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“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
Book design for Brandon LaBelle's "Site Specific Sound" published by Errant Bodies Press, 2004. Design by R. Yau.
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.
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
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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'Linked' by Graeme Miller is a permanent site-specific sound art project, broadcast from transmitters positioned along the route of the M11 Link Road (now the A12). It is accessed by walking from Wanstead to Leyton with a dedicated radio receiver to pick up the broadcasts of recorded testimonies from residents of some of the houses which were demolished to build the road.
www.artsadmin.co.uk/projects/linked
A walk undertaken as part of a focus group for Sarah Wishart's research: www.sarahwishart.co.uk
My playmat design. No specific activity (except maybe to find the differences between each set of matching flowers?). I believe kids have inherent creativity and imagination and don't need activities spelled out for them. www.spoonflower.com/designs/8764342-pretty-mandala-flower...
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
Managing Multiple Properties? We Can Help!
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Koi varieties are distinguished by coloration, patterning, and scalation. Some of the major colors are white, black, red, yellow, blue, and cream. While the possible colors are virtually limitless, breeders have identified and named a number of specific categories. The most notable category is Gosanke, which is made up of the Kohaku, Taisho Sanshoku, and Showa Sanshoku varieties.
New koi varieties are still being actively developed.[16] Ghost koi developed in the 1980s have become very popular in the United Kingdom; they are a hybrid of wild carp and Ogon koi, and are distinguished by their metallic scales. Butterfly koi (also known as longfin koi, or dragon carp), also developed in the 1980s, are notable for their long and flowing fins. They are hybrids of koi with Asian carp. Butterfly koi and ghost koi are considered by some to be not true nishikigoi.[citation needed]
The major named varieties include:
Kōhaku (紅白) is a white-skinned koi, with large red markings on the top. The name means "red and white"; kohaku was the first ornamental variety to be established in Japan (late 19th century).
Taishō Sanshoku (or Taisho Sanke) (大正三色) is very similar to the kohaku, except for the addition of small black markings called sumi (墨). This variety was first exhibited in 1914 by the koi breeder Gonzo Hiroi, during the reign of the Taisho Emperor.[citation needed] In America, the name is often abbreviated to just "Sanke". The kanji, 三色, may be read as either sanshoku or as sanke (from its earlier name 三毛).
Shōwa Sanshoku (or Showa Sanke) (昭和三色) is a black koi with red (hi 緋) and white (shiroji 白地) markings. The first Showa Sanke was exhibited in 1927, during the reign of the Showa Emperor. In America, the name is often abbreviated to just "Showa". The amount of shiroji on Showa Sanke has increased in modern times (Kindai Showa 近代昭和), to the point that it can be difficult to distinguish from Taisho Sanke. The kanji, 三色, may be read as either sanshoku or as sanke.
Tanchō (丹頂) is any koi with a solitary red patch on its head. The fish may be a Tancho Showa, Tancho Sanke, or even Tancho Goshiki. It is named for the Japanese red-crowned crane (Grus japonensis), which also has a red spot on its head.
Chagoi (茶鯉), "tea-colored", this koi can range in color from pale olive-drab green or brown to copper or bronze and more recently, darker, subdued orange shades. Famous for its docile, friendly personality and large size, it is considered a sign of good luck among koi keepers.
Asagi (浅黄) koi is light blue above and usually red below, but also occasionally pale yellow or cream, generally below the lateral line and on the cheeks. The Japanese name means pale greenish-blue, spring onion color, or indigo.
Utsurimono (写り物) is a black koi with white, red, or yellow markings, in a zebra color pattern. The oldest attested form is the yellow form, called "black and yellow markings" (黒黄斑
Kuro ki madara) in the 19th century, but renamed Ki Utsuri (黄写り) by Elizaburo Hoshino, an early 20th-century koi breeder. The red and white versions are called Hi Utsuri (緋写り) and
Shiro Utsuri (白写り) (piebald color morph), respectively. The word utsuri means to print (the black markings are reminiscent of ink stains). Genetically, it is the same as Showa, but lacking either red pigment (Shiro Utsuri) or white pigment (Hi Utsuri/Ki Utsuri).
Bekko (べっ甲) is a white-, red-, or yellow-skinned koi with black markings sumi (墨). The Japanese name means "tortoise shell", and is commonly written as べっ甲. The white, red, and yellow varieties are called Shiro Bekko (白), Aka Bekko (赤) and Ki Bekko (黄), respectively. It may be confused with the Utsuri.
Goshiki (五色) is a dark koi with red (Kohaku style) hi pattern. The Japanese name means "five colors". It appears similar to an Asagi, with little or no hi below the lateral line and a Kohaku Hi pattern over reticulated (fishnet pattern) scales. The base color can range from nearly black to very pale, sky blue.
'Shūsui (秋翠) means "autumn green"; the Shūsui was created in 1910 by Yoshigoro Akiyama（秋山 吉五郎, by crossing Japanese Asagi with German mirror carp.[citation needed] The fish has no scales, except for a single line of large mirror scales dorsally, extending from head to tail. The most common type of Shūsui has a pale, sky-blue/gray color above the lateral line and red or orange (and very, very rarely bright yellow) below the lateral line and on the cheeks.
Kinginrin (金銀鱗) is a koi with metallic (glittering, metal-flake-appearing) scales. The name translates into English as "gold and silver scales"; it is often abbreviated to Ginrin. Ginrin versions of almost all other varieties of koi occur, and they are fashionable. Their sparkling, glittering scales contrast to the smooth, even, metallic skin and scales seen in the Ogon varieties. Recently, these characteristics have been combined to create the new ginrin Ogon varieties.
Kawarimono (変わり物) is a "catch-all" term for koi that cannot be put into one of the other categories. This is a competition category, and many new varieties of koi compete in this one category. It is also known as kawarigoi (変わり鯉).[citation needed]
Ōgon (黄金) is a metallic koi of one color only (hikarimono 光者). The most commonly encountered colors are gold, platinum, and orange. Cream specimens are very rare. Ogon compete in the Kawarimono category and the Japanese name means "gold". The variety was created by Sawata Aoki in 1946 from wild carp he caught in 1921.
Kumonryū (九紋竜)' （literally "nine tattooed dragons" is a black doitsu-scaled fish with curling white markings. The patterns are thought to be reminiscent of Japanese ink paintings of dragons. They famously change color with the seasons.[citation needed] Kumonryu compete in the Kawarimono category.
Ochiba (落葉) is a light blue/gray koi with copper, bronze, or yellow (Kohaku-style) pattern, reminiscent of autumn leaves on water. The Japanese name means "fallen leaves".
Koromo (衣) is a white fish with a Kohaku-style pattern with blue or black-edged scales only over the hi pattern. This variety first arose in the 1950s as a cross between a Kohaku and an Asagi.[citation needed] The most commonly encountered Koromo is an Ai Goromo, which is colored like a Kohaku, except each of the scales within the red patches has a blue or black edge to it. Less common is the Budo-Goromo, which has a darker (burgundy) hi overlay that gives it the appearance of bunches of grapes. Very rarely seen is the Tsumi-Goromo, which is similar to Budo-Goromo, but the hi pattern is such a dark burgundy that it appears nearly black.
Hikari-moyomono (光模樣者) is a koi with colored markings over a metallic base or in two metallic colors.
Kikokuryū (輝黒竜, literally "sparkle" or "glitter black dragon") is a metallic-skinned version of the Kumonryu.
Kin-Kikokuryū (金輝黒竜, literally "gold sparkle black dragon" or "gold glitter black dragon") is a metallic-skinned version of the Kumonryu with a Kohaku-style hi pattern developed by Mr. Seiki Igarashi of Ojiya City. At least six different genetic subvarieties of this general variety are seen.
Ghost koi (人面魚、じんめんぎょ), a hybrid of Ogon and wild carp with metallic scales, is considered by some to be not nishikigoi.
Butterfly koi (鰭長錦鯉、ひれながにしきごい) is a hybrid of koi and Asian carp with long flowing fins. Various colorations depend on the koi stock used to cross. It also is considered by some to not be nishikigoi.
Doitsu-goi (ドイツ鯉) originated by crossbreeding numerous different established varieties with "scaleless" German carp (generally, fish with only a single line of scales along each side of the dorsal fin). Also written as 独逸鯉, four main types of
Doitsu scale patterns exist. The most common type (referred to above) has a row of scales beginning at the front of the dorsal fin and ending at the end of the dorsal fin (along both sides of the fin). The second type has a row of scales beginning where the head meets the shoulder and running the entire length of the fish (along both sides). The third type is the same as the second, with the addition of a line of (often quite large) scales running along the lateral line (along the side) of the fish, also referred to as "mirror koi". The fourth (and rarest) type is referred to as "armor koi" and is completely (or nearly) covered with very large scales that resemble plates of armor. It also is called Kagami-goi (鏡鯉、カガミゴイ), or mirror carp (ミラーカープ).
Thanks, Wikipedia, for an amazing amount of knowledge!
City Park
(more pictures you can see by clicking on the link at the end of the side!)
Photo: Vienna City Park plan - Flower - Lake
City Park Plan - Flower - Lake Ltd. © Vienna - specific
The Viennese City Park stretches from the park ring in the first district of Vienna up to the Haymarket in the third district of Vienna and is a of both tourists and local citizens well-visited park in Vienna. Its area is 65,000 m².
History
Yet in the Biedermeier the Water Glacis was a popular entertainment venue before the Karolinenstadttor (city gate). As part of the by the demolition of the city wall happened remodeling in the Ringstrasse, the project of a public park has been promoted on that site by the then Mayor of Vienna, Andreas Zelinka. This park was designed in the style of English gardens by the landscape painter Josef Selleny, the plannings were carried out by the city gardener Rudolf Siebeck. On 21th August 1862 the city park was opened as the first public park in Vienna.
Vienna River flows through the city park
The Wien River flows through the city park, Vienna © concrete
"Wien" (Vienna River) in the city park
On the right bank of the river Wien (Wienfluss) was 1863 the so-called children's park, today mainly characterized by paved playgrounds and sports facilities, which over the Karoline bridge (Karolinenbrücke) (since 1918 Stadtparkbrücke), built in 1857, with the on the left bank situated town park is connected.
In the years 1903-1907 was in the parking area after the regulation a by Friedrich Ohmann and Josef Hackhofer planned Vienna river engineering structure with the river gate, pavilions and river banks built, which is one of the sights in the park.
In earlier times visitors of the park for the stay in placed chairs had to pay fees that were collected by the chair women (the so-called Sesselweiber).
Attractions in the park
Kursalon
The Kursalon
The water Glacis was a spa pavilion in which healing waters for drinking cures were served. To that affect, in the years 1865 to 1867 for the city park also the Kursalon was built according to plans of Johann Garben. This historicist imposing home in the style of the Italian Renaissanceg is located at the John street (Johannesgasse) and has a large terrace in the park:
After the opening on 8th May 1867 were originally forbidden pleasures. As this concept was not adopted, yet on 15th October in 1868 was taking place the first concert of Johann Strauss (son) whereupon became the Kursalon a popular dance and concert venue in particular at the time of the Strauss brothers. Today, the Kursalon after a renovation phase is again venue for balls, concerts, clubbings and conferences and houses a café-restaurant.
Photo: Johann Strauss monument in the city park; © RM
Monuments
With the gilded bronze statue of Johann Strauss (son) stands in the city park one of the best known and most frequently photographed monuments in Vienna. It was on 26th June 1921 unveiled and is framed of a marble relief by Edmund Hellmer. The gilding was removed in 1935 and in 1991 applied again. Other monuments there are, for example, of Franz Schubert, Franz Lehar and Robert Stolz and Hans Makart, the City Park is in monuments and sculptures the richest park in Vienna.
The dairy (Meierei)
The former milk bar was built as part of the Wienflußverbauung (Vienna river engineering structure) according to plans by Friedrich Ohmann and Josef Hackhofer from 1901 until 1903. After suffering heavy damages during the Second World War the building was extended in the reconstruction. Today is in the dairy after another annex a restaurant.
Planting
The planting of the city park is characterized by a great diversity of species and is, as possible, focused on a year-round flowering. Through an avenue to the ring road noise and exhaust gases are filtered. Some trees are protected, such as a ginkgo, a crown of thorns (Honeylocust, Christusdorn), cottonwood tree and Caucasian wingnut.
Part of a site-specific installation produced for Constance ARI in April, 2013. Drawn internal plans of each level.
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."
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.
+++ 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
reOrder: An Architectural Environment by Situ Studio
A space-altering, site-specific architectural installation created by Situ Studio, a Brooklyn-based creative practice specializing in design and fabrication, will inaugurate the first phase of the Brooklyn Museum’s project for the 10,000-square-foot colonnaded hall on the first floor. The installation, reOrder, reimagines the classically ordered space to serve as a hub—a place for Museum visitors to congregate, relax, view temporary exhibitions, lectures, and, occasionally, see a performance. Situ Studio’s design consists of a series of stretched fabric canopies and integrated furnishings that swell, expand, and augment the profile of the existing monumental columns.
This project will be the first installation in the Ennead Architects–designed renovation of the Great Hall, which was built in the early twentieth century as a part of the original McKim, Mead & White architecture. The space will include four freestanding walls reaching almost to the ceiling that will separate a central gallery from a perimeter circulation path. The installation will embrace the unique details of McKim, Mead & White’s iconic design with the goal of transforming the scale of the hall and creating a series of spaces that alternate between the colossal and the intimate.
Situ Studio was founded in 2005 in Brooklyn, New York. Concentrating on research, design, and fabrication, the firm works at the intersection of architecture and a variety of other disciplines to engage a wide range of spatial projects.
(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/
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.
-for a specific actor. Everything is outta context. It's fun!
For the 365 Days Project.
Taken and sent from my iPhone.
Day 2 saw a visit to my 2nd Madame Tussauds. There are a couple of waxworks that are Dutch specific and I had never heard of.
HELP NEEDED - there is also one of a Blonde TV Presenter that I don't seem to be able to name. I don't think its Sylvie Van Der Vaart but if anyone can tell me 100% who she is, it would be greatly appreciated.
I then headed towards Flower Market which was packed so minimal photos (there are some to come later on in my trip). I then took a Canal Cruise boat of some of the various sights. The day then finished up with random wanderings towards the Rembrandt Statue.
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.
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.
Saint-Just, October 20, 2022
Rue des Farges
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)
We were on hand giving out prizes to ticket holders who paid with a specific brand of credit card. Fans were happy to win tickets to a Toronto Maple Leafs game!
Rajdhani serves a variety of Indian thalis like the Maharashtrian, Rajasthani and Gujarati. It has low seating arrangements and traditional interiors. It serves state-specific specialties like Dal dhokli from Gujarat on Thursdays and Dal bati on Wednesdays. It is open from 10.30 AM to 9.30 PM.
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.
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Basurama. Abierto x Obras. Del 16 de septiembre 2016 al 8 de enero 2017.
Agostamiento es una intervención site-specific que ha realizado el colectivo artístico madrileño Basurama para el programa Abierto x Obras y que tiene lugar en la antigua cámara frigorífica del que fue el matadero de Legazpi. Basurama propone un paisaje interior extraído de la plantación de 7000 girasoles que ha cultivado junto a los vecinos y vecinas de la Gran Vía del Sureste, en el Ensanche de Vallecas. Un espacio público imposible que, en palabras de Basurama, “invita a charlar y a comer pipas, mirando hacia el futuro desde lo más oscuro”.
El “bulevar central" abandonado de esta avenida -un descampado de 350 metros de largo y 30 de ancho- es uno de los muchos restos que la explosión de la burbuja inmobiliaria ha dejado en nuestra ciudad. Un paisaje urbano desolador e inquietante, que se propone y se reinventa como paisaje agrícola, para convertirse en un espacio productivo y de encuentro. Entre esos restos de ciudad nueva, viven personas que han decidido hacerse cargo de sus vidas y de sus barrios, gestionando sus espacios públicos. En tiempo de agostamiento, el ciclo de vida e inflorescencia abre un inmenso espacio de vida por construir y compartir.
Basurama es un colectivo dedicado a la investigación, creación y producción cultural y medioambiental fundado en 2001. Su área de estudio y actuación se centra en los procesos productivos, la generación de desechos que estos implican y las posibilidades creativas que suscitan estas coyunturas contemporáneas.
También pretende establecer una plataforma para que entren en contacto y trabajen juntos personajes del entramado social que ocupan lugares muy diferentes y sin embargo no están muy alejados, considerándose también como un nodo creativo- espacio de encuentro. Ha realizado más de 100 proyectos en los cinco continentes, tiene su base en Madrid y una oficina permanente en Milán y Bilbao.
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.
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:
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Art & Architecture Thesaurus terms:
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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.
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.
I got this pigs heart last week to do a specific picture, but sadly Mrs H just wasn't willing to participate in m y little venture. Since there's a distinct lack of local babes willing to don an old Laura Ashley dress and stand over me with a kitchen knife whilst holding a lump of dead animal I had to compromise and just do a little creative work top photography!!
Being a week old it was starting to get a bit smelly, so it is now in the dogs!!! Funny thing is, I can still smell it...........
Another thing fascinating is that they can now transplant a pigs heart into a human. This now gets my fevered mind wondering if a jew or muslim in desperate need of a new heart had the choice of death or a pig heart transplant which would they choose? Life over religious beliefs?
Site-specific інсталяція “HOME EAST” на сході ВДНГ (павільйон №7) – це вхід в Мистецтво війни і любові, це мистецтво про війну і її наслідки, про всі покинуті переселенцями будинки, про СХІД, про біжанців, про небезпеку, вимушену втечу і про надію на мир.
У рамках фестивалю ГОГОЛЬFEST 2015
Автор: Вальдемарт Клюзко (Waldemart KLYUZKO)
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