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SPECIFIC:
GENERAL: Deadbolt performs at PJ's Lager House. Photographed Sat., Oct. 16, 2010
(Donna Terek )
SPECIFIC INFO: Haf Life played Santarchy at PJ's Lager House.
GENERAL INFO: Lager House, Saturday, Dec.18, 2010. Photographs by Donna Terek, 313-598-0179
Vladimír Turner
Site- specific installation
Prague 2014
Dividing vacant lot into three separate parcels. Each parcel has got it's color. Pedestrians are pushed to walk strictly on a beaten paths. Situation suggests citizens of Vršovice neigborhood in prague to think about the public space, it's non/commercial value and future.
Organized by 4+4 Days In Motion
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.
(HGM 2001.2 M, Heisey Glass Museum, Newark, Ohio, USA)
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"3380 Old Dominion" and "1401 Empress" are the designations for specific glass product designs made in Newark, Ohio by the Heisey Glass Company (1896 to 1957). Heisey glass designs are called "patterns". Pattern designations include a number (not necessarily consecutively numbered during the history of the glass factory) and a name. Some pattern names were given by the Heisey company, while others were given by Heisey glass researchers.
"Alexandrite" refers to a famous and desirable type of colored glass that Heisey produced, with neodymium oxide (Nd2O3) as the coloration agent. The color of the glass changes under different lighting conditions.
The source of silica for Heisey glass is apparently undocumented, but was possibly a sandstone deposit in the Glassrock area (Glenford & Chalfants area) of Perry County, Ohio (if anyone can provide verfication of this, please inform me). Quarries in the area targeted the Pennsylvanian-aged Massillon Sandstone (Pottsville Group) and processed it into glass sand suitable for glass making.
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From Bredehoft (2004):
Alexandrite: 1929-1935. A dichromatic glass showing lavender with ruby tints under natural and incandescent light and a strange green-lavender under fluorescent light. Purportedly Heisey's most expensive production color.
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From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
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Reference cited:
Bredehoft, N. (ed.) (2004) - Heisey glass formulas - and more, from the papers of Emmet E. Olson, Heisey chemist. The West Virginia Museum of American Glass. Ltd.'s Monograph 38.
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Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
heiseymuseum.org/gallery/heisey-alexandrite/
and
www.20thcenturyglass.com/glass_encyclopedia/neodymium_glass/
MONA-specific pet rock based on Juul Kraijer, Untitled (2006). Sold at the MONA Markets, March 2013.
I have a thing for kitsch objects, but my PhD thesis is on the paradoxically high-brow topic, ‘The Museum as Art: Site-specific Art in Australia’s Public Museums.’ And so the MONA-specific pet rock was born…
All the pet rocks have been inspired by an artwork, doorstop, or other object displayed within MONA, and each one comes with a signed guarantee of authenticity.
“The Warfield Passages” ©1999 exterior wall mural, acrylic paint, photo and silkscreen collage on concrete,12 panels with a total length of 90 feet by eight feet tall. 28 Taylor Street; stage door and side exit of The Warfield Theater, side wall of the Warfield Building at 988 Market Street. Funded by the City of San Francisco’s Neighborhood Beautification Fund; Sponsored by the Mural Resource Center
This mural was designed and painted to be experienced while in motion, particularly as viewed by pedestrians. It is specific to its site because it reflects (figuratively and historically) the immediate area. The design is anchored by the theme of the history of the Warfield Theater, which opened in 1922 as a movie palace and went on to become a Vaudeville theater, and currently is a concert hall for contemporary music. Reading from left to right, the panels follow a time line, starting with a reference to the first moving images of a person (made by Edweard Muybridge, who was commissioned by Leland Stanford of Palo Alto), and moving through other cultural historical references to movies and performers from the era or who appeared at the Warfield. Most of the panels contain portraits of local people who posed for the mural. One of the panels is the view up Taylor Street, as it is seen from that point, imagined as it may have appeared in the early 20’s when the building was constructed. Near the right end of the mural another panel is painted from the viewer’s perspective, showing the intersection of Taylor, Golden Gate and Market as it looks today. Local legend has it that there was a speakeasy in the basement; one panel is painted as a tribute to that, using actual Art Deco imagery copied from photos I took of the basement walls.
I don't know the name of this specific kimchee. I loved the taste of the stems of these young greens.
John Carney of the New Orleans Saints and his wife Holly join the Sport Specific Performance team on the red carpet at the 20th annual Charlie Joiner Celebrity Golf Classic. Along with talking golf, football, and life, we discussed the all natural GOLF STRENGTH and GOLF FOCUS supplements with the Pro Bowl Kicker.
Westbound U.S. 22 Southbound Ohio 60 Southbound Ohio 93 Eastbound Ohio 146 to be specific. This is a weird area!, I like it though.
This is in downtown Zanesville. This day I was trying to follow U.S. 22 down to the Sheetz station in South Zanesville because I wanted to see if they had any interesting flavors of potato chips for sale.
Wow yon bldg is old: The Muskingum County Auditor website says it's from 1890, but I looked at the Library of Congress's digitized Sanborn fire insurance maps and I see it was already here by 1886, which is the earliest year such maps are available online.
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In downtown Zanesville, Ohio, on November 28th, 2020, the side of a building at the southwest corner of Main Street (U.S. Route 40) and South 7th Street (U.S. Route 22 and Ohio state routes 60, 93, and 146).
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Getty Thesaurus of Geographic Names terms:
• Muskingum (county) (1002701)
• Zanesville (7014658)
Art & Architecture Thesaurus terms:
• abandoned buildings (300008055)
• architectural ornament (300378995)
• brick (clay material) (300010463)
• brick red (color) (300311462)
• circles (plane figures) (300055627)
• commercial buildings (300005147)
• cornices (300001788)
• lampposts (300101536)
• lintels (spanning elements) (300003161)
• oblique views (300015503)
• oriented strand board (300380238)
• plywood (300012849)
• shadows (300056036)
• side views (300264743)
• traffic signs (300211849)
Wikidata items:
• 28 November 2020 (Q57396995)
• 19th-century architecture (Q69595903)
• 22 (Q712488)
• 60 (Q79998)
• 93 (Q31118)
• 146 (Q720721)
• Appalachian Ohio (Q14234625)
• boarding up (Q4931416)
• Columbus–Marion–Zanesville, OH Combined Statistical Area (Q100701198)
• concurrency (Q5159092)
• Congress Lands East of Scioto River (Q5160803)
• highway shield (Q5759965)
• November 28 (Q3017)
• November 2020 (Q38575003)
• Ohio State Route 60 (Q2390219)
• Ohio State Route 93 (Q2491850)
• Ohio State Route 146 (Q2491983)
• Ohio state routes (Q96348143)
• state highway (Q1788582)
• streetlight (Q503958)
• Treaty of Greenville (Q767317)
• United States Numbered Highway System (Q408192)
• U.S. Route 22 (Q408121)
• U.S. Route 40 (Q409496)
• vacant building (Q56056305)
Abierto x Obras. Matadero Madrid. Del 15 de septiembre 2017 al 8 de enero 2018.
Matadero Madrid presenta Los Afijos, una intervención site specific que ha realizado Juan López (Cantabria, 1979) para el programa Abierto x Obras, que tiene lugar en la antigua cámara frigorífica del que fue el matadero de Legazpi. La propuesta del artista plantea una intervención escultórica sobre la arquitectura como forma de resistencia contra lo establecido.
Los afijos son secuencias lingüísticas que se anteponen, se posponen o se insertan en una palabra para modificar su significado. Esta intervención, realizada específicamente para el programa Abierto x Obras de Matadero Madrid, trabaja con la relación entre escritura y arquitectura, entre signo y significado, entre escultura y collage. En un mundo hipercomunicado, poblado de signos creados por una élite intelectual y/o social, López juega con la posibilidad de alumbrar nuevos significados, nuevos espacios y otros regímenes de lo sensible, a partir de la creación de renovados signos, que además componen otros espacios. Así pues, se resignifica el discurso a la vez que se resignifica la arquitectura y por tanto nuestra manera de relacionarnos en este espacio.
Desde sus obras tempranas de intervención en el espacio urbano, el trabajo de Juan López busca desvelar otros modos de percibir el lugar como hipótesis para otras relaciones sociales fuera de la normatividad impuesta por el poder. En su obra, y mediante el recurso de la metáfora, quiebra y recompone los vínculos entre estos tres elementos: ciudad, subjetividad y poder.
Juan López ha expuesto en numerosas galerías, centros de arte, ferias y museos nacionales e internacionales como La Casa Encendida, MUSAC, Centro de Arte Laboral, Fundación Joan Miró, La Panera, O.K. Centrum Tokyo Wonder Site o Den Frie. Además, ha recibido diversos premios y becas como Hegnspl-Award Byens Hegn, Generaciones 2013, Premio ABC de Arte, Beca Fundación Marcelino Botín o Muestra de Arte INJUVE.
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.
To Share a Photo on Facebook:
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Geek-specific comedian Uncle Yo shows off his damaged Mangamoticon, his trademark Delicious Happy Fluffy Pink Cupcake of Redundant Happiness, before showing the audience what he's replacing it with.
The Cupcake was accidentally stepped on and suffered some water damage and, I suspect, urinated on. Ok, that last one is just wild speculation on my part.
A trading system is simply a group of specific rules, or parameters, that determine entry and exit points for a given equity.
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For more details visit excellatrader.com or excellatrader.blogspot.in .
On 16-17 May 2016 a series of event under the title Global Urbanisms, Regional Specificities were organised by Jenifer Robinson (UCL Dept of Geography and Urban Laboratory) and Tamar Garb (UCL Institute of Advanced Studies) This included evening public sessions addressing regional perspective on planetary urbanism and thinking around the urban in the Global South, as well as a closed symposium during the day. The events explored very active debates within in urban studies addressing the limits of universalist theorisations of the urban, while at the same time seeking to engage with the globalisation of urban processes.
Capitolo primo. L’astratta qualità del ricordo. (2016/2017) Chapter one. The abstract quality of remembrance. (2016/2017) Site specific installation. Work in progress.
La Delice Pastry Shop and Candy Store Chocolate specific on 3rd Avenue and 27th Street Kips Bay New York City - 03/30/2018 - NYC - Mystery Magic Chef outside mannequin Superchef Comicbook super hero comic book comics standee Halloween stand up store stores Bake Bakery Easter candy store entrance Pop n Fresh Mannequins dummy wax sculpture standees cook domestic hat uniform chocolate 2018 Mysterious
Go to Page with image in the Internet Archive
Title: Humphreys' homeopathic mentor, or Family adviser in the use of specific homeopathic medicine
Creator: Humphreys, F. (Frederick), 1816-1900
Publisher: New York, Humphreys' Homeopathic Medicine Co.
Sponsor: Open Knowledge Commons and Yale University, Cushing/Whitney Medical Library
Contributor: Yale University, Cushing/Whitney Medical Library
Date: 1898
Language: eng
If you have questions concerning reproductions, please contact the Contributing Library.
Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.
Read/Download from the Internet Archive
See all MHL images published in the same year
See all images from Yale University, Cushing/Whitney Medical Library
Capitolo primo. L’astratta qualità del ricordo. (2016/2017) Chapter one. The abstract quality of remembrance. (2016/2017)
Site specific installation. Work in progress.
Top 10 Masters finisher and PGA Pro Ricky Barnes talks golf, life, and health with Sport Specific Performance. The all natural GOLF STRENGTH and GOLF FITNESS supplements from Sport Specific Performance are perfect for players like Ricky Barnes who attended the LA Lakers' Jordan Farmar's golf event.
“Life projected through magical digital form”.
Cinetaxis is a project led by SDNA, at once capable of becoming a son et lumier, intimate installation and theatrical performance. It's an experimental collaboration of audio/video art and visual performance creating site specific 'live' installations.
The inspiration for the title 'Cinetaxis' is derived from research into phototaxis, (insects automatic reaction to light sources), and a desire to explore the same in humans ‘attraction to light', both real and metaphorical. This provides an aesthetic and narrative framework drawing links between insect anatomy and the human form, both beautiful and grotesque, fascinating and unsettling.
Cinetaxis is genuinely cross-disciplinary, the project aims to create a dialogue and close integration between multiple artistic and scientific disciplines (contemporary performance, dance, music, new media and visual arts ), led by digital visual art as practised by SDNA.
ARTISTIC DIRECTION / PRODUCTION
SDNA / Valentina Floris and Ben Foot
PERFORMERS Nina Fog / Natasha Mayran / Natasha Stanic
LIVE MUSIC
Dubmode / Electric Lane / Takatsuna Mukai / Alessandro Olla
COSTUME DESIGN Cabinet of Curiosity
INSTALLATION Zsolt Balogh / Barbara Gamper / Chris Singer
Photos by Lou Smith and Hektor Kuleczka
A site specific promenade performance visiting the unseen corners of The Lyceum.
Step behind the curtain for a unique perforamnce in the darkest corners of The Lyceum. You will be guided where no backstage tour goes - where hidden places meet the hidden voices of youth. This will be a unique theatrical adventure full of surprise and no little terror with live music and lively encounters inspired by The Lyceum's secret spaces.
Devised by members of the Lyceum Youth Theatre with direction from Mark Thomson, Amanda Gaughan, Christie O'Carroll and John Glancy, this is a special one-off production as part of our 50th Anniversary celebrations.
Photo credits: Mark Thomson and the ensemble
Brickhouse Tileworks specializes in the design and creation of one-of-a-kind, site-specific works of art. Every tile at Brickhouse is meticulously hand crafted for our customers. Whether you are looking for three-dimensional sculpted-relief, hand painted, mosaic or handmade field tiles, our artists will work with you to meet your specific needs. Add exquisite beauty and personalized style to your home, indoors or out, with Brickhouse tiles.
Brickhouse will create a one of a kind custom look for your kitchen, bathroom, fireplace, pool or anywhere you’d like to personalize your home; and we can also produce breathtaking full mural designs. Work with Brickhouse artists to create custom-designed tiles or select from the original Brickhouse Tile Line. At Brickhouse Tileworks we are dedicated to the design and development of high-quality tiles that are distinctive, one-of-a-kind works of art.
Brickhouse Tileworks specializes in the design and creation of one-of-a-kind, site-specific works of art. Every tile at Brickhouse is meticulously hand crafted for our customers. Whether you are looking for three-dimensional sculpted-relief, hand painted, mosaic or handmade field tiles, our artists will work with you to meet your specific needs. Add exquisite beauty and personalized style to your home, indoors or out, with Brickhouse tiles.
Brickhouse will create a one of a kind custom look for your kitchen, bathroom, fireplace, pool or anywhere you’d like to personalize your home; and we can also produce breathtaking full mural designs. Work with Brickhouse artists to create custom-designed tiles or select from the original Brickhouse Tile Line. At Brickhouse Tileworks we are dedicated to the design and development of high-quality tiles that are distinctive, one-of-a-kind works of art.
A site specific promenade performance visiting the unseen corners of The Lyceum.
Step behind the curtain for a unique perforamnce in the darkest corners of The Lyceum. You will be guided where no backstage tour goes - where hidden places meet the hidden voices of youth. This will be a unique theatrical adventure full of surprise and no little terror with live music and lively encounters inspired by The Lyceum's secret spaces.
Devised by members of the Lyceum Youth Theatre with direction from Mark Thomson, Amanda Gaughan, Christie O'Carroll and John Glancy, this is a special one-off production as part of our 50th Anniversary celebrations.
Photo credits: Mark Thomson and the ensemble
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The Israel Aircraft Industries Kfir (Hebrew: כְּפִיר, "Lion Cub") was an Israeli all-weather multirole combat aircraft based on the French Dassault Mirage 5, with Israeli avionics and an Israeli-built version of the General Electric J79 turbojet engine. The project that would ultimately give birth to the Kfir can be traced back to Israel's need for adapting the Dassault Mirage IIIC to the specific requirements of the Israeli Air Force (IAF). The all-weather, delta-winged Mirage IIICJ was the first Mach 2 aircraft acquired by Israel from then-close ally France and constituted the backbone of the IAF during most of the 1960s, until the arrival of the Douglas A-4 Skyhawk and, most importantly, the McDonnell Douglas F-4 Phantom II, by the end of the decade. While the Mirage IIICJ proved to be extremely effective in the air-superiority role, its relatively short range of action imposed some limitations on its usefulness as a ground-attack aircraft.
Thus, in the mid-1960s, at the request of Israel, Dassault Aviation began developing the Mirage 5, a fair-weather, ground-attack version of the Mirage III. Following the suggestions made by the Israelis, advanced avionics located behind the cockpit were removed, allowing the aircraft to increase its fuel-carrying capacity while reducing maintenance costs. By 1968, Dassault had finished production of the 50 Mirage 5Js paid for by Israel, but an arms embargo imposed upon Israel by the French government in 1967 prevented deliveries from taking place. The Israelis replied by producing an unlicensed copy of the Mirage 5, the Nesher, with technical specifications for both the airframe and the engine obtained by Israeli spies.
The Kfir program originated in the quest to develop a more capable version of the IAI Nesher, which was already in series production. After General De Gaulle embargoed the sale of arms to Israel, the IAF feared that it might lose qualitative superiority over its adversaries in the future, which were receiving increasingly advanced Soviet aircraft. The main and most advanced type of aircraft available to the IAF was the Mirage, but a severe problem developed due to the Mirage fleet's depletion due to attrition after the Six-Day War. Domestic production would avoid the problem of the embargo completely; efforts to reverse engineer and reproduce components of the Mirage were aided by Israeli espionage efforts to obtain technical assistance and blueprints from third party Mirage operators.
Changing an aircraft’s powerplant had already been successfully executed in Israel with the French Dassault Super Mystère SM2B. In IDF service, the SM2B had its Atar afterburning engine replaced by a stronger but non-afterburning J52-P-8A engine from the IDF-exclusive A-4H Skyhawk variant, leading to the Sa’ar. A re-engined Kfir represented a very similar project, and two powerplants were initially selected for trials: the General Electric J79 turbojet and the Rolls-Royce Spey turbofan. In the end, the J79 was selected, not least because it was the same engine used on the McDonnell Douglas F-4 Phantom II, which the Israelis began to acquire from the United States in 1969, along with a license to produce the J79 themselves. The J79 was clearly superior to the original French Atar 09, providing a dry thrust of 49 kN (11,000 lbf) and an afterburning thrust of 83.4 kN (18,750 lbf).
In order to accommodate the new powerplant on the Mirage III's airframe, and to deliver the added cooling required by the J79, the aircraft's rear fuselage was slightly shortened and widened, its air intakes were enlarged, and a large air inlet was installed at the base of the vertical stabilizer, so as to supply the extra cooling needed for the afterburner. The engine itself was encased in a titanium heatshield.
The Kfir entered service with the IDF in 1975, and over the following years, several other squadrons were also equipped with the new aircraft. The role of the Kfir as the IAF's primary air superiority asset was short-lived, as the first F-15 Eagle fighters from the United States were delivered to Israel in 1976 and immediately took over that role. The first basic production variant was the Kfir C.1, of which only 27 examples were produced and which was quickly superseded by the C.2 variant, which had different wings with dogteeth and small fixed canards for better handling, plus some other changes that markedly improved the type’s performance.
The early C.1s were quickly retired from frontline service, but in 1985 25 upgraded Kfir C.1 aircraft (recognizable through retrofitted, highly swept canard strakes on the air intakes) were leased to the US Navy and the US Marines Corps as aggressors for dissimilar aerial combat training and designated F-21A Lion. They served until 1989 and their overall performance matched the Soviet MiG-23, but they were soon replaced by F-5E and F-16N fighters. The F-21As were returned to Israel and mothballed, since the IDF had in the meantime introduced the advanced Kfir C.7 fighter bomber and did not want to operate various versions of the aircraft.
Since the J79 turbojet engine was an U.S. design, although manufactured under license in Israel, all export sales of the Kfir were and are subject to prior approval being granted by the U.S. State Department, a fact that has limited the sale of the Kfir to foreign nations. The F-21As were a special case, since their number was relatively small and the type did not represent the Kfir’s state-of-the-art anymore.
However, when the Estonian Air Force (Õhuvägi) was re-established on 16 December 1991 after the restoration of independence of the Republic of Estonia in 1991, the USA decided to support the nascent nation and its military potential under the “Peace Baltic” program and donated its former aggressor fleet.
Refurbishing the Kfirs as part of the support program and upgrading them to Estonian standards (the latter financed by the Estonian government) took nearly three years, though. The cockpit received a modern HOTAS layout, matching the state-of-the-art Kfir C.7 standard. Avionics were updated, too, with an onboard UAT-40 central computer. This managed most mission-critical systems, integrating navigational data and functions, radar information and display, and weapons targeting and controls.
The most obvious change was the integration of a French Thomson-CSF Agave radar in a redesigned, less pointed nose section with a bigger radome that gave the Kfir a profile that reminded of its interceptor ancestor, the Mirage III. The Agave was operating in X-Band multi-mode radar, with navigation and air combat capabilities with a range of up to 40 NM (~74 km) but optimized for guiding the French air-to-sea AM39 “Exocet” missiles, which were regarded as a vital maritime defensive asset for the young country and procured for the Kfirs, too. Maritime patrol and strike were the Estonian prime missions, plus interceptions upon airspace intrusions on QRA. Another addition to improve survivability was a Sherloc passive radar warning system, integrated into the fin with a slender, box-shaped fairing.
The Estonian Air Force Command and Control Headquarters was formed in Tallinn on 13 April 1994. In the meantime, the German government donated in February 1993 two Let L-410UVPs transport aircraft (former NVA-LSK aircraft). In October 1994 the first modernized Kfirs, now designated F-21B and locally called “Lõvikutsikas (= Lion cub)”, as well as three Mi-2 helicopters, were delivered and followed by four Mi-8s in November 1995. Initially tasked with ground-based air surveillance and air defense using only old Soviet radars and AAA equipment, on 15 May 1997 the Estonian Air Force moved into the former Soviet Su-24 base at Ämari, south of Tallinn.
In the following years the Estonian Air Force slowly rebuilt the military infrastructure left by the Soviet military and made it compatible with NATO standards. Most of the funds were directed to the badly damaged Ämari military airfield which was finally completed in 2011. The objective of developing Ämari Air Base was to cooperate with NATO and partner nations air forces and being able to supply standardized airfield and aircraft services necessary for Host Nation Support, e.g. the multinational Quick Reaction Force for Operation Azotize, NATO's Baltic Air Policing mission. However, due to the lack of modern and developed military aviation infrastructure, the Estonian Air Force's development was very slow.
Lacking funds, the F-21Bs have been soldiering on as the Õhuvägi’s sole supersonic jet fighter, even though the procurement of second-hand F-16s from USAF overstock had been considered. This came to no fuition and in 2020 the small F-21B fleet was still active. By the time it had been reduced to only six operational aircraft, though, after two had been lost over the years through accidents, and the rest had been mothballed and partly used for spares. A replacement is still not in sight, even though F-16s are still at the top of the Estonian wish list, and French Mirage 2000s were considered, too.
General characteristics
Crew: One
Length (incl. pitot): 15.73 m (51 ft 6 1/4 in)
Wingspan: 8.22 m (26 ft 11½ in)
Height: 4.61 m (14 ft 11 3/4 in)
Wing area: 34.8 m² (374.6 sq ft)
Empty weight: 7,285 kg (16,060 lb)
Loaded weight: 11,603 kg (25,580 lb) with two 500 L drop tanks, two AAMs
Max. take-off weight: 16,200 kg (35,715 lb)
Powerplant:
1× General Electric J-79-J1E turbojet (IAl Bedek-built) with a dry thrust of 52.9 kN (11,890 lb st)
and 79.62 kN (17,900 lb st) with afterburner
Performance
Maximum speed: 2,440 km/h (2 Mach, 1,317 knots, 1,516 mph) above 11,000 m (36,000 ft)
Combat radius: 768 km (415 nmi, 477 mi) in ground attack configuration, hi-lo-hi profile,
with seven 500 lb bombs, two AAMs, two 1,300 L drop tanks
Service ceiling: 17,680 m (58,000 ft)
Rate of climb: 233 m/s (45,950 ft/min)
Armament:
2× Rafael-built 30 mm (1.18 in) DEFA 553 cannons, 140 RPG
7× hardpoints under the wings and fuselage for up to 5,775 kg (12,730 lb) of payload
The kit and its assembly:
Another Kfir, I just love the creative potential of this aircraft. And this build is - finally - the last one in a trio of fictional Post-Soviet Baltic air force aircraft (including a Lithuanian MiG-2000 and an Latvian F-5E). The Estonian sibling was inspired by the rather unrelated question: what had become of the F-21As that had served in the United States for a couple of years as aggressors for dissimilar flight training? These apparently were the first Kfirs ever built (almost the entire small C.1 fleet), but after their short use the airframes would certainly still have had some flying hours left, so that they might have found a new use? Potential operators from the period before the millennium that came to my mind were Mexico (Mexico actually wanted to buy 24 Kfirs, but this deal was vetoed by the USA because of the J79 engine), Botswana and Latvia, but I eventually settled for Estonia because I had been wanting to create a modern-day whif for this Baltic country for some time - to complete the whiffy aircraft trio.
There’s only a single OOB Kfir C.1 out there, AFAIK, the venerable Italeri F-21A kit. There are certainly better Kfirs available, but modding a later C.2/7 into the early variant would take some effort. Losing the canards is probably the simpler task, but the wings are very different: they lack the dog tooth and have a Mirage-III-esque simple slot in the leading edge. A wing transplant might do the trick, but this would require a sound donor kit, and I did not want to spend too much money on this project.
The F-21 was mostly built OOB, with its traditional flaws like the poorly fitting cockpit tub (which received widened side consoles, and the seat received elector trigger handles made from wire), sinkholes on the wing root and the complex/jagged seam area between fuselage, air intakes and wings.
I wanted to give the aircraft an update, though, so I decided to provide it with a better radar for maritime strikes in the form of a French Agave multi-role system (used in the Super Étendard, too, and by 1990 not state-of-the-art anymore), which would also make the use as the Exocet ASM as a prime weapon against sea targets and the Kfir’s new role as a defensive strike aircraft plausible. To change the look a little more I also added a radar warning fairing to the fin under the dielectric fin, made from styrene strips.
The ordnance was inspired by the French practice to carry only a single Exocet missile under one Super Étendard wing and a drop tank under the other; the missile came from an Italeri NATO weapons set, the drop tank is the large OOB tank - both just mounted on pylons on the inner underwing stations while the ventral hardpoint was omitted. The outer wing stations thankfully already come with molded AAM launch rails, I just replaced the OOB ACMI pods with modern Sidewinders.
Painting and markings:
The funnier part, and initially I thought about keeping one of the USN/USMC grey-in-grey aggressor paint schemes. But then I rather went for something darker, suitable for low-level operations over the sea, and found Estonia’s (early sole) L-39 Albatros trainer, which carried for some time a disruptive paint scheme in three blue and grey tones (probably FS 36440 or something lighter, 35164 and 35109) with very light grey, almopst white (FS 36622 and/or 36495?) undersides.
Using photos of this singular aircraft as benchmark I designed my own camouflage pattern for the Kfir’s delta wing layout and reduced the colors to just FS 35164 and 35109 from above, while FS 36440 was used as the third upper tone as well as for the uniform undersides. Looks almost decorative, but in the air the scheme appears to be quite effective, esp. against clouds but also over a cluttered underground, as it reall breaks up the aircraft's outlines.
A light black ink washing was applied as well as post-panel-shading with brushes. The cockpit interior became medium grey, the landing gear white, very conservative.
Decals and markings were puzzled together, asp. the Estonian trianglesof relatively small size were hard to procure - they actually belong to a real-world post WWI Sopwith Camel (from two PrintScale sheets to get four of them), and the had the added value of a whote edge that would add contrast to the markings on the grey/blue surfaces. The only other national marking is a fin flash, which had to be painted, though.
Tactical markings are minimal, and I adapted a code style from the Estonian L-39 which looked quite American. Stencils were taken from the Kfir's OOB sheet. Finally, the model was sealed with matt acrylic varnish (Italeri).
A relatively simple whif project (after the long and tedious fight with the V 200/Märklin 3021 conversion), since the model was mostly built OOB with just minor cosmetic changes - just tha radome was added/changed and the ordnance. However, despite its exotic operator, the Estonian Kfir look attractive and purposeful in its subdued yet flashy grey/blue scheme (the blue turned out much brighter than expected!), even though the question how plausible it looks is better left open. :D
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What Makes It specific from different forms of Bikes?
Hybrid bikes gain reputation for the next elements:
Wheels
The bikes have practical wheels which combine the elements observed on street and mountain bikes. The wheels are wider, which offers you sturdiness and steadiness. In the meantime, it also has the equal inflation degree as road bikes by means of having a larger air stress.
Body
Frames on hybrids are made to be powerful to accommodate your off-road biking wants. Customarily such frames are made of metal or lightweight aluminum. These substances present maximum force as good as an low-priced rate. It can be said that frames of hybrids resemble ones on mountain bikes.
Pedals
regularly, general hybrid bikes have platform pedals. These pedals will likely be valuable principally in case you customarily put your toes down while riding.
Handlebars
you are going to to find the flat handlebars on hybrids are just like these on mountain bikes. Compared to the handlebars on road bikes, handlebars on hybrids give you a better riding position. The handlebars generally have a wider grip so as to sit down upright and manipulate your bike in a greater means.
Driving function
With the advanced design of the handlebars, hybrid bikes enable you to take a seat with a greater posture. Hence you can shrink pressure on back and neck at the same time driving.
Gears
on the grounds that hybrids are created to accommodate distinct riding needs, they arrive with a broad range of gearing. This allows you to journey on pavements or hills without a hassle. There are round sixteen to 27 apparatus mixtures that you could prefer from to accommodate your distinctive using want.
Suspension
Seat posts and suspension forks on hybrids are adopted from mountain bikes. The technological know-how permits you to obtain better shock absorption and decrease stress for your body.
Components
just like different varieties of bikes, hybrids include some intriguing add-ons for your fun riding experience. There are device baggage, water bottles, frame pumps and more.
Read more: www.outdoorgearland.com/best-hybrid-bikes/
Maxwell Systems HVAC Estimating meets the individual needs of HVAC contractors to give the competitive advantage to win the job. The software incorporates a customizable database, multi-level breakouts, along with round and oval fabrication!
Manufacturer Specific Codes (PI, P3 AND U1)
Easy to read crystal clear backlit-2-line LCD display. OBD Car Diagnostic Tool
Cord Length: 80cm
Voltage: DC10V~12V
Working Temperature: –4℃~122℃
“Life projected through magical digital form”.
Cinetaxis is a project led by SDNA, at once capable of becoming a son et lumier, intimate installation and theatrical performance. It's an experimental collaboration of audio/video art and visual performance creating site specific 'live' installations.
The inspiration for the title 'Cinetaxis' is derived from research into phototaxis, (insects automatic reaction to light sources), and a desire to explore the same in humans ‘attraction to light', both real and metaphorical. This provides an aesthetic and narrative framework drawing links between insect anatomy and the human form, both beautiful and grotesque, fascinating and unsettling.
Cinetaxis is genuinely cross-disciplinary, the project aims to create a dialogue and close integration between multiple artistic and scientific disciplines (contemporary performance, dance, music, new media and visual arts ), led by digital visual art as practised by SDNA.
ARTISTIC DIRECTION / PRODUCTION
SDNA / Valentina Floris and Ben Foot
PERFORMERS Nina Fog / Natasha Mayran / Natasha Stanic
LIVE MUSIC
Dubmode / Electric Lane / Takatsuna Mukai / Alessandro Olla
COSTUME DESIGN Cabinet of Curiosity
INSTALLATION Zsolt Balogh / Barbara Gamper / Chris Singer
Photos by Lou Smith and Hektor Kuleczka
InteliGEN
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Capitolo primo. L’astratta qualità del ricordo. (2016/2017) Chapter one. The abstract quality of remembrance. (2016/2017)
Site specific installation. Work in progress.
Site specific installation: peep hole, wood, paper, cutouts, styrofoam, and lighting. Part of the "In The Box" series hosted by Jason and Carissa Dueck. Airdrie, AB, Sept. 2007.
The Seven Heavenly Palaces
The site-specific The Seven Heavenly Palaces installation, created for HangarBicocca in 2004 and based on a project by Lia Rumma, is one of the most important works by the German artist Anselm Kiefer.
It takes its name from the palaces described in an ancient Hebrew tract, the Sefer Hechalot or "Book of Palaces", which describes the symbolic path of spiritual initiation of those who wish to enter into the presence of God.
The work represents the culmination of Kiefer's entire artistic career, summing up his main themes and projecting them into a new, timeless dimension.
This can be seen in the way it interprets an ancient religion (Judaism) and represents the ruins of the West after the Second World War.
It also shows us a projection into a possible future, from which the artist invites us to look back at the ruins of our own present. The seven towers, which weigh 90 tonnes each and vary in height between 14 and 18 metres – are made of reinforced concrete, using the corner units from goods containers as construction modules. Their forerunner is the La Ribotte project in Barjac, in the South of France, where the artist lived from 1993 to 2007. This consists of buildings, passageways and tunnels that wind their way across a vast area of the French countryside. SC
edible.
specific to beech wood. It appears in autumn on dead trunks and on fallen branches, and occasionally it also grows on dead branches high up in living trees.
Provided that the skin is thoroughly washed to remove the mucus (or peeled from the caps), these mushrooms are edible, although their slimy covering is probably enough to put most people off. Only larger caps are worth collecting, because the flesh is thin and insubstantial.