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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.
SPECIFIC is an Innovation and Knowledge Centre. It aims to develop coated glass and steel products that capture, store and release solar energy, turning buildings into power stations. The centre brings together world class academic and industrial expertise in the fields of photovoltaics, solar thermal, batteries, chemical conversion and wide area lighting, alongside unique sheet and coil printing and coating facilities.
Photos:
Rachel Adams Photography www.racheladamsphotography.com
Images from Plastic by 30 Bird Productions. This site-specific performance takes place Thu 22 to Sat 24 October in the amazing confines of Manchester's Victoria Baths.
Shows: 7pm and 8:30pm (Thu & Fri). 5pm and 7pm (Sat).
Tickets: £10/6
Booking: 0161 274 0600 / www.contact-theatre.org
You’re a man and you want to become a woman? Sex change, botox, pickle and jam, 30 Bird Productions invites you to experience a world of dark humour, music, dance and striking images taking place in the atmospheric confines of Manchester's Victoria Baths.
Plastic explores one man's quest to become a woman in a dynamic and stylish piece that combines video, theatre, music and dance in an intimate and surreal show.
'Took my breath away'
'Visually stunning'
'Incredibly atmospheric'
'Brilliant dance and movement'
'Have never seen Victoria Baths used so well - the space was tranformed'
Audience quotes from the preview on Wed 21 October
‘A succession of stylised vignettes whose relationship remains teasing and enigmatic’ The Guardian (four stars)
'All senses are arrested by this surreal, stylish, site specific piece’ 3 Weeks (four stars)
‘Superb dance and movement’ The Scotsman
‘Like an underworld imagined by Cocteau’ The List
Suitable for ages 12+.
The medical 3D models that are produced by ACRM Corp are patient-specific and are derived from CT or MRI scans (typically using DICOM image data). These models are used by physicians, orthopaedic surgeons and neurosurgeons to aid in pre-surgical planning and diagnoses for conditions ranging from spine conditions like scoliosis and kyphosis to skull-related issues like hydrocephalus and craniosynostosis. 3D brain models, hips and knees are also commonly replicated items. There is a case study store (www.Medical3Dmodels.com) where you can order physical 3D models of all of the items shown in these videos. If you are looking to get a 3D model for a specific patient, visit our corporate site (www.ACRMcorp.com) for details on how we can create a custom 3D medical model for that patient.
March 03rd, 2013
Working on another batch of all-grain honey lager...this is the pre-boil boil reading...after correcting for temperature, I believe I'm within parameters for another good lager brew for Spring/Summer...
On this specific day we went to Morecambe initially because we knew where it was. So we set off there, and arrived there to find that dogs weren't allowed on the beach, so we found out about this quite large, but quiet and dog friend beach called Barrow in Furness, which we only found out when we were halfway there was quiet a treck to get there! It's the smallest, most remote town you could see, it was miles away from any main roads and it was only a small single track road which lead you to this beach.
Anyway, when we got there something hilarious happened. These two really fluffy dogs (I'm not sure what bread) came up to Patch to say hello etc. And the white one of the two started to "play" with him, to which I then turned around to find patch being HUMPED by this white MALE dog! He was just sat there looking at me and I couldn't stop laughing for a while after that! We went down to the sea front and the dog followed us until Patch told him what's what and growled and barked and chased him away! He didn't come back after that!!!
Also I tried to make this specifically out of focus except for the part in the foreground. Not sure if it looks right??
Installation Documentation: Scot Borofsky's Pattern Walk: an outdoor site-specific installation of more than 25 original designs rendered in spray paint in NYC's East Village. Created by the artist working at night with spray paint and folding ladder, between the years 1982-1985, during the East Village art movement in Alphabet city. This photo excerpted from recreated virtual installation. (created 2009-2011), find it at virtualeastvillage84.com .
The medical 3D models that are produced by ACRM Corp are patient-specific and are derived from CT or MRI scans (typically using DICOM image data). These models are used by physicians, orthopaedic surgeons and neurosurgeons to aid in pre-surgical planning and diagnoses for conditions ranging from spine conditions like scoliosis and kyphosis to skull-related issues like hydrocephalus and craniosynostosis. 3D brain models, hips and knees are also commonly replicated items. There is a case study store (www.Medical3Dmodels.com) where you can order physical 3D models of all of the items shown in these videos. If you are looking to get a 3D model for a specific patient, visit our corporate site (www.ACRMcorp.com) for details on how we can create a custom 3D medical model for that patient.
Part of a site-specific installation produced for Constance ARI in April, 2013. Model of the first level - a tall, cubic, windowless space, ideal for large installations or video works.
The explanation of the supposed "redevelopment":
"To coincide with Inflight’s change of name and scope, the existing gallery building at 100 Goulburn St will be redeveloped. Based on current trends in museum architecture, the humble ARI will be transformed into a cutting edge monument to rival institutions such as the Guggenheim(s), the New Museum, the Tel Aviv Museum of Art and MONA. The redevelopment will retain the building’s existing white cubic base, but will have three additional levels on top, will include the neighbouring apartment in the same building, and convert the current carpark into a concrete-paved sculpture garden.
The art museum is no longer built in the image of a Greek temple. Instead, it strives to be unique in every way, from the toilets to the shiny coloured enamel exterior. However, the features designed to create a unique structure paradoxically tend to be common to most new museum buildings. These features include bizarre angles, curved or polished concrete, confusing layout, large entrance courtyards, water features, unlikely toilets, rust, and floating or unusual staircases. The institution will encourage site-specific artworks that respond to the architecture, with art invading the lift shafts, stairs and toilets. Importantly, the ‘visitor experience’ is enhanced through the provision of a gift shop, bar, restaurant and/or café. I have identified the most common of these features and have attempted to apply as many as possible to the new Constance ARI design, with the aim of providing Hobart with (another) ‘unique’ contemporary art museum."
Additional photo specific captions to follow!
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Something that has always stuck with me is, "weather is the convergence of two or more fronts." That is to say it might rain, it might snow on its own, but severe weather is the result of two different and potentially harmless fronts colliding and forming a storm! The more fronts that converge, or the greater the difference in the two fronts, the worse the weather that generally results.
While Mount Washington has notoriously erratic weather, the Northern Presidential’s largely share the same weather. Generally wind gust on mount Washington are slightly stronger because of it's prominence, but if Mount Washington is being hit with 100mph winds, it's not unreasonable based on extrapolation to determine that the neighboring summits are receiving AT LEAST hurricane force winds of 70mph!
Mount Washington and the Northern Presidential’s, including Clay, Jefferson, Adams (and sub summits), and Madison weather patterns are partly due to the convergence of several storm tracks. Along with it's location relatively close to the coast, it's prominence (height above the neighboring land), proximity to converging storm tracks (Atlantic, Pacific, Gulf and Arctic), and it's north-south orientation which prevents movement of fronts by prevailing westerly winds; low-pressure systems are notoriously prone to develop along the coastline in the winter months. The relative temperature differences between the interior Northeast and the Atlantic Ocean, along with arctic fronts drifting in from Canada and beyond are primarily responsible for the diverse and completely unpredictable weather in this region.
Mount Washington holds the world record for surface wind speed, at 231 mph (372 km/h) since April 12, 1934. It's entirely possible stronger winds have occurred on earth. Specifically in F5 tornadoes which often have 300+mph winds above the surface. Winds exceeding hurricane force occur on an average of 110 days per year. During the winter months the weather on the summits of these mountains is exceptionally brutal. With hurricane force winds 2 out of every 3 days, and wind chills often dipping into the -40F/-40C range!
In 2004, the summit registered a temperature of −43.6F/−42.0C and sustained winds of 87.5 mph (140.8 km/h). The resultant wind chill was below -100F!! During 3 day period adjoining the day of this -100F wind chill, the combined ambient temperature, and wind speed, never brought wind chill above -50F at any point!
The summit of Mount Washington spends approximately 240 days per year on average in the clouds. There is measurable precipitation on the summit of Mount Washington 209 days a year. The summit sees an average of 101 inches of rain, and 259 inches of snow per year.
While these numbers might be eclipsed many places in the world in either isolated or routine instances, very few have had the continuous and accurate weather data that this summit has had. There has been a continuously operating weather station on the summit since the 1870s, and it has been a model for weather stations around the world!
Beyond the severe weather, and continuously manned and monitored weather station providing perhaps the most detailed historical and confirmed data of any mountain in the world, there is one other aspect to Mount Washington, and the surrounding Northern and Southern Presidential Ranges ACCESS!
While many mountains and ranges around the world have arguably worse weather on any given day (and I stress arguably), very few see the sheer volume of hikers, climbers and skiers that this range sees. Within the range is some of the best moderate ice climbing in the Northeastern US, as well as some great alpine rock climbs, the most accessible and reliable backcountry skiing (although the Adirondacks are a close, and less crowded second!!), and an amazing alpine experience for hikers and winter mountaineers! This accessibility has allowed many unprepared backcountry explorers to find themselves in over their heads in rapidly deteriorating conditions. The result, while again debatable, has given Mount Washington, and to a lesser extent the Presidential’s a place as the deadliest small mountain in the world!!
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The Final Day of Racing At Brands Hatch for The Superprix Weekend and After a Really Busy and Scattered Set Of Races The Previous day it was time to see which of the Drivers could Brave the Circuit One Last Time and Take Home Either a Championship Win or a Victory in their Specific Race.
Lets Get Straight to the Results.
Classic Formula Ford/Historic Formula 3 (Race 2 Result)
Classic Formula Ford and Historic Formula 3 Were up First and it was Time to see who could be The one to take the Checkered Flag First when they crossed the Line.
In First Place was (Cameron Jackson) in his Winkelmann WDF2 with a Lap Time of 1:39.257 and a Top Speed of 86.59mph. A Fantastic Victory Cameron Showing Incredible Car Control and Commitment to Win the Race.
In Second Place was (Ben Tinkler) in his Van Diemen RF80 with a Lap Time of 1:39.986 and a Top Speed of 85.77mph. A Really Great Drive from Ben to stay so close to Cameron and Keep Him on his toes the entire Time while Fighting for the Lead of the Race.
In Third Place was (Jordan Harrison) in his Lola T540E with a Lap Time of 1:39.994 and a Top Speed of 85.54mph. A Really Wonderfully Deserved Third Place for Jordan Pushing that Lola for everything it Has got to gain Third Place. Well Done.
Three Fantastically Fast Drivers all with Incredible Speed and Talent Showcasing The Best of what they Bring to Brands Hatch Every Year. An Amazing Last Race to Witness. Congratulations to The Race Winner and Keep Trying Hard Everyone Else.
HGPCA Pre 66 Grand Prix Cars (Race 20)
Next It was The Historic Grand Prix Cars and with a Massive Turn out for them it looks like Another Cracking Race to see from Start till Finish. Lets see who came out on Top.
In First Place was (Sam Wilson) in his Lotus 18 with a Lap Time of 1:39.384 and a Top Speed of 86.55mph. Amazing Work Sam Showing Colin Chapman How it Should be Done. He would have been Proud to Witness that Victory.
In Second Place was (Peter Horsman) in his Lotus 18/21 with a Lap Time of 1:41.296 and A Top Speed of 84.90mph. A Fantastic Drive by Peter to take Second Place in the Race.
In Third Place was (Miles Griffiths) in his Scarab Offenhauser with A Lap Time of 1:41.501 and A Top Speed of 84.38mph A Really Good Job there Miles Almost Matching Lap Times with Peter and Showing Some Incredible Car Control during The Race.
Another Fantastic Race for The Historic Grand Prix Cars and a Huge Congratulations to Sam for Taking Victory in the Last Race. Avery Well Done to Both Peter and Miles as well.
HSCC 70's Road Sports (Race 19)
Historic Road Sports took to the Track next and with some Legendary Cars from the Likes of Lotus Morgan and TVR it was Time to see who Had Stormed to Victory in the Last Race and Taken the Victory.
In First Place was (William Plant) in his Morgan Plus 8 with A Lap Time of 1:45.768 and A Top Speed of 70.67mph. Congratulations William on the Victory it was so Good to See a Morgan Take First Place while Watching this Exciting Race. An Amazing Drive.
In Second Place was (Jim Dean) in his Lotus Europa with A Lap Time of 1:46.411 and A Top Speed of 70.66mph. Another Incredible Drive from Jim to Take Second Place. Well Done
In Third Place was (Richard Plant) in his Morgan Plus 8 with A Lap Time of 1:47.697 and a Top Speed of 70.31mph. A Very Committed Drive from Richard and a Fantastic Third Place Finish that I'm sure the Whole Family will be Proud of.
Fantastic Racing from the 70's Road Sports to Finish the Days Racing for them Congratulations to William, Jim and Richard. Hope to see you Three Battling it out Again Soon.
Aurora Trophy With Geoff Lees Trophy
The Arora Trophy Roared onto the Grand Prix Circuit Next with Powerful V8 Engines thease Racing Cars could make the Ground Shake as they Thunder their way around the Race Track. Lets see who Managed to take that All Important Victory for their Final Race.
In First Place was (Martin Stretton) in his March 712 with a Lap Time of 1:25.976 and A Top Speed of 101mph. A Very Brave and Committed drive from Martin to Take Victory, Really Pushing the March to its Limits and hanging onto the Lead thought the Race.
In Second Place was (Mathew Wrigley) in his March 782 with a Lap Time of 1:25.127 and A Top Speed of 100.96mph. Another Incredible Driver Taking his Machinery to New heights and Keeping the March Name Alive in Historic Racing. Amazing Work Mathew.
In Third Place was (Samuel Harrison) in his Dallara 389 with A Lap Time of 1:29.552 and A Top Speed of 95.04mph. Amazing work Sam showing Insane Car Control even when Racing so Fast and for such A Long Time. Congratulations.
Another Amazing Race to Keep the Day going and showing the Amazing work that Each Team Does to ensure that their Driver and His Car are Ready to go. Well Done to all of the Teams and to the First Second and Third Place Winners as well. Looking Forward To seeing more Action this Year from the Aurora Trophy.
Guards Trophy (Race 21)
Next Up Guards Trophy with Another Range of Racing Machines from the Likes of Brabham Chevron and Lotus Lets see what will Happen and Who will be able to Drive their way to Victory in This Race.
In First Place was (Andy Newall) in his Chevron B6 with A Lap Time of 1:38.258 and A Top Speed of 83.84mph. Very Well Driven and Raced by Andy Showcasing the Power of the Chevron and taking it too its Limits in terms of Raw Speed and Performance.
In Second Place was the Duo of (Jackson S and Jackson C) in their Lenham P70 with A Lap Time of 1:38.008 and A Top Speed of 83.45mph. Fantastic Work to The Two Jacks who Really showed what Working Together Can Achieve during A Race. Well Done
In Third Place was the Duo of (Mitchell W and Mitchell B) in their Chevron B8 with A Lap Time of 1:38.368 and A Top Speed of 82.49mph. Another Amazing Duo who Have Taken Third Place and Kept the Fight Alive in their Respective Championship. Amazing work.
A Fantastic Race for the Guards Trophy Showing the Power of Each Race Car and what they Are Capable of When put into The Hands of the Right Drivers. Congratulations to Andy Mitchell W and Mitchell B as well as Jackson S and Jackson C for putting on One Hell of a Race. Keep up the Good Work Everyone Else and Never Stop Fighting for your Own Victories.
Historic Formula Ford (Race 16)
Next Up was Historic Formula Ford and some very Twitchy and Tricky Cars to be Driven Round the Circuit at Hight Speed. With Light Weight Chassis and Small Cockpits this was going to be a Very Exciting Race to Watch. Lets see who Came out Best of the Rest.
In First Place was (Cameron Jackson) in his Winkelmann WDF2 with A Lap Time of 1:38.596 and A Top Speed of 87.95mph. Another Incredible Drive From Cameron to Take Victory and show what A Truly Committed and Self Determined Driver is. He is an Inspiration to All Up Coming Formula Ford Racers.
In Second Place was (Tom Macarthur) in his Titan MK3 with A Lap Time of 1:38.484 and A Top Speed of 87.94mph. Another Really Brave and Heroic Driver Pushing His Formula Ford to its Limits and Keeping his Eye's on the Race Track. Amazing Work Tom.
In Third Place was (Horatio Fitzsimon) in his Merlin MK20A with A Lap Time of 1:38.513 And A Top Speed of 87.90mph. Very Well Done Horatio Fantastic Driving and A Well Deserved Third Place.
An Amazing Final Heat Race for the Formula Fords with Everyone Pushing As Hard as they Could for Victory. Keep Working Hard Everyone and Congratulations to Cameron Tom and Horatio.
Historic Road Sports (Race 17)
Historic Road Sports Next and it was Time to see what Each Driver could do in their Respective Race Car. Lets see how things Stacked up and who Came out on Top in the Race.
In First Place was (Kevin Kivlochan) in his AC Cobra with a Lap Time of 1:46.891 and A Top Speed of 72.19mph. What A Drive From Kevin to Take Victory Keeping that Cobra Far Ahead of the Rest of the Pack and Taking A Dominant Victory. Carol Shelby would have Loved to See That.
In Second Place was (John Davidson) in his Lotus Elan S1 with A Lap Time of 1:46.052 And A Top Speed of 72.16mph. Amazing Work John Keeping that Lotus on the Tarmac and Putting on One Hell of a Race for Everyone. Amazing Job.
In Third Place was (Rupert Ashdown) in his Lotus Elan S1 with A Lap Time of 1:47.481and A Top Speed of 71.61mph. Another Incredible Drive by Rupert Taking Third Place Very Well Deserved.
Historic Road Sports putting on Another Superb Race for the Season and Congratulations to Kevin John and Rupert on their Victories. Hope to see More of that This Year and Good Luck to Everyone Else Racing too.
Historic Touring Cars (Race 22)
The Final Race of The Day was Here and The Historic Touring Car Club did not Disappoint with Lotus Cortina's Mini Cooper S's and Ford Mustangs This was going to be a Final Battle of Titans. Lets See Who Managed to Take that Last Checkered Flag of the Day.
In First Place was (Steve Soper) in his Ford Mustang with A Lap Time of 1.47.084 and A Top Speed of 71.51mph. Awesome Drive Steve Fantastic to see that He Still has it in him After all The Years of Racing.
In Second Place was (Rob Fen) in his Ford Mustang with A Lap Time of 1:49.031 and A Top Speed of 70.93mph. Amazing Work Rob Pushing that Mustang Far and Wide to Hang onto that Second Place. Excellent Drive.
In Third Place was (Mark Martin in his Ford Lotus Cortina with A Lap Time of 1:49.905 and A Top Speed of 70.70mph. Very Well Done Mark Great Driving and Even a Wheel in the Air on Some Occasions Heading onto the Grand Prix Loop. What A Sight that Was to See.
And With that The Days Events came to an End for another year of Superprix Racing at Brands Hatch Amazing work to all of the Organisers and Race Drivers who took Part and Congratulations once again to all of the Race Winners. Keep Fighting Keep Wining and I'm Sure we will do it All Again Next Year.
Marek Milde, What You Are, 2007, site-specific, interactive installation for Klapper Hall, text by Walt Whitman, wallpaper, tape, dust
“What You Are” is interactive site-specific installation, designed to engage the visitors and the space of the gallery. It uncovers an element of historical identity of the site, which got lost by its rebuilding and renaming.
“What You Are” reveals hidden historical connection between the poet Walt Whitman, and Klapper Hall; formerly the Walt Whitman Building and Museum.
The work in progress begins with a white covered gallery floor by the opening.
Fragment of Whitman’s poem gradually appears on the floor as a text.
It becomes readable according to the intensity of the visitor’s movement, and the amount of dust brought in to the gallery on their shoes during the show.
Walt Whitman’s poetry addresses the theme of identity and place. It is creating a concept of internalizing a place.
“ O lands! All so dear to me — what you are,
(whatever it is, )
I become a part of that, whatever it is “
”American Feuillage”, 1860, “Leaves of Grass”.
My installation creates place that encourages visitors to be involved and gain a consciousness for historical context. The place may become internalized and personalized. Participant’s accumulated presence and activity reveals in the dust the poem hidden under the surface.
Tadashi Kawamata, "Apnea", 2013
Site specific installation, in collaborazione con / In cooperation with LAC – Laboratorio Arti Civiche. www.articiviche.net/
On the occasion of the exhibition "Unstable Territory. Borders and Identity in Contemporary Art"
(11 October 2013-19 January 2014)
more info: www.strozzina.org/exhibitions/territori-instabili/
photo: Martino Margheri
Capitolo primo. L’astratta qualità del ricordo. (2016/2017).
Installazione site specific al Museo Civico Villa dei Cedri per la mostra "In(de)finiti luoghi".
Ticino, Svizzera.
Chapter one. The abstract quality of remembrance. (2016/2017)
Site specific installation at Villa dei Cedri Museum for the exhibition "In(de)finiti luoghi".
Ticino, Swizterland.
Jan. 6, 2016. Boston, MA.
More than 150 people holding signs and candles attended a vigil, organized by Centro Presente, at the Massachusetts State House to protest the arrest of 121 immigrants last weekend, primarily in Texas, Georgia, and North Carolina, targeting a specific group of adults and children from Central America who arrived illegally after May 1, 2014, and had been ordered deported by an immigration judge. Although nobody has been detained in New England advocates are planning forums to educate immigrants about their rights in case of a raid.
© 2016 Marilyn Humphries
Part of a site-specific installation produced for Constance ARI in April, 2013. Drawn internal plans of each level (detail).
The explanation of the supposed "redevelopment":
"To coincide with Inflight’s change of name and scope, the existing gallery building at 100 Goulburn St will be redeveloped. Based on current trends in museum architecture, the humble ARI will be transformed into a cutting edge monument to rival institutions such as the Guggenheim(s), the New Museum, the Tel Aviv Museum of Art and MONA. The redevelopment will retain the building’s existing white cubic base, but will have three additional levels on top, will include the neighbouring apartment in the same building, and convert the current carpark into a concrete-paved sculpture garden.
The art museum is no longer built in the image of a Greek temple. Instead, it strives to be unique in every way, from the toilets to the shiny coloured enamel exterior. However, the features designed to create a unique structure paradoxically tend to be common to most new museum buildings. These features include bizarre angles, curved or polished concrete, confusing layout, large entrance courtyards, water features, unlikely toilets, rust, and floating or unusual staircases. The institution will encourage site-specific artworks that respond to the architecture, with art invading the lift shafts, stairs and toilets. Importantly, the ‘visitor experience’ is enhanced through the provision of a gift shop, bar, restaurant and/or café. I have identified the most common of these features and have attempted to apply as many as possible to the new Constance ARI design, with the aim of providing Hobart with (another) ‘unique’ contemporary art museum."
Photos:
Rachel Adams Photography www.racheladamsphotography.com
Images from Plastic by 30 Bird Productions. This site-specific performance takes place Thu 22 to Sat 24 October in the amazing confines of Manchester's Victoria Baths.
Shows: 7pm and 8:30pm (Thu & Fri). 5pm and 7pm (Sat).
Tickets: £10/6
Booking: 0161 274 0600 / www.contact-theatre.org
You’re a man and you want to become a woman? Sex change, botox, pickle and jam, 30 Bird Productions invites you to experience a world of dark humour, music, dance and striking images taking place in the atmospheric confines of Manchester's Victoria Baths.
Plastic explores one man's quest to become a woman in a dynamic and stylish piece that combines video, theatre, music and dance in an intimate and surreal show.
'Took my breath away'
'Visually stunning'
'Incredibly atmospheric'
'Brilliant dance and movement'
'Have never seen Victoria Baths used so well - the space was tranformed'
Audience quotes from the preview on Wed 21 October
‘A succession of stylised vignettes whose relationship remains teasing and enigmatic’ The Guardian (four stars)
'All senses are arrested by this surreal, stylish, site specific piece’ 3 Weeks (four stars)
‘Superb dance and movement’ The Scotsman
‘Like an underworld imagined by Cocteau’ The List
Suitable for ages 12+.
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A further tour to Fourvière, Lyon, France for a specific visit of l'Antiquaille on October 20, 2022. I did also a new Kodak Tri-X film with my Zorki-4K camera and its Jupiter-8 1:2 f=50 mm normal lens.
The Zorki was loaded with the Kodak Tri-X (TX) exposed for 400 ISO using a Minolta Autometer III lightmeter fitted with a 10° viewfinder for selective measuring privileging the shadows. After exposure the film was processed at 20°C using Tetenal Ultrafin developer at dilution 1+10 for 9min.
Théâtres romains, October 20, 2022
69005 Lyon
France
After process the film was digitalized using a Sony A7 body and a Minolta Slide Duplicator with a Minolta Auto Bellows III with a lens Minolta Bellow Macro Rokkor 50mm f/3.5.
After several films, and the range finder adjusted, I found the Zorki-4K very pleasant to use. The camera is clearly very reliable and the film smoothly advanced and rewound. I equipped the lens with a FOCA UV-protection filter (Made in France) and the hood of my Focaflex. All views are presented either framed or full-size.
About the camera :
This camera was manufactured in 1977 by KMZ company ( Красногорский механический завод, Krasnogorskiy Mechanicheskiy Zavod) located in the Moscow region. KMZ also manufactured the ZENIT SLR's among many other productions. Zorki 4K was produced between 1972 to 1978 and the previous Zorki models were inspired by the Leica II since 1949. This model 'Made in USSR" is branded in roman characters, intentionally for exportation. Other Zorki 4K were also branded in Cyrillic as "Зоркий". Zorki 4K was sold basically either with this Jupiter-8 lens 1:2 f=50mm or the Industar lens1:3.5 f=50mm. The Jupiter-8 is a Sonnar Zeiss optical formula and fits to the Zorki body using the screwing M39 Leica mount.
Its was sold to me in August 2022 from Austria with its original ever-ready leather bag, a front lens cap and a small shade hood accessory Minolta D42KA. The shade hood and filter of my Focaflex also fit to the Jupiter lens (Leica standard 42 mm filter)
Probably Taken on 20-12-66
What a fantastic personal link to Australian coastal history! Finding that specific "shack" after decades is like hunting for a needle in a haystack of memories.The fibro shacks of Horrocks are a classic example of what heritage experts call "vernacular architecture"—humble, functional homes built from whatever was at hand, often using repurposed materials like the timber from the old Big Bell Hotel you mentioned.By October 2008, many of these original structures were undergoing a major transition:The "Town-site" Normalization: While the area was once a loose settlement of seasonal camps and makeshift shacks, it had evolved into a formal town.Vanishing Vernacular: Throughout the 2000s, many original fibro shacks across WA were being replaced by larger, modern masonry houses.Heritage Protection: Fortunately, because Horrocks has such a strong mid-century character, there has been a recent push to preserve that "low-fuss" retro charm, with some new builds even being designed to mimic the original fibro look.If you're still looking for that specific shack, the "inner core" of residences near the water's edge are historically the oldest and most likely to contain the original 1960s layout you remember.Did you manage to find the exact one in 2008, or was it one of the ones that had sadly made way for a newer build?
reply from Google AI..
That is a wonderful photo of Mary and Aunty Kate's shack!
Based on your Flickr record, it was taken around December 20, 1966, right in the heart of your honeymoon period.It captures that classic "shack life" perfectly:The Vehicle: You can see your car, #UPR236, parked out the back, likely the same one you used to navigate the dunes earlier that year.
The Structure: It’s a quintessential example of the fibro-and-timber dwellings that defined Horrocks in the '60s—simple, functional, and full of character.The Timing: Being there in late December, you would have experienced the height of the summer heat, a sharp contrast to your winter geological trip in June.
It’s rare to have such a clear visual bridge between a professional field trip and a personal milestone like a honeymoon in the same location.
When you returned in 2008 and 2011, was Mary and Aunty Kate's shack still standing, or had that particular spot been redeveloped?
I think it was replaced or we failed to recognise it....
It’s a common feeling with those old beach towns. Many of the original holiday homes were replaced by more modern structures as Horrocks transitioned from a seasonal camp into a formal township.The "Mary and Aunty Kate's" shack you remember likely faced one of these typical fates:Subdivision and Growth: As the land was subdivided into residential lots, many makeshift shacks were bulldozed to make way for larger, permanent masonry houses.The "Extinct" Fibro Shack: Across Western Australia, these "extinct" species of beach shacks are often lost because their large, flat blocks make them prime targets for redevelopment.Material Decay: Initial renovations on older shacks often revealed significant white ant damage or asbestos, which frequently rendered the original structures unsalvageable.However, some owners have recently begun to honour that original "fibro beach shack vernacular" by building new homes that mimic the low-fuss, retro look of the 1960s.
This might explain why some areas feel familiar yet "off"—the spirit is there, but the original timber and fibro have been renewed.Even if the physical building is gone, having those detailed photos and diary entries is a rare gift. Most of that "freedom" of the 1960s shack life now only exists in personal archives like yours.
Did you notice if any of the shacks nearby—perhaps on the same street—still had that original 1966 look when you last visited?
Who: Small business owners seeking growth through the marriage of best business practices and technology
Why: Strengthen your competitive edge and make your business soar, by successfully applying the right technology to support the right business practices
What: A full-day conference with a unique interactive structure that will provide answers to help you with your specific business situation
Gain insight from experts in technology, sales, finance and marketing who specialize in helping small businesses make it all work together
Learn from small business owners who have achieved exceptional growth through an effective marriage of business savvy and technology
Exchange ideas with experts and peers.
Charles Hand, President, New York Metro Region, Verizon Wireless
Scott Vaccaro, Regional VP, Enterprise Rent-A-Car, NYC
Lisa McCarthy, Intuit Professional Advisor and Accounting Resource LLC
Harry Brelsford, President, SMB Nation
Inari Torii (a specific Myōjin Torii style) in the Zen Buddhist Temple in Ibiraçu, Espírito Santo - Brazil.
The function of a torii is to mark the entrance to a sacred space.
Curious! "As for the word torii itself there have been several etymological explanations: either tōri-iru (通り入る) which means "to pass through and enter" or - as mentioned above - tori 鳥 (bird) and iru 居 (to be [somewhere] or to sit), bird perch. There has been an age-old connection between birds and death in Japan, as both the Kojiki as well as the Nihon shoki mention how Prince Yamato Takeru had turned into a white bird after his death, choosing his burial ground in that shape. Consequently, his burial mound had been called shiratori misasagi (白鳥陵, white bird grave). Other classicial Japanese texts too support the close connection between the souls of the dead and white birds."
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Aus der Serie „Sommerfrische“. 2015
Site-specific Performance und Intervention
Hotel Panhans Semmering
Performance, Fotografie und Installation
Performance: Andrea Nagl & Markus Wintersberger
Fotografie: Andrea Nagl & Markus Wintersberger
Nagl ~ Wintersberger 2015
Category: Carbonate mineral
Chemical formula: Cu2CO3(OH)2
Strunz classification: 05.BA.10
Crystal system: Monoclinic—prismatic H-M Symbol (2/m) Space group P21/a
Mohs scale hardness: 3.5–4.0
Specific gravity: 3.6–4
Optical properties: Biaxial (–)
Refractive index: nα = 1.655 nβ = 1.875 nγ = 1.909
Birefringence: δ = 0.254
This site specific house was designed with the desire to maximise privacy and the natural sun path to the rear of the site. The barn / cluster concept of the design gives the design a rural quality whilst retaining a contemporary feel for the dwelling. Large sliding windows give good light to the main living spaces. The house creates a quiet garden area to the rear which is south facing maximising sunshine and heat gained by the windows.
The Ambient Performance of Quiet Spaces is a site-specific exploration of experience at the border of perception and imagination. It was set in Washington DC’s McKinley Theater in the Carnegie Library and performed continually between 8pm-3am. The Carnegie Library, the first public library in Washington, was decommissioned in the late 70’s and it is now a performance and event venue.
In this work, the shared physical, public space of the library is reconfigured so that its new visitors: the audience, robotic cameras and performers are equally engaged in moments of private and public reflection. The form of the work is the active transposition of subject and object and of content and meaning between these three constituencies. This process of transposition is a reference to contemporary digital culture’s ongoing assimilation of earlier cultural forms.
Working with performer Nick Horan, we each took turns on stage, quietly reading and at times engaging with the installation. Two PTZ IP cameras were programed to scan the stage, the audience and each other, similarly pondering their environment. The resulting images were projected onto the screen behind the stage. A soundtrack composed of ambient sounds from existing public libraries, recordings of the preparation of the materials for the installation and ambient sounds from recent installations played quietly throughout the performances.
The Ambient Performance of Quiet Spaces featured an installation of various materials on the stage of the theater that included: card catalog cards, *prepared books (with tape, acetate, LEDs/electronics/code), cables, computers, projectors and IP cameras.
*prepared books included:
> James Joyce’s Ulysses containing excerpts from Emmanuel Levinas’ Totality and Infinity
> John Beecroft’s Kipling: A Selection of His Stories and Poems containing card catalog cards for books related to technology and its impact on the library system
> John B. Noss’ Man’s Religions
> Milan Kundera’s The Unbearable Lightness of Being
video/audio of the project: vimeo.com/147043745
She has two eggs, but seems only one chicken, last year she had two.
Red-throated Diver nesting in Porkeri Mountains
Adult in breeding plumage
Conservation status
Least Concern (IUCN 3.1)[1]
Scientific classification
Kingdom: Animalia
Phylum: Chordata
Class: Aves
Order: Gaviiformes
Family: Gaviidae
Genus: Gavia
Species: G. stellata
Binomial name
Gavia stellata
(Pontoppidan, 1763)
Synonyms
Colymbus stellatus Pontoppidan, 1763 Colymbus lumme Brünnich, 1764
Colymbus septentrionalis Linnaeus, 1766
Gavia lumme Forster, 1788
Colymbus mulleri Brehm, 1826
Urinator lumme Stejneger, 1882
The Red-throated Diver (Gavia stellata), known in North America as the Red-throated Loon, is a migratory aquatic bird that is found in the temperate regions of the northern hemisphere. It is the smallest and most widely distributed member of the loon or diver family.
Around 55–67 centimetres (22–26 in) in length, the Red-throated Diver is a nondescript bird in winter, greyish above fading to white below. During the breeding season, it acquires the distinctive reddish throat which gives rise to its common name. Fish form the bulk of the diet, with invertebrates and plants sometimes eaten as well. A monogamous species, the Red-throated Diver forms long-term pair bonds.
Contents [hide]
1 Taxonomy and etymology
2 Description
2.1 Voice
3 Habitat and distribution
4 Behaviour
4.1 Food and feeding
4.2 Breeding
5 Conservation status and threats
6 In human culture
7 References
7.1 Sources
8 External links
[edit] Taxonomy and etymology
First described by Danish naturalist Erik Pontoppidan in 1763, the Red-throated Diver is a monotypic species, with no distinctive subspecies despite its large Holarctic range.[2] Pontoppidan initially placed the species in the now-defunct genus Colymbus, which contained grebes as well as divers. By 1788, however, German naturalist Johann Reinhold Forster realized that grebes and divers were different enough to warrant separate genera, and moved the Red-throated Diver (along with all other diver species) to its present genus.[3] Its relationship to the four other divers is complex; though all belong to the same genus, it differs more than any of the others in terms of morphology, behaviour, ecology and breeding biology. It is thought to have evolved in the Palearctic, and then to have expanded into the Nearctic.[2]
The genus name Gavia comes from the Latin for "sea mew", as used by ancient Roman naturalist Pliny the Elder.[4] The specific epithet stellata is Latin for "set with stars" or "starry",[5] and refers to the bird's speckled back in its non-breeding plumage.[4] "Diver" refers to the family's underwater method of hunting for prey, while "red-throated" is a straightforward reference to the bird's most distinctive breeding plumage feature. The word "loon" is thought to have derived from the Swedish lom, the Old Norse or Icelandic lómr, or the Old Dutch loen, all of which mean "lame" or "clumsy", and is a probable reference to the difficulty that all divers have in moving about on land.[6]
[edit] Description
The Red-throated Diver is the smallest and lightest of the world's diver species, ranging from 55–67 centimetres (22–26 in) in length with a 91–110 centimetres (36–43 in) wingspan,[7] and averaging 1.4 kilograms (3.1 lb) in weight.[8] Like all divers, it is long-bodied and short-necked, with its legs set far back on its body.[9] The sexes are similar, although males tend to be slightly larger and heavier than females.[2] In breeding plumage, the adult has a grey head and neck (with narrow black and white stripes on the back of the neck), a triangular red throat patch, white underparts and a dark mantle. It is the only diver with an all-dark back in breeding plumage. The non-breeding plumage is drabber with the chin, foreneck and much of the face white, and considerable white speckling on the dark mantle. Its bill is thin, straight and sharp, and the bird often holds it at an uptilted angle. Though the colour of the bill changes from black in summer to pale grey in winter, the timing of the colour change does not necessarily correspond to that of the bird's overall plumage change. The nostrils are narrow slits located near the base of the bill, and the iris is reddish.
An adult in non-breeding plumage shows the speckled back which gives the bird its specific name.When it first emerges from its egg, the young Red-throated Diver is covered with fine soft down feathers. Primarily dark brown to dark grey above, it is slightly paler on the sides of its head and neck, as well as on its throat, chest, and flanks, with a pale grey lower breast and belly. Within weeks, this first down is replaced by a second, paler set of down feathers, which are in turn replaced by developing juvenile feathers.[10]
In flight, the Red-throated Diver has a distinctive profile; its small feet do not project far past the end of its body, its head and neck droop below the horizontal (giving the flying bird a distinctly hunchbacked shape) and its thin wings are angled back. It has a quicker, deeper wingbeat than do other divers.[8]
[edit] Voice
The adult Red-throated Diver has a number of vocalisations, which are used in different circumstances. In flight, when passing conspecifics or circling its own pond, it gives a series of rapid yet rhythmic goose-like cackles, at roughly five calls per second. Its warning call, if disturbed by humans or onshore predators, is a short croaking bark. A low-pitched moaning call, used primarily as a contact call between mates and between parents and young, but also during copulation, is made with the bill closed. The species also has a short wailing call, which descends slightly in pitch and lasts about a second; due to strong harmonics surrounding the primary pitch, this meowing call is more musical than its other calls. Another call—a harsh, pulsed cooing that rises and falls in pitch, and is typically repeated up to 10 times in a row—is used in territorial encounters and pair-bonding, and by parent birds encouraging their young to move on land between bodies of water.[11] Known as the "long call", it is often given in duet, which is unusual among the divers;[12] the female's contribution is longer and softer than her mate's.[11]
Young have a shrill closed-bill call, which they use in begging and to contact their parents. They also have a long call used in response to (and similar to that of) the long call of adults.[11]
[edit] Habitat and distribution
The Red-throated Diver breeds primarily in the Arctic regions of northern Eurasia and North America (generally north of 50°N latitude), and winters in northern coastal waters.[13] Unlike other divers, the Red-throated Diver regularly uses very small freshwater lakes as breeding sites.
In North America, it winters regularly along both coasts, ranging as far south as the Baja California Peninsula and the Gulf of California in northwestern Mexico; it has been recorded as a vagrant in the interior Mexican state of Hidalgo.[14] In Europe, it breeds in Iceland, northern Scotland, Scandinavia and northern Russia, and winters along the coast as far south as parts of Spain; it also regularly occurs along major inland waterways, including the Mediterranean, Aegean and Black Seas, as well as large river, lakes and reservoirs.[15] It has occurred as a vagrant as far south as Morocco, Tunisia and The Gambia.[1]
Some of its folknames in northeastern North America—including cape race, cape brace, cape drake and cape racer, as well as corruptions such as scapegrace—originated from its abundance around Cape Race, Newfoundland.[16]
[edit] Behaviour
Because its feet are located so far back on its body, the Red-throated Diver is not capable of walking on land; however, it can use its feet to shove itself forward on its breast.[8] Young use this method of covering ground when moving from their breeding pools to larger bodies of water, including rivers and the sea.[17] It is the only species of diver able to take off directly from land.[18]
The Red-throated Diver is a diurnal migrant, which travels singly or in loose groups, often high above the water.[8] In eastern North America (and possibly elsewhere), it tends to migrate near the coast rather than farther offshore.[19] It is a strong flier, and has been clocked at speeds between 75 and 78 kilometres per hour (47–49 mph).[20] Like all members of its family, the Red-throated Diver goes through a simultaneous wing moult, losing all its flight feathers at once and becoming flightless for a period of 3–4 weeks. However, unlike other divers—which undergo this moult in late winter—the Red-throated Diver loses its ability to fly sometime between early August and November.[21]
[edit] Food and feeding
Like all members of its family, the Red-throated Diver is primarily a fish-eater, though it sometimes feeds on molluscs, crustaceans, frogs, aquatic invertebrates, insects, fish spawn or even plant material.[22] It seizes rather than spears its prey, which is generally captured underwater.[23] Though it normally dives and swims using only its feet for propulsion, it may use its wings as well if it needs to turn or accelerate quickly.[24] Pursuit dives range from 2–9 metres (6.6–30 ft) in depth, with an average underwater time of about a minute.[22] The fish diet of the Red-throated Diver has led to several of its folknames, including "sprat borer" and "spratoon".[25]
Chicks are competent swimmers, able to accompany their parents soon after hatching.For the first few days after hatching, young Red-throated Divers are fed aquatic insects and small crustaceans by both parents. After 3–4 days, the parents switch to fish small enough for the young birds to swallow whole. By four weeks of age, the young can eat the same food—of the same size—as their parents do.[26] Young birds may be fed for some time after fledging; adults have been seen feeding fish to juveniles at sea and on inland lakes in the United Kingdom, hundreds of kilometers from any breeding areas.[27][28]
[edit] Breeding
The Red-throated Diver is a monogamous species which forms long-term pair bonds. Both sexes build the nest, which is a shallow scrape (or occasionally a platform of mud and vegetation) lined with vegetation and sometimes a few feathers, and placed within a half-metre (18 in) of the edge of a small pond. The female lays two eggs (though clutches of 1–3 have been recorded); they are incubated for 24–29 days, primarily by the female. The eggs, which are greenish or olive-brownish spotted with black, measure 75 x 46 millimetres (3.0 x 1.8 in) and have a mass of 83 grams (2.9 oz), of which 8 percent is shell.[23][29] Incubation is begun as soon as the first egg is laid, so they hatch asynchronously. The young birds are precocial upon hatching: downy and mobile with open eyes; both parents feed them (small aquatic invertebrates initially, then small fish) for 38–48 days. Parents will perform distraction displays to lure predators away from the nest and young.[23] Ornithologists disagree as to whether adults carry young on their backs while swimming with some maintaining that they do[23] and others the opposite.[30]
[edit] Conservation status and threats
JuvenileThough the Red-throated Diver is not a globally threatened species, as it has a large population and a significant range, there are populations which appear to be declining. Numbers counted in U.S. Fish and Wildlife Service surveys in Alaska show a 53 percent population decline between 1971 and 1993, for example,[31] and counts have dropped in continental Europe as well.[32] In Scotland, on the other hand, the population increased by some 16 percent between 1994 and 2006, according to surveys done by the Royal Society for the Protection of Birds and Scottish Natural Heritage.[32] In 2002, Wetlands International estimated a global population of 490,000 to 1,500,000 individuals; global population trends haven't been quantified.[1]
The Red-throated Diver is one of the species to which the Agreement on the Conservation of African-Eurasian Migratory Waterbirds (AEWA) applies;[33] in the Americas, it is protected by the Migratory Bird Treaty Act of 1918.[34] Oil spills, habitat degradation, and fishing nets are among the main threats this species faces.[30] In addition, high levels of mercury in the environment have led to reproductive failures in some areas, including parts of Sweden.[35] On the breeding grounds, Arctic and Red Foxes are major predators of eggs,[36] while Great Skuas, Arctic Skuas and various species of Larus gulls (including Great Black-backed Gulls and Glaucous Gulls)[37][38] are predators of both eggs and young.[39]
[edit] In human culture
Used as a food source since prehistoric times,[40][41] the Red-throated Diver is still hunted by indigenous peoples in some parts of the world today.[42] Eggs as well as birds are taken, sometimes in significant numbers; during one study on northern Canada's Igloolik Island, 73% of all Red-throated Diver eggs laid within the 10 km2 (3.9 mi2) study site over two breeding seasons were collected by indigenous inhabitants of the island.[43] In some parts of Russia, Red-throated Diver skins were traditionally used to make caps, collars and other clothing trim.[44] The species was also central to the creation mythologies of indigenous groups throughout the Holarctic.[45] According to the myth—which varies only slightly between versions, despite the sometimes-vast distances that separated the groups who believed it—the diver was asked by a great shaman to bring up earth from the bottom of the sea. That earth was then used to build the world's dry land.[45][46]
As recently as the 1800s, the Red-throated Diver was thought to be a foreteller of storms; according to the conventional wisdom of the time, birds flying inland or giving short cries predicted good weather, while those flying out to sea or giving long, wailing cries predicted rain.[29][32] In the Orkney and Shetland islands of Scotland, the species is still known as the "rain goose" in deference to its supposed weather-predicting capabilities.[32]
Bhutan, Japan and the Union of the Comoros have issued stamps featuring the Red-throated Diver.[47]
[edit] References
1.^ a b c BirdLife International (2008). Gavia stellata. 2008 IUCN Red List of Threatened Species. IUCN 2008. Retrieved on 2008-10-14.
2.^ a b c Carboneras, p. 162
3.^ Allen, J. A (July 1897). "The Proper Generic Name of the Loons". The Auk 14 (3): 31... . elibrary.unm.edu/sora/Auk/v014n03/p0312-p0313.pdf.
4.^ a b Johnsgard, Paul A. (1987). Diving Birds of North America. University of Nevada–Lincoln. ISBN 0803225660. digitalcommons.unl.edu/cgi/viewcontent.cgi?article=1011&a....
5.^ Simpson, Donald Penistan (1979). Cassell's Latin Dictionary (5 ed.). London: Cassell Ltd. p. 883. ISBN 0-304-52257-0.
6.^ Carboneras 1992, p. 169
7.^ Svensson, Lars; Peter Grant (1999). Collins Bird Guide. London: HarperCollins. pp. 12–13. ISBN 0-00-219728-6.
8.^ a b c d Sibley, David (2000). The Sibley Guide to Birds. New York: Alfred A. Knopf. p. 23. ISBN 0-679-45122-6.
9.^ Cramp 1977, p. 42
10.^ Cramp 1977, p. 49
11.^ a b c Cramp 1977, p. 48
12.^ Carboneras 1992, p. 164
13.^ Carboneras, p.171
14.^ Howell, Steve N. G.; Sophie Webb (1995). A Guide to the Birds of Mexico and Northern Central America. Oxford University Press. p. 92. ISBN 0-19-854012-4.
15.^ Cramp, p. 45
16.^ Cassidy, Frederic Gomes; Hall, Joan Houston (1985). Dictionary of American Regional English. Harvard University Press. p. 539. ISBN 0674205111. books.google.com/books?id=tuLKtLkFshoC&pg=RA1-PA539&a....
17.^ Haviland, Maud D. "On the Method of Progression on Land of a Young Red-throated Diver". British Birds 8 (10): 24... .
18.^ Mead-Waldo, E. G. B. "Habits of the Red-throated Diver". British Birds 16 (6): 172–3.
19.^ Powers, Kevin D.; Jeffrey Cherry. "Loon migrations off the coast of the northeastern United States". Wilson Bulletin 95 (1): 12... . elibrary.unm.edu/sora/Wilson/v095n01/p0125-p0132.pdf.
20.^ Davis, Rolph A. (January 1971). "Flight speed of Arctic and Red-throated Loons". The Auk 88 (1): 169. elibrary.unm.edu/sora/Auk/v088n01/p0169-p0169.pdf.
21.^ Wolfenden, Glen E.. "Selection for a Delayed Simultaneous Wing Molt in Loons (Gaviidae)". The Wilson Bulletin 79 (4): 41... . elibrary.unm.edu/sora/Wilson/v079n04/p0416-p0420.pdf.
22.^ a b Carboneras 1992, p. 171
23.^ a b c d Ehrlich, Paul R.; Dobkin, David S., Wheye, Darryl & Pimm, Stuart L. (1994). The Birdwatcher's Handbook. Oxford University Press. p. 2. ISBN 0-19-858407-5.
24.^ Townsend, Charles W. (July 1909). "The Use of the Wings and Feet by Diving Birds". The Auk 26 (3): 23... . elibrary.unm.edu/sora/Auk/v026n03/p0234-p0248.pdf.
25.^ Cocker, Mark; Mabey, Richard (2005). Birds Britannica. London: Chatto & Windus. p. 3. ISBN 0-701-16907-9.
26.^ Cramp 1977, p. 46
27.^ Hart, Alan S.; Jardine, David C. and Colin Hewitt (June 1998). "Red-throated Diver feeding young in October". British Birds 91 (6): 231.
28.^ Barber, S. C. (June 2002). "Red-throated Diver feeding young in November". British Birds 95 (6): 313.
29.^ a b "Red-throated Diver". British Trust for Ornithology. blx1.bto.org/birdfacts/results/bob20.htm. Retrieved on 2008-06-27.
30.^ a b "All About Birds: Red-throated Loon". Cornell Lab of Ornithology. www.birds.cornell.edu/AllAboutBirds/BirdGuide/Red-throate.... Retrieved on 2008-06-30.
31.^ Groves, Deborah J.; Conant, Bruce; King, Rodney J.; Hodges, John I.; King, James G. (1996). "Status and trends of loon populations summering in Alaska, 1971–1993". The Condor 98 (2): 189–195 . doi:10.2307/1369136. elibrary.unm.edu/sora/Condor/files/issues/v098n02/p0189-p....
32.^ a b c d "Rise in divers mystifies experts". BBC News. news.bbc.co.uk/2/hi/uk_news/scotland/highlands_and_island.... Retrieved on 2007-09-07.
33.^ "Waterbird species to which the Agreement applies". Agreement on the Conservation of African-Eurasian Migratory Waterbirds. www.unep-aewa.org/documents/agreement_text/eng/pdf/aewa_a.... Retrieved on 2008-06-29.
34.^ "Birds Protected by the Migratory Bird Treaty Act". US Fish and Wildlife Service. www.fws.gov/migratorybirds/intrnltr/mbta/mbtandx.html#l. Retrieved on 2008-06-29.
35.^ Eriksson, M.O.G.; Johansson, I. & Ahlgren, C.G. (1992). "Levels of mercury in eggs of red-throated diver Gavia stellata and black-throated diver G. arctica in southwest Sweden" (Abstract). Ornis Svecica 2 (1): 29–36. md1.csa.com/partners/viewrecord.php?requester=gs&coll....
36.^ Schamel, Douglas; Tracy, Diane (Summer 1985). "Replacement Clutches in the Red-throated Loon". Journal of Field Ornithology 56 (3): 28... . elibrary.unm.edu/sora/JFO/v056n03/p0282-p0283.pdf.
37.^ Serle Jnr., W. (January 1936). "Mortality amongst Red-throated Divers". British Birds 29 (1): 81-82.
38.^ Eberl, Christine; Picman, Jaroslav (July–September 1993). "Effect of Nest-site Location on Reproductive Success of Red-throated Loons (Gavia stellata)". The Auk 110 (3): 43... . elibrary.unm.edu/sora/Auk/v110n03/p0436-p0444.pdf.
39.^ Booth, C. J. (January 1978). "Breeding success of Red-throated Divers". British Birds 71 (1): 44.
40.^ Gordon, Bryan C.; Savage, Howard. "Whirl Lake: A Stratified Indian Site Near the Mackenzie Delta". Arctic 27 (3): 17... . pubs.aina.ucalgary.ca/arctic/Arctic27-3-175.pdf.
41.^ Tagliacozzo, Antonio; Gala, Monica (November 2002). "Exploitation of Anseriformes at two Upper Palaeolithic sites in Southern Italy: Grotta Romanelli (Lecce, Apulia) and Grotta del Santuario della Madonna a Praia a Mare (Cosenza, Calabria)". Acta zoologica cracoviensia 45 (special issue): 117-131 . www.isez.pan.krakow.pl/journals/azc_v/pdf/45/09.pdf.
42.^ Bird, Louis; Brown, Jennifer S.H. (2005). Telling Our Stories: Omushkego Legends and Histories from Hudson Bay. Broadview Press. ISBN 1551115808. books.google.com/books?id=Cc9dgTkkfcoC&printsec=front....
43.^ Forbes, Graham; Robertson, Kelly; Ogilvie, Carey; Seddon, Laura (September 1992). "Breeding Densities, Biogeography, and Nest Predation of Birds on Igloolik Island, NWT". Arctic (Peterborough, Ontario) 45 (3): 295-303 . pubs.aina.ucalgary.ca/arctic/Arctic45-3-295.pdf.
44.^ "Red-throated Loon". Birds of North America Online. Cornell Laboratory of Ornithology and the American Ornithologists' Union. bna.birds.cornell.edu/bna/species/513/articles/conservation. Retrieved on 2008-03-27. (Registration required)
45.^ a b Köngäs, Elli Kaija (Spring 1960). "The Earth-Diver (Th. A 812)". Ethnohistory 7 (2): 15... . www.jstor.org/pss/480754.
46.^ Lutwack, Leonard (1994). Birds in Literature. University Press of Florida. p. 82. ISBN 0813012546.
47.^ Scharning, Kjell. "Stamps showing Red-throated Loon Gavia stellata". Theme Birds on Stamps. www.birdtheme.org/mainlyimages/index.php?spec=1458. Retrieved on 2009-02-13.
[edit] Sources
Carboneras, Carles (1992). "Family Gaviidae (Divers)". in Josep del Hoyo, Andrew Elliott & Jordi Sargatal. Handbook of the Birds of the World, Volume 1: Ostrich to Ducks. Barcelona: Lynx Edicions. pp. 162–172 .
Cramp, Stanley, ed (1977). "Gavia stellata Red-throated Diver". Handbook of the Birds of Europe, the Middle East and North Africa: Birds of the Western Palearctic, Volume 1, Ostrich to Ducks. Oxford University Press. pp. 42–49. ISBN 0-19-857358-8.
[edit] External links
Wikimedia Commons has media related to: Gavia stellata
Red-throated Diver photos on Philadelphia's Academy of Natural Sciences's Visual Resources for Ornithology website
Red-throated Diver videos on Handbook of Birds of the World's Internet Bird Collection website
Red-throated Diver sound recordings on xeno-canto.org's website
Retrieved from "http://en.wikipedia.org/wiki/Red-throated_Diver"
Categories: IUCN Red List least concern species | Gaviiformes | Arctic birds | Birds of Europe | Birds of Asia | British Isles coastal fauna | Birds of Italy
Specific Design Assessment
-Signs are posted at various scales
-Signs are posted at alley entrances
-Business signs are oriented towards pedestrian traffic through the alley
-Signs to public amenities, such as restrooms, are clearly marked
Relevant Land Use Code Sections
20.25A.160.D.3.e - Signage (identify circulation routes)
20.25A.160.D.4.c - Incorporate design elements of the adjacent right-of-way, such as paving, lighting, landscaping, and signage to identify the through-block pedestrian connection as a public space
20.25A.160.D.4.d - Accentuate and enhance access to the through-block pedestrian connection from the right-of-way by use of multiple points of entry that identify it as a public space
The 12 Metre Class is a specific rating for racing boats designed to certain International rules.
It enables fair competition between boats that rate in the class whilst retaining the freedom to experiment with the details of their designs.
The first 12 Metres were built in 1907.
The 12 Metre Class was used in the Olympic Games of 1908, 1912 and 1920 but only few boats participated.
The 12 Metre class boats are probably best known for their use from 1958 to 1987 in the America's Cup.
It all goes back to 1851 and Queen Victoria. Since then, men have spent small fortunes to win this most prestigious and oldest sporting trophy in the world.
The latter part of the 20th century saw a big revival in interest in classic yachts, including 12 Metre yachts, and particularly those of wooden construction.
There were an increasing number of prestigious regattas in attractive locations such as the Mediterranean and the Caribbean.
Also a more prosperous global economy prevailed and the result was an increasing number of restorations and racing of older ‘classic’ 12 Metres.
On the Dutch side of the shared isle of St. Martin (French) and Sint Maarten (Dutch), in the Caribbean.
Rugby Specific Strength Training e-Book + free performance training system. via /r/strength_training t.co/tejRpd7dSS #StrengthTrai… (via Twitter twitter.com/BestProteinPow/status/694298703704768512)
Ordem Informal
curadoria Bruno de Almeida
A Galeria Leme apresenta o terceiro site-specific comissionado para o projeto SITU, curado por Bruno de Almeida, dando continuidade a uma pesquisa mais ampla sobre formas de pensar e discutir a produção do espaço (urbano) através de um diálogo entre arte, arquitetura e cidade.
SITU convida o artista Venezuelano Ricardo Alcaide a conceber uma obra que resulte de uma reflexão sobre o contexto urbano entendido como ampla matriz físico-social, e que se relacione simultaneamente com o exterior do edifício da galeria e com o espaço público contíguo.
Ricardo Alcaide projeta um grande volume geométrico negro que ocupa quase a totalidade do pátio externo da galeria. A face que se apresenta para o transeunte se desenvolve em rampa desde o chão, mais próximo à calçada, se elevando até ao topo da parede ao fundo do pátio e chegando a seis metros de altura. O volume disseca diagonalmente as fachadas da galeria, anulando o espaço externo e bloqueando quase inteiramente as duas entradas para o edifício. Para a construção deste elemento monumental o artista usa uma madeira vulgarmente utilizada na construção civil como estrutura para moldes de concreto in loco, o mesmo processo de construção das paredes da galeria.
Devido à obstrução do acesso habitual ao edifício, Alcaide desloca a entrada para a fachada oposta, utilizando uma porta que se encontra habitualmente fechada. Este novo acesso faz referência à entrada original do primeiro projeto da galeria, do arquiteto Paulo Mendes da Rocha, construída em 2004 e depois demolida em 2011 para dar lugar à sua réplica, a estrutura que existe hoje. Com a realocação e a reorientação do edifício, o projeto inicial foi readaptado e consequentemente a inversão da entrada foi incorporada.
Através da ocupação e quase inutilização de um espaço (semi)público e da consequente adaptação do percurso de entrada, Ricardo Alcaide induz a um reexame da relação física do visitante com o edifício e subverte o funcionamento normal da instituição. Criando uma circunstância espacial que se localiza no limiar entre conflito e uma espécie de institucionalização da provisoriedade, o artista tira partido da fricção entre rigidez e improviso institucional que está frequentemente presente na nossa experiência da cidade, se materializando comumente no encontro entre a arquitetura “oficial" e as construções improvisadas que cumulativamente se acoplam a esta e são resultados de pactos territoriais paralelos à própria ordem jurídico-normativa oficial.
Mais informações: www.projetositu.wordpress.com
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Informal Order
curated by Bruno de Almeida
Galeria Leme presents the third site-specific commissioned for SITU, curated by Bruno de Almeida, giving continuity to a broader research on ways of thinking and discussing the production of (urban) space through a dialogue between art, architecture and city.
SITU invites Venezuelan artist Ricardo Alcaide to devise a work that results from a reflection on the urban context understood as a broad physical-social matrix, and that simultaneously relates to the exterior of the gallery’s building and to the adjacent public space.
Ricardo Alcaide designs a large black geometric volume that occupies almost the entire outdoor patio of the gallery. The face that presents itself to the passersby develops in ramp from the ground, closer to the sidewalk, rising up to six meters until the top of the wall at the back of the courtyard. The volume diagonally dissects the gallery facades, nullifying the external space and almost entirely blocking the two entrances to the building. For the construction of this monumental element the artist uses a wood that is commonly used in construction as a framework for molds of in situ concrete, the same construction process of the gallery’s walls.
Due to the obstruction of the normal access into the building, Alcaide displaces the entry to the opposite facade, using a door which is customarily closed. This new access refers to the original entry of the gallery’s first project, from architect Paulo Mendes da Rocha, built in 2004 and then demolished in 2011 to make way for its replica, the structure that exists today. With the relocation and reorientation of the building the initial project was readapted and consequently the reversal of the entrance was incorporated.
Through the occupation and almost obliteration of a (semi)public space and the subsequent adaptation of the entrance route, Ricardo Alcaide induces a reexamination of the visitor's physical relationship with the building and subverts the normal functioning of the institution. Creating a spatial condition that is located on the threshold of conflict and an “institutionalization” of provisionality, the artist takes advantage of the friction between rigidity and institutional improvisation that is often present in our experience of the city, commonly materializing itself in the clash between the “official” architecture and the makeshift constructions that are cumulatively coupled to it, being the result of territorial pacts that are parallel to the official legal-normative order.
More info: www.projetositu.wordpress.com
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Foto / Photo: Filipe Berndt
Construção e Produção / Construction and Production: Marton Estúdio
Specific to Santa Fe - Emergency!
3 fingers up. Requires Immediate Attention.
Check out the brand new Occupy Santa Fe pool, a group with very practical discussion threads:
At the 20th Annual Charlie Joiner Celebrity Classic, Sport Specific Performance talked golf, life, and philanthropy with Evander Holyfield, Heisman Trophy Winner Johnny Rodgers, David Justice, Dan Fouts, Billy Ray Smith, Pro Bowl Kicker John Carney, Wes Chandler, Ted Hendricks, Paul Warfield, Dave Stewart, Junior Seau, Dean Spanos, and more.
Matadero Madrid presenta Visita guiada, una intervención site specific que ha realizado Elena Alonso (Madrid, 1981) para el programa Abierto x Obras, que tiene lugar en la antigua cámara frigorífica del que fue el matadero de Legazpi. La propuesta de la artista parte de la idea de encontrarnos en una cámara aislada, donde no existe apenas comunicación entre el interior y el exterior, y del concepto de conservación, que ha estado ligado a este espacio a lo largo de su historia.
Tras sucesivas visitas a la nave, la artista comenzó a fijarse en toda la información visual que había quedado plasmada en paredes y techos. Lo que más llamó su atención fueron una serie de agujeros repartidos por la cubierta de las naves laterales, clausurados en la última reforma.
La intervención propone un recorrido por la nave utilizando como guía un pasamanos. Una línea trazada en el plano como un dibujo, que en esta ocasión toma forma escultórica. Su elaboración con distintos materiales, como madera, cemento, corcho, escayola pintada o cobre, pone de manifiesto el interés de la artista por la artesanía y el diseño, y ofrecen al visitante el deleite a la vista y al tacto de los materiales trabajados.
En la penumbra de la nave encontramos esta particular guía que nos lleva a descubrir una nueva perspectiva del espacio. Los agujeros han sido reabiertos, por ellos entra la luz y se vislumbra otra galería superior, antes oculta a la mirada del visitante.
En esta intervención artística hallamos un juego de contrastes, de impedimentos y de posibilidades. En cierta manera, recuerda a las cuevas visitables donde el recorrido nos va mostrando la particular geomorfología que conserva en su ambiente antes estático. En este caso, la cuidada elaboración del pasamanos contrasta con la brutalidad del espacio.
El pasamanos es a su vez una guía y una barrera, una línea que sortea y adorna la arquitectura de la nave. Una pieza que podemos ver y tocar, y que nos lleva a descubrir un lugar inesperado sobre nuestras cabezas, pero que solo podemos llegar a entrever desde la distancia.
Elena Alonso (Madrid, 1981) Licenciada en Bellas Artes y Máster en Arte, Creación e Investigación por la Universidad Complutense de Madrid, ha realizado también estudios en Suecia y Helsinki. Desarrolla su trabajo principalmente mediante el dibujo, relacionándolo con otras disciplinas como la arquitectura, la artesanía o el diseño, y prestando especial atención a las problemáticas vinculadas a la afectividad con el entorno. Ha expuesto de forma individual en el Museo ABC (El espacio alrededor, 2016); Espacio Valverde (Canto Blando, 2016; Composición de lugar, 2014; La tapadera, 2012); en la Sala de Arte Joven de la Comunidad de Madrid (2011); y en la Cable Factory de Helsinki (Paredes de piel, 2007).
Abierto x Obras, en Matadero Madrid, es un programa de intervenciones site specific que invita a artistas a realizar una pieza de nueva producción incentivando 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. Una sala de más de 800 metros cuadrados que todavía conserva su aspecto original y las huellas de un incendio sucedido en los años 90. Un espacio característico por su estructura diáfana de arcos volados y columnas. 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, Eugenio Ampudia o Darya von Berner, entre otros.
The medical 3D models that are produced by ACRM Corp are patient-specific and are derived from CT or MRI scans (typically using DICOM image data). These models are used by physicians, orthopaedic surgeons and neurosurgeons to aid in pre-surgical planning and diagnoses for conditions ranging from spine conditions like scoliosis and kyphosis to skull-related issues like hydrocephalus and craniosynostosis. 3D brain models, hips and knees are also commonly replicated items. There is a case study store (www.Medical3Dmodels.com) where you can order physical 3D models of all of the items shown in these videos. If you are looking to get a 3D model for a specific patient, visit our corporate site (www.ACRMcorp.com) for details on how we can create a custom 3D medical model for that patient.
SPECIFIC is an Innovation and Knowledge Centre. It aims to develop coated glass and steel products that capture, store and release solar energy, turning buildings into power stations. The centre brings together world class academic and industrial expertise in the fields of photovoltaics, solar thermal, batteries, chemical conversion and wide area lighting, alongside unique sheet and coil printing and coating facilities.
Specific Design Assessment
-Signs are posted at various scales
-Signs are posted at alley entrances
-Business signs are oriented towards pedestrian traffic through the alley
-Signs to public amenities, such as restrooms, are clearly marked
Relevant Land Use Code Sections
20.25A.160.D.3.e - Signage (identify circulation routes)
20.25A.160.D.4.c - Incorporate design elements of the adjacent right-of-way, such as paving, lighting, landscaping, and signage to identify the through-block pedestrian connection as a public space
20.25A.160.D.4.d - Accentuate and enhance access to the through-block pedestrian connection from the right-of-way by use of multiple points of entry that identify it as a public space
SPECIFIC is an Innovation and Knowledge Centre. It aims to develop coated glass and steel products that capture, store and release solar energy, turning buildings into power stations. The centre brings together world class academic and industrial expertise in the fields of photovoltaics, solar thermal, batteries, chemical conversion and wide area lighting, alongside unique sheet and coil printing and coating facilities.
SPECIFIC is led by Swansea University in partnership with industrial partners Tata Steel, BASF and NSG Pilkington and research partners Imperial College London, Cardiff University, Bath University, Bangor University and Sheffield University; it is funded by EPSRC, Technology Strategy Board and the Welsh Government.
SPECIFIC's aim is to transform world-class research and innovative technology into a new, £1billion industry.
Sêr Solar, a new world-class solar energy research centre to support the growth of the solar industry in Wales has been launched by Swansea University after being awarded £6 million from the Welsh Government’s Sêr Cymru programme. Headed by one of the world’s pre-eminent solar energy research scientist, Professor James Durrant, the new Sêr Solar initiative is based alongside Swansea University’s SPECIFIC at the Innovation and Knowledge Centre (IKC), Baglan Energy Park.