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Haleakala Crater hike on Haleakala Crater Hike on 7/9/2019
I caught the first Hawaiian Airlines flight to Maui from Oahu which left at 5:05 am, arrival at 5:44 am.
I took a carry-on duffel bag and a photo backpack ( no checked bags )
Picked up my rental car from Alamo and first stopped at 7-Eleven for water, food and snacks.
Maui Airport has changed. All the car rental companies moved to one central location reachable by tram. Additionally a specific Airport Access road was constructed and in use by this trip.
7:40 am left 7-Eleven for Haleakala.
7:30 am arrived at park entrance. $25 entrance fee by credit card only.
8:00 am arrived at Halemau'u trail head parking lot. Filled my CamelBak bladder with 3L of water, redistributed my equipment and used the bathroom to add a thermal underwear layer for the cold.
8:40 am left the parking lot and went to the Hitchhiking spot to wait for a ride. I was picked up by the 3rd car to come along. A single young male on vacation by himself. As I was grabbing my things to get into his car a mother and young son came up and asked to share the ride. I only waited maybe 5 minutes to catch a ride.
9:00 am arrived at the Summit Visitor Center parking lot. The driver had never been up to Haleakala even after visiting Maui a couple of times before, and he was considering doing a short hike while up there. I would be passed by him and the other hitch hiker about a mile down the trail later.
9:15 am after a short look around at the lookout and tightening up my boot laces, I started on Keonehe'ehe'e ( Sliding Sands Trail )
11:51 am I would get to the bottom of the crater and the trail for Holua cabins or Kapaloa, Paliku cabins. Ate lunch of one Spam musube.
12:06 pm I would start on the trial to Holua Cabin
12:59 pm top of the ascent to "Ka Moa o Pele"
1:24 pm trail juncture on the left of "Halali'i"
2:14 pm Silver Sword loop begin ( did not take the loop )
2:22 pm Silver Sword loop end
3:05 pm Holua Cabin - rested
3:32 pm left Holua Cabin and headed out on Halemau'u trail and the crater rim.
4:13 pm arrived at base of crater rim and the start of the switchbacks up the crater wall. rested and stretched.
4:27 pm started up the crater rim switch backs.
6:56 pm I would reach the flat narrow spot I consider the end of the switchbacks.
7:00 pm the temperature would be 56 degrees and dropping down to 52 degrees ( not including windchill )
7:10 pm Sunset, and I was hiking in dark shadow. Too dark to take meaningful pictures or pics of my watch.
8:00 pm I would reach the Halemau'u parking lot and my car.
8:30 pm I would finish unloading and repacking bags for going to my hotel and possibly doing some astro-photography.
8:45 pm arrive at Kalahaku overlook to check out the possibility of astro-photography. The 50% moon washed out the Milky way too much, stars were visible and I was starting to yawn. So I didn't, and I left at 9:05 pm for Kahului and a shower.
I used up all my water, when I got to my hotel and check, the hydration bladder was flat. Possibly one or two sips left in the tube. This was the 2nd time hiking this trail. Both times I brought a collapsible water bag w/filter to refill water at Holua and did not. If I do this again I really, REALLY need to refill water at Holua cabin.
The weather reports for the previous week were about the possibility of hurricane Barbara hitting the islands the day before my trip. Fortunately Barbara down graded and by the time of my trip and predictions for the summit were somewhat cloudy with occasional showers. While hiking I only encountered a few light drizzle/drops from the clouds that didn't require me to break out any of the rain gear I brought or to stow my cameras from rain.
The weather at the summit was cloudy and approximately 65 degrees with windchill. Along the hike until the ascent up the crater rim at the end, the temperature would not seem as cold as I expected or remember from my previous hike a couple of years ago. Possibly due to my wearing thermal underwear, hiking pants, a medium thick long sleeve athletic shirt beneath a button long sleeve hiking shirt and my broad brimmed hat of course. While moving I felt cool and relatively comfortable temperature wise, while raising a slight glistening sweat. At least it wasn't dripping into my eyes.
Keeping to my expected and normal average hiking pace of around 1 mph or less going down hill and across the flats, I would take pictures about every 1-2 hundred feet of the trail. Boring, but I like to document the trail condition. In addition to any interesting views, scenery or recording the weather.
I kept one of my watches attached to my sleeve so it would not be in skin contact and would mostly dangle in my body shade. This would give me a way of tracking my elevation and mostly the temperature.
There were many more day hikers actually crossing the crater along the same route I was going. Most notable was the mother and son that caught a ride with me. They met up with her husband and other son who caught another ride a bit later.
Probably all the hikers that were crossing the crater caught up to me and passed me, and they all started later than I did. The only people who caught up but didn't pass me were 3 female park rangers on their way to Holua Cabin and pretty much started doing their park ranger stuff in the area where they caught up to me and didn't catch up again.
I was constantly annoyed by the hikers I would see taking short cuts along the trail. I had to remind myself to not get pissy with them. I'm tempted to think the only other hikers on the trail that did not take short cuts were the park rangers I met.
Personally, I started the hike with a kinda sharp lower back pain, which had been ongoing since the previous week. But since this hike was already book and paid for I wasn't going to cancel. All thru the hike my back would be in constant pain and I would continually think I might have to give up hiking if my back doesn't get better. It was most painful going down hill, while the flats and going up weren't as bad.
I was hoping the strain and constant back movement would loosen up my lower back and aleviate my pain. Surprisingly, while getting on my stomach with all my gear still on me, when I got up my lower back was better. The pain would come and go, but could now be aleviated for short periods of time by taking off all my gear and bending over to stretch my back. When I would get home, my lower back pain issues would return to "normal"
Evidently, the dry cold air and constant breeze caused my face and lips to chap, which showed up a day after I got home.
Once again I brought chapstic but didn't use it.
-----------------------------------
CamelBak Octane 16X Hydration Pack (3L Hydration bladder)
3 liters of water = 6.6 pounds
1x Nikon D700 w/battery grip - Nikon 28-300mm
1x Nikon D700 w/out grip - Rokinon 12mm f2.8 fisheye
Tokina 16-28mm f2.8
Camera & lens weight = 12 pounds
I brought both cameras to reduce the amount of time spent changing lenses and the possibility of getting grit on the camera sensors. Turns out I never changed to the 16-28 so never removed any lens. Yay, no spots in my pictures, Bo, lugged another heavy lens around for nothing. At least I left the 100mm macro in the car already.
Red Bull Arena, a soccer-specific stadium located in Harrison, New Jersey, opened in March 2010. The 25,189-seat soccer-specific stadium designed by Rossetti Architects, serves as the home to the New York Red Bulls of Major League Soccet (MLS).
On the regular season opener at Red Bull Arena, the New York Red Bulls defeated the Chicago Fire by a score of 1-0 on March 27, 2010.
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.
To be specific RAF Trainer Beechcraft T6 Texans but why let detail get in the way of a good headline
Day out at the Mach Loop in Wales (think Rainbow Canyon in Death Valley AKA Star Wars Canyon for our American friends)
No big fast jets while we were there but a regular haunt of F15s, F35s, Typhoons etc so worth another trip
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2022. ITALIA / USA - Aggiornare: 'Petrolio - Ladri di bellezza 2018/2022'; Gli studiosi italiani: "Musei negli USA - Restituisci quello che hai rubato!"; in: RAI 1 HD / VIDEO (2018) & Senatrice & Archeologa Margherita Corrado / Fb (08/2022) = "Il Getty Museum di Los Angeles restituirà all’Italia un antico gruppo scultoreo"; in: ARTRIBUNE & LOS ANGELES TIMES, USA (11/08/2022) [Italiano & English]. wp.me/pbMWvy-337
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018); s.v., Margherita Corrado / FB (11/08/2022).
www.flickr.com/photos/imperial_fora_of_rome/52280154274
** Nota: tutte le fotografie qui sono dal video – “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018) / Foto & Video [1:26]; o specificato ed elencato come un’altra fonte citata. **
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52279888651
1). ITALIA / USA - "Petrolio Ladri di bellezza"; in: RAI 1 HD (08/12/2018) / Foto & Video [1:26].
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280154079
Alla luce degli ultimi risvolti giudiziari e dopo aver acceso i riflettori sulla vicenda dell'Atleta di Fano di Lisippo, la statua in bronzo datata tra il IV e il Il secolo a.C., il capolavoro trafugato nell'Adriatico e venduto illegalmente al Getty Museum quarant'anni fa, "Petrolio - Ladri di bellezza" torna ad occuparsi del traffico di reperti archeologici, ricostruendo la rete capillare di contatti, rapporti, scambi di denaro che ha generato il quarto mercato illecito del mondo.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52279888726
Grazie al lavoro di inchiesta durato un anno attraverso fonti esclusive e testimonianze uniche di magistrati, carabinieri, uomini dell'FBI, esperti ed archeologi, "Petrolio", documenta i legami tra organizzazioni malavitose, mondo del collezionismo e i più importanti musei del mondo. Duilio Giammaria va negli Stati Uniti sulle tracce del traffico miliardario di reperti archeologici. In California intervista in esclusiva Timothy Potts, direttore del Getty Museum, in merito alla questione del bronzo di Lisippo. Un viaggio che prosegue a Ginevra, luogo di transito di molti dei reperti trafugati e a Cambridge dove l'archeologo forense Christos Tsirogiannis spiega il ruolo delle case d'asta in questo commercio illecito. Ospiti di Petrolio il critico d'arte Vittorio Sgarbi, lo storico dell'arte Tomaso Montanari e il tenente colonnello Nicola Candido, comandante del reparto operativo dei carabinieri per la Tutela del Patrimonio Culturale.
Fonte / source: Video & foto:
--- RAI 1 HD (08/12/2018) / Foto & Video [1:26].
www.raiplay.it/video/2018/11/Petrolio-2e271483-c1ca-4e3c-...
Foto: Senatrice & Archeologa Margherita Corrado / FB (11/08/2022).
www.flickr.com/photos/imperial_fora_of_rome/52279888541
2). ITALIA / USA - SE E' VERO, BISOGNA FESTEGGIARE!!!!!! Ricordate l'interrogazione 3-01243 di novembre 2019 dedicata proprio ad Orfeo e le Sirene? Fonte: Senatrice & Archeologa Margherita Corrado / FB (11/08/2022).
Foto: Senatrice & Archeologa Margherita Corrado et al., in: Senato della Repubblica / Legislatura 18 Atto di Sindacato Ispettivo n° 3-01243; Atto n. 3-01243 (in Commissione). Pubblicato il 20 novembre 2019, nella seduta n. 167; Svolto nella seduta n. 181 della 7ª Commissione (05/08/2020).
www.flickr.com/photos/imperial_fora_of_rome/52280370960
Chi volesse rinfrescarsi la memoria, può aprire questo link:
--- Senatrice & Archeologa Margherita Corrado et al., Senato della Repubblica / Legislatura 18 Atto di Sindacato Ispettivo n° 3-01243; Atto n. 3-01243 (in Commissione). Pubblicato il 20 novembre 2019, nella seduta n. 167; Svolto nella seduta n. 181 della 7ª Commissione (05/08/2020).
Fonte / source:
--- Senatrice & Archeologa Margherita Corrado / Fb (11/08/2022);
www.facebook.com/profile.php?id=100058012031617
--- Anche: Senato della Repubblica / Legislatura 18 Atto di Sindacato Ispettivo n° 3-01243; Atto n. 3-01243 (in Commissione) [11/08/2022].
www.senato.it/japp/bgt/showdoc/18/Sindisp/0/1128243/index...
Foto: Senatrice & Archeologa Margherita Corrado / FB (11/08/2022); s.v., Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280154054
2.1). ITALIA / USA - ADELANTE, PEDRO, CUM JUICIO, SI PUEDES...
Eccola qui la prova del delitto (fotogramma tratto dal filmato trasmesso dalla trasmissione "Petrolio") ma il 2 luglio 2020 il (futuro) MinC mi rispondeva come leggete... Fonte: Senatrice & Archeologa Margherita Corrado / FB (11/08/2022).
Fonte / source:
--- Senatrice & Archeologa Margherita Corrado / Fb (11/08/2022);
www.facebook.com/profile.php?id=100058012031617
Foto: ARTIBUNE (11/08/2022).
www.flickr.com/photos/imperial_fora_of_rome/52278904772
3). ITALIA / USA - Il Getty Museum di Los Angeles restituirà all’Italia un antico gruppo scultoreo. ARTIBUNE (11/08/2022).
COME PREVISTO DALLA POLICY DEL GRANDE MUSEO LOSANGELINO, CHE OBBLIGA AL RIMPATRIO DELLE OPERE SOTTRATTE ILLEGALMENTE, ORFEO E LE SIRENE TORNERANNO A SETTEMBRE 2022 A ROMA, SEGUITI DA ALTRI MANUFATTI IN UN SECONDO MOMENTO.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52278904902
Un momento storico per le restituzioni, e per l’Italia. Il J. Paul Getty Museum di Los Angeles ha annunciato oggi che restituirà al Paese il Gruppo scultoreo di un Poeta Seduto e Sirene, un gruppo di figure in terracotta a grandezza naturale della seconda metà del IV secolo a.C. proveniente dalla colonia magnogreca di Taranto, noto anche come Orfeo e le Sirene. Il museo statunitense starebbe inoltre collaborando con il Ministero della Cultura per organizzare la restituzione di altri quattro manufatti, a data da destinarsi. Il gigantesco museo a capo dell’omonimo centro per le arti ha già rimosso i manufatti dal percorso di visita in preparazione per il trasporto a Roma a settembre (peraltro molto difficile, vista la fragilità delle sculture), dove saranno affidati al Ministero della Cultura.
Foto: ARTIBUNE (11/08/2022).
www.flickr.com/photos/imperial_fora_of_rome/52280154144
IL GRUPPO SCULTOREO ORFEO E LE SIRENE
La restituzione non è per l’Italia una vera e propria sorpresa, dato che già all’inizio del 2006 l’opera compariva in un elenco di manufatti di cui si rivendicava il possesso e si chiedeva la restituzione. Stando alla commissione permanente in Senato su Istruzione pubblica, beni culturali, ricerca scientifica, spettacolo e sport riunitasi nell’agosto 2020, “il bene, databile secondo la maggior parte degli studiosi nell’ambito della seconda metà del IV secolo a.C., si compone di tre statue, originariamente policrome: due figure femminili stanti (140 per 55 centimetri circa), riconoscibili come sirene in base alla conformazione ornitomorfa della parte inferiore del corpo, e una figura maschile seduta, vestita del solo mantello, variamente identificata come poeta, come Orfeo o semplicemente come un defunto del quale poteva costituire parte del monumento sepolcrale.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280154234
La figura maschile impugna con la mano destra un oggetto allungato, probabilmente il manico di un plektron, secondo l’interpretazione di Bottini e Guzzo, che ipotizzano nell’altra mano l’originaria presenza di uno strumento a corda. L’opera è riconducibile con certezza al patrimonio culturale italiano e proviene probabilmente dal territorio tarantino”. Lo stesso Getty Trust, si legge ancora nel verbale del Senato, aveva sottoscritto nel 2007 una convenzione con l’allora Ministero per i beni e le attività culturali che aveva permesso il rientro in Italia di molti beni preziosi e che stabiliva l’impegno del Ministero a “interpellare previamente il Getty Trust prima di procedere al recupero di beni archeologici dei quali sia acquisita la prova della provenienza da scavo clandestino e/o oggetto di esportazione illegittima dall’Italia di beni archeologici presenti nelle collezioni del Getty Trust
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52278904892
“. Sono passati un po’ di anni, certo, ma la collaborazione si può ora dire fruttuosa, nonostante i trascorsi anche burrascosi (vedasi la condanna del tribunale di Pesaro di qualche anno fa).
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280154259
LA POLICY DI RESTITUZIONE DEL GETTY MUSEUM DEI MANUFATTI SOTTRATTI ILLECITAMENTE
Il Getty – un’istituzione di livello globale con una enorme collezione che va dalle opere greche alle fotografie del Novecento – ha adempiuto così alla propria policy di restituzione dei manufatti al Paese d’origine, obbligatoria nel caso in cui vi siano informazioni affidabili a indicare che siano stati rubati o scavati illegalmente. “Grazie alle informazioni fornite da Matthew Bogdanos e dall’Unità per il traffico di antichità dell’ufficio del procuratore distrettuale di Manhattan che indicano lo scavo illegale di Orfeo e delle sirene, abbiamo deciso che questi oggetti dovrebbero essere restituiti”, hanno dichiarato i direttori Timothy Potts, Maria Hummer-Tuttle e Robert Tuttle.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280154264
Ma non finisce qui: secondo ricercatori dell’istituzione e studiosi indipendenti, bisognerà restituire anche una colossale testa in marmo di una divinità del II secolo d.C.; uno stampo in pietra del II secolo d.C. per la fusione di pendenti; un dipinto a olio intitolato Oracolo a Delfi (1881) di Camillo Miola; e un thymiaterion in bronzo etrusco del IV secolo a.C. I primi tre di questi oggetti furono acquisiti dal fondatore J. Paul Getty e dal Getty Museum negli anni ’70, il quarto nel 1996, e nessuno di loro è più stato esposto al pubblico negli ultimi anni. “Apprezziamo il nostro forte e fruttuoso rapporto con il Ministero della Cultura italiano e con i nostri numerosi colleghi archeologi, conservatori, curatoriali e altri studiosi in tutta Italia, con i quali condividiamo la missione di promuovere la conservazione del patrimonio culturale antico“, ha affermato il direttore Potts.
Fonte / source, foto:
--- ARTIBUNE (11/08/2022).
www.artribune.com/arti-visive/archeologia-arte-antica/202...
Foto: The Los Angele Times, USA (11 Aug., 2022).
www.flickr.com/photos/imperial_fora_of_rome/52280378020
4). ITALIA / USA - Getty to return illegally excavated Orpheus sculptures, some great antiquities, to Italy. The Los Angele Times, USA (11 Aug., 2022).
The J. Paul Getty Museum is returning its Orpheus group of sculptures — a culturally significant group of nearly life-size terra-cotta figures known as “Orpheus and the Sirens,” some of the museum’s greatest antiquities — to Italy. The objects, which have been determined to have been illegally excavated and exported, will be sent to Rome in September. The institution is coordinating with Italy’s Ministry of Culture to send four other objects back as well at a future date.
Foto: The Los Angele Times, USA (11 Aug., 2022).
www.flickr.com/photos/imperial_fora_of_rome/52278904817
“The Getty is not in a position to comment on information that led to the return of the Orpheus,” spokesperson Julie Jaskol said. “The information was supplied by Matthew Bogdanos of the Antiquities Trafficking Unit of the Manhattan district attorney’s office, who developed the evidence in an investigation unrelated to the Getty. The evidence persuaded us that the statues had been illegally excavated and it was appropriate to return them in accordance with Getty policy.”
Foto: The Los Angele Times, USA (11 Aug., 2022).
www.flickr.com/photos/imperial_fora_of_rome/52278904822
Bogdanos was not able to comment given that the investigation is still in progress, a spokesperson for the Manhattan district attorney’s office said.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52279888581
“This piece is being returned pursuant to an ongoing and active criminal investigation,” the spokesperson said in an email, “which uncovered the antiquity was illegally trafficked.”
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280154109
“Orpheus and the Sirens” is extremely fragile, and the museum says it is working on “specially tailored equipment and procedures” regarding its transfer.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52279906673
J. Paul Getty purchased the Orpheus sculptures in the spring of 1976. It was among his final acquisitions prior to his June 6 death.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52278904762
In his diary, which is part of the Getty’s archives, an entry from Saturday, March 6, 1976, notes that he “bought the following objects” including “a group of 3 Greek statues made in Tarentum at the end of the 4th C.B.C.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52279906703
They represent a singer Orpheus seated and 2 standing sirens. $550,000 from Bank Leu. All of these naturally were on [Czech American archaeologist Jiří Frel’s] recommendation.” Frel was the Getty’s antiquities curator from 1973 to 1986.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280154284
The $550,000 Getty paid in 1976 is equivalent to around $3 million today, according to the U.S. Bureau of Labor Statistics’ CPI Inflation Calculator.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280371120
The Orpheus group of sculptures is an incredibly important work to the Getty. It has been on view, in a ground floor gallery at the Getty Villa, since it was acquired more than four decades ago.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52278904857
“It is a very important work. I’d even say one of the most important in the [Getty Museum’s] collection,” Getty Museum director Timothy Potts said in an interview. “So it will be a loss as to what we can represent about the art of the ancient classical world, in this case southern Italy in the late fourth century B.C.”
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52279888676
Potts said the work is especially unique because of its scale, quality and subject matter — it suggests the mythical story of Jason and the Argonauts, which would make the sculpture’s seated man, who plays a harp-like instrument, Orpheus.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52278904867
“It’s just extremely rare and there’s nothing similar in our collection, or closely similar in any collection,” Potts said. “It does leave a hole in our gallery but with this evidence that came forth, there was no question that it needed to be sent back to Italy.”
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280154224
“We value our strong and fruitful relationship with the Italian Ministry of Culture and with our many archaeological, conservation, curatorial, and other scholarly colleagues throughout Italy, with whom we share a mission to advance the preservation of ancient cultural heritage,” Potts said in a statement.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280154229
The other pieces being returned to Italy — none of which have been exhibited in recent years — are a colossal marble head of a divinity and a limestone mold for casting pendants, both from the second century A.D., along with a 19th century oil painting by Camillo Miola, “The Oracle,” and an Etruscan bronze thymiaterion, a ceremonial incense burner, from the fourth century B.C. The latter was acquired by the Getty in 1996 while the other three objects were acquired in the 1970s.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280371150
Fonte / source, foto:
--- The Los Angele Times, USA (11 Aug., 2022).
www.latimes.com/entertainment-arts/story/2022-08-11/getty...
We got ourselves an early Christmas present: heterologous booster shots (Moderna boosters after Pfizer vaccination). Hopefully this will hold us until an Omicron-specific booster is available. 💉💉
Side Specific
2009
T.A.M.A.
Project "Side Effects"
Collectif (Lucy Ota, Maria Papadimiitriou, Gabi Scardi)
(travaux sur la situation des Roms en Europe)
Musée d'art contemporain
10ème Biennale de Lyon
Sneakers Unboxed: Studio to Street
(May - September 2021)
From trainers originally designed for specific athletic activities like the Converse Chuck Taylor All Star, the Puma Disc, and Nike Air Zoom Alphafly Next%, discover how sneakers such as the Reebok InstaPump Fury, the Vans Half Cab and the Asics Gel Lyte III have become cultural symbols of our times.
Take a journey through the design process behind some of the most technically inventive shoes of today with the Adidas FutureCraft.Strung shoe-making robot designed by Kram/Weisshaar, Satoshi, a brand using blockchain certification and the world’s first biologically active shoes developed by MIT Design Lab and Biorealize for Puma.
Then delve into the lucrative resale market that is currently valued at $10 billion in data visualisations from Stock X, before reliving the streetwear staple's high-fashion reinvention including sneakers by Balenciaga, Comme des Garçons and Y-3 and runway looks from A-COLD-WALL* and CRAIG GREEN.
Uncover the icons and collaborations that have shaped the sneaker scene over the years from Michael Jordan and Run-DMC to Kanye West, experience visuals and graphic work from Jamel Shabazz, Grace Ladoja, Simon Wheatley and Reuben Dangoor, and meet the designers working to make the industry more sustainable, Stella McCartney, Helen Kirkum and Alexander Taylor.
[Design Museum]
Taken in the Design Museum
Aaron Buchan – Level 3 Senior Trainer
FF Trainer of the Year – 2011
Creator/Manager of Cross Training Systems
Since becoming a Personal Trainer, I have always had a passion towards helping people achieve their goals. I have often wondered what would be the best way to achieve the best results in the fastest possible way? That’s what prompted me to start developing Cross Training Systems – easy to follow structured programs suited to every individual’s needs.Aaron profile pic new
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Many villages in Vietnam are cottage industries that are completely dedicated to producing a specific product. We saw three such villages. This village, Tho Ha, specializes in making rice papers that are used for spring rolls and a variety of other food.
The rice paper produced by the village is collected by aggregators who have deals in place with distributors who take them to the cities, to be sold to stores, supermarkets, restaurants and hotels.
The aggregators, distributors and dealers are higher up in the food chain, and as it often happens, they take the lion's share of the margins. But the villagers make enough to enjoy a decent life.
I was quite fascinated by how the families at this village make the rice paper and get them ready to be shipped out. So I took photos of their entire workflow, from beginning to end, and I thought I would put it up on Flickr.
In the past, this was done completely by hand. Now there is a little automation that has crept in. The reality is, this could be completely automated, requiring minimal human intervention, which would put these villagers out of work and change their life. It might happen some day, but for now, the human labor continues to be a key part of the production flow.
Tho Ha, Vietnam
7R306101
Would you like a take a shortcut to a specific Snowman?
01. A Partridge in a Pear Tree (Jodie Silverman) | 02. Two Turtle Doves (Megan Evans) | 03. Three French Hens (Lei-Mai Lemaow) | 04. Four Calling Birds (Jenny Leonard) | 05. Five Gold Rings (Adam Pekr) | 06. Six Geese a-Laying (Matilda Elizabeth) | 07. Seven Swans a-Swimming (Laura-Kate Chapman) | 08. Eight Maids a-Milking (Donna Newman) | 09. Nine Ladies Dancing (Lizzie Rose Chapman) | 10. Ten Lords a-Leaping (Hammo) | 11. Eleven Pipers Piping (Jess Loveday) | 12. Twelve Drummers Drumming (Jessica Perrin)
Sara Schnadt
Network, Domestic Intervention
July 31st – August 21st, 2010
Opening reception Sat July 31st, 3pm – 8pm
Exhibition continues thru Sat Aug 21st by appointment
Sara Schnadt is a Chicago-based performance/installation artist. Raised on an international commune in Scotland, an ‘alternative’ context which considered itself as a social experiment outside of conventional culture, she spent formative years understanding herself as an outsider, an observer. Since moving to the United States in 1986, Sara has become fascinated with the unifying rituals and values that are common threads in contemporary western culture, and has made work that frames and resonates with those common threads.
Formally, Sara makes performance and installations that use task, found objects, interactivity, projection, and movement derived from common gestures. Her work creates environments that shift the audience regularly from spectator to participant as the performer constantly moves between pedestrian and more stylized or evocative activity and the viewer negotiates spacial immersion in the work.
Works often take shape as installations and live activities that translate data visualizations of large quantities of socially-resonant information into material, gestural and poetic form.
Network, Domestic Intervention
Since November 2009, site-specific versions of Network have been created in Chicago for an unused store front downtown and a gallery space at Hyde Park Art Center. For What it is, a version of Network will be created to inhabit the entire house that is the project space and artists’ live-work space and extend out into the garden.
Visualizing the idea that we simultaneously live in a real and virtual world, and that the virtual is infinitely expansive, Network uses large quantities of electric yellow twine (tied in patterns based on both social network structures and Internet network infrastructure) to suggest a virtual network landscape cutting through an otherwise ordinary space.
Artists/curators/residents Tom Burtonwood and Holly Holmes will also live with the work in their home for a month, negotiating their routines around it. A series of photographs will document their activity for the project catalog.
Sara Schnadt is a Chicago-based artist working in new media, installation and performance art. She has shown her in work in Chicago at Hyde Park Art Center, Pop-Up Art Loop temporary gallery series, 12×12: New Artists New Work at the MCA Chicago, Looptopia, the Site Unseen Performance Festival, Balloon Contemporary, and at Antena Gallery. National and international shows include Exchange Rate public projection series in LA and New York, Upgrade! – Chain Reaction in Skopje, Macedonia, CINEA Paris, FreeManifesta in Frankfurt, and the Busan Biennale in Busan, South Korea.
Ganesh
Site specific wall drawing (12' x 20')
Spirograph, ink, graphite, latex, gouache, watercolor, kum-kum powder, tumeric, incense, fire and found objects.
2010
Pittsburgh Center For the Arts
from the exhibition Cluster
February 5, 2010 - March 28, 2010
Videography by Beth Wolfe
Copyright © 2010 David Pohl
HOP | House of Pingting Archives
“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
Marv Castillo pictures are copyrighted. For specific purposes contact Geek Broadside or the VRAM Network.
Situated amidst the calming greenery, a village steeped in ancient animism and rituals, is the home of about 250 artisans carrying forward the tradition of ecstatic wooden mask making for generations. The craft of Gomira dance masks is practiced in a specific area in North Dinajpur district of West Bengal state, India, in and around the village of Mahisbathan (Khunia Danga, Kushmandi Block) located approximately 50km south-east of Raiganj, the district headquarter.
The mask dance (or Mukha Khel) is usually organized in between mid-April to mid-July though there are no fixed dates, but each village in the area organizes at least one Gomira dance during this period according to their convenience, at a central location.
The Gomira dances have distinct forms. The Gomira format is the predominant one, which has characters with strong links to the animist tradition. It is performed to propitiate Gram-Chandi, the female deity, usher in the 'good forces' and drive out the 'evil forces'. Traditionally, the Gomira dance starts with the entry of two characters, Buro-Buri, (old couple). After the initial round of dancing, characters are called on to the arena or stage. They dance to the accompaniment of Dhak (percussion drum ethnic to rural Bengal) and Kansar (bell-metal disk used as cymbal). There are no songs or chants. The dancers choose their own movements, which include rotations and hops.
The craft of Gomira mask-making, in its pristine form, catered to the needs of the dancers (and any villager wishing to give a mask as an offering to the village deity). The masks make part of the costume of the traditional Gomira dance. Themes of the masks are usually spiritual, historic and religious.
Originally, the Gomira masks are crafted from neem wood, as per Hindu mythology. Later locally available cheaper wood such as gamhar, pakur, kadam, mango, and teak came to be used. The village craftsmen are very conscious of the environment and always plant one tree for trees cut down, usually of the same species.
The mask making begins with cutting the log and then immersed in water for seasoning. Once the basic shape has emerged, they use the broad chisel and heaviest hammer to bring out the final shape. The reverse side of the mask is scooped out very carefully. For finer finishing, narrower chisels, sand papers of various grades are being used and a coat or two of varnish, which provides smoothness to the mask and ensures durability. Formerly, the masks were hand-painted with natural dyes. Slowly the use of chemical dyes and even enamel paints have gained acceptance mainly because of ready availability and permanence.
The Gomira craftsmen are from Rajbongshi community and do not belong to any particular caste. The women folk have never been a part of mask-making. For most of the artisans, mask making is a supplementary source of income.
In association with UNESCO, Government of West Bengal's Department of Micro, Small and Medium Enterprises & Textiles has developed a Rural Craft Hub at Mahisbathan to resurrect this art form, by giving the craftsmen a place to work. The Mahisbathan Gramin Hasta Shilpa Samabay Samiti Limited (a cooperative of craftsmen and artisans who live in the nearby villages) runs the centre; ensures payments for work done and promotes the sale of masks and other wooden artefacts. The Samiti delivers more than 100 masks per month, where the selling price varies from Rs. 700 (USD $10) to Rs. 3500 (USD $50), depending on the complexity.
The Samity also runs a Folk Art Centre which is also equipped with accommodation facility for guests. One can participate in workshops, learn about the history of the community and craft, nuances of the mask making and the fascinating associated stories.
More, Gomira Dance Mask by Tulip Sinha - The Chitrolekha Journal on Art and Design
Beautiful Bengal, India
Served on Japan Airlines, this yogurt seems to indicate an expiration date that is oddly specific -- December 21, 2010, A.D.
Multi-Archeology (1/3 of Cina Cina Cina)
curated by: Li Zhenhua
exhibition view at CCC Strozzina, Palazzo Strozzi, Florence
Martial art is indeed a popular term worldwide. You may find several approaches and disciplines to martial arts training. You may choose your desired disciplines in martial arts that you want to focus on the training, ultimately brings many advantages to your life. These advantages may be physical, mental, or spiritual means of any kind you put into your martial arts training, which you are sure to receive back as a great result depending on the dedication and practice. But do you know in what specific ways martial arts training helps you grow as a person? In this blog you can know the health benefits you will get by joining MMA Classes in New Jersey. Well, let’s get started!
Know about MMA training
The techniques used in MMA are based on two types that are grappling and striking techniques. Striking techniques contain punches, kicks, elbow strikes, and knee strikes. And Grappling techniques contain submission holds, clinch holds, sweeps, pinning holds, throws, and takedowns.
Health Benefits of joining MMA Classes
You can get Health Benefits from joining MMA Classes in New Jersey as the training has just shattered in popularity extensively. If you want to join MMA Classes in New Jersey then it will be a good decision to get in better shape both physically and mentally.
Can I get Gain Power and Strength?
Yes, you still gain strength and power throughout your training as the techniques of martial arts are not similar to weight lifting exercises. But functional strength is vital in martial arts if you want to develop those areas of your body to tackle any situation.
Mixed martial arts (MMA) have several hybrid combat sports including techniques from boxing, jujitsu, wrestling, judo, kickboxing, karate, Thai boxing, and other disciplines. Studies have shown that MMA training has a great impact on your total body unlike other types of workout training. You can get overall strength for your body through this training that you get other types of workouts like cardio and muscle building. You can focus on one area and more than others to tone and shape your body.
The last line
If you want to maintain a happy and healthy life you must stay out of the stress and it can be possible through this training also. Martial Arts New in Jersey teaches you how to deal with conflict situations that provide you a physical release as well as a stress-free life. The expert, dedicated and supportive team provides the best environment that will make you feel welcome and enjoy the ride.
Website: www.renzograciegarwood.com/
The Floating Piers was a site-specific work of art by the Bulgarian born American artist Christo, consisting of 100,000 square meters of yellow fabric, carried by a modular floating dock system of 220,000 high-density polyethylene cubes installed at Lake Iseo near Brescia, Italy. The fabric created a walkable surface between Sulzano, to Monte Isola and to the island of San Paolo.
[Wikipedia]
Read more about how gender-specific knowledge is inspiring change in Kyrgyzstan’s walnut forests here: bit.ly/1gc60KW
Credit: National Academy of Sciences of the Kyrgyz Republic/K.Musuraliev
Read more about Bioversity International's work in Central and South Asia www.bioversityinternational.org/about-us/where-we-work/ce...
Located a specific space in an assigned area of bachelor forest. The site must inform a sculpture. The installation of the work was temporary.
As a group project, my partner and I used nylon flagging tape to drape from a "wind blown" tree. We used 2 sets of complementary neon colors at varying lengths and hung from different branches. Conceptually, our idea represents materialism taking over our nature. Although sometimes beautiful, materialism is at the same time covering up our nature's beauty. Our choice of neon colors represent the boldness of this concept. Also, we believe our piece serves as two sculptures in one. For example, when at a stand still the piece shows the different vertical layer of ribbon, however when the wind is blowing, the colors interact with each other.
Materials: 4colors of nylon neon flagging tape, rubber bands, scissors, and a ladder.
SPECIFIC develops ‘Active Buildings’ which are able to generate, store and release their own solar energy.
SPECIFIC is an academic and industrial consortium led by Swansea University with Akzo Nobel, NSG Pilkington, Tata Steel and Cardiff University as strategic partners.
SPECIFIC is funded by the EPSRC, Innovate UK and the European Regional Development Fund through the Welsh Government.
Pictured is Dr Khalil Khan of the College of Engineering with anti-corrosion equipment.
Site specific theatre theater performance perform performance art
site-specific theatricality installation site specific create process San Francisco bay area
Poland Prague Cargo Ship Art ship Theatrical
Theatrically devised collaborate collaborative
collaboratively thetre thatre theter theatr theate
teatr divadlo predstaveni predstavani ensemble work
artwork scultpture installation umeni compose composed
composer hudba react reaction place site room
performed Boston New York Los Angeles experimental
avant garde experiment performative installation
instalation install sculpt puppet puppeteer oakland
company scrap and salvage James Mulligan Rafal
Klopotowski Emiko Lewis Frank Lee Erin Blendu Eric
ANdler Molly Rhodes Emily Rosenthal Allison Wyper
bluespace 1000 van ness 1k this end up #3 hold piwnica
marchewy lorca project
© Photograph by Noemi Jariod. Courtesy of the artist.
—
‘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.
—
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...
“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
Beware of pickpockets, targeting old age pensioners, using big breasted fairies as a distraction. It happens.
Site specific theatre theater performance perform performance art
site-specific theatricality installation site specific create process San Francisco bay area
Poland Prague Cargo Ship Art ship Theatrical
Theatrically devised collaborate collaborative
collaboratively thetre thatre theter theatr theate
teatr divadlo predstaveni predstavani ensemble work
artwork scultpture installation umeni compose composed
composer hudba react reaction place site room
performed Boston New York Los Angeles experimental
avant garde experiment performative installation
instalation install sculpt puppet puppeteer oakland
company scrap and salvage James Mulligan Rafal
Klopotowski Emiko Lewis Frank Lee Erin Blendu Eric
ANdler Molly Rhodes Emily Rosenthal Allison Wyper
bluespace 1000 van ness 1k this end up #3 hold piwnica
marchewy lorca project
In the last couple of years or so, Surrey CC have gone for stop specific timetables, which is fair enough as it's the way things are going industry-wide.
Personally, I'm not a fan - as stop specific gives less information, and I can read a bus timetable.
New timetables have now gone up for the 32 ready for the changes from 1st September 2015. Here's one at Dorking station. Quite how you're supposed to know which buses serve Emlyn Road in Redhill and which do not, I don't know.
The bigger problem however is the lack of notice that on schooldays, the 1500 departure zooms off normal line of route at Reigate and misses out all of the route around Meadvale, Earlswood station and Earlswood to Redhill (instead running via St Bede's School)!!
Similarly, the Guildford-bound timetable doesn't identify the journey via Holmbury St Mary (reduced to one journey each way from 01/09/15, currently two evening journeys do it Guildford-bound).
Station Approach, Dorking railway station, Dorking, Surrey.
beat.wave - a site-specific entrance
J. MAYER H. Architects
project team: Juergen Mayer H., Jonathan Busse
Project: 5th - 9th December 2007
Client: PULSE Contemporary Art Fair, Miami
Location: Soho Studios in the Wynwood District, 2136 NW 1st Ave, Miami
Courtesy of PULSE, magnus müller and the artist
beat.wave, is an entry gate to PULSE Miami with an undulating arch that is
about 11 feet high. Cantilevering, split and sliced, this ambivalent
structure offers seating areas as a meeting point and a place for
contemplation.
The architect, designer and artist Jürgen Mayer H. focuses on works at the
intersection of architecture, communication and new technology. From urban
planning schemes and buildings to installation work and objects with new
materials, the relationship between the human body,
technology and nature form the background for a new production of space. In
his art work, Mayer strategically chooses to bypass architecture and to use
art as an operative platform. In close interaction with our built
environment his work highlights the
relationship between the human body and the architectural space.
Columbia Point, Boston, Massachusetts - The John F. Kennedy Presidential Librery and Museum - A view of Pavilion.
The exhibits that people can see are designed to tell the story of John F. Kennedy as much as possible in his own words, offering visitors a "you are there" experience of the world of the early 1960 and the Kennedy White House.
"We celebrate the past to awaken the future"
John F. Kennedy, August 14, 1960
------------------------------------------------------------------------------
More informations about this museum and others photos you can see my specific set "John F. Kennedy Presidential Library"
Be specific! :-)
I'd been watching the Swallowtails fly all around the zoo yesterday, but they weren't landing. I was photographing the flowers (and Skippers, who were cooperating) when I started wishing one of the Swallowtails would land on the lantana.
Lo and behold, about a minute later, one landed to the far side of me. I twisted around and managed to get this shot before he was off into the sky again.
So, the next time I wish for a landing, it's going to be directly in front of me and last for more than five seconds, lol!
I'm so grateful for this one, though - didn't know until I saw it on my computer if I'd gotten it.
SPECIFIC INFO: Haf Life played Santarchy at PJ's Lager House.
GENERAL INFO: Lager House, Saturday, Dec.18, 2010. Photographs by Donna Terek, 313-598-0179
“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
On May 18, Solange performed "An Ode To," an interdisciplinary performance piece and meditation, that examined themes from "A Seat at the Table." Through movement, installation, and experimentation with reconstructed musical arrangements, Solange transformed the iconic Frank Lloyd Wright rotunda with her mesmerizing site-specific performance and melodic vocals. This performance was part of the Red Bull Music Academy Festival.
Photos: Carys Huws, Stacy Kranitz, and Krisanne Johnson
Mount Tomah Botanic Garden, Blue Mountains, New South Wales
The specific epithet is more widely seen with the spelling berteroniana but, as the rules on orthography have recently been clarified in the International Code of Botanical Nomenclature, that spelling is no longer permitted. Named after THIS botanist - es.wikipedia.org/wiki/Carlo_Luigi_Giuseppe_Bertero
[added Sept 2011] I uploaded this with the specific epithet spelt berteroana but, prompted by Karen Blix's query at www.flickr.com/photos/karenblixen/6110830307/ have had a closer look at the ICBN, and it's now clear that the original spelling berteroniana is permissible under the current Vienna Code of 2006. So I have changed back to that spelling.
[added May 2014] Seems that the name P. berteroniana is misapplied to this species after all. I just came across what seems to be the identical taxon photographed in the wild by Pato Novoa - www.flickr.com/search/?w=64933790@N00&q=puya%20zoellneri - and captioned Puya alpestris ssp. zoellneri. This prompted an internet search which turned up this 2013 article by Zitka, Schneider, Schulte & Novoa - researchonline.jcu.edu.au/31782/ - with abstract including the statement -
"A re-evaluation of the widely applied concept of P. berteroniana led us to the conclusion that the type of P. berteroniana is of hybrid origin and is maintained as Puya x berteroniana. Our studies revealed that the name P. berteroniana has been widely misapplied to what in fact is the northern metapopulation of P. alpestris, which is here described as a new subspecies, Puya alpestris ssp. zoellneri"
I can’t really remember any specific dreams in full, but I have really horrible dreams where my teeth all fall out! I’m sure there’s a definition for those dreams and it probably means I’m mental! I also had some really bizarre dreams about aeroplane crashes from the age of 16 to about 19, they were really realistic and vivid, and within about 1 or 2 days there would have been something on the news about an aeroplane crashing somewhere in the world. This happened about 4 or 5 times, not saying i was some kind of teenage psycic/witch or anything but it really freaked me out every time it happened.