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This is a photo taken during the Masterclass Place Branding and site-specific Design with Christian Pagh.
Mediamatic welcomed Christian Pagh, one of the top European designers in the fields of Culture Design and Urban Planning, to explore the theme of public urinals. Speaker at our Pis'talk: Pissing in Public, Pagh will also be giving an exclusive Masterclass where we will deconstruct the notion of the toilet through delving into his method of Space Branding. Our case study: Mediamatic’s new Dijkspark. Could we turn this space into a public urinal while using this as a positive feature for its identity?
More information and link event: www.mediamatic.net/393309/en/pissing-in-the-park
Photography: Xiang Yu Yeung
Served on Japan Airlines, this yogurt seems to indicate an expiration date that is oddly specific -- December 21, 2010, A.D.
Our family decided that it was time triathletes could finally enjoy the performance that titanium offers. Imagine the aerodynamics of a carbon bike and the riding quality of titanium - you've found it! Ventu is the only titanium triathlon-specific frame in the world. However, when building it the challenge proved to be bigger than expected. Normally, seamless grade 9 tubes are round, whereas aero tubes are welded. But this wasn’t a compromise for us, so we managed to source seamless aero tubes that literally fly into space. These tubes are used for downtube, seattube and seatstays. The seattube uses patented THECNO integrated aero seatmast which has an adjustment of 20mm. To improve the aerodynamics even more, we integrated the stem, seattube, rear wheel and cables. The integration of the stem was another thing we had to rack our brains over, but I believe we nailed it. Of course, on the list we had stiffness as well, therefore we have built the Ventu with shallow seatstays, a conical 1.5” headtube, PressFit 30 bottom bracket etc. Simply put, this racing aero machine is not only the most advanced titanium bicycle frame on the market, but finally you can benefit from the characteristics of titanium by having a comfortable ride that can save your legs for the run, which may be crucial. Handcrafted in Europe.
Every single Ventu is customized to fit your personal aero position like a glove.
Weight: 1590g (size M)
Material: grade 9 ti
- modern triathlon geometry
- integrated stem
- oversized externally and internally butted headtube for conical 1.5" fork
- flattened toptube
- aero downtube
- integrated aero seattube
- made in Italy THECNO seatmast with 20mm adjustment
- shallow aero seatstays
- hydroformed chainstays
- integrated brake cable routing
- PressFit 30 bottom bracket
- CNC’ed Wright dropouts with removable alu hanger
- beadblasted finish with custom mirror decals
- ti headbadge
- anodized bolts
Compatible with: PressFit 30 bottom bracket, braze-on front derailleur, max 28C tyre
Inclusive: headset CHRIS KING InSet 1 top x CANE CREEK bottom, seatmast THECNO (anodized alu), removable alu hanger PARAGON (anodized alu), bottlecage bolts WITTSON (anodized alu) 4 pcs, internal gear nose (anodized alu) 2 pcs
Valid Lifetime Warranty!
More info wittson.com/handmade-titanium-frames/titanium-triathlon-f...
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.
PrintOclock - Tarifs et dlais de choc
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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
To improve the quality of taxi transport in Ouagadougou, specific promoters have attempted to set up fleets of vehicles with a certain level of comfort. This choice is justified given the dilapidation of the city's green taxi fleet, which, in 2025, is primarily made up of Mercedes-Benz 190Ds from the 1980s and 1990s. Despite the quality of the vehicles and the service (cleanliness, air conditioning, insurance ...), all experiments failed. This is probably due to costs and transport provided by other means by the target clientele (business tourism in particular). Note the nostalgia for Vespa, who parked his vehicle before the advertisement.
Dans le souci d'améliorer la qualité des transports en taxi dans la ville de Ouagadougou, certains promoteurs ont tenté de mettre en place des flottes de véhicules d'un certain confort. Ce choix se justifie au vu de la vétusté du parc de taxis verts de la ville qui, en 2025 est très largement composé de Mercedes-Benz 190D des années 1980 et 1990. Malgré la qualité des véhicules et du service (propreté, climatisation, assurances...), toutes les expériences se sont soldées par des échecs. Probablement en raison des coûts et du transport assuré par d'autres moyens par la clientèle visée (tourisme d'affaires notamment). A noter le nostalgique de la Vespa qui a garé son véhicule devant la publicité.
Book design for Brandon LaBelle's "Site Specific Sound" published by Errant Bodies Press, 2004. Design by R. Yau.
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
Asian Development Bank (ADB) President Takehiko Nakao and his team discussed with Socioeconomic Planning Secretary Ernesto M. Pernia, the country’s macroeconomic prospects, specific sectoral policies, and the ADB’s plans and ongoing projects for the Philippines, during a courtesy call last August 7 in NEDA Central Office, Pasig City.
Pernia said that the country is expected to grow between 6.5 and 6.7 percent for 2016, citing that the 5.1 percent needed for the second semester to achieve a 6 percent growth is very much achievable.
For fiscal policies, Pernia said that government will continue the good performance of the previous administration, but will improve taxation to make it progressive, more equitable and competitive.
A tax policy reform bill will also be submitted to Congress within the year and will be composed of three packages. The first package, which covers personal income will be submitted to Congress in November at the latest and is hoped to take effect in the second quarter of 2017. This will be compensated by new taxes on oil and other items and will result in PHP167 billion net income.
On other issues and policies, Pernia said that the budget for infrastructure will be increased to 5 percent and subsequently to 7 percent. On agriculture, he said the government also needs to diversify the sector in order to produce high-value products instead of trying to achieve rice self-sufficiency.
Currently, ADB is working with the Philippines on several social protection initiatives such as the conditional cash transfer, water projects, and community-driven financing. On infrastructure, ADB is also engaged with government on the south line of the North-South Railway Project.
The organization is also planning to provide policy-based lending for local government finance and for the Mindanao road project.
Europa: Pasajes de Invierno, una instalación site specific de Florentino Díaz comisariada por Carlota Álvarez Basso para el programa de intervenciones Abierto x Obras, en la antigua cámara frigorífica de lo que fue el matadero municipal. La pieza se inscribe además en la programación de PhotoEspaña 2015.
La pieza conformada a partir de materiales de derribo, representa un barracón sobre el que no cesa de caer la lluvia. En su interior, pantallas de video nos muestran las imágenes de vidas anónimas del siglo XX, recogidas de álbumes encontrados en mercadillos, con el Winterreise (Viaje de invierno) de Schubert sonando de fondo. Según la comisaria Carlota Álvarez Basso, son “historias que hablan de los momentos de felicidad ajena que han caído en el olvido, de la fragilidad de nuestra existencia y de la inconsistencia de la memoria, tanto de la individual como de la colectiva”.
“El espectador debe recorrer estos pasajes de invierno a través de estos videos en los que, paradójicamente, no cabe imaginar el trágico destino que aguarda a sus protagonistas, y que nos hacen pensar en el incierto destino que nos espera” señala Florentino Díaz. Respecto al título, Díaz se inspira en El Libro de los Pasajes, el gran proyecto inacabado de Walter Benjamin, fallecido en 1940, que “cuestiona el desarrollo de una historia que hasta ese momento no había cumplido las expectativas de liberación humana, y que en sus ruinas mostraba la imposibilidad de alcanzar sus metas últimas”, explica el artista.
Las obras de Florentino Díaz (Cáceres - 1954) se caracterizan, desde los años 1990, por el uso de materiales e imágenes recuperadas, elementos aparentemente sencillos pero cargados de sentido y de connotación emocional. Desde hace muchos años Florentino Díaz ha ido guardando pequeños tesoros encontrados en el Rastro de Madrid o de las ciudades que visitaba en sus viajes. Objetos, libros, fotografías que a veces nos desvelan y otras se guardan los secretos de vidas e historias de otro tiempo. El artista es además un referente cuyo trabajo ha girado siempre en torno al concepto de lo doméstico, de la casa, concebida como un espacio cada vez más difícil de habitar. Sus instalaciones se han expuesto en centros nacionales e internacionales, como el CAB DE Burgos, MEIAC de Badajoz, Museo Barjola de Gijón, Casal Solleriç Espai 4 de Mallorca, Museo de Cáceres, Salón de los 16, Kunstamt Kreuzberg-Bethanien de Berlín, y en ferias como Art Cologne, MACO-MEXICO, Liste The Young Art Fair de Basel, Art Chicago, Busan Bienal de Corea. Y forma parte de colecciones privadas, museos e instituciones como CGAC de A Coruña, Colección La Caixa, Fundación Coca-Cola España, Colección Banco de España, Museo de Cáceres, entre otras.
Abierto x Obras
Abierto x Obras, en Matadero Madrid, es un programa de intervenciones site specific que incentiva el carácter experimental de la creación contemporánea a través de planteamientos que exploran la relación entre el arte y el lugar que lo acoge, la antigua cámara frigorífica del Matadero. Desde 2007 Abierto x Obras ha acogido las intervenciones de artistas como Daniel Canogar, Jannis Kounnellis, Román Signer, Carlos Garaicoa, Fernando Sánchez Castillo, Jordi Colomer, Los Carpinteros, Cristina Lucas, o Eugenio Ampudia, entre otros. Próximamente se podrá disfrutar del trabajo del artista británico Haroon Mirza.
“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
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)
Over the course of three weeks in the fall of 2011, eleven Brooklyn Preparatory high school students collaborated with International Studio & Curatorial Program (ISCP) artist-in-residence Tang-Wei Hsu (based in Taiwan) to create a cosmos-inspired installation for Brooklyn Prep. Contributing students gained insight into contemporary art practices while creating a twenty-foot site-specific work with Hsu along the corridors of their school. The completed landscape is composed of the students’ collective symbols of spaces and objects based on their current, future and imagined lives.
Wang Yu Yang, Artificial Moon, 2007
Installation view at Palazzo Strozzi's courtyard. Florence
photo: Marco Annunziata - marcoannunziata.tumblr.com/
Beware of pickpockets, targeting old age pensioners, using big breasted fairies as a distraction. It happens.
A lovely Deep South Svastra, S. petulca to be specific. A nice pollen shot. You can see the huge bushy pollen carrying hairs on its hind legs, designed to carry dry pollen unlike Honey Bees and Bumble Bees which mix their pollen with nectar. I am guessing it is some sort of composite given it is blow out orange and that Svastras are known to favor that family of plants. Collected by Mimi Jenkins near Charleston, SC and Anders Croft's first bee photographs (Excellent work Anders, remind me to double your pay).
~~~~~~~~~~{{{{{{0}}}}}}~~~~~~~~~~
All photographs are public domain, feel free to download and use as you wish.
Photography Information: Canon Mark II 5D, Zerene Stacker, Stackshot Sled, 65mm Canon MP-E 1-5X macro lens, Twin Macro Flash in Styrofoam Cooler, F5.0, ISO 100, Shutter Speed 200
Beauty is truth, truth beauty - that is all
Ye know on earth and all ye need to know
" Ode on a Grecian Urn"
John Keats
You can also follow us on Instagram - account = USGSBIML Want some Useful Links to the Techniques We Use? Well now here you go Citizen:
Art Photo Book: Bees: An Up-Close Look at Pollinators Around the World
www.qbookshop.com/products/216627/9780760347386/Bees.html...
Basic USGSBIML set up:
www.youtube.com/watch?v=S-_yvIsucOY
USGSBIML Photoshopping Technique: Note that we now have added using the burn tool at 50% opacity set to shadows to clean up the halos that bleed into the black background from "hot" color sections of the picture.
www.youtube.com/watch?v=Bdmx_8zqvN4
PDF of Basic USGSBIML Photography Set Up:
ftp://ftpext.usgs.gov/pub/er/md/laurel/Droege/How%20to%20Take%20MacroPhotographs%20of%20Insects%20BIML%20Lab2.pdf
Google Hangout Demonstration of Techniques:
plus.google.com/events/c5569losvskrv2nu606ltof8odo
or
www.youtube.com/watch?v=4c15neFttoU
Excellent Technical Form on Stacking:
Contact information:
Sam Droege
sdroege@usgs.gov
301 497 5840
site-specific gecomponeerde totaalcollage
Nest heeft Wineke Gartz gevraagd een presentatie te maken binnen de Nestarchyserie die de afgelopen jaren is ontstaan en waarbinnen kunstenaars de complete tentoonstellingsruimte van Nest ter beschikking krijgen om mee aan de slag te gaan. Sinds Wineke Gartz in 1998 afstudeerde aan de Rijksakademie heeft ze een consistente carrière opgebouwd met installaties vol overlappende beelden, architectonische ingrepen, materialen en projecties.
Wineke Gartz heeft voor de kust van Scheveningen videomateriaal geschoten. Dat materiaal zal vermengd worden met materiaal van de kust van China waar ze enige tijd verbleef, en met filmfoto’s van Hollywoodsterren (de HotFreaks uit de titel), daklozen, bezinningscursussen, zelfportretten en performances uit Los Angeles. Het valt te verwachten dat het geheel een grote bewegende collage zal worden waarin alle oorspronkelijke ingrediënten hun oorsprong grotendeels verliezen en verworden tot een typische Wineke Gartz hallucinatie die de bezoeker een totaalervaring biedt en kan leiden tot een staat van trance. Tegelijkertijd worden esoterische clichés vermeden en doet het hedendaagse dagelijks leven volop mee.
Wineke Gartz exhibits in the Netherlands and in various countries worldwide. Her site-specific installations consist of complex overlays of imagery and media, often with the use of music and multiple video and slides projections and with the integral use of the architectural space. Her parallel realities include mixing the ordinary with the heroic, creating an almost hallucinatory experience. Her subjects relate to psychology, beauty, death, illusions and perception, nature versus urban life, art and mass media. Gartz is interested in the combination of spirituality, art and science. Currently she is developing video lectures about her work and started to collaborate with musicians.
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
This product specific Anhydrous Ammonia Training included in-class instruction regarding product characteristics, rail safety, regulatory compliance, and post incident debriefing. Practical hands-on training consisted of donning and doffing of personal protective equipment, hook up of transfer lines, flaring and sparging, and decontamination. Mock ups of challenging real life scenarios provided Itech’s emergency response personnel with the opportunity to reinforce skills and best practices throughout the day.
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.
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.
The tales of Leo Wayfarer and Damu the Kenku Assassin,as told by Leo to his Nephew Leto Collins (# 7 of 33)- Into the Jurka.
That bird and I saw a lot of weird shit in our days, some of it still keeps me up at night, most of all our very last job together, but some things we ran into weren't weird in a scary way, just in way that defies any sense. I dunno...but the world and it's truth is far more complicated then what we're taught,and you have to separate the things that really are true from the bullshit the Church and the Military feeds the public to hold our culture together. Don't get me wrong, I still love Regentum, even after all these years. I believe in a God, but not the church or the Emperor. What's important to me about Regentum is that it's perhaps the only place in the world where a common, regular person can receive the benefits of their own hard work. Everywhere I've ever been I've only seen masters and servants. The Dwarves are good to one another, perhaps even better then we in Regentum are. But in Rolheim the Dwarves have a very set and rigid way of life. You're stuck in the position you're born into, but no Dwarf suffers or is destitute. Here in Regentum if you're born poor you can do something about it. Other Human nations that aren't our Colonies, forget it. That's why so many foreigners become Pirates. It's better to be a Pirate then the serf of some Sultan in Lu' Hadej, toil the years by on a Brenendale fishing ship, live under constant war in the mess of Alson, or slave away under some Monk in Nijiro.
After I got out of the Army like a lot of guys I was pretty jaded with all the shit talking about conquering the world for light and law and all that sort of talk. Our leaders fight for money and power and cull troops from the ranks of our working poor after getting them hyped up on religion. I mean look, they take these kids, they start at age fifteen, and all these boys are either from farming villages, or some industrial slum. You take a kid like that who hasn't got much of a future and you tell him that he'll be trained to fight for holy order, and that he will be special, that he will individually play a vital role in shaping the future of the empire and he buys it. Like me and yours Pops. We knew it was either the army, the docks, the factories or jail. It's ugly that it takes a large degree of smoke and mirrors to hold Regentum together, but its better then everywhere else out there.
Anyhow after Damu and I took out that Goblin leader Ertu we were in good standing with the Military as skilled mercenaries who were good at eliminating specific targets that were loose ends they needed cleaned up. It took those motherfuckers less then a month before I got a knock at the door from a Army courier with a new bounty contract in one hand, and a sack of gold in the other. I hadn't even yet spent all my money from before.
I was told that the Military needed a new way to send food supplies to all the troops the world over because the cost of doing so was getting too high due to the sheer number of troops we now how have the world over. Traditionally the food either came from local sources, or was shipped in by merchants with government contracts. The Military hired Wizard-Engineers to design a new system of providing troops with enough food in a cheaper way. So they applied the idea of the factory to the slaughter house. Along the road way between Salsburg and Fieldsview a big warehouse was built in which cattle was slaughtered in mass by huge killing machines and the meat cured, salted and prepped for shipping.
Some Druid freaked out about this place and attacked it. Around this time the Army was routing out a large strike force of the Derago Tribe of Hobgoblins. The Deragos' got their asses handed to them and broke up into a bunch of small rag-tag units. The Druid trashed the place pretty good, and the report in my contract didn't mention as to what happened to the Druid or who he was. Troops, Engineers, Craftsman and supply laden Merchants were quickly sent in to get the Meat Factory up and running. All of these sitting ducks alone along the highway caught the eye of a squad of Derago Hobgoblins who in turn decided to take their own stab at the meat factory. We were asked to find the leader of the Squad, a Hobgoblin named Jahghu Khazul and kill him. The Army in the area was still busy chasing down the bulk of the Derago forces, and had them pinned way up north almost to Rolhiem.
This time around we bought our own wagon and horse rather then catching a ride with a caravan. A nice light brown horse I never got the chance to name or get attached to. After the mission I ended up loosing our horse in a dice game on the way back to Scardale to this skinny toothless drunk in a bar in Salsburg. Damu was pissed off about it, and he laughed at me the whole way home.
Most of the trip there was easy, if even a little boring. We had to go this round about way to get there as there was no highway that went directly there and I didn't want to chance getting shook down with Damu in tow. But even playing by the book we got caught up in some shit. Between Nolos and Salsburg we got stopped by a Polly squad. One of them saw us in Nolos when we stopped for supplies and bitched to the others about a Kenku moving around the interior. Even though the eastern end of Regentum is thought of as being more religiously tolerant then out west, its just that out west they think of themselves as superior given that they eastern region was conquered and absorbed into the Empire. Really everyone in the Empire outside of the big coastal cities clings very firmly to our Religion and its accompanying prejudices. I caught a lot of shit over the years for having a Kenku for a friend.
5 of these pricks rode up on us, battle standards held all high, pole arms drawn, you know the whole fucking works. Big fucking fags in their shinny armor demanding to know what me and the Bird were up to. I held out the contract with the army guys in Scardale and was like, "Were here to do your dirty work". Some big prissy bitch, Sir Halton kept scrutinizing me, being like, "How can I keep the company of a Heathen animal?", and how legal or otherwise "To bring such a foul creature into the interior was an affront to the holy sanctity of our beloved empire". Typical Paladin fag shit. Fuck them. The mercenary rabble were here to wipe their ass because they were too important to do it themselves. Damu maybe a local legend here in Scardale, but out in the country or in the eyes of the Church he was scum.
When we got to the Meat factory there was a bunch of workers busting their asses to fix it, a few merchants and rich Gnomes, some solders, and some hired swords keeping an eye on the place. The ruined factory buildings had maze of scaffolding towering up their crumbling walls, and about the area around them was a decent sized encampment. Various tents dotted the place, though one could clearly tell the difference between tents belonging to the workers, the merchants, the troops and the mercenaries. Worker tents were drab though orderly. The tents of the business men were lined with velvet and furs. The Army tents had various standards embroidered to them, and the mercenary tents were both drab and disorderly. Also they were off to the side of everyone else. I saw a big, ugly mother fucker around the Merc tents, both too big and too ugly to be completely human, but not a Half-Orc. I saw he wore the spiked gauntlets common to Gladiators and figured he must of been a half-breed slave who fought his away from to freedom from the fighting pits. Still fighting on behalf of the gold of the rich, but at least the deal was more in his favor. I hope anyway. One of the other mercs there was this guy Ramalti, a big guy with a shaved head and thick curled mustache. I knew him from the army. Once we fought Pirates together off the coast of Fazas. After checking in with the Captain of the place, we set up camp with Ramalti.
Ramalti had a huge pile of furs arranged under a high posted canopy and laid around a fire with a few extra skinned rabbits cooking. We caught up on things for a hour or so, though I could tell he didn't like that I had Damu with me, though he didn't say anything.Ramalti told me his last gig was doing a hit for people who were part of Snake-Worshiping cult and that he was glad to be away from them. Said that they used pit fighting for a front and had a lot of weird orgies. Didn't seem too bad to me but he warned me to stay away if they ever approached us.
Damu was fidgety, which was unnerving given how calm how usually was, something was up. The small talk between Ramalti and I was broken when Damu asked flatly, "Tell us about the Hobgoblins around here, we are here kill to Jahghu Kazul". It was an awkward moment. Ramalti gave Damu a stern look and me a half stern half worried look and was like, "Yea Kazul, yea he's around these ways, or should be. Last we knew anyway. Look let me tell you guys a few things about this job. The moneyed people here have their head up their ass and all they want to know is when this place will up and running again. Don't listen to them. The military guys are here to watch them. They're only gonna tell you half of what you need to know. Something weird is going on out in the fields. Animals have been acting strange. On patrols at night I've seen bolts of color and light off in the distance, and one night while following what was the tracks of two small feet, they abruptly shifted into the paw prints of a 4 legged creature."
I looked over at Ramalti and he handed me a wine skin, "Also have you two heard of an area called the Jurka?", he asked. "No", Damu replied. Damu didn't know much beyond city life, or even beyond life in Scardale. He was always a tad out of his element on missions like this. Though to be honest I never heard of it either. It is a creepy place we found. "The Jurka", Ramalti said, "is an ugly, sunken scar of land sunken and wide, but also consisting of many hills, little rivers, creeks and the occasional murky swamp lake. It is a lonely and windy stretch of land of irregular width, but hundreds of miles in length. Jurka is Goblin for 'the crack'. Most Goblins and Hobgoblins avoid the place, though I've been told that some powerful Hobgoblin Warlords are buried there.The Gobos say the place is cursed as its not naturally occurring. Something deep below the ground they claim cracked the land open centuries ago. It's not on any known maps, nor mentioned in any journals. For a distinct land mass so big that's very strange. Someone must not want it to be known."
Damu laughed, "I don't care about any cracks or secrets any Hairies keep from each other. We're here for Jahghu Kazul, that's all that matters."
Right before dawn we were woken up to screams and commotions. The first thing I saw upon waking were 4 foxes a few feet away from me. I laughed at first, but when I stood up I realized the place was over run with foxes. Foxes and geese. They were every where, howling and running amok. It would have been funny if it weren't so out of place and deliberate seeming. No one knew what to do and it I think because of that it was really freaking a lot of them out.
Quickly then I saw a fox stare it me. It had a bloody muzzle and in its mouth was a blood-stained pointed Gnome hat. I pointed over to Damu and he quickly drew an arrow and shot the fox. As I ran towards the fox its shape contorted and elongated. By the time my sword was swinging directly at it the fox it had become a tall skinny guy with long matted hair down past his ass, a long matted beard, and just a loin cloth on. His eyes seemed distant yet driven by some equally remote purpose. The Wild Man rolled out of the way. I saw that his hands were glowing and all of a sudden vines grew quickly up from the ground, like water being poured from a bottle, that were wrapping up around my legs. He smiled without humor at this and pulled the arrow Damu Shot him with out of his shoulder. Blood squirted out and a chunk of meat flopped over from the wound.
What looked like a large, stocky Goblin but still not a Hobgoblin walked up to the Wild Man just as he was picking up the bloody Gnome hat. The Wild Man looked over at the strange Goblin and spoke, "This will do. The Dwarves and the Gnomes are just as bad as these Regentum people. The Gnomes maybe even more so. They hide behind their money and get Humans to do their dirty work." The Goblin-thing didn't seemed to care too much, but they never had the chance to debate the matter. Ramalti and Damu charged the two. Ramalti carried a large spiked mace that he swung down towards the head of the Goblin. Catching the creatures cap, but not its head, the Goblin leaped up in the air far higher then a Goblin should be able to leap, and landed on top of Ramalti biting him in the neck. The vines wrapped tighter around my legs and I was worried that my legs would shatter under the strain. Damu threw his dagger straight into the gut of the Wild Man with one hand, and slashed across his face with his sword with the other. The Wild Man fell back, holding his guts into his stomach. The slash across his face caused his nose to dangle and his cheek to flop open. I think some teeth were missing or dangling by tiny threads of mouth meat in his beard. The ground around us burst into flame. Damu leaped out of the way, and Ramalti was still struggling with the creature wrapped around his neck and head. Me, I stuck my legs in the fire and burned away the vines. It was painful, but not as painful as my legs being crushed.
Quickly I tried to stand, but I stumbled as I got up. The Wild Man rushed with his hands transformed into large green glowing claws. A claw jabbed towards my head, but I ducked under it, and swooped my sword upwards and into and out of his chest. The fire abruptly stopped. The Goblin creature jumped off of Ramalti and by the time it hit the ground it transformed into some strange mix of Goblin and Wolf. Later on Damu said such creatures were called Barghests. Whatever it was it took off running. Soon all the Foxes and Geese went away.
The Captain and his men surrounded the Wild Man. I was confused at first because they bound his body in shackles, as why exactly they would bound up a corpse, but my confusion quickly turned to anger as the poured a healing potion down the mother fuckers throat. I screamed out at them, "What the fuck are you doing? He's a Witch, leave him dead! I'm not killing him again unless I get paid extra." Which funny enough we did get paid twice for killing that guy. Turns out he was the crazed Druid who attacked the Meat-Factory in the first place. Gharuun the Druid, wanted across eastern Regentum for various acts of terrorism, spreading blasphemy, and other crimes against the Empire. Around the camp I heard that Gharuun was once the Son of a rich industrialist family out of Tardon. He was supposedly once Francis Applemoore, a scion of a blue-blood family who went insane around the time his family fell to controversy. If I recall right, I think actually the Applemoore's owned a factory outside of Tardon that accidentally poisoned a near-by river with mercury, killing hundreds of peasant-folk, and making many more sick.Butt-Boy Sir Halton and his squad of Knights showed up to interrogate Gharuun and bring him to Elaine for execution, but not until after they kissed Gnome ass. The Gnomes and the Human Merchants were grieving over the loss of the Gnome Harov Goldstein and his money (which the Barghest apparently got away with).
It was found out after a day of torture that Gharuun was working with Jahghu Kazul and his forces out of the Jurka because of mutual animosity towards Regentum. The whole "the enemy of my enemy" bit. Gharuun was bothered by industrialization and by it being this far into the interior of the country-side. Admittedly on that part Gharuun was perhaps right, I myself hate to admit that I agreed with a Druid, but while I grew up in the city surrounded by factories and industry, I've always valued the clean greenery of the country side when I've traveled through it.I could see how he ended up a Druid after coming from a family who's factory poisoned the land. I'd hate to our beautiful country side ruined just to make people like Harov Goldstein rich. Jahghu Kazul however could give two shits either way. Gharuun didn't want loot and worked for free. Gharuun was a zealot, violence for his religion was its own reward. Kazul was a raider and aspiring Warlord. He only valued money and brute force.
That night Damu and I rode into the Jurka.
The very southern most portion of the Jurka came to a tapered tip and sloped down at an easy descent. It really did look like a sunken crack in the earth, as if here the world split open and then was over grown over the ensuing years. A creek ran along the bottom of the valley. We decided for the time being not to go directly into the Jurka but to follow along its western edge, at least until dawn. By dawn we saw that the creek had grown considerably in size further up stream, and off the near distance was a waterfall with what looked like an old, abandoned ruined mill next to it.
Damu scouted out the ruin and it was clear. We camped out there for a few hours. Not even bothering to unravel my bed roll, I just laid on top of a concrete slab and rested my head on my bag. In my nap I had a strange dream about a grand mother living in the mill with her grand children and a giant frog that moved into the water fall that ate her kids. I woke up and didn't want to find out if that was true or not, so I shook Damu awake and we got going.
As dawn rose, the whole of the Jurka was blanketed in an early morning foggy-mist and lit in a pale glow. The place has a strange beauty, yet something is noticeably unsettling about it. Everything is a bit off, and nature with in it goes in unusual courses. During that morning ride along the Jurka Damu and I saw aquatic rabbits. I shit you not, we saw water-rabbits, long and skinny, with wide flat feet and light green fur. Maybe they couldn't breathe the water, but we saw rabbits hopping from land and into water, swimming frantically down stream, and back out again.
By late afternoon we caught sight of fresh tracks that looked like the hoof-prints of the giant boars that the Hobgoblins ride heading from the west and northbound into the Jurka directly. We left our horse and wagon there and headed in. As we did we stopped to consider tactics. We both had fought Hobgoblins but they had numbers on us. Plus we we're only after one of them. The Hobgoblin raiders of the northern plains I have a respect for. On their Boar-Mounts they are deadly. They have a unique style of Calvary tactics that is very different from how we, or the Elves, etc. would use typically fight on horse back. They fight almost like a pack of wild animals, and use hit and run tactics with ruthless efficiency. When I was in the army I fought with units charged with taking out Hobgoblins on a few occasions. While we always won, it was only because of superior numbers. For every raider we took they easily took 6 to 8 of our men. You have to use traps and guerrilla tactics on them, as a blow to blow fight always came with heavy losses.
So we decided that we would try to locate them, then set up what ever traps we could near by, and hopefully lure them in. I knew Damu carried all sorts of nastiness is in his bag. He always came equipped for a millions forms of murder. Though I learned a lot from him in those years. When I first met him I still fought like a soldier as I still thought like a soldier after years in the army. On our first two missions he taught me the difference between fighting and killing. He was a killer born and bred, I was a warrior who learned also to be a killer. I still had to do most of the blow to blow work when it was necessary. But he was right. We didn't fight for honor, or duty we did this work just for money, so it doesn't make sense to take a lot of risks when you're a mercenary.
Right before night fall we came upon a hilly area with-in the Jurka that rang out with a low, droning, moaning sound that seemed to wrap around the area with the wind. It all seemed very somber and morbid. The hills about the place each had various oblong obelisks on top. I stopped to check one out. It had markings on it that neither of us could read and was made of a strange purple-black stone. The pillar had holes carved into it which when wind blew through it created the moaning sounds the carried through this mournful place. At the base of this pillar was a regular limestone slab carved out in Gobbely which read, "Kufaza Derago". This place was a series of Hobgoblin burial mounds! Where they got the strange obelisks, I don't know, but they didn't look like they were carved from the hands of any Goblinoid. Whatever their origin I was glad for them for the sounds they made would provide us some cover.
Damu quickly grabbed my side and motioned me to duck down. In the haze of the setting sun I saw the silhouette of a Goose. "That's not a real Bird, that Druid escaped", he whispered to me as he drew his bow. Sure enough two hills over the goose landed by a mound and quickly shifted its form into that Gharuun. He looked in bad shape. Good, it'd be easier to kill him again. Damu snuck in closer, hugging the shadows between hills, but keeping Gharuun with in constant bow shot. I drank two potions, one to move far more swiftly then I could and another that made shadows wrap around me. He motioned to me to get in position to attack after he attacked first. I saw him dip his arrow head into a little jar of something nasty, plus his arrows heads were not only enchanted, but carved in a way that did even more damage when you pulled them out. Gharuun was kneeling before an Obelesk and had started to perform some sort of ritual when Damu fired a shot through his back and out his chest.
Leaping up the hill I was almost knocked over as the air rippled waves of force in all directions from out of Gharuun. I saw his glowing hands touch the wound and seal it. But with the arrow still stuck through him. Hopefully the healing spell he cast on himself didn't take out the poison on the arrow as well. Mother Fucker. It started to rain like mad out of no where, and Damu got knocked over by huge gusts of wind. Gharuun laughed at me as I swung my sword at his head. He ducked, and swung up with a wooden staff that caught me on the chin. I spit blood in his face and swung again. And missed again. For a crazy naked guy he moved like a fucking tiger, I'll give him that. Then I saw that next to the mound a hole was dug. I quickly figured that if this was a burial mound it was a freshly dug grave. Good. I deliberately made a shitty swing towards him again, and made an equally deliberate shitty attempt to dodge the counter blow from his staff. It hit me in the chest, and I acted like it
really knocked me on my ass as I fell towards the hole. Never, ever gloat over somebody in a fight. As I lay there in the pouring rain, Gharuun stood over me grinning with some violent yet distant look in his eyes. I have no idea where his mind really was, nor will I ever find out for in that moment I grabbed him and pulled us both down into the hole, impaling him with my sword as well hit the bottom. I stood up and saw Damu on top of the hole making a cut off his head gesture. Breathing heavy I nodded in agreement, As I tossed the head up to Damu the rain abruptly stopped.
Something picked Damu's eyes in the distance. He paused and pulled out a periscope, "Hobgoblins, about 5 of them on Boars are coming this way, yet two are pulling a cart carrying something covered in blankets. The lead rider looks important. I bet it's Jahghu Kazul. We have maybe 30 minutes before they see us." It wasn't enough time to get too elaborate with traps. The mud from the magic storm was at least helpful. Out of his side bag, Damu pulled out 4 claw traps and buried them in the mud along the hill. I was hoping for enough time to dig pit traps, they work wonders on mounted attackers. Flint, oil flasks, and trip wires would have to do. Damu made a few fire bombs and handed me one. We hunkered down on the edge other side of the hill as we listened to them ride up. I stuck my flint to light my fire bomb as the sounds of boar-snorts grew louder. I heared the distinct metal snap of a claw trap over top the awful wailing of the obelisks and the roar of a boar bred to gigantic proportions. I through the fire bomb, and heard screams in Gobbley. It was on.
Damu ran around the edge of the hill top to the left and I to right. I saw him shoot a quick burst of arrows that caught a boar in the gut and it's rider in the eye. A boar big enough for a Hobgoblin to ride is a boar big enough to bite someone as small as Damu clean in half. Those things are damn near the size of horses- not as tall, but way wider and sturdier.
Another Boar-mounted Hobgoblin charged at me swinging a morning star as his mount aimed its tusks at me. I quickly saw this was really a feint, as a bigger and badder looking Hobgoblin behind him was drawing his bow down on me. I let the first rider charge me, then I quickly dropped down on my back. It lept over me and I stabbed upwards into its belly, disemboweling the beast, but caught an arrow in my leg in return. Two Hobgoblins on foot were pulling the cart the last of the way on foot. The traps took out their mounts. The rider who's mount I killed swung his morning star down at me, and caught me in the gut, though the spikes only poked me a little bit, my armor took most of the blow. The bigger and badder looking Hobgoblin, whom I quickly figured was Jahghu Kazul was still on his mount and was calmly drawing another bow shot. Fuck the nobody with the morning star, I ran straight for Jahghu.
He leaped off his mount and ran out at me with this really nice, sleek battle axe. He caught me in the left shoulder with it and across my abdomen. I kicked him the shin, and as he stumbled Damu caught him in the neck with an arrow. As he Jahghu hesitated from the arrow shot I swiped across the chest, and down again taking of his left leg right below the knee. Morning star guy swung over from behind me and caught me in the right shoulder. Damu threw his dagger right through morning star guy's throat and I finished off Jahghu Kazul as he lay there bleeding. I took the axe and Jahghu Kazul's helmet. The thing was silver with all these fancy ivory horns. He had large key around his kneck tied with thick leather cord. I took that figuring it had to do with the whatever was under the blankets in the carts. Maybe they were leaving an offering to a recently dead Chieftain I thought. Nothing really could have prepared me for what was under there.
The two Hobgoblins pulling the cart up the hill managed to get what was in the cart off of it just before Damu killed them with a rain of arrows. It sat before the hole. We looted the Hobgoblin bodies and dumped them all in the hole with Gharuun, minus the head of Jahghu Kazul. As we started to peel layers of blankets back from what was under the them, we could start to see a glowing green light come from underneath them. I paused, and Damu's feathers stood on end. I started to feel something or someone around us, and I was immediately knocked back ten feet. I felt like I was just hit in the chest with a boulder. I think ribs broke. I could hardly breathe. As I stood up Damu screeched and pulled back the rest of the blankets.
I told you this mission was a weird one. Beneath the blankets was a big round glass jar mounded on a shinny black base, and capped with an ornate black metal lid complete with a key hole, filled with a glowing green, bubbling liquid that inside floated a large misshapen brain.Worst of all it spoke. "Where is Jahghu Kazul?", we heard a low voice speak from all directions. The Kenku practice black arts and Damu was privy to a lot of creepy shit because of what his clan did, but I could tell he was completely dumbfounded by this talking Brain in a Jar. Damu lifted up Jahghu's head and pressed it to the glass of the jar, "He's dead. We killed him." Balls of steel that bird had, even when confronted with something like this. "Where is the key that he wore around his neck?", demanded the Brain in the Jar. The thing had power, whatever the fuck it was. But it had no legs and so broken ribs or not I decided to play my hand heavy figuring that sense I had legs and the Jar did not I could run. I strode over to it with the key in hand, taunting it, "I have it but if you try that shit again I'll break it!". It made a hissing sound and the liquid inside bubbled. "Very well, what do you want?", it responded.
Damu spoke up, "What are you, why do these Hobgoblins have you and why are you here with them to meet the Druid Gharuun?"
"Very well then, I will you tell my story and then in exchange you will help bring my story to an end. I am or at least I was Draaza Kazul, Hobgoblin Shaman of Derago Tribe. I was Jahghu's Uncle. The Derago are in the employment of another race you Humans and you Kenku know nothing of. They are a foul and terrible race that dwell in deep caverns under the mountains west of Rolheim. There they plot the destruction and enslavement of all the world above and practice rites and foul sorcery so black and alien even I am aghast at the cosmic scope of their horror. Needless to say its better that you don't know this race. Many of us regret the pact our ancestors made with them in order to gain an edge over our rival tribe the Kulshychi Hobgoblins who serve the Hidden Lords of the City of Bayport. Secret wars have been waged for generations now between the shadows of Regentum and Rolheim, wars on both your edges, indifferent to the whims of Human and Dwarf. This place we call the Jurka is a casualty of that war."
This certainly I wasn't going to tell the army when we collected our bounty. On a few missions I've stumbled on to schemes and plots on a scale I tend to avoid. I'll save that shit for the military and the good guys. If this wasn't bad enough already, the Jar went on.
"Some where between these uncontested lands, close to Manas as well, there is reputed to be the stronghold of an Elven-Wizard recluse of significant prowless. I led the mission to find this Stronghold so the Derago could raid it secure the Wizards secrets for those we serve. I failed the first time and as punishment those whom the Derago serve did this did me. With in this jar they said my occult powers would be strong enough to find the Elf-Mages location, which in fact was true, but it was obvious they intended it also to be a punishment for my failure. They locked me in this state of chemical undeath. Nothing pleases a proud Hobgoblin more, other then perhaps the din of battle and the cries of fleeing enemies, then then feel of wind across his face as he rides across these vast, rolling ancestral plains on his beloved Boar mount. I did find the location of the stronghold and a great legion of Derago were called together from across the plains, and from under the earth out of the dark subterranean cities of our employers where we our are numbers are bred like cattle by our employers who have tricked us and are becoming our masters. I dread the day when these creatures have enslaved our race entirely for those bred by them will out number our proud and freeborn numbers with in a few generations. Foolishly we gave them our weak and disgraced thinking they would merely eat them, for they live on the brains of other races, but instead from these few they are raising a region of war-fodder. But as our collective force rode out to the tower we were spotted the forces of Regentum and Guidane. They broke our advance and scattered our numbers. While I have no love for Humans or your culture I am grateful that they foiled this raid. I dread to think of what power lurked in the fortress of that Elven-Wizard that those below, who already are the masters of countless volatile magics, would go to great lengths to capture it, and what they would do with it. I was to be brought here to be buried, what is left of me anyway, to be laid to rest, free of this nightmare undeath, in a proper repose fitting of noble born Hobgoblin reunited with his ancestors. The Druid, a traitor to his kind I'm told, I have mixed feelings about that, was to clean any taint of necromancy that may pollute my remains. It's too late for that now, as I assume you killed him as well. My last request is that you take the key you took from my Nephew's body, unseal my Jar-Prison and bury me with-in the mound."
I looked down at Damu, he shrugged in agreement. I didn't want to fight again if I didn't have to. I had only one healing potion on me and I needed it already. As I unsealed the Jar the sound the moaning obelisks grew to a great roar. A great burst of green-light erupted from the inside and I heard a great loud sigh of relief coming from its voice. In my minds I quickly saw a vision of tall thin beings in ornate robes with pasty pale sickly skin and faces of tentacles. I hoped I never saw such creatures again and it wasn't until our very last mission together that we ever saw any. Years later we saw the very dark truth that the Brain in the Jar that was once Draaza Kazul told us that night on the burial mound deep in the Jurka. As I pulled the brain out and carried it to the hole I saw what looked like a wispy and translucent image of a Hobgoblin adorned with all manner of ritual fetishes and symbols emerge out of the Jar. The image nodded to me and as I tossed it in we heard the ghost of Draaza Kazul say ,"Thank you".
Tired and wounded we hoped that we could make it back to the abandoned mill. I drank my healing potions as we walked into the night back the way we came. Once we were away from the sounds of the obelesks we could could hear yelling and galloping hooves in the distance. We weren't out of the mess yet. A few hours into things, perhaps a hour or two before dawn, Damu paused for a second then I heard a thudding sound as he dropped. An arrow was in his hip, and it was too dark out to tell where it was coming from.Worst off all we back on the edge of the Jurka, out on open plains with no cover. I saw two big lumbering bodies rushing towards me. I ran head long towards them and swung wildly. Two huge Bugbear berzerkers, shock troops for the Hobgoblin raiders. The Barghest had returned and it was on top of Damu! The Bugbears were all fur and muscle and armed with huge spiked clubs. Their eyes glowed a feint yellow in the dark, and they seemed consumed with a frenzied blood lust. Even still I thought I could take them, though with berzerkers of any sort you have to be careful because they'll hut themselves just to hurt you more.
I hate that Humans are damn near the only race that can't see in the dark. Thinking of that I kicked dirt in the face of one Bugbear right as the other swung down his club with both hands. It missed and I stepped on the club, leaped up and swung my sword deep into its neck and collar bone. It fell, and rolled over. The other grabbed in both its hands, making me drop my sword and it lifted me up in an effort to bite my head. I head butted it with my spiked helmet and dazed it for a second. I gutted it with a dagger and it swiped my face with its claws, leaving me with a cut from under my left eye and across my cheek to my jaw line. The other Bugbear got up and I grabbed my sword. It ran full force at me with a bone shiv and I held my ground, but ducked out the way as it went pass me and down into the Jurka. Sadly it was only ten feet to the bottom. The other Bugbear went towards the Barghest. Damu was pretty beat up. I saw him limping and holding his stomach in one hand and swinging his sword in the other. The Barghest was in wolf-thing form and its mouth drooled with a mess of feathers and blood.
Damu could do a bit of magic but he hated to do so. Not that he had a problem with magic, but he prided himself on his talents as an assassin so much that he only used such things as a last resort. Like there in that tight spot cornered between the Barghest and the approaching Bugbear. He chanted something to himself and leaped twenty feet away and over the head of the Bugbear, which he slashed wide open as he went by. As the Bugbear's skull split open I charged the Barghest and ran it through. It shriveled and shifted back into its stocky Goblin shape at the end of my blade. Damu came back and looked over the edge into the Jurka and laughed, "Hey Leo look at that!". Down in the Jurka I saw an albino frog the size of a barrel eating the insides of other Bugbear. Shit the dream was real after all! Lord that place was creepy! We made it to our horse and Damu limped into the Wagon. He was in bad shape, but he'd make it, however shitty the ride would be.
When we got back the encampment in sorry shape the Paladins were gloating at the mess we were in but shut the fuck up when we presented the heads of both Jahghu Kazul and Gharuun. I demanded that we get paid twice for in fact killing Gharuun twice, something the Pollies didn't manage to do once. Which we did, and I managed to negotiate a healing for Damu, though they really didn't want to do that. We had Sir Halton sign and dip a wax seal in our work papers saying we had completed the task at hand so we didn't have to travel all that way carrying severed heads. All in all it was a good mission with no complaints.
In regards of burying what remained of Draaza Kazul I think in this case I did the right thing. It felt right, and despite of the circumstances of why I was there in the first place, I did feel like the burial mounds were in their own way a holy and sacred spot. Don't let the Clerics know I said that, but like I said, in spite of how many Hobgoblins I sent to their ancestors over the years, I do respect them. Maybe the plains of the uncontested regions are better off left in the hands of Goblinoids and crazed Druids. Better then in the hands of Gnomes and equally greedy Humans that will poison the untouched land with factories. Though like Draaza Kazul I dread the day when those below have grown their Hobgoblin slave armies to numbers vast enough to lay waste to our nation. The masters of the Derago have a name for themselves, but as I learned from the Dwarves of Rolheim they are called Mind-Flayers by others. I learned from the one time I went to Rolheim that much of our own history that we are taught is heavily watered down by the Church.
We are taught that the earth is base and profane and that's why Bestial races who come from out of the earth rather then on top of it- Orcs, Ogres, Goblinoids, etc.- inherently have a greater predisposition towards evil. That's not completely true I've learned. These races come from wild, untamed places and are more like animals. Certainly an Orc is dumb and vicious and that viciousness easily favors things we would call evil, but it's nature is more like a hungry Wolf then it is Demonic. Also while they all dig burrows, tunnels, or live in ruins or caves, they live off of the land. They don't live underground. However there are things that live underground, deep underground and these things certainly are evil. But they are evil in a way to that is a mirror to us and that is why the Church hides their existence. There are races down below that are intelligent, build cities and have cultures, though horrific nightmare cultures left buried below. While I was in Rolheim I learned that the 1298 war of Stockdon wasn't really led by a Dragon and its forces. The Dragon served the Mind-Flayers. A small number of them in fact. Rolheim has a long history of waring with these Mind-Flayers.
Anyway, I know that a lot of the work Damu and I did was part of a bigger plan for Regentum to clear out dangers from the wild areas so that industry could be moved deeper into the interior. We were the first generation of a legion of hired swords set out to do dirty work with big business and industry moving quickly behind us. They hire young mercenaries now more then ever. I just hope that its all towards a good end. I don't want Regentum to turn into an Empire of billowing smoke stacks and loud grinding factories. If it were up to the rich the whole country would look like the factory slums of Scardale. I see the guys coming in here boasting of their exploits wanting to blow their gold on my beer and the girls I keep around here. I earned and lost fortunes a few times over to taverns and prostitutes that I know now in my fifties that it's better to be standing behind the bar then sitting in front of it. I hear the kids are getting a lot of work clearing out areas out west for the new railroad and that by the time I'm dead it'll connect Elaine with Scardale. But the government really doesn't know whats lurking out there. Some of them do, the Rangers do, but their the dirtiest bunch of crooks you'll ever run into and they'll never tell the Army, the Church and certainly not the Palladins. We have more to worry about then mere Pirates, Bandits and Goblinoid Raiders.
But if the monsters and other horrors out there don't ruin us the Gnomes and big business will.
“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
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.
(more pictures you can see by clicking on the link at the end of the side!)
Photo: Vienna City Park plan - Flower - Lake
City Park Plan - Flower - Lake Ltd. © Vienna - specific
The Viennese City Park stretches from the park ring in the first district of Vienna up to the Haymarket in the third district of Vienna and is a of both tourists and local citizens well-visited park in Vienna. Its area is 65,000 m².
History
Yet in the Biedermeier the Water Glacis was a popular entertainment venue before the Karolinenstadttor (city gate). As part of the by the demolition of the city wall happened remodeling in the Ringstrasse, the project of a public park has been promoted on that site by the then Mayor of Vienna, Andreas Zelinka. This park was designed in the style of English gardens by the landscape painter Josef Selleny, the plannings were carried out by the city gardener Rudolf Siebeck. On 21th August 1862 the city park was opened as the first public park in Vienna.
Vienna River flows through the city park
The Wien River flows through the city park, Vienna © concrete
"Wien" (Vienna River) in the city park
On the right bank of the river Wien (Wienfluss) was 1863 the so-called children's park, today mainly characterized by paved playgrounds and sports facilities, which over the Karoline bridge (Karolinenbrücke) (since 1918 Stadtparkbrücke), built in 1857, with the on the left bank situated town park is connected.
In the years 1903-1907 was in the parking area after the regulation a by Friedrich Ohmann and Josef Hackhofer planned Vienna river engineering structure with the river gate, pavilions and river banks built, which is one of the sights in the park.
In earlier times visitors of the park for the stay in placed chairs had to pay fees that were collected by the chair women (the so-called Sesselweiber).
Attractions in the park
Kursalon
The Kursalon
The water Glacis was a spa pavilion in which healing waters for drinking cures were served. To that affect, in the years 1865 to 1867 for the city park also the Kursalon was built according to plans of Johann Garben. This historicist imposing home in the style of the Italian Renaissanceg is located at the John street (Johannesgasse) and has a large terrace in the park:
After the opening on 8th May 1867 were originally forbidden pleasures. As this concept was not adopted, yet on 15th October in 1868 was taking place the first concert of Johann Strauss (son) whereupon became the Kursalon a popular dance and concert venue in particular at the time of the Strauss brothers. Today, the Kursalon after a renovation phase is again venue for balls, concerts, clubbings and conferences and houses a café-restaurant.
Photo: Johann Strauss monument in the city park; © RM
Monuments
With the gilded bronze statue of Johann Strauss (son) stands in the city park one of the best known and most frequently photographed monuments in Vienna. It was on 26th June 1921 unveiled and is framed of a marble relief by Edmund Hellmer. The gilding was removed in 1935 and in 1991 applied again. Other monuments there are, for example, of Franz Schubert, Franz Lehar and Robert Stolz and Hans Makart, the City Park is in monuments and sculptures the richest park in Vienna.
The dairy (Meierei)
The former milk bar was built as part of the Wienflußverbauung (Vienna river engineering structure) according to plans by Friedrich Ohmann and Josef Hackhofer from 1901 until 1903. After suffering heavy damages during the Second World War the building was extended in the reconstruction. Today is in the dairy after another annex a restaurant.
Planting
The planting of the city park is characterized by a great diversity of species and is, as possible, focused on a year-round flowering. Through an avenue to the ring road noise and exhaust gases are filtered. Some trees are protected, such as a ginkgo, a crown of thorns (Honeylocust, Christusdorn), cottonwood tree and Caucasian wingnut.
IVECO Military Trakker 6x6 RHD Tippers Truck.
The IVECO Trakker Heavy Duty Off-road Truck is based on the company's commercial design, which was militarized to meet specific requirements. This military truck has been available since 2004. It replaced in production the previous EuroTrakker range. The IVECO Trakker range includes Tractor Trucks, General Troop / Cargo Carriers, and special wheeled chassis with 4x4, 6x6 and 8x8 configuration. These military trucks are in service with a number of countries worldwide, including Germany, Switzerland and United Kingdom.
The IVECO Trakker 8x8 version has a payload capacity of 28 tons and is available as with a palletized loading system, Dump Truck, Fuel Tanker, Trackway Carrier, Expandable Van Carrier, Decontamination Vehicle, other specialized versions exist. The cab of the IVECO Trakker accommodates the driver and two passengers. This cab has already been used on IVECO Stralis commercial trucks and can be fitted with add-on armour kit, which offers protection against small arms fire, artillery shell fragments and mine blasts. This military truck is also available with an interchangeable armoured cab, jointly developed by IVECO and Kraus-Maffei Wegmann of Germany.
Various engine versions are available. Initially the most powerful engine available on the Trakker was the Cursor-13 turbocharged diesel unit developing 480hp and meets EURO IV emission requirements. Later a more powerful 500hp engine was proposed. The engine is coupled with a ZF manual or automatic transmission. The Trakker has a full-time all-wheel drive, the driveline components are shared with the civilian Trakker range of heavy duty trucks.
All specifications for Iveco Trakker AD380T45W truck:
▪︎Manufacturer: Iveco Defence Vehicles
▪︎Country of Origin: Italy
▪︎Entered Service: 2004
▪︎Crew: Driver and two personnel
▪︎Model: Trakker AD380T45W
▪︎Category: Tipper Truck
▪︎Body: Hardox steel
▪︎Powerplant: F3BE3681C 450hp
▪︎Gearbox: Automatic
▪︎Drive Type: 6X6 hub reduction
▪︎Tyres: 395/85R20
▪︎Electrics: 24vdc
▪︎Gross Vehicle Weight: 38 tons
Sourced from:
I'm starting to purchase some relatively expensive gemstones. I wanted to know how I could be sure of what I was purchasing when there are some misleading trade names and vendors that may not ask as many questions of their supplier as they should.
Calculating the specific gravity of your new sparklies is a good method and can be done fairly inexpensively.
blog.autochthonous-evolved.com/2013/04/making-sure-your-g...
===General information=== Robinia pseudoacacia, commonly known in its native territory as black locust, is a medium-sized deciduous tree native to the southeastern United States. It has been widely planted and naturalised elsewhere in temperate North America, Europe, Southern Africa and Asia and is considered an invasive species in some areas. Another common name is false acacia a literal translation of the specific name (pseudo meaning fake or false and acacia referring to the genus of plants with the same name.) It was introduced into Britain in 1636. The name 'locust' is said to have been given to Robinia by Jesuit missionaries, who fancied that this was the tree that supported St. John in the wilderness, but it is native only to North America. The locust tree of Spain (Ceratonia siliqua or carob tree), which is also native to Syria and the entire Mediterranean basin, is supposed to be the true locust of the New Testament. Robinia is now a North American genus, but traces of it are found in the Eocene and Miocene rocks of Europe. Black locust reaches a typical height of 40–100 feet (12–30 m) with a diameter of 2–4 feet (0.61–1.22 m).[12] Exceptionally, it may grow up to 52 metres (171 ft) tall[13] and 1.6 metres (5.2 ft) diameter in very old trees. It is a very upright tree with a straight trunk and narrow crown which grows scraggly with age.[5] The dark blue-green compound leaves with a contrasting lighter underside give this tree a beautiful appearance in the wind and contribute to its grace. Black locust is a shade intolerant species and therefore is typical of young woodlands and disturbed areas where sunlight is plentiful and the soil is dry. In this sense, black locust can often grow as a weed tree. It also often spreads by underground shoots or suckers which contribute to the weedy character of this species. Young trees are often spiny, however, mature trees often lack spines. In the early summer black locust flowers; the flowers are large and appear in large, intensely fragrant (reminiscent of orange blossoms), clusters. The leaflets fold together in wet weather and at night (nyctinasty) as some change of position at night is a habit of the entire leguminous family. Black locust produces both sexually via flowers, and asexually via root suckers. The flowers are pollinated by insects, primarily by Hymenopteran insects. The physical construction of the flower separates the male and female parts so that self-pollination will not typically occur. The seedlings grow rapidly but they have a thick seed coat which means that not all seeds will germinate. The seed coat can be weakened via hot water, sulfuric acid, or be mechanically scarified and this will allow a greater quantity of the seeds to grow. The seeds are produced in good crops every year or every-other year. Root suckers are an important method of local reproduction of this tree. The roots may grow suckers after damage (by being hit with a lawn mower or otherwise damaged) or after no damage at all. The suckers are stems which grow from the roots, directly into the air and may grow into full trees. The main trunk also has the capability to grow sprouts and will do so after being cut down. This makes removal of black locust difficult as the suckers need to be continually removed from both the trunk and roots or the tree will regrow. This is considered an asexual form or reproduction. The suckers allow black locust to grow into colonies which often exclude other species. These colonies may form dense thickets which shade out competition The bark, leaves, and wood are toxic to both humans and livestock. Important constituents of the plant are the toxalbumin robin, which loses its toxicity when heated, and robinin, a nontoxic glucoside Horses that consume the plant show signs of anorexia, depression, incontinence, colic, weakness, and cardiac arrhythmia. Symptoms usually occur about 1 hour following consumption, and immediate veterinary attention is required. In Romania the flowers are sometimes used to produce a sweet and perfumed jam. This means manual harvesting of flowers, eliminating the seeds and boiling the petals with sugar, in certain proportions, to obtain a light sweet and delicate perfume jam. ===Common names=== false acacia locust tree ===*Useful websites=== ift.tt/1XlSwFF ift.tt/2LN9TNR ift.tt/2JBYKCJ ift.tt/2HOIx7J ===Scientific classification=== Kingdom: Plantae (unranked): Angiosperms (unranked): Eudicots (unranked): Rosids Order: Fabales Family: Fabaceae Subfamily: Faboideae Tribe: Robinieae Genus: Robinia Species: R. pseudoacacia *Information sourced from the above websites
Phylo submission is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.0 Unported License specific for use in the Phylo card project.
Do you love someone and want to spend your whole life with that person then you should read to dua to get married to the person you want. This dua can help you to bring the person closer to you. Maybe the person you want has no hint about this, then dua to get married to a specific person can help you to send him a signal.
If you want to know about this dua you can read this article about dua for getting married to the person you love lovebackduas.com/dua-to-get-married-to-the-person-you-want/
You should take help from an expert while practicing this dua. If you are looking for such a person, you can contact Molana Junaid Jafferi. He has years of experience in Islamic astrology. You can contact him at +44-2038075722 (WhatsApp, Viber, Telegram)
Assignment: pca332 – Specific Element: Something You Find in a Hardware Store
Deadline: June 28, 2015
Image tag: pca332
Your assignment, should you choose to accept it is to take a photo of something you would find in an old fashioned hardware store. Stuff like hammers, nails, screws, drills, lumber, etc.
Administrata:
Your photograph must be taken between June 14 and June 28, 2015.
Please tag your image exactly as written: pca332
Click "Send to Group" above your photo to submit it to the Group Pool.
WIT (What It Took): In the description of your photo, tell us a little bit about what went into making it. That could be anything from your thought process, to the technical details of exposure or how you may have set up lighting.
As with the previous assignments, critiques will be done through using the Group Pool. Click on each photo in the pool and offer your critique. If you make a submission, please make an effort to critique all the other submissions.
In addition to the assignment announcement, this thread is for ongoing general discussion related to pca332.
Site Specific Series
Bird Feeder
-Mortise and tenon joinery
-Slopped roof
-Gravity fed
-Refillable
-Grate floor to allow light and food to fall for ground feeders
-Inner feeding room for protection from predators
-Made from FlatCor - 100% recycled and formaldehyde-free material
-Weatherproofed with non-toxic and non-hazardous sealant
Intended for:
Black-Capped Chickadee
Song Sparrow
White-Throated Sparrow
House Sparrow
American Golfinch
And many others...
Europa: Pasajes de Invierno es una instalación site specific de Florentino Díaz comisariada por Carlota Álvarez Basso para el programa de intervenciones Abierto x Obras, en la antigua cámara frigorífica de lo que fue el matadero municipal. La pieza se inscribe además en la programación de PhotoEspaña 2015.
La pieza conformada a partir de materiales de derribo, representa un barracón sobre el que no cesa de caer la lluvia. En su interior, pantallas de video nos muestran las imágenes de vidas anónimas del siglo XX, recogidas de álbumes encontrados en mercadillos, con el Winterreise (Viaje de invierno) de Schubert sonando de fondo. Según la comisaria Carlota Álvarez Basso, son “historias que hablan de los momentos de felicidad ajena que han caído en el olvido, de la fragilidad de nuestra existencia y de la inconsistencia de la memoria, tanto de la individual como de la colectiva”.
“El espectador debe recorrer estos pasajes de invierno a través de estos videos en los que, paradójicamente, no cabe imaginar el trágico destino que aguarda a sus protagonistas, y que nos hacen pensar en el incierto destino que nos espera” señala Florentino Díaz. Respecto al título, Díaz se inspira en El Libro de los Pasajes, el gran proyecto inacabado de Walter Benjamin, fallecido en 1940, que “cuestiona el desarrollo de una historia que hasta ese momento no había cumplido las expectativas de liberación humana, y que en sus ruinas mostraba la imposibilidad de alcanzar sus metas últimas”, explica el artista.
Las obras de Florentino Díaz (Cáceres - 1954) se caracterizan, desde los años 1990, por el uso de materiales e imágenes recuperadas, elementos aparentemente sencillos pero cargados de sentido y de connotación emocional. Desde hace muchos años Florentino Díaz ha ido guardando pequeños tesoros encontrados en el Rastro de Madrid o de las ciudades que visitaba en sus viajes. Objetos, libros, fotografías que a veces nos desvelan y otras se guardan los secretos de vidas e historias de otro tiempo. El artista es además un referente cuyo trabajo ha girado siempre en torno al concepto de lo doméstico, de la casa, concebida como un espacio cada vez más difícil de habitar. Sus instalaciones se han expuesto en centros nacionales e internacionales, como el CAB DE Burgos, MEIAC de Badajoz, Museo Barjola de Gijón, Casal Solleriç Espai 4 de Mallorca, Museo de Cáceres, Salón de los 16, Kunstamt Kreuzberg-Bethanien de Berlín, y en ferias como Art Cologne, MACO-MEXICO, Liste The Young Art Fair de Basel, Art Chicago, Busan Bienal de Corea. Y forma parte de colecciones privadas, museos e instituciones como CGAC de A Coruña, Colección La Caixa, Fundación Coca-Cola España, Colección Banco de España, Museo de Cáceres, entre otras.
Abierto x Obras
Abierto x Obras, en Matadero Madrid, es un programa de intervenciones site specific que incentiva el carácter experimental de la creación contemporánea a través de planteamientos que exploran la relación entre el arte y el lugar que lo acoge, la antigua cámara frigorífica del Matadero. Desde 2007 Abierto x Obras ha acogido las intervenciones de artistas como Daniel Canogar, Jannis Kounnellis, Román Signer, Carlos Garaicoa, Fernando Sánchez Castillo, Jordi Colomer, Los Carpinteros, Cristina Lucas, o Eugenio Ampudia, entre otros. Próximamente se podrá disfrutar del trabajo del artista británico Haroon Mirza.
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.
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...
Site specific theatre theater performance perform performance art
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Poland Prague Cargo Ship Art ship Theatrical
Theatrically devised collaborate collaborative
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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
The specific common values of pastoral systems include their importance for the conservation and sustainable use of animal breeds, the landscapes which co-evolved with pastoralists’ cultural practices, which e.g. provide critical habitats for wild biodiversity, deep reservoirs of local/indigenous knowledge on livestock rearing and health, as well as on ecological functioning. The Maasai pastoral system provides meat, milk, maize meal, beans, fur and hides; forage, water, and manure; forest based products (edible fruits, seeds, medicines, honey, poles); and an intimate understanding of ecological knowledge.
(c)FAO/David Boerma. Photo credit must be given.
MAQUETTE FOR THE END OF TIME
Detail: Front view of the figure Not Even Death Attended
No specific event in the history of mankind has so
concerned Robert Cremean as that memorialized in
MAQUETTE FOR THE END OF TIME. It is not only a
continuing analysis of 8/6/45, the dropping of the bomb on
Hiroshima from which date he has declared “All the
metaphors have changed.” It is a summation of that event
previously portrayed and analyzed in numerous completed
sculptures, studio sections, books and lectures including:
STUDIO SECTION 1981-1983—Terminus; THE SEVENTH
LECTURE—Terminus: Notes to the Music of Johann Sebastian
Bach On His Birthday, 1985; THE PROCRUSTES TRILOGY,
1992-2002; THE TENTH ARCH—A SEQUEL TO VATICAN
CORRIDOR, A Non-Specific Autobiography, 1996; STUDIO
SECTION 1998-2002—Dialogues of the True Cross—A Polemic
in the Form of a Triptych and The Winter Notebooks; STUDIO
SECTION 2002-2005—Marsyas/Myself; STUDIO SECTION
2006-2007; and in STUDIO SECTION 2008-2009. All of these
are fully documented and the writings transcribed within
the photographic record both preceding and following this recording
on Flickr.com. But the event is most succinctly
described in the beginning of the Blue Triangle that descends
the jotting wall of Procrustes In Situ, the first part of THE
PROCRUSTES TRILOGY:
“We live in an age of miracles...August 6th, 1945. Born
in a searing flash of light, god himself signed his
magnificent demise with the most enormous phallic
plume the world had ever seen. Terminus.... Fifty years
have passed since the death of god...fifty years of the
most miraculous discoveries, inventions and
accomplishments—and fifty years of denial and deceit.
We live in an age of miracles and refuse to accept the
authorship of, hence responsibility for, the miracles
themselves. We persist in denying our resplendency
and responsibilities within the concept of a new
age—a new age with a new concept of time, finite and
creative. An Age of Miracles. Thousands upon thousands
of men, women and children were consumed in
this cataclysmic change of metaphors. God, like an
ancient ruler incarnate, adorned his death with
innocents, and their blood colors this new age. How
old he was! As old as human fear. And though fear still
holds us enthralled, we are no longer free to worship
it. God is dead and, with him, men in His image.
Patriarchy’s grave lies in the blood and rubble of
Hiroshima, beneath a poisoned cock of smoke.”
Sanctuary Park Cemetery Toronto Ontario Canada.
OES - Order of Eastern Star:
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 Affiliate chapter 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.