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With dogs up for adoption nearby, Governor John Carney signed a bill June 2 prohibiting municipalities from enacting breed-specific dangerous dog ordinances or regulations and the unlawful discrimination of specific dog breeds. “Dangerous dogs can’t be identified by breed,” the Governor said during the ceremony at the Delaware Humane Association. He said as a young newspaper carrier he was bitten several times by dogs. He said the worst bite came from a poodle.
Rep. Charles Potter, the sponsor of House Bill 13, said “each dog should be evaluated on its behavior, not its breed.” The legislation was based on a City of Wilmington ordinance championed by now Council President Hanifa Shabazz. DHSS Secretary Dr. Kara Odom Walker attended the signing to support DHSS’ Office of Animal Welfare, which backed the legislation.
Lee Greenwood, an attorney and lobbyist with Best Friends Animal Society, said the signing makes Delaware the 21st state to reject breed-specific discrimination. “This is a great day for Delaware dogs and the people of Delaware,” he said.
Read House Bill 13:
I've never been out on a specific mission to photograph fungi before, but tody I planned to snap a few interesting ones during the forest walk/getting the dog exhausted enough to leave us alone for a while mission.
This taught me the following;
Some kind of cloth to protect your knees from getting soaked is essential
A diffused flash would have been very handy
As would have a mini support for my camera
Dogs will knock over mushrooms in a second
I am even more torn than usual about whether I should buy a telephoto lens (for the bird shots that I enjoy) or a macro lens (hey, my stream IS called microcosmos) next...
Vernacular signs— "local, site-specific, handmade or hand-crafted signage produced as a unique piece of art or a small run advertisement..."
Advertisements painted by hand directly onto the brickwork of buildings were once a common sight in cities, towns and villages across the country. The rise of printed billboards soon led to their decline but many still survive, often faded, clinging to the walls that host them. These 'Ghostsigns' provide a window into the past and evidence of the craftsmanship that once went into their production. However, they are disappearing fast, often due to weathering but also as a result of property development and demolition.
Sheridan, WY is lucky to have a good deal of these signs still remaining....
Site specific solid copper fountain placed in the meditation garden of a retirement facility near Baltimore Md. The fountain itself is 80" high set in a stainless steel basin and equipped with a recirculating pump.
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.
Jardin de la Visitation, 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)
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.
Remains of a specific medieval fortress, which was built into four basalt towers, which are the remains of an ancient volcano. It was a guard castle with a large tower, which stood high above the landscape with a great outlook at the delta of Elbe river, an important trade route at that time. The original wooden castle stood at least in the 11th Century, and was modified to a stone castle sometimes in the 12th Century. It was expanded in the late 14th Century, attacked in 1444 and damaged, improvized repairs have been done but in the next year another enemies burned the castle down and killed all the men defending it (they were buried under the castle in a mass grave, which is still there). The castle is mentioned as abandoned in 1515, but the buildings under the core were used until WW2. Most of the stone walls sacked down the hill, creating still visible debris fields, today the basalt towers are pretty well accessible, and it is possible to climb to the highest point and have a beautiful look around the landscape.
Zürcher Hochschule der Künste (Zürich), 11.05.2019, uxcamp 2019, Heather Force during her session « Discussing the specificities on designing for employees »
(Claudio Schwarz, claudioschwarz.com)
Specific Gravity is about 1.016. This hydrometer measures specific gravity and degrees Plato, as well as potential alcohol content. Note also the super cool graduated cylinder.
ROIL, Christine Sciulli, site specific installation at Smack Mellon photo by Etienne Frossard courtesy of Smack Mellon.
ROIL is an 8 channel video projection of expanding and contracting circles of white light onto a 2000 yard white mesh installation (35'Hx55'Lx28'W) at Smack Mellon (92 Plymouth Street, Brooklyn, NY) on view through 21 February 2016.
Christine Sciulli
Artist Statement
ROIL
December 2016
My most recent explorations have focused on the projection of plane geometries through various three dimensional networks to generate a dynamic mapping of solid geometries of light through space. In this installation, projected circles of white light expand and collapse through Smack Mellon’s cavernous space in a frenzy which harkons back to the roiling steam that powered surrounding factories.
Smack Mellon’s current home once belonged to Robert Gair, who patented his revolutionary design for a structurally sound three-dimensional lidded box folded from a single two-dimensional sheet of paper without adhesives in 1900. Industrialist Gair housed his widely varied paper product operations in several buildings concentrated in DUMBO. “Gairville” was fueled by tons of coal dropped through chutes carved out of the 4th and 5th floors of this former mill. Boilers in this vast hall superheated, churned and compressed water into hissing steam that pulsed through pipes and coursed into adjacent buildings supplying heat and energy. Racing progress and rapidly expanding industrialization, made possible by the relatively simple kinetic expansion of water into a vapor that could provide so many uses, was the starting point for my immersive, site-specific installation, ROIL. My installation stretches through the industrial hall offering opportunities to inhabit it’s passages, caves, nooks, hubs and low overhangs which become clear to the viewer as dark adaptation takes place.
Chapada Diamantina - Vale do Capão
Bahia - Brasil
*site specific
*Plic*
gabrieow@gmail.com
verão 2011
Salvage or Scrap
28 January 2014 -- 28/365
Barrington, Rhode Island
Today's photo session didn't quite go as planned. I had nothing specific in mind, so I just headed to Haines Point Park in Barrington. When I parked, I noticed that the cove was a sheet of very smooth ice and there were a handful of stubby pilings sticking up about a foot above the waterline. It looked like an interesting photo, so I made my way down towards the shore. I wanted a composition shooting as low to the ice as I could get. Well, wind had swept the ice up onto the shore, and to get the shot I wanted, I had to make my way carefully down that slippery slope. Big mistake. About 3 steps into this act of stupidity, I started to slide. Mind you, I'm dressed in the business casual pants and shirt I wear to work, so I definitely did not want to fall! I didn't. Instead, I just kept sliding until I was now over the water on very thin ice. I can now tell you with all certainty, that the water depth along the shore there is about 8 inches. I can also tell you that salt water that has a layer of ice on it is ridiculously cold! Amazingly, I stayed upright all the way. The kicker, though, is I never used the photo I took while standing in that freezing water. Instead, I found this decaying dock while squishing my way back to my car, and I thought it made a much more interesting scene.
Post processing started with a classic filter in Topaz B&W FX. I adjusted color sensitivity sliders, adaptive exposure, regions, contrast, and boost black. A levels adjustment was added in PSE.
Franco Menicagli
A CHI NON PIACE GUARDARE IL CIELO?
(allestimento)
Installazione site specific per il Cortile di Palazzo Strozzi (16.10-16.11.2014)
© Fondazione Palazzo Strozzi
photo James O' Mara
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The Cathedral Church of St. John the Divine, New York
-
Anne Patterson, Divine Pathways, site-specific textile installation.
Aus der Serie „Denudation“
Site-specific Performance und Intervention
Hohe Tauern, Großvenediger Juli 2015
Video, Fotografie und Installation
Performance: Markus Wintersberger
Fotografie / Video: Andrea Nagl
Nagl ~ Wintersberger 2015
AERIAL BOUNDARIES by Loris Cecchini (setting)
Site-specific installation for the courtyard of Palazzo Strozzi in Florence
curated by Franziska Nori
30 April to 1 July 2012
photo © Martino Margheri
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
Even though we've selected a specific newspaper, we can't just browse it page by page. We must now do another search, either by keyword or a specific issue, and the results will be a series of individual articles.
In this case, I choose to search the Liberty Bell for any articles talking about slavery, slaves, or slavers, published any time after 1850.
Specific to Santa Fe - Emergency!
3 fingers up.
Check out the brand new Occupy Santa Fe pool, a group with very practical discussion threads:
Step 3: Sort and display specific types of data using the filters at the top right.
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festival della politica - 9 settembre - Il pensiero italiano e la sua specificità - in foto da sinistra Andrea TAGLIAPIETRA,Massimo DONÀ,Davide SPANIO
This memo from the FBI files on the investigation of the assassination is an odd one.
A Memphian reported to FBI agents that, while attending a local meeting on April 4, 1968, he overheard a specific prediction of the assassination ("the boy [who would 'stop' MLK] would be in a white house across the street from the motel") about six hours before the tragic 6:01 P.M. shooting. Both the witness and person purported to have been giving the prediction were blind. If the prediction really happened it is an odd coincidence but, for the most part, does not fit with the facts of what actually occurred. James Earl Ray had no connection to Northern Mississippi, did not learn of King's location until around the time of the prediction, and first arrived at Bessie Brewer's Rooming House well after that, around 3 P.M.
Text of the memo:
"United States Government
Memorandum
TO: SAC [Special Agent in Charge], MEMPHIS (44-1987) DATE: 4/16/68
FROM: SA [Special Agent] JOHN W. BAUER
SUBJECT: MURKIN
CR
On 4/15/68, ELBERT HAYNES, Employment Counselor, Map-South, 138 South Fourth Street, Memphis, advised SA BAUER and SA ROBERT W. GOODWIN that on 4/4/68 he attended a meeting of the Memphis Citizens Committee for the Blind held at the Sheraton Motor Inn, Union Avenue. He stated he arrived at approximately 11:20 A.M. and was seated at a table with a Mr. GRAHAM, a Mr. LATHAN, the president of the Progressive Guild for the Blind (name unknown), Mr. BOB MC KNIGHT, CONRAD LIGGIN, a Mr. WINFIELD, Mr. LIGGETT, and a ROBERT FOLLEY, a member of the House of Representatives for the state of Tennessee. HAYNES-stated he did not know the full names of the above persons because he was given a fast introduction to them. He also added that be could not at any future time recognize any of these persons due to the fact that he has been blind all of his life.
He stated during the meeting he overheard bits of a conversation between BOB MC KNIGHT and another person whose name he does-not know. He stated that as soon as MC KNIGHT realized that he was overhearing the conversation, he began to speak in muffled tones as if he did not want him to hear what he was saying. HAYNES stated he heard BOB MC KNIGHT, public relations manager for the Workshop for the Blind, say that KING was not going to "carry" that march because he knew a boy from Northern Mississippi who would stop him. MC KNIGHT said that the boy would be in a white house across the street from the motel.
HAYNES added that even though he only heard parts of the conversation which MC KNIGHT was having with another person, he feels that the plan for the murder of KING came from the city government because the Memphis Workshop for the Blind is composed of persons who are handpicked by City Hall. HAYNES added that he has given.the above information to an investigator named HARRIS who was sent to him by Rev. [James] LAWSON.
[handwritten note: “[?] - We need to run this out. - RT”]"
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
Uchee is a site-specific work, assembled in situ. The brushstrokes sit one in front of the other and are made of polymer and pigment on aluminum. Donald Martiny is a local abstract artist. Martiny studied at the School of the Visual Arts, The Art Students League in New York, New York University and the Pennsylvania Academy of Fine Arts. His museum exhibitions include the FWMoA, Courtauld Institute of Art, Alden B Dow Museum of Art, Falmouth Museum, and the Cameron Art Museum. Martiny’s work is represented by galleries in Europe, the US and Australia and is collected internationally. His work has been featured in the Huffington Post, NPR, Philadelphia Inquirer, VOGUE LIVING | Australia, New American Paintings | South, Decor Magazine, Hong Kong Tatler and Woven Tale Press.
In 2015 Martiny received a commission from the Durst Organization to create two monumental paintings that are permanently installed in the lobby of One World Trade Center in New York City.
Cover of the PREPARATORY STUDY FOR VATICAN CORRIDOR, A Non-Specific Autobiography as published in a limited edition signed and numbered by the artist
Although the third-generation Audi TT has however to arrive in dealerships — European deliveries are set to begin in December 2014, although U.S. clients will not get it for the 2016 model 12 months — the Germans have previously developed a particular-edition coupe. Dubbed Nuvolari, the model t...
www.autoblogvia.com/auto-news/audi-tt-nuvolari-specific-e...
Instalação sonora site-specific. À CAPELA. Exposição rural.scapes, Fazenda Santa Teresa.
www.ruralscapes.net/marcelo-armani/ Instalação sonora site-specific. Exposição rural.scapes, Fazenda Santa Teresa.
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The lovely Sara and I took a mini road trip up to Vermont last weekend. No specific destination - the plan was to drive around and stop whenever we wanted and where ever we ended up around 7pm we'd stop and continue on the following day. I brought my X100V and my Polaroid SX-70 with a pack of color film and a pack of black & white film. Anytime we saw something to make a photograph of, we'd stop.
The weather was perfect both days and it was great to just head off and see where we ended up.
Here are some selections from the weekend from the X100V
website • blog • workshops • fine art • facebook • photo retro • twitter • youtube • instagram • podcast • photo talk fridays
Apparently moving the car is more urgent than taking insulin. Found on my friend Silvia's apartment door.
Page 54
When Robert Cremean walked through the seemingly
endless corridors of the Vatican Museum in Rome, he was
struck not only by the vastness of the place but by the
number of sculptures it contains, many of which are
neutered by a fig leaf. To him, the sculptures in the museum
represented an enormous collection of mixed metaphors and
only a rare few met his definition of “transparency.” On the
fourth page of his Preparatory Study for VATICAN
CORRIDOR, A Non-Specific Autobiography he wrote:
The enclosure of one metaphor by another—one culture by
another—one time segment by another. “Paganism” is preserved
through forfeit of genitalia—neutered by a fig leaf. Miles of
historical artifacts enclosed within an historical artifact. And yet
there are a few presences that are not dead—not neutered. A few
glimpses— Man existing without metaphor. A few Transparencies.
Are these not worth the endless walk?
Within the concept “One man=all men,” VATICAN
CORRIDOR, A Non-Specific Autobiography was conceived as
an actual and metaphorical record of the journey through
the life of the artist and, by extension, a projection of the
possibilities we all share and may attain. Within both of the
facing walls are ten carved life-sized figures symbolically
conjoined by arches to form a “corridor of the self. ” As Robert
Cremean wrote:
Each arch represents three years and the Corridor of Self-Analysis
begins with my seventeenth year.
It was within the time span of the First Arch he declared
himself a sculptor.
Prior to acquiring the materials necessary for the actualizing
of the sculpture in wood, he spent two months creating
the detailed preparatory study for the entire work, a process
he had followed on only two prior occasions, one for
DONOR WITH CRUCIFIXION and the other, although more
suggestive than detailed, for HOMAGE TO PAUL APOSTLE.
From the first three pages of searching to the final pages of
resolution, the artist’s graphic description of the threedimensional
work provides us with the opportunity to read
the artist’s philosophical concepts for that specific work of
art and to understand how these concepts are interpreted
symbolically through the human figure. Since this is an
actual and a metaphorical autobiography, the Preparatory
Study for VATICAN CORRIDOR, A Non-Specific Autobiography
literarily addresses both.
Because each of the ten arches in the Preparatory Study
and in the completed sculpture spans a period of three years
in the artist’s life, the Tenth Arch was a projection five years
into the future and was at last updated twenty-two years
later in the writing in 1995, and with the publication by
Manuscript Press in 1996, of THE TENTH ARCH, the sculptural
Tenth Arch realized in the form of a book.
As the name implies, the sculpture is in the form of an
actual corridor. It measures eight feet tall, forty feet in length,
and with a width of ten feet. The facing walls of the corridor
are each formed by ten carved blocks of laminated sugar pine
planks for an overall measurement each of 8' x 24½" x 16".
The first figure of the Outer Wall, the “who,”is nearly fully
revealed in the round. But by the Tenth Arch, it has been transposed
into a negative, much like a waste-mold, only the egg
shape of the final transposition still in place. Block by block
and transposition after transposition, the three-dimensional
figure is displaced by a concavity as the wall that contained it
grows thicker and thicker. The reverse is true in each of the
corresponding figures and blocks of the Inner Wall. Each part
of the human figure is symbolic of a particular sense and/or
concept and with its transference the figure of the Inner Wall,
the “what,” becomes more complete.
Shown here is the final page of the manuscript which
lists the actual parts of the Anatomy of Transposition. It is
followed by the first four pages which serve both as an
explanation of the Preparatory Study and of the concept of
the entire sculpture. Each page of the original manuscript
measures 17" x 14".
World Health Organization will list the excessive practice of video games in its 11th list of International Classification of Diseases. A condition that will be defined by three very specific criteria but whose causes are still widely debated gistgallery.com/addiction-to-video-games-soon-recognized-...
Page 55
When Robert Cremean walked through the seemingly
endless corridors of the Vatican Museum in Rome, he was
struck not only by the vastness of the place but by the
number of sculptures it contains, many of which are
neutered by a fig leaf. To him, the sculptures in the museum
represented an enormous collection of mixed metaphors and
only a rare few met his definition of “transparency.” On the
fourth page of his Preparatory Study for VATICAN
CORRIDOR, A Non-Specific Autobiography he wrote:
The enclosure of one metaphor by another—one culture by
another—one time segment by another. “Paganism” is preserved
through forfeit of genitalia—neutered by a fig leaf. Miles of
historical artifacts enclosed within an historical artifact. And yet
there are a few presences that are not dead—not neutered. A few
glimpses— Man existing without metaphor. A few Transparencies.
Are these not worth the endless walk?
Within the concept “One man=all men,” VATICAN
CORRIDOR, A Non-Specific Autobiography was conceived as
an actual and metaphorical record of the journey through
the life of the artist and, by extension, a projection of the
possibilities we all share and may attain. Within both of the
facing walls are ten carved life-sized figures symbolically
conjoined by arches to form a “corridor of the self. ” As Robert
Cremean wrote:
Each arch represents three years and the Corridor of Self-Analysis
begins with my seventeenth year.
It was within the time span of the First Arch he declared
himself a sculptor.
Prior to acquiring the materials necessary for the actualizing
of the sculpture in wood, he spent two months creating
the detailed preparatory study for the entire work, a process
he had followed on only two prior occasions, one for
DONOR WITH CRUCIFIXION and the other, although more
suggestive than detailed, for HOMAGE TO PAUL APOSTLE.
From the first three pages of searching to the final pages of
resolution, the artist’s graphic description of the threedimensional
work provides us with the opportunity to read
the artist’s philosophical concepts for that specific work of
art and to understand how these concepts are interpreted
symbolically through the human figure. Since this is an
actual and a metaphorical autobiography, the Preparatory
Study for VATICAN CORRIDOR, A Non-Specific Autobiography
literarily addresses both.
Because each of the ten arches in the Preparatory Study
and in the completed sculpture spans a period of three years
in the artist’s life, the Tenth Arch was a projection five years
into the future and was at last updated twenty-two years
later in the writing in 1995, and with the publication by
Manuscript Press in 1996, of THE TENTH ARCH, the sculptural
Tenth Arch realized in the form of a book.
As the name implies, the sculpture is in the form of an
actual corridor. It measures eight feet tall, forty feet in length,
and with a width of ten feet. The facing walls of the corridor
are each formed by ten carved blocks of laminated sugar pine
planks for an overall measurement each of 8' x 24½" x 16".
The first figure of the Outer Wall, the “who,”is nearly fully
revealed in the round. But by the Tenth Arch, it has been transposed
into a negative, much like a waste-mold, only the egg
shape of the final transposition still in place. Block by block
and transposition after transposition, the three-dimensional
figure is displaced by a concavity as the wall that contained it
grows thicker and thicker. The reverse is true in each of the
corresponding figures and blocks of the Inner Wall. Each part
of the human figure is symbolic of a particular sense and/or
concept and with its transference the figure of the Inner Wall,
the “what,” becomes more complete.
Shown here is the final page of the manuscript which
lists the actual parts of the Anatomy of Transposition. It is
followed by the first four pages which serve both as an
explanation of the Preparatory Study and of the concept of
the entire sculpture. Each page of the original manuscript
measures 17" x 14".