who work to develop effective fire suppression strategies & tactics.
The effort doesn’t stop with one-way information sharing; firefighters also track weather data in specific areas of the fire perimeter and provide this information back to the IMET. This helps the IMET truth data from a variety of sources alongside the site-specific information provided by ground personnel.
The FBAN takes the information that the IMET collects and interprets it to predict how the fire will behave. Providing fire behavior information helps firefighters prepare for and adjust to changing conditions. This helps keep firefighters safe while informing fire management leaders in implementing site-specific strategies based on values at risk, such as homes, private property, timber and cultural resources.
Haleakala Crater hike on Haleakala Crater Hike on 7/9/2019
I caught the first Hawaiian Airlines flight to Maui from Oahu which left at 5:05 am, arrival at 5:44 am.
I took a carry-on duffel bag and a photo backpack ( no checked bags )
Picked up my rental car from Alamo and first stopped at 7-Eleven for water, food and snacks.
Maui Airport has changed. All the car rental companies moved to one central location reachable by tram. Additionally a specific Airport Access road was constructed and in use by this trip.
7:40 am left 7-Eleven for Haleakala.
7:30 am arrived at park entrance. $25 entrance fee by credit card only.
8:00 am arrived at Halemau'u trail head parking lot. Filled my CamelBak bladder with 3L of water, redistributed my equipment and used the bathroom to add a thermal underwear layer for the cold.
8:40 am left the parking lot and went to the Hitchhiking spot to wait for a ride. I was picked up by the 3rd car to come along. A single young male on vacation by himself. As I was grabbing my things to get into his car a mother and young son came up and asked to share the ride. I only waited maybe 5 minutes to catch a ride.
9:00 am arrived at the Summit Visitor Center parking lot. The driver had never been up to Haleakala even after visiting Maui a couple of times before, and he was considering doing a short hike while up there. I would be passed by him and the other hitch hiker about a mile down the trail later.
9:15 am after a short look around at the lookout and tightening up my boot laces, I started on Keonehe'ehe'e ( Sliding Sands Trail )
11:51 am I would get to the bottom of the crater and the trail for Holua cabins or Kapaloa, Paliku cabins. Ate lunch of one Spam musube.
12:06 pm I would start on the trial to Holua Cabin
12:59 pm top of the ascent to "Ka Moa o Pele"
1:24 pm trail juncture on the left of "Halali'i"
2:14 pm Silver Sword loop begin ( did not take the loop )
2:22 pm Silver Sword loop end
3:05 pm Holua Cabin - rested
3:32 pm left Holua Cabin and headed out on Halemau'u trail and the crater rim.
4:13 pm arrived at base of crater rim and the start of the switchbacks up the crater wall. rested and stretched.
4:27 pm started up the crater rim switch backs.
6:56 pm I would reach the flat narrow spot I consider the end of the switchbacks.
7:00 pm the temperature would be 56 degrees and dropping down to 52 degrees ( not including windchill )
7:10 pm Sunset, and I was hiking in dark shadow. Too dark to take meaningful pictures or pics of my watch.
8:00 pm I would reach the Halemau'u parking lot and my car.
8:30 pm I would finish unloading and repacking bags for going to my hotel and possibly doing some astro-photography.
8:45 pm arrive at Kalahaku overlook to check out the possibility of astro-photography. The 50% moon washed out the Milky way too much, stars were visible and I was starting to yawn. So I didn't, and I left at 9:05 pm for Kahului and a shower.
I used up all my water, when I got to my hotel and check, the hydration bladder was flat. Possibly one or two sips left in the tube. This was the 2nd time hiking this trail. Both times I brought a collapsible water bag w/filter to refill water at Holua and did not. If I do this again I really, REALLY need to refill water at Holua cabin.
The weather reports for the previous week were about the possibility of hurricane Barbara hitting the islands the day before my trip. Fortunately Barbara down graded and by the time of my trip and predictions for the summit were somewhat cloudy with occasional showers. While hiking I only encountered a few light drizzle/drops from the clouds that didn't require me to break out any of the rain gear I brought or to stow my cameras from rain.
The weather at the summit was cloudy and approximately 65 degrees with windchill. Along the hike until the ascent up the crater rim at the end, the temperature would not seem as cold as I expected or remember from my previous hike a couple of years ago. Possibly due to my wearing thermal underwear, hiking pants, a medium thick long sleeve athletic shirt beneath a button long sleeve hiking shirt and my broad brimmed hat of course. While moving I felt cool and relatively comfortable temperature wise, while raising a slight glistening sweat. At least it wasn't dripping into my eyes.
Keeping to my expected and normal average hiking pace of around 1 mph or less going down hill and across the flats, I would take pictures about every 1-2 hundred feet of the trail. Boring, but I like to document the trail condition. In addition to any interesting views, scenery or recording the weather.
I kept one of my watches attached to my sleeve so it would not be in skin contact and would mostly dangle in my body shade. This would give me a way of tracking my elevation and mostly the temperature.
There were many more day hikers actually crossing the crater along the same route I was going. Most notable was the mother and son that caught a ride with me. They met up with her husband and other son who caught another ride a bit later.
Probably all the hikers that were crossing the crater caught up to me and passed me, and they all started later than I did. The only people who caught up but didn't pass me were 3 female park rangers on their way to Holua Cabin and pretty much started doing their park ranger stuff in the area where they caught up to me and didn't catch up again.
I was constantly annoyed by the hikers I would see taking short cuts along the trail. I had to remind myself to not get pissy with them. I'm tempted to think the only other hikers on the trail that did not take short cuts were the park rangers I met.
Personally, I started the hike with a kinda sharp lower back pain, which had been ongoing since the previous week. But since this hike was already book and paid for I wasn't going to cancel. All thru the hike my back would be in constant pain and I would continually think I might have to give up hiking if my back doesn't get better. It was most painful going down hill, while the flats and going up weren't as bad.
I was hoping the strain and constant back movement would loosen up my lower back and aleviate my pain. Surprisingly, while getting on my stomach with all my gear still on me, when I got up my lower back was better. The pain would come and go, but could now be aleviated for short periods of time by taking off all my gear and bending over to stretch my back. When I would get home, my lower back pain issues would return to "normal"
Evidently, the dry cold air and constant breeze caused my face and lips to chap, which showed up a day after I got home.
Once again I brought chapstic but didn't use it.
-----------------------------------
CamelBak Octane 16X Hydration Pack (3L Hydration bladder)
3 liters of water = 6.6 pounds
1x Nikon D700 w/battery grip - Nikon 28-300mm
1x Nikon D700 w/out grip - Rokinon 12mm f2.8 fisheye
Tokina 16-28mm f2.8
Camera & lens weight = 12 pounds
I brought both cameras to reduce the amount of time spent changing lenses and the possibility of getting grit on the camera sensors. Turns out I never changed to the 16-28 so never removed any lens. Yay, no spots in my pictures, Bo, lugged another heavy lens around for nothing. At least I left the 100mm macro in the car already.
Haleakala Crater hike on Haleakala Crater Hike on 7/9/2019
I caught the first Hawaiian Airlines flight to Maui from Oahu which left at 5:05 am, arrival at 5:44 am.
I took a carry-on duffel bag and a photo backpack ( no checked bags )
Picked up my rental car from Alamo and first stopped at 7-Eleven for water, food and snacks.
Maui Airport has changed. All the car rental companies moved to one central location reachable by tram. Additionally a specific Airport Access road was constructed and in use by this trip.
7:40 am left 7-Eleven for Haleakala.
7:30 am arrived at park entrance. $25 entrance fee by credit card only.
8:00 am arrived at Halemau'u trail head parking lot. Filled my CamelBak bladder with 3L of water, redistributed my equipment and used the bathroom to add a thermal underwear layer for the cold.
8:40 am left the parking lot and went to the Hitchhiking spot to wait for a ride. I was picked up by the 3rd car to come along. A single young male on vacation by himself. As I was grabbing my things to get into his car a mother and young son came up and asked to share the ride. I only waited maybe 5 minutes to catch a ride.
9:00 am arrived at the Summit Visitor Center parking lot. The driver had never been up to Haleakala even after visiting Maui a couple of times before, and he was considering doing a short hike while up there. I would be passed by him and the other hitch hiker about a mile down the trail later.
9:15 am after a short look around at the lookout and tightening up my boot laces, I started on Keonehe'ehe'e ( Sliding Sands Trail )
11:51 am I would get to the bottom of the crater and the trail for Holua cabins or Kapaloa, Paliku cabins. Ate lunch of one Spam musube.
12:06 pm I would start on the trial to Holua Cabin
12:59 pm top of the ascent to "Ka Moa o Pele"
1:24 pm trail juncture on the left of "Halali'i"
2:14 pm Silver Sword loop begin ( did not take the loop )
2:22 pm Silver Sword loop end
3:05 pm Holua Cabin - rested
3:32 pm left Holua Cabin and headed out on Halemau'u trail and the crater rim.
4:13 pm arrived at base of crater rim and the start of the switchbacks up the crater wall. rested and stretched.
4:27 pm started up the crater rim switch backs.
6:56 pm I would reach the flat narrow spot I consider the end of the switchbacks.
7:00 pm the temperature would be 56 degrees and dropping down to 52 degrees ( not including windchill )
7:10 pm Sunset, and I was hiking in dark shadow. Too dark to take meaningful pictures or pics of my watch.
8:00 pm I would reach the Halemau'u parking lot and my car.
8:30 pm I would finish unloading and repacking bags for going to my hotel and possibly doing some astro-photography.
8:45 pm arrive at Kalahaku overlook to check out the possibility of astro-photography. The 50% moon washed out the Milky way too much, stars were visible and I was starting to yawn. So I didn't, and I left at 9:05 pm for Kahului and a shower.
I used up all my water, when I got to my hotel and check, the hydration bladder was flat. Possibly one or two sips left in the tube. This was the 2nd time hiking this trail. Both times I brought a collapsible water bag w/filter to refill water at Holua and did not. If I do this again I really, REALLY need to refill water at Holua cabin.
The weather reports for the previous week were about the possibility of hurricane Barbara hitting the islands the day before my trip. Fortunately Barbara down graded and by the time of my trip and predictions for the summit were somewhat cloudy with occasional showers. While hiking I only encountered a few light drizzle/drops from the clouds that didn't require me to break out any of the rain gear I brought or to stow my cameras from rain.
The weather at the summit was cloudy and approximately 65 degrees with windchill. Along the hike until the ascent up the crater rim at the end, the temperature would not seem as cold as I expected or remember from my previous hike a couple of years ago. Possibly due to my wearing thermal underwear, hiking pants, a medium thick long sleeve athletic shirt beneath a button long sleeve hiking shirt and my broad brimmed hat of course. While moving I felt cool and relatively comfortable temperature wise, while raising a slight glistening sweat. At least it wasn't dripping into my eyes.
Keeping to my expected and normal average hiking pace of around 1 mph or less going down hill and across the flats, I would take pictures about every 1-2 hundred feet of the trail. Boring, but I like to document the trail condition. In addition to any interesting views, scenery or recording the weather.
I kept one of my watches attached to my sleeve so it would not be in skin contact and would mostly dangle in my body shade. This would give me a way of tracking my elevation and mostly the temperature.
There were many more day hikers actually crossing the crater along the same route I was going. Most notable was the mother and son that caught a ride with me. They met up with her husband and other son who caught another ride a bit later.
Probably all the hikers that were crossing the crater caught up to me and passed me, and they all started later than I did. The only people who caught up but didn't pass me were 3 female park rangers on their way to Holua Cabin and pretty much started doing their park ranger stuff in the area where they caught up to me and didn't catch up again.
I was constantly annoyed by the hikers I would see taking short cuts along the trail. I had to remind myself to not get pissy with them. I'm tempted to think the only other hikers on the trail that did not take short cuts were the park rangers I met.
Personally, I started the hike with a kinda sharp lower back pain, which had been ongoing since the previous week. But since this hike was already book and paid for I wasn't going to cancel. All thru the hike my back would be in constant pain and I would continually think I might have to give up hiking if my back doesn't get better. It was most painful going down hill, while the flats and going up weren't as bad.
I was hoping the strain and constant back movement would loosen up my lower back and aleviate my pain. Surprisingly, while getting on my stomach with all my gear still on me, when I got up my lower back was better. The pain would come and go, but could now be aleviated for short periods of time by taking off all my gear and bending over to stretch my back. When I would get home, my lower back pain issues would return to "normal"
Evidently, the dry cold air and constant breeze caused my face and lips to chap, which showed up a day after I got home.
Once again I brought chapstic but didn't use it.
-----------------------------------
CamelBak Octane 16X Hydration Pack (3L Hydration bladder)
3 liters of water = 6.6 pounds
1x Nikon D700 w/battery grip - Nikon 28-300mm
1x Nikon D700 w/out grip - Rokinon 12mm f2.8 fisheye
Tokina 16-28mm f2.8
Camera & lens weight = 12 pounds
I brought both cameras to reduce the amount of time spent changing lenses and the possibility of getting grit on the camera sensors. Turns out I never changed to the 16-28 so never removed any lens. Yay, no spots in my pictures, Bo, lugged another heavy lens around for nothing. At least I left the 100mm macro in the car already.