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Failed attempt for site-specific installation in drought water reservoir near Ardales- El Chorro in South Spain. This beautiful natural scenery is known for its unique rock mountains, rivers and big water reservoirs. I have been travelling in south Spain during January 2022 seeing how dry this region is. I found out that this drought blocks of clay in the bottom of one of the reservoirs serves as construction puzzle-like bricks. My goal was to build an igloo in which I would stay overnight. Igloo as Eskimo traditional architecture transferred to drought landscape was meant to serve as a monument to desertification which is one the effects on climate change. My amateur construction skills and weather conditions spoiled my attempt. I did not have enough energy to retry it as my igloo was on opposite side of the river with liquid sands and I had no more energy to carry tons of clay and repair it.
El Chorro, Spain 2022
Photos by Gigi Giannella. Bethnal Green Gardends. 2nd July 2011. Improvisation performance at by Fumi Tomioka and Katsura Isobe. Part of Spontaneous Combustion Festival organised by ARtCH.
Dopo il successo dell’edizione 2021, torna la masterclass di Fine Arts “Sacralità/Sacro – Installazione collaborativa site specific”.
Dal 4 al 12 aprile si è tenuta nuovamente la masterclass di Fine Arts a cura del docente Umberto Giovannini, durante la quale gli studenti hanno realizzato un progetto collettivo “site specific”. L’intento della masterclass è quello di indagare il concetto di “sacro” e di “sacralità”, e di rileggerlo e interpretarlo attraverso l’esperienza della contemporaneità. Si è proceduto quindi in un percorso di indagine iconografica e degli spazi in una visione psico-geografica, con cui entrare nella dinamica dello spazio. L’opera è stata realizzata attraverso il multiplo xilografico e l’installazione è stata collocata all’interno del RUFA Space, lo spazio dell’anima, presso la sede RUFA Pastificio Cerere e nel cuore del distretto di San Lorenzo.
Umberto Giovannini
Professore Ordinario di Arte & Design alla Central Saint Martins, University of the Arts London.
Dopo un triennio in Graphic Communication Design e una laurea in Storia dell’Arte, inizia a lavorare come grafico e incisore. Le sue incisioni, installazioni e libri d’artista sono esposti a livello internazionale. Nel 2009 fonda il centro internazionale per la grafica a basso impatto ambientale Opificio della Rosa. È presidente della Renate Herold Czaschka, Fondazione dedicata all’arte grafica.
SPECIFIC INFO:
GENERAL INFO: St. Patrick's Parade day at P.J.'s Lager House, Corktown, Detroit, Sunday, March 13, 2011. Photographs by Donna Terek, 313-598-0179
Site specific performances by BA Drama students at "The Collection" and "Usher Gallery".
Date: 9 May 2015
Time: 11am -3pm
photo by Fenia Kotsopoulou
Winter Valley - 1944
Lamar Dodd
American, 1909 - 1996
Never associated with any specific art movement, Lamar Dodd was a southern painter who worked in various styles throughout his long career. This depiction of Athens, where Dodd lived and taught at the University of Georgia, was influenced by the urban realism of the Ashcan school as well as the regionalist movements of the 1930s. In this work Dodd has emphasized the harsher, more urban aspects of Athens, rather than its identity as a genteel southern university town.
Winter Valley depicts the eastern part of Athens, where a majority of the city’s African American residents lived close to the industrial plants they staffed. Dodd wrote that the painting’s ominous, brooding quality was inspired by his intensive study of El Greco’s View of Toledo (c. 1597, The Metropolitan Museum of Art, New York). The somber tone also echoes the mindset of a nation at war. Dodd felt that it was one of his best works. The art historian Gudmund Vigtel characterized Winter Valley as “a major example of Dodd’s intellectual program as a painter, flavored by his emotional involvement with the subject.”
William Lamar Dodd was a painter and university administrator committed to advancing arts education in his home state of Georgia and throughout the South. Dodd was born in Fairburn, Georgia, on September 22, 1909. Dodd’s artistic talent was recognized early, and he began taking art classes at the local college, LaGrange Female College, as early as the sixth grade. After one year at the School of Architecture at the Georgia Institute of Technology and a year teaching high school art in Alabama, Dodd moved to New York in 1928 and enrolled in the Art Students League. He studied with George Bridgman and Boardman Robinson and took private classes with George Luks and Charles Martin. Dodd returned to Georgia in 1930 and married Mary Ridley Lehmann the following year. After his first solo exhibition at the High Museum of Art in Atlanta in 1931, Dodd returned to the Art Students League in New York, this time studying with Jean Charlot and John Steuart Curry and working as a sign painter to support his family during the Great Depression. In 1934 Dodd left New York for Birmingham, Alabama, where he worked for several years in an art supply store and painted at night.
Dodd gradually rose to prominence during the 1930s by winning several awards in national competitive exhibitions. This increased recognition led to his appointment as artist-in-residence at the University of Georgia in 1937; he became chair of the department the following year. Dodd was an able administrator who, during the course of his nearly 40-year career at the university, transformed the art school into one of the best in the country. The program was officially named the Lamar Dodd School of Art in 1995. By the 1940s Dodd was firmly established as a nationally recognized artist and educator. He was a leading figure in a wide variety of art organizations and later served as a cultural envoy for the Department of State. With a $10,000 grant from the General Education Board of the Rockefeller Foundation, Dodd made his first trip to Europe in 1953 and spent six months visiting churches, museums, and sites important to artists he admired. In 1954 he was elected to the first of two terms as president of the College Art Association, becoming the first painter to hold that office. In 1962 he was named chairman of the National Council of the Arts in Education.
Dodd continued to paint and exhibited regularly at the Grand Central Moderns gallery in New York, the National Arts Club, and the Pennsylvania Academy of the Fine Arts. In 1959 he was elected a full member of the National Academy of Design. In 1963 he was one of seven artists invited by NASA to record the Mercury-Atlas 9 mission; some of Dodd’s works for the project were included in the Eyewitness to Space exhibition at the National Gallery of Art in 1965. He continued to work as a NASA artist for future missions, including the Apollo 11 moon landing in 1969.
In the introduction to Dodd’s 1970 retrospective at the High Museum and the Georgia Museum of Art, Lloyd Goodrich deemed the 25 paintings that resulted from the Apollo 11 project to be Dodd's most original and impressive works.
Never associated with any specific art movement, Dodd was an independent painter who worked in a wide range of styles and subjects. He began his career by painting landscapes and cityscapes of his native Georgia, and progressed to still lifes, seascapes in Monhegan, Maine, and space exploration themes. In the late 1970s, after his wife underwent open-heart surgery, Dodd began studying and observing heart surgeries and completed a series of works in response. Some of his last paintings dealt with the O. J. Simpson trial and the Oklahoma City bombing. Dodd died at his home in Athens on September 21, 1996.
___________________________________________
For previous visit in 2024, see:
www.flickr.com/photos/ugardener/albums/72177720320706623/
_____________________________________
www.nga.gov/about/welcome-to-the-east-building.html
The East Building opened in 1978 in response to the changing needs of the National Gallery, mainly to house a growing collection of modern and contemporary art. The building itself is a modern masterpiece. The site's trapezoidal shape prompted architect I.M. Pei's dramatic approach: two interlocking spaces shaped like triangles provide room for a library, galleries, auditoriums, and administrative offices. Inside the ax-blade-like southwest corner, a colorful, 76-foot-long Alexander Calder mobile dominates the sunlight atrium. Visitors can view a dynamic 500-piece collection of photography, paintings, sculpture, works on paper, and media arts in thought-provoking chronological, thematic, and stylistic arrangements.
Highlights include galleries devoted to Mark Rothko's giant, glowing canvases; Barnett Newman's 14 stark black, gray, and white canvas paintings from The Stations of the Cross, 1958–1966; and several colorful and whimsical Alexander Calder mobiles and sculptures. You can't miss Katharina Fritsch's Hahn/Cock, 2013, a tall blue rooster that appears to stand guard over the street and federal buildings from the roof terrace, which also offers views of the Capitol. The upper-level gallery showcases modern art from 1910 to 1980, including masterpieces by Constantin Brancusi, Marcel Duchamp, Sam Gilliam, Henri Matisse, Joan Miró, Piet Mondrian, Jackson Pollock, and Andy Warhol. Ground-level galleries are devoted to American art from 1900 to 1950, including pieces by George Bellows, Edward Hopper, Georgia O'Keeffe, Charles Sheeler, and Alfred Stieglitz. The concourse level is reserved for rotating special exhibitions.
The East Building Shop is on the concourse level, and the Terrace Café looks out over the atrium from the upper level.
www.theguardian.com/culture/2016/oct/03/national-gallery-...
"The structure asks for its visitors to gradually make their way up from the bottom, moving from the Gallery’s earliest acquisitions like the paintings of French Post-Impressionist Pierre Bonnard to its contemporary work, such as Janine Antoni’s much fussed over “Lick and Lather,” a series of busts composed of chocolate and soap. The bottom floors offer a more traditional viewing experience: small taupe-colored rooms leading to more small taupe-colored rooms. As one moves upward, however, the spaces open up, offering more dramatic and artful exhibition rooms. The largest single aspect of the I.M. Pei-designed building’s renovation has been the addition of a roof terrace flanked by a reimagination two of the three original “tower” rooms of Pei’s design.
On one side is a space dedicated to sculptor Alexander Calder, with gently spinning mobiles of all shapes and sizes delicately cascading from the ceiling. The subtle movements of the fine wire pieces mimic the effect of a slight breeze through wind chimes—it’s both relaxing and slightly mesmerizing, especially when we’re used to art that stands stock still. Delight is a relatively rare emotion to emerge in a museum, making it all the more compelling.
But it’s the tower space on the other side—a divided hexagonal room—that caused several visitors to gasp as I surveyed it. On one side of the division (the room you enter from the roof terrace) hang Barnett Newman’s fourteen “Stations of the Cross,” the human-sized renderings of secular suffering and pain conceived in conversation with the Bible story. Entirely black and white, with just a tinge of red in the final painting, the series wraps around the viewer, fully encapsulating you in the small but meaningful differentiations between paintings. Hung as a series, the paintings gain a narrative they might otherwise have lost.
The light edging around either side of the room’s division invite the viewer to move from Newman’s chiaroscuric works, which require you to move from painting to painting searching for the scene in each, to a mirror image of that space covered in Mark Rothko’s giant, glowing canvases, which require the viewer to step back and attempt to take in the sight of so much hazy, vivid color all at once. The dichotomy is stark, and yet the paintings all work together somehow, rather than one set repelling the other.
With light filtering through the glass ceiling above, the tower room does feel like a crescendo of sorts, but not in the way many museums’ most famous or valuable pieces often do. The room isn’t dedicated to ensuring that visitors snake their way into the belly of the museum, to first be captured and then let out through the gift shop. Instead, it’s a reminder that in a space dedicated to honoring the modern and the contemporary that the evolution of art remains just as integral as any singular Marilyn Monroe by Andy Warhol or Donald Judd aluminum box. There’s still a story in abstract art."
www.washingtonian.com/2016/09/28/national-gallery-art-eas...
Photos by Gigi Giannella. Bethnal Green Gardends. 2nd July 2011. Improvisation performance at by Fumi Tomioka and Katsura Isobe. Part of Spontaneous Combustion Festival organised by ARtCH.
Adidas, AdiColor, Stan Smith II, W4, Sport Goofy, Men’s Size 13, White, 562899, collectible version, Stan Smith II, collectible version, Goofy animation outlines, Limited Edition, Disney, Disney Goofy specific Stan Smith, color your own shoe, Classic adidas Stan Smith, limited 2006 release, Goofy image on Out Soles
A dedicated server is specific type of web hosting that specifically designed and created for the use of one client only. The server is exclusively used by one client without sharing it with any other companies or individuals. www.prahost.com/dedicated-servers/
Isolating specific objects was a good way to compensate for the difficult lighting in the old barn. Using a tripod for this gave me the option of a long exposure, which in turn allowed me to keep my ISO setting low (minimizing digital noise, maximizing sharpness) and use an aperture sufficiently small to keep everything in sharp focus.
Don't use this image on websites, blogs or other media without explicit permission.
© All rights reserved
Focusing on the bas-relief image on the left side of this stone helps reveal how this ancient culture personified specific geographic elements within our galaxy. The line of this left-facing bas-relief image using specific celestial symbolic markers embedded within the surface of this bas-relief image system marked with micro diagrams using variations of blacked blue and ochre fine-point illustrations on stone revealing evidence of how this ancient celestial culture most likely helped influence the entire spectrum of celestial navigation systems shared and passed on from culture to culture, civilization to civilization to what we know and understand within our modern world.
The number of left-facing micro and macro images on the face of this galaxy stone is too great to be physically counted because the images change the angle of sunlight, the air temperature, and moisture level within Earth's Atmosphere at any given point in time. The descending figural bas-relief line on the left represents the "Great Divide" line of our Galaxy as found on countless other galaxy stones on this North American mound site; this descending trough line descends to the mid-point of the lower hypotenuse line edge of the pyramidal structure of this stone representing Earth's location within our Milky Way Galaxy.
The right triangle in the lower left quadrant appears to mark a specific astrolabe pointer symbol related to the crescent arch celestial galaxy line and a pair of bas-relief left-facing symbols bearing two specifically different signature headdresses, one headdress being a Roman/Venetian Dome headdress and the other an ascending dome; North America, culture unknown.
The different headdresses marking different images embedded within the surfaces of these stones most likely represent specific geographic locations within our galaxy marking different celestial cultures who most likely participated in collectively establishing our geo-magnetic grid system aligned with ancient mounds across the globe helping established a highly developed celestial transit system allowing for an interconnecting communication pyramidal energy system within the core grid of our galaxy. Our ancient mounds filled with electromagnetic energy have connected us to the rest of our galaxy from deep time without our knowledge.
Peace Ritual Required!
yapwilli masks sculptures.
Installazione site specific
via Piave 17, Ancona, Italia @ Shampoo di Angela Pezzuto ❤️
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William Vecchietti (yapwilli) – "Mask"
Costantemente impegnato in nuovi progetti e collaborazioni, William Vecchietti è un artista dal linguaggio diretto, libero, puro, ma è anche Ideatore, curatore e art director di manifestazioni e festival d’arte contemporanea, tra cui spicca AnconaCrea. Spogliato delle sovrastrutture il suo segno morbido dialoga con ogni superfice attraverso le tecniche tradizionali dell’arte e con quelle anticonvenzionali della modernità. Infatti l’archetipo, l’idolo che la mistica di Vecchietti evoca in “Mask” è composto da un polimero di amido di mais stratificato dall’avvicendarsi della penna 3D con un gesto propiziatorio.
L’alter ego della civiltà contemporanea prende corpo partendo dai fori degli occhi, delineando fisionomie che richiamano il decorativismo tribale, il primitivo. Le presenze tanto silvane quanto urbane si manifestano oltre le fluorescenze, oltre gli incavi e le trame per essere venerate come madrine della speranza, della realtà, del futuro.
testo di Marco Tittarelli
In specific, Holy Week is the week just before Easter that extends from Palm Sunday until Holy Saturday and marks the last week of Lent. It has earned the name 'Holy', according to the Orthodox Church, due to the significant events that take place for Christianity in regard to the sufferings of Jesus Christ.
Saturday evening is filled with the anticipation of celebrating Easter Sunday. In some areas, people begin to gather in the churches and squares in cities, towns and villages by 11pm for the Easter liturgies. A few minutes before midnight, all the lights are turned off and the priest exits the altar holding candles lit by the Holy Light, which is distributed to everyone inside and outside the church. At midnight, the priest exits the church and announces the resurrection of Jesus. Many people carry large white candles called lambada, and the church bells toll as the priests announce “Christ is Risen!” at midnight. Each person in the crowd replies with a similarly joyous response.
Dopo il successo dell’edizione 2021, torna la masterclass di Fine Arts “Sacralità/Sacro – Installazione collaborativa site specific”.
Dal 4 al 12 aprile si è tenuta nuovamente la masterclass di Fine Arts a cura del docente Umberto Giovannini, durante la quale gli studenti hanno realizzato un progetto collettivo “site specific”. L’intento della masterclass è quello di indagare il concetto di “sacro” e di “sacralità”, e di rileggerlo e interpretarlo attraverso l’esperienza della contemporaneità. Si è proceduto quindi in un percorso di indagine iconografica e degli spazi in una visione psico-geografica, con cui entrare nella dinamica dello spazio. L’opera è stata realizzata attraverso il multiplo xilografico e l’installazione è stata collocata all’interno del RUFA Space, lo spazio dell’anima, presso la sede RUFA Pastificio Cerere e nel cuore del distretto di San Lorenzo.
Umberto Giovannini
Professore Ordinario di Arte & Design alla Central Saint Martins, University of the Arts London.
Dopo un triennio in Graphic Communication Design e una laurea in Storia dell’Arte, inizia a lavorare come grafico e incisore. Le sue incisioni, installazioni e libri d’artista sono esposti a livello internazionale. Nel 2009 fonda il centro internazionale per la grafica a basso impatto ambientale Opificio della Rosa. È presidente della Renate Herold Czaschka, Fondazione dedicata all’arte grafica.
Tony Fiorentino Do You Remember?, 2013 Marmo, cm 21 x 1,5 x 1 cad.Veduta dell'installazione di contemporary locus V, Bergamo Courtesy l’artista e contemporary locusFoto di Maria Zanchi
"Stone and Silk" és una peça site-specific de la cia.Siberia/Paloma Muñoz que interactua directament amb l'arquitectura: el pati d'armes i el terrat del Castell de Montjuïc.
Dijous 15 d'octubre de 2020 a les 18.45h al Castell de Montjuïc
Una coproducció de l’Ajuntament de Barcelona (programa Creacio i Museus) amb la col·laboració de Graner, el Castell de Montjuïc, el Festival Grec de Barcelona i la Biennal del Pensament 2020.
Fotografies de Nora Baylach (La Vertical)
Winter Valley - 1944
Lamar Dodd
American, 1909 - 1996
Never associated with any specific art movement, Lamar Dodd was a southern painter who worked in various styles throughout his long career. This depiction of Athens, where Dodd lived and taught at the University of Georgia, was influenced by the urban realism of the Ashcan school as well as the regionalist movements of the 1930s. In this work Dodd has emphasized the harsher, more urban aspects of Athens, rather than its identity as a genteel southern university town.
Winter Valley depicts the eastern part of Athens, where a majority of the city’s African American residents lived close to the industrial plants they staffed. Dodd wrote that the painting’s ominous, brooding quality was inspired by his intensive study of El Greco’s View of Toledo (c. 1597, The Metropolitan Museum of Art, New York). The somber tone also echoes the mindset of a nation at war. Dodd felt that it was one of his best works. The art historian Gudmund Vigtel characterized Winter Valley as “a major example of Dodd’s intellectual program as a painter, flavored by his emotional involvement with the subject.”
William Lamar Dodd was a painter and university administrator committed to advancing arts education in his home state of Georgia and throughout the South. Dodd was born in Fairburn, Georgia, on September 22, 1909. Dodd’s artistic talent was recognized early, and he began taking art classes at the local college, LaGrange Female College, as early as the sixth grade. After one year at the School of Architecture at the Georgia Institute of Technology and a year teaching high school art in Alabama, Dodd moved to New York in 1928 and enrolled in the Art Students League. He studied with George Bridgman and Boardman Robinson and took private classes with George Luks and Charles Martin. Dodd returned to Georgia in 1930 and married Mary Ridley Lehmann the following year. After his first solo exhibition at the High Museum of Art in Atlanta in 1931, Dodd returned to the Art Students League in New York, this time studying with Jean Charlot and John Steuart Curry and working as a sign painter to support his family during the Great Depression. In 1934 Dodd left New York for Birmingham, Alabama, where he worked for several years in an art supply store and painted at night.
Dodd gradually rose to prominence during the 1930s by winning several awards in national competitive exhibitions. This increased recognition led to his appointment as artist-in-residence at the University of Georgia in 1937; he became chair of the department the following year. Dodd was an able administrator who, during the course of his nearly 40-year career at the university, transformed the art school into one of the best in the country. The program was officially named the Lamar Dodd School of Art in 1995. By the 1940s Dodd was firmly established as a nationally recognized artist and educator. He was a leading figure in a wide variety of art organizations and later served as a cultural envoy for the Department of State. With a $10,000 grant from the General Education Board of the Rockefeller Foundation, Dodd made his first trip to Europe in 1953 and spent six months visiting churches, museums, and sites important to artists he admired. In 1954 he was elected to the first of two terms as president of the College Art Association, becoming the first painter to hold that office. In 1962 he was named chairman of the National Council of the Arts in Education.
Dodd continued to paint and exhibited regularly at the Grand Central Moderns gallery in New York, the National Arts Club, and the Pennsylvania Academy of the Fine Arts. In 1959 he was elected a full member of the National Academy of Design. In 1963 he was one of seven artists invited by NASA to record the Mercury-Atlas 9 mission; some of Dodd’s works for the project were included in the Eyewitness to Space exhibition at the National Gallery of Art in 1965. He continued to work as a NASA artist for future missions, including the Apollo 11 moon landing in 1969.
In the introduction to Dodd’s 1970 retrospective at the High Museum and the Georgia Museum of Art, Lloyd Goodrich deemed the 25 paintings that resulted from the Apollo 11 project to be Dodd's most original and impressive works.
Never associated with any specific art movement, Dodd was an independent painter who worked in a wide range of styles and subjects. He began his career by painting landscapes and cityscapes of his native Georgia, and progressed to still lifes, seascapes in Monhegan, Maine, and space exploration themes. In the late 1970s, after his wife underwent open-heart surgery, Dodd began studying and observing heart surgeries and completed a series of works in response. Some of his last paintings dealt with the O. J. Simpson trial and the Oklahoma City bombing. Dodd died at his home in Athens on September 21, 1996.
___________________________________________
For previous visit in 2024, see:
www.flickr.com/photos/ugardener/albums/72177720320706623/
_____________________________________
www.nga.gov/about/welcome-to-the-east-building.html
The East Building opened in 1978 in response to the changing needs of the National Gallery, mainly to house a growing collection of modern and contemporary art. The building itself is a modern masterpiece. The site's trapezoidal shape prompted architect I.M. Pei's dramatic approach: two interlocking spaces shaped like triangles provide room for a library, galleries, auditoriums, and administrative offices. Inside the ax-blade-like southwest corner, a colorful, 76-foot-long Alexander Calder mobile dominates the sunlight atrium. Visitors can view a dynamic 500-piece collection of photography, paintings, sculpture, works on paper, and media arts in thought-provoking chronological, thematic, and stylistic arrangements.
Highlights include galleries devoted to Mark Rothko's giant, glowing canvases; Barnett Newman's 14 stark black, gray, and white canvas paintings from The Stations of the Cross, 1958–1966; and several colorful and whimsical Alexander Calder mobiles and sculptures. You can't miss Katharina Fritsch's Hahn/Cock, 2013, a tall blue rooster that appears to stand guard over the street and federal buildings from the roof terrace, which also offers views of the Capitol. The upper-level gallery showcases modern art from 1910 to 1980, including masterpieces by Constantin Brancusi, Marcel Duchamp, Sam Gilliam, Henri Matisse, Joan Miró, Piet Mondrian, Jackson Pollock, and Andy Warhol. Ground-level galleries are devoted to American art from 1900 to 1950, including pieces by George Bellows, Edward Hopper, Georgia O'Keeffe, Charles Sheeler, and Alfred Stieglitz. The concourse level is reserved for rotating special exhibitions.
The East Building Shop is on the concourse level, and the Terrace Café looks out over the atrium from the upper level.
www.theguardian.com/culture/2016/oct/03/national-gallery-...
"The structure asks for its visitors to gradually make their way up from the bottom, moving from the Gallery’s earliest acquisitions like the paintings of French Post-Impressionist Pierre Bonnard to its contemporary work, such as Janine Antoni’s much fussed over “Lick and Lather,” a series of busts composed of chocolate and soap. The bottom floors offer a more traditional viewing experience: small taupe-colored rooms leading to more small taupe-colored rooms. As one moves upward, however, the spaces open up, offering more dramatic and artful exhibition rooms. The largest single aspect of the I.M. Pei-designed building’s renovation has been the addition of a roof terrace flanked by a reimagination two of the three original “tower” rooms of Pei’s design.
On one side is a space dedicated to sculptor Alexander Calder, with gently spinning mobiles of all shapes and sizes delicately cascading from the ceiling. The subtle movements of the fine wire pieces mimic the effect of a slight breeze through wind chimes—it’s both relaxing and slightly mesmerizing, especially when we’re used to art that stands stock still. Delight is a relatively rare emotion to emerge in a museum, making it all the more compelling.
But it’s the tower space on the other side—a divided hexagonal room—that caused several visitors to gasp as I surveyed it. On one side of the division (the room you enter from the roof terrace) hang Barnett Newman’s fourteen “Stations of the Cross,” the human-sized renderings of secular suffering and pain conceived in conversation with the Bible story. Entirely black and white, with just a tinge of red in the final painting, the series wraps around the viewer, fully encapsulating you in the small but meaningful differentiations between paintings. Hung as a series, the paintings gain a narrative they might otherwise have lost.
The light edging around either side of the room’s division invite the viewer to move from Newman’s chiaroscuric works, which require you to move from painting to painting searching for the scene in each, to a mirror image of that space covered in Mark Rothko’s giant, glowing canvases, which require the viewer to step back and attempt to take in the sight of so much hazy, vivid color all at once. The dichotomy is stark, and yet the paintings all work together somehow, rather than one set repelling the other.
With light filtering through the glass ceiling above, the tower room does feel like a crescendo of sorts, but not in the way many museums’ most famous or valuable pieces often do. The room isn’t dedicated to ensuring that visitors snake their way into the belly of the museum, to first be captured and then let out through the gift shop. Instead, it’s a reminder that in a space dedicated to honoring the modern and the contemporary that the evolution of art remains just as integral as any singular Marilyn Monroe by Andy Warhol or Donald Judd aluminum box. There’s still a story in abstract art."
www.washingtonian.com/2016/09/28/national-gallery-art-eas...
Site specific performances by BA Drama students at "The Collection" and "Usher Gallery".
Date: 9 May 2015
Time: 11am -3pm
photo by Fenia Kotsopoulou
“Conjunto Pinacoteca”, 2010
instalação, dimensões variadas, barra chata e fita adesiva.
Pinacoteca Barão de Santo Ângelo, Porto Alegre/RS
Capitolo primo. L’astratta qualità del ricordo. (2016/2017) Chapter one. The abstract quality of remembrance. (2016/2017)
Site specific installation. Work in progress.
SPECIFIC INFO:
GENERAL INFO: St. Patrick's Parade day at P.J.'s Lager House, Corktown, Detroit, Sunday, March 13, 2011. Photographs by Donna Terek, 313-598-0179
Photographic techniques capture electromagnetic wavelengths beyond human vision, revealing features invisible to the naked eye. These signals are processed into interpretable forms using methods like color mapping.
Pink lacks a specific electromagnetic wavelength, while grey poses a limitation due to its representation of only intensity—a blend of light and dark without spectral specificity. Imaging techniques reliant on spectral variation produce identical results for greyscale images unless non-visible data is present. Deviations from this uniformity may indicate errors, misinterpretations, or unknown phenomena.
Contention persists over analytical debates, including dismissible claims like Van Allen belt dangers and contested evidence of lunar mirrors. The precision of laser reflections targeting a moving 3x3-foot marker on the Moon highlights technical skill but often fails to resolve skepticism. For instance, a 0.1° shift moves a laser spot 670 km across the Moon's surface.
Forensic analysis (2022, 2023) of Apollo 11–17 photographs assessed authenticity claims. Images of humans in space, Earth, and the Moon's distant views were validated, but Moon landing visuals showed variations, suggesting diverse techniques may have replicated certain elements.
PEMi (Photoelectromagnetic Image) software enhances forensic analysis by differentiating natural and artificial light sources, revealing hidden features. Each PEMi-ID links to original sources, ensuring traceability and comparison.
Further exploration is available:
Lehti, A. (2024). The Silence of Inquiry: Forensic Reflections Reveal a Crisis of Perception. figshare. doi.org/10.6084/m9.figshare.28078982
Credits
2022-2025 © Andrew Lehti
1961–2023 © NASA, ESA
Software: PEMi (GitHub: andylehti/PEMi.git)
Explore PEM-I: pemimage.streamlit.app
CC BY-SA 4.0 License: creativecommons.org/licenses/by-sa/4.0/
Research:
Lehti, Andrew (2024). Cognitive Psychology and the Education System. figshare. Collection. doi.org/10.6084/m9.figshare.c.7532079
CC BY-SA 4.0
This work is licensed under the Creative Commons Attribution-ShareAlike 4.0 International License. To view a copy of this license, visit creativecommons.org/licenses/by-sa/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.
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Attempts to Malign the Faculty ofCBT: Some Facts .
The Office of Rector-1,JNU has vide its Notification dated November 28, 2001 constituted aCommittee to enquire into certain vague and non-specific allegations by Dr Sneh Lata Singla. It Is alleged in the Notification that she was forced 'to withdraw .
her joining report the next day'. What are the facts? .
The Notification in its preface says that the Committee of Enquicy is set up in pursuance of the meeting of the Deans and .
Chairpersons held on 27" November, 2001. It is reported that the participants at the meeting were informed that Dr. Singla was .
threatened by the CBT faculty. However, according to the participants, no mention was made of whether the CBT faculty had anything to say in the matter. Is the principle of natural justice being violated? .
Three days, three events.The JNU Community needs to understand why this orchestration of opinion against CBT .
Even before the notification came, Prof. Harbans Mukhia in his letter to The Hindu dated November 26, 2001 alleged that a new 'culture of threatening fresh appointees' is being created at JNU. Why are issues being pre judged? .
FACTS REGARDING JOINING REPORT OF DR SINGLA AND HER ALLEGATIONS .
faculty. .
Dr. Singla joined the CBT on November 22, 2001, forenoon. .
Dr. Singla withdrew her joining report with effect from the forenoon of November 22, 2001. .
As per Prof Mukhia's letter to the Hindu quoted above, she sent a fax on November 24, 2001. .
the next day, that is, the 23rd. Prof. Mukhia's letter to The Hindu says it was withdrawn on the 24th and the letter withdrawing the .
.
There are conflicting versions of the facts. The Notification of the Enquiry says that the Joining Report was withdrawn .
Joining Report is dated 22nd . Are there three versions of the withdrawal of the Joining Report or Is the whole process an after .
How·much time did Dr. SingIa spend in CBT and who all did she meet? She came tojoin the department on .
.
thought cooked up for apurpose? .
busy finalizing their project proposals (Under the University with Potential for Excellence) which had to be submitted to the University .
November 22M, and met the Chairperson and no other faculty member. The meeting lasted barely five minutes. .
.
On November 23, 2001, Dr. Singla apparentlycame to CBT in the morning at a time when most faculty members were .
that morning. At around 10:45 a.m., Dr. Singlawent to the office of Prof. Santosh Kar who told her that he was busy and could not .
parked and where Prof. Kar was going for a meeting (in connection with the Animal Ethics Committee). .
talk then -very little communication took place. Dr. SingIa accompanied Prof. Kar to the Life Science Building where her car was .
In brief, Dr. Singla met just two faculty members of CBT separately on different days and for barely afew minutes .
.
each.Thus. neither the entire faculty of CBT can be said to be involved nor was it feasible in a fewminutes to create an .
·unconducive atmosphere'. In fact. Dr. SingIa voluntarily walked with Prof. Kar up to the Ute Science Building -hardly asign of .
POSSIBLE REASON FOR THE HURRIED WITHDRAWAL OF JOINING REPORT .
·unconducive atmosphere'. In the first hearing of the case filed bymembers of CBT faculty inthe Delhi High Court, on November 21, 2001,regarding .. Why did Dr. Singla withdraw her Joining Report in ahurry and what was the need to justify the same by making false and .
Singla would not be allowed tojoin until November 2Jrd. SoJlerjoining on,November 22nd went against the understanding arrived at non-specific allegations against the CBT Facuity? .
the appointment of Dr. Singla, it was informally agreed before the Judge that status quo should be maintained in this case and Dr. .
On November 23rd, at the next hearing,when the Judge was informed that Dr. Singla had joined the University the .
previous day, he was furious and reprimanded the Counsel of the University saying that the status quowas deliberately broken. .
.
in the Court. .
This is perhaps why the Joining Report was withdrawn in a hurry and back dated to 22nd of November. Allegations .
.
were concocted against the CBT faculty with maliciousintention. .
SETTING UP OF THE ENQUIRY COMMITTEE .
The setting up of the Enquiry Committee by administration goes against the principle of natural justice and the .
made. it has been assumed that there isacase for Enquiry. The allegation made by Dr. Singla 'that ahigh degree ofinsecurity and .
On the basisof complaints by one party and without checking with the other party against whom thecomplaint has been .
established norms of University functioning. .
.
-.
.
' .
.
.
A site-specific installation directed by Andrew Brettell which was held at Futuna Chapel. The Chapel which opened in 1961was designed by John Scott, and is viewed as one of the first examples of bicultural architecture in New Zealand. The Society of Mary sold the complex to developers in 2000. The Friends of Futuna have negotiated to acquire the site and are raising funds to acquire the parcel of land.
Specific influence(s): Shakespeare's "A Midsummer Night's Dream" and Robert Rauschenberg
Date: September 2013
Failed attempt for site-specific installation in drought water reservoir near Ardales- El Chorro in South Spain. This beautiful natural scenery is known for its unique rock mountains, rivers and big water reservoirs. I have been travelling in south Spain during January 2022 seeing how dry this region is. I found out that this drought blocks of clay in the bottom of one of the reservoirs serves as construction puzzle-like bricks. My goal was to build an igloo in which I would stay overnight. Igloo as Eskimo traditional architecture transferred to drought landscape was meant to serve as a monument to desertification which is one the effects on climate change. My amateur construction skills and weather conditions spoiled my attempt. I did not have enough energy to retry it as my igloo was on opposite side of the river with liquid sands and I had no more energy to carry tons of clay and repair it.
El Chorro, Spain 2022
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.
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.
Site specific performances by BA Drama students at "The Collection" and "Usher Gallery".
Date: 9 May 2015
Time: 11am -3pm
photo by Fenia Kotsopoulou
As per sleep study test in Delhi, there are different types of sleep study tests available, and they are used to evaluate specific sleep disorders. These tests provide valuable information for diagnosing and understanding sleep-related conditions. Here are some commonly used sleep study test in Delhi and their applications:
Polysomnography (PSG):
A thorough examination called a polysomnography tracks various physiological factors while a person sleeps, including brain waves, eye movements, muscle activity, heart rate, and oxygen levels.
According to sleep study tests in Delhi, PSG aids in the diagnosis of a number of sleep disorders, including parasomnias, periodic limb movement disorder (PLMD), sleep apnea, and REM sleep behaviour disorder (RBD).
Home Sleep Testing (HST):
Home sleep testing involves simplified equipment used in the patient's own home. It focuses on monitoring respiratory parameters like airflow, respiratory effort, and oxygen levels.
According to sleep study tests in Delhi, HST is primarily used to identify simple cases of obstructive sleep apnea (OSA) when there are no obvious signs of having two or more illnesses concurrently or a suspicion of additional sleep disorders. It offers an easy and affordable substitute for in-lab polysomnography.
Multiple Sleep Latency Test (MSLT):
The MSLT is a daytime test that measures the tendency to fall asleep and the time it takes to enter rapid eye movement (REM) sleep during scheduled naps.
As per sleep study test in Delhi, MSLT is useful for diagnosing narcolepsy and assessing excessive daytime sleepiness. It helps evaluate the presence of rapid sleep onset, which is a characteristic of narcolepsy.
Maintenance of Wakefulness Test (MWT):
The MWT is a daytime test that measures the ability to stay awake during a quiet and relaxed state.
MWT is used to evaluate excessive sleepiness and the ability to maintain wakefulness, particularly in professions where alertness is critical, such as commercial drivers or pilots.
Actigraphy:
Actigraphy involves wearing a small device that measures movement and light exposure to estimate sleep-wake patterns over an extended period.
Actigraphy is commonly used for assessing sleep-wake patterns, and circadian rhythm disorders, and evaluating sleep disturbances in specific populations, such as insomnia or shift work disorder.
As per sleep study test in Delhi, these sleep study tests, among others, are employed to diagnose and understand different sleep disorders based on the suspected condition and the patient's symptoms. The choice of tests depends on the expertise of healthcare providers and the specific requirements of each case.