15/365

We live in a technological world. A world that I sometimes do not understand, and a world that both isolates us and brings us out of our shells. It promotes instant gratification, and yet it tests our patience at times.

Pian del Lago

Some Haiku Notes:

~~~~~~~~~~~~~~~~~~~~~~~~

Technological

my mix media collage

the evolution

~~~~~~~~~~~~~~~~~~~~~~~~

In the beginning,

it all started with the wheel;

now it's nano tech.

~~~~~~~~~~~~~~~~~~~~~~~~

Cybernetic Systems Theory

Cybernetics and Systems Science (also: "(General) Systems Theory" or "Systems Research") constitute a somewhat fuzzily defined academic domain, that touches virtually all traditional disciplines, from mathematics, technology and biology to philosophy and the social sciences. It is more specifically related to the recently developing "sciences of complexity", including AI, neural networks, dynamical systems, chaos, and complex adaptive systems. Its history dates back to the 1940's and 1950's when thinkers such as Wiener, von Bertalanffy, Ashby and von Foerster founded the domain through a series of interdisciplinary meetings.

Systems theory or systems science argues that however complex or diverse the world that we experience, we will always find different types of organization in it, and such organization can be described by concepts and principles which are independent from the specific domain at which we are looking. Hence, if we would uncover those general laws, we would be able to analyse and solve problems in any domain, pertaining to any type of system. The systems approach distinguishes itself from the more traditional analytic approach by emphasizing the interactions and connectedness of the different components of a system. Although the systems approach in principle considers all types of systems, it in practices focuses on the more complex, adaptive, self-regulating systems which we might call "cybernetic".

............................ Copyright © 1992-2000 Principia Cybernetica

 

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Cybernetics is a transdisciplinary approach for exploring regulatory systems, their structures, constraints, and possibilities. In the 21st century, the term is often used in a rather loose way to imply "control of any system using technology;"

Cybernetics is relevant to the study of systems, such as mechanical, physical, biological, cognitive, and social systems. Cybernetics is applicable when a system being analyzed incorporates a closed signaling loop; that is, where action by the system generates some change in its environment and that change is reflected in that system in some manner (feedback) that triggers a system change, originally referred to as a "circular causal" relationship.

System dynamics, a related field, originated with applications of electrical engineering control theory to other kinds of simulation models (especially business systems) by Jay Forrester at MIT in the 1950s.

Concepts studied by cyberneticists include, but are not limited to: learning, cognition, adaptation, social control, emergence, communication, efficiency, efficacy, and connectivity. These concepts are studied by other subjects such as engineering and biology, but in cybernetics these are abstracted from the context of the individual organism or device.

Norbert Wiener defined cybernetics in 1948 as "the scientific study of control and communication in the animal and the machine." The word cybernetics comes from Greek κυβερνητική (kybernetike), meaning "governance", i.e., all that are pertinent to κυβερνάω (kybernao), the latter meaning "to steer, navigate or govern", hence κυβέρνησις (kybernesis), meaning "government", is the government while κυβερνήτης (kybernetes) is the governor or the captain. Contemporary cybernetics began as an interdisciplinary study connecting the fields of control systems, electrical network theory, mechanical engineering, logic modeling, evolutionary biology, neuroscience, anthropology, and psychology in the 1940s, often attributed to the Macy Conferences. During the second half of the 20th century cybernetics evolved in ways that distinguish first-order cybernetics (about observed systems) from second-order cybernetics (about observing systems). More recently there is talk about a third-order cybernetics (doing in ways that embraces first and second-order).

Fields of study which have influenced or been influenced by cybernetics include game theory, system theory (a mathematical counterpart to cybernetics), perceptual control theory, sociology, psychology (especially neuropsychology, behavioral psychology, cognitive psychology), philosophy, architecture, and organizational theory.

.................................................................................. Wikipedia

Národní technické muzeum (National Technological Museum), Prague.

 

This machine was one of those which was flown from the UK to Czechoslovakia in August 1945 as part of 310 Squadron, RAF marked as seen here as "NN-N". The aircraft later served with the 1st squadron of Aviation Regiment 12 at Prague-Kbely as A-712. Like other Czechoslovak Spitfires, it was originally intended for export to Israel but crashed while landing at Kunovice on 22 April, 1949. It was therefore decided not to export it, but to store it for museum purposes. It was a restored for display in the 1960s

 

Interestingly, the next Spitfire in this serial sequence, TE566, after Israeli service, survived into the modern era and flew in the UK and South Africa before being lost in a fatal crash in 2002.

The family BIS: The Bank for International Settlements is working with various other crime syndicates (central banks) to build digital financial networks and platforms along with technological tools to support a new era of international monetary cooperation in the digital money ecosystem.

 

I’m gonna make you a deal you can’t refuse. It’s not personal, it’s strictly business. The banker with the briefcase can steal more money than the man with a gun.

 

The future is a tokenized world. The tokenization of real-world assets (RWAs) will enable the buying and selling of digital assets through blockchain technology. Blockchain is a digital ledger, a digital list of records, a digital database that records financial transactions in a business network. Most payment systems are designed for domestic use; therefore, Central Bank Digital Currencies (CBDCs) must be interlinked to a shared global platform. Distributed Ledger Technology (DLT) must be combined with Fast Payment Systems (FPS) in order to calculate various exchange rates for real-time cross-border transactions. CBDCs will then be transferred via digital bridges between domestic platforms and transnational networks. This transnational blockchain network will act like an interbank foreign exchange.

 

There are two main forms of CBDCs: retail CBDCs and wholesale CBDCs. Retail CBDCs are used by the general public and wholesale CBDCs are used by the banking industry. Principles for Financial Market Infrastructures (PFMIs) will be the international standard for this distributed ledger wholesale interbank financial market infrastructure payment settlement system. Indeed, collaboration between global partners will push the boundaries of central bank innovation and efficiency.

 

“Give me control of a nation’s money and I care not who makes its laws.” The banking mafia will extort your money and assets. You’ll own nothing and be happy. You’ll be controlled by a Social Credit Score system. You’ll be given an allowance: Universal Basic Income (universal welfare/socialism). The mob will control you.

 

The Godfather will eventually consolidate the family business, creating a One World Digital Currency (OWDC) called the MARK. The Godfather’s symbol will be a number, and his number will be 666.

 

2 Thessalonians 2:3-4 “Don’t let anyone deceive you in any way, for that day will not come until the rebellion occurs and the man of lawlessness is revealed, the man doomed to destruction. He will oppose and will exalt himself over everything that is called God or is worshiped, so that he sets himself up in God’s temple, proclaiming himself to be God.”

 

(Reuters) – “The first human patient implanted with a brain-chip from Neuralink appears to have fully recovered and is able to control a computer mouse using their thoughts, the startup’s founder Elon Musk said late on Monday.” (One day they’ll be able to do this on an industrial scale: The Fourth Industrial Revolution).

 

Home of the first (record breaking) turbine driven boat and housing the history of Newcastle and Tyneside told through permanent displays and temporary exhibitions, covering the area's martime, scientific and technological importance to Britain and the rest of the world.

 

And with advance to REALITY COPY there’s certainly no way of changing this perception only enforcing it, nothing in reality is good enough for “REALITY COPY” that is just another paradox that is not futuristic.

We might be still skeptical about the arrival of REALITY COPY, but its only before its sold at the supermarkets.

What would happen after “Reality Copy” when the progress of all possible levels of true “reality copy” (in technical sense, not psychologically-philosophical) are achieved. The reality hence is copied and sealed.

Technology won’t stop there… one wonders. What is next.

In political sense when reality in representation is something embraced by conservative social power than with “reality copy” the conservative power is the dominating from the social point of view having new level of reality and it’s copy to be controlled.

*seems like the only possibly alternative to REALITY COPY could be ultra radical Invisibility)

In principle the artist aims to deform the reality subjectively to create not the “reality copy” lacking such skills but to convey the artistic poetic goal of expressing whatever given artist wants to express.

In a matter of “reality copy” what is left for the artist to argue with and deform… to question and test… Nothing really changes socially except for more pressure applied to the issue of dealing with self-image and tools to “sell” When a person changes the image the higher the technology the more transformed is the final product.

The progress of mental growth is just as conservative as control on the “visual image of reality” and its copy.

The ongoing technological progress is irreversible as it carries percent of good with bad,

It is common knowledge how for instance internet is benefit and at the same time does damage. A person who knows about the addiction and suffers would acquire the knowledge and hope from the place the person suffers the internet of course.

Same thing is with photography and video. Reality copy would add more psychological problems to the present but create more visual attraction of true-life experience with whatever could be rediscovered in Lifecopy style. Probably is benefits pornography since it will continue same as consumption of food. The basic things… Consumerism benefits since it is super-trained for “instant reach” affect and will commercially exploit the “reality copy” to sell more of “reality copy” gadgets the phones, screens, etc.

New generation of people will repeat the cycle in new technological means of having “reality copy” as nothing new but similar to any visual information currently available.

The creative people are the ones BEHIND the time it seems in a matter of “reality copy” and being unable to have anything is an alternative.

The Invisible alternative is the ONLY ONE to question “reality copy”

That is the power of UNKNOWN.

Techno progress can deal in “reality” bringing higher resolution to the fore to sell new generation of phones and gadgets.

But it really doesn’t change the philosophical issue of questions asked by philosophers, what is life, what is art, why do we live. Questions remain unanswered when techno progress veils those questions with the promise that higher technology would bring the end to all unanswered questions and answer them for people.

So far the techno advance puts the artistic, literary and philosophical field out of business. As when people get the toys (gadgets) and the playground (the podium of internet) the art is irrelevant and completely disconnected from the social phenomenon of self-representation. Art is not interested to question something with no philosophical substance to it.

The commercial art is willing to supply more stuff for consumerism. If its reality-copy than someone empowered by financial wealth (born rich) would come up with more decorative solutions that could serve REALITY COPY in needed fashion, add more details to the “reality set” to those who can afford it.

Same way it is now when people with means live with more things.

“Reality Copy” of people without means would look just as it is in reality, gray and unexciting. To help people without means the software would offer “decoration” solutions to add the faux details able to transform the surroundings to less depressing. It would enter the person into “life copy” of vacation at Caribbean resorts… etc.

What in such situation could be philosophically questioned, if nothing changed in human morality, but techno advance manage to involve people into self-entertainment to such degree that a person is no longer interested to read books about other people or watch movies and hear news. Self-promotion is the ongoing and time-consuming thing. One has to research the “popular” topics.

As to participating in reality activities, there’s the issue of not having time for anything that doesn’t deal with self-promotion and earning a living.

ART commerce is growing commercially going Industrial since supplying consumer goods is always rewarding in sales. On the other hand this and techno revolution reduces interest of writers and philosophers to dig in depths where there is no depth. It makes such people disengaged with the process. When there are no critical voices to the established situation or some few art critics pretend to do what is expected of them – know about current situation not only on the art scene but at large - socially, and have strong voice against the trends that contribute to the lowering of culture. There’s no more liberal freedom since nobody reads the newspapers. Even if the working critics were principal enough to write articles and books they know their voice would not be heard. They are not vociferous about anything at all because there’s a concept of supporting and art endavour since art is in decline and anything that relates to art needs their support.

There are no voices to oppose the current situation for many reasons such as no younger people would be interested in such undertaking also for many reasons of being disoriented in expectation of techno changes or living their me-life.

The young ones are the invisibility movers, every day someone who is young, information and internet savvy adds the invisibility statement to their online identity. I saw it on tumblr and Iheart. (samples year web address – source)

Art consumer goods sell and make the seller get the goods since sale is the rule.

Art critics silently agree and actually it seems if they even try to disagree there is nothing in art that presently shows any direction against the established art situation.

There isn’t anything not saying a serious claim to deny aesthetic values of the art present and past, to turn away from any influence and history by the fashion avant-garde to question than resuscitate (bring back from death) art that lost vitality and practically is a dead art of dominating taste in an authoritarian culture and conformity.

Bring new blood to reinvent the art into weapon against the outlived old and positioning itself as direct opposition AGAINST art that represents culture of the present time.

Culture of consumerism that turned into visual consumerism with the help of internet is hard to oppose and challenge in any attempt of making bid public art spectacle, won’t challenge any concept but serve certain need for entertainment.

 

Invisible art of Paul Jaisini stands against all that is dominating and culturally regressive in the present, false visual multiplicity that imply democracy and absence of segregation in visual sphere, all inclusiveness.

On so many levels Paul Jaisini brings knowledge of how the present condition reflect on a mind. (non-linear thinking, information processing, constant analysis is the advanced state of high analytical creative mind /osd, adad is the side effect but there are more worse side effects) Shows the burst to create in manifestation of genius mind (can do any task without training) but unable to maintain the creative process as wholesome, bored with the immediate results. Invisibility is theoretical stability and result of high impact activity that gives fast result of creativity and genius realized in art. Then instability in the fact of the created art un--preserved and lost, destroyed.

On a lower level of people who start building some blog with enthusiasm dedicating time, research than abandoning it to become digital graveyard demonstrates inability to continue and search for new. Inability to face what yesterday seemed interesting and capture someone’s mind to give the creative boost.

(fast life, no sleep, high tech knowledge, constant search for new, unsatisfied… new is old – altogether supports “CONSUMERISM” when buying is haul more than physically needed, quantity is the need for new.

Invisible art as a concept seem to attract wide public and elite in such diametrically opposed combination, of people without high aesthetics in mind or the complete opposite illuminati-culturati. People with average or below average taste and aesthetic requirements are as interested and supportive as the elite. When it comes to someone in the middle- another phenomena, quite often those who are educated and intelligent take a stand against even one mention of the art being possibly somehow invisible.

These people respond very well and willing to agree with the concept as Invisible art is brought to them by mass media. In the beginning I was using internet to send out essays and saw the proof that as avant-garde wanted to reach people who never acquired artistically developed taste the invisible art was and now is more than ever suits their taste even to degree of obsession.

That’s adds insult to injury when nobody even pay attention and there’s nothing to offer as the alternative.

They want something tangible as the alternative, the grown philosophy to brew in the minds of people and artists as the sign of time.

The invisibility is the idea that has the power to antagonize the “reality copy” but not in a sense that is widely used in the present time. To express social isolation in case of the teens as seen on tumblr. (examples and variations of Invisibility trend in primitive pictures shared every day in such huge quantities no art publication ever knew, teens and pre-teens are those with passion among the rest of us, when they spread the word it goes far, same as the early internet time, when the word would go far distances to large number of people)

Historically known of the episodes when many artists tried to create the so-called invis art but it really didn’t involve much creativity except for the concepts they came up with, but in reality it involved the reduction of visual means and performance art when the audience came up with more ideas acting around the non-existent artwork than the artist.

Personally I discovered high interactive value of the “PRESUMED” invisible painting when I was getting a lot of responses with very interesting commentaries from the people who actually insisted I was sending them info about the invisible artworks. I never made any claims when sending written essays. People decided for me and probably this is the best way for the interactive dialogue to let people decide.

The only known versions of invisible artworks would be not something that can turn into a philosophical school of thought but random reductions of visual means of various artists. It all came to same MOA that involved frames etc., not the process of creativity or life long creativity that would show how such artistic philosophy develops and what various periods of the artist’s life produce by his belief in his artistic style.

The known precedents of exhibiting so-called invisible art were always random statements that never continued to develop in a distinct style.

What one usually expects is a blank canvas, a picture with some written ideas which is more a topography art, a picture that is in a wrapping of covered up and is a found object art. The only known artists who continued wrapping is Christo but his art is not considered invisible even though he hides or attempts to hide what is inside the wrapping….

Recently same as in more distant periods in time many artists are trying to reduce their visual means. There’s a difference though. In previous times artists ventured into reduction of visual means with more ease. The artworks from older times with reduced visual means had much less labor and look less worked on.

Now the reduction of visual means is something that doesn’t fall under the artistic philosophy when an artists trying to prevent an overkill of the visual imagery.

If Rothko worked on his abstract painting laboriously than in current standards his work would be considered not sale’s worthy. Now to be sale-worthy the abstraction is worked to show a lot of workmanship. Surely Rothko doesn’t want anyone to see a lot of workmanship quite the opposite, he wanted his paintings to look fresh and not overdone. And in current standards he would have to toil on every dot in his painting to perfect it.

Today’s abstract paintings look like very hard-worked on simulations of surfaces that look like some textures (varieties of plain or distressed surfaces /stone and whatever is the decorative surfaces of abstracts, patterns that are used in interior design.

Overworked, machine-like is expensive looking enough to sell in the gallery but it creates a certain amount of fatigue in time. The commerce knows about it, the fatigue would bring the art buyer to buy more to add some new life to the art collection ed infinitum.

Art commerce wants more art collectors in the times when art is selling and makes money and should be called what it is – decorative luxury items.

Art or luxury decorative items was always meant for people with wealth and they always wanted to get their money worth.

When abstract painting is done in a manner to be worthy of selling price it is not creativity of conceptual thought and has no abstracted meaning. The craft of simulating surfaces is widely known and is used in interior design. When it is unique that no other craftsman can repeat it is recognized nearly as jewelry and rag-making, etc. All the items that cost money due to the high workmanship and hours, months and sometimes years of creation. Same way was built the historical hand-made furniture. Same way the current abstract decorations will hold in time. It is made for someone as rich as royalties but it doesn’t mean that it has anything to do with artistic creativity, the most mysterious and unexplained human phenomenon.

So anyone who is interested to earn money as a maker of such luxury items and be able to place them in the store for sale – the art gallery, can come up with own recipe for surface replica and start working will find a paying job on the art scene nowadays...

It doesn’t involve questioning of morals, times and life. It involves many hours of working and ability to produce varieties of the same surfaces in good taste. Instead of questioning human spirituality, or questioning art means that someone considers irrelevant and outdated, not for any breakthrough to create something revolutionary new.

Pentagon leaders often speak of the need for disruptive technologies in the Fleet to mitigate the risks of shrinking defense budgets, declining U.S. military technological superiority and improving adversary capabilities. Last week, a remarkable example of disruptive innovation occurred. How did the Navy react? It simply reaffirmed its unimaginative plan to send its carrier-launched drone to the boneyard—and potentially sentence the aircraft carrier to a similar fate.

 

The Navy’s test carrier drone, the X-47B UCAS-D (Unmanned Combat Air System Demonstrator), recently participated in the first-ever fully autonomous aerial refueling at Naval Air Station Patuxent River. Though the implications of this engineering feat are wide-ranging and not wholly known at this point, successful demonstration of unmanned aerial refueling does shed light on several ongoing arguments about the future of U.S. military aviation.

 

First, the success of X-47B in breaking engineering barriers supports the expansion of unmanned aviation both within the carrier air wing and throughout the military as a whole. This is an autonomous aircraft as opposed to remotely piloted, and it just completed one of the most difficult tasks to perform with another aircraft through refueling. The Department of Defense has been working on developing a stabilized drogue to enable more reliable aerial refueling, but the X-47B did not even use this new system. Rather, the autonomous aircraft did all the work itself, demonstrating incredible feedback sensitivity.

 

Perhaps the reason there is not more fanfare or appreciation for the leap ahead in technological advancement is because the successful demonstration of autonomous aerial refueling, for some, supports an argument for replacing more F-35 Joint Strike Fighter carrier variants with X-47B-like platforms. There is a suggestion that such a progression would put the Navy’s sixth-generation fighter (F/A-XX) in jeopardy, a program which enjoys considerable support within the naval tactical aviation community. In this budgetary environment, relying on proven technologies—like those in the X-47B program—is a far better bet than the imagined, untested technologies in the yet-to-begin F/A-XX program.

 

Further, Pentagon leaders are fighting with Congress—specifically Chairmen John McCain, Mac Thornberry, and Randy Forbes—about what those unmanned combat aircraft should do in a program called the Unmanned Carrier-Launched Airborne Surveillance and Strike (UCLASS). Should the UCLASS merely serve as the eyes and ears of the aircraft carrier with limited strike capability in only non-contested environments, or should it be capable of striking enemies through their denied zones?

 

Last week, Secretary of the Navy Ray Mabus weighed in, commenting bluntly that the F-35C “almost certainly will be the last manned strike fighter aircraft the Department of the Navy will ever buy or fly.” This would seem to signal his strong support for the transition to unmanned platforms, especially for deep penetrating strike missions. Coincidentally (or not), Secretary Mabus last week also created two new civilian and military positions to focus solely on unmanned systems within the Navy to recognize the untapped potential of these types of platforms.

 

The UCAS-D’s successful autonomous refueling means that its impressive range of 2,400 miles can now be extended by tanker, thus allowing the carrier drone to carry vastly more ordnance. Already the X-47B carries about 85 percent of the payload of a F-35 Joint Strike Fighter—and carries it three times further. Even if tankers must turn around at 600 miles from the outer edge of an adversary’s denied zone, this breakthrough capability gives the X-47B enough “legs” to deliver true firepower anywhere US commanders want, especially if the ordnance delivered is capable of extended range flight of its own.

 

Without a refuelable UCLASS in the future carrier air wing, the Navy might as well take the “strike” out of carrier strike group. A key value of an aircraft carrier is its ability to accept new planes when the character of warfare changes, something it has done remarkably well for over seven decades. That change is happening now, and failure to procure a strike version of the UCLASS renders the Navy’s investment in new aircraft carriers far less cost-effective.

 

Outside of the carrier air wing, autonomous aerial refueling could result in several other force employment changes. For instance, the Marine Corps is currently putting the finishing touches on its program to develop a tanker variant of the V-22 Osprey. Combining tanker Ospreys with refuelable low-end land-based drones could result in much-improved reconnaissance abilities for the austere Special-Purpose Marine Air-Ground Task Forces that have become a staple of American forward presence. The Army has already developed a manned-unmanned teaming system for its Apache helicopters to control drones. Tanker V-22s could implement a version of the same to control and refuel fleets of unmanned aircraft and achieve true persistent surveillance. Even within the Navy—which will soon have V-22s onboard carriers to deliver supplies—the possibilities are enticing and need to be explored further through testing and experimentation.

 

These are only a small subset of the possibilities that opened up over the skies of Pax River last weekend. To fully exploit such disruptive technology, the Department of Defense should open access to the UCAS-D program to aviators from every service. Despite a long record of achievement, the Navy still maintains that it will shut down the UCAS-D program and send the X-47B to the aircraft boneyard in Arizona with less than a quarter of its rated flight hours used up. This is a true waste. As we suggested in 2013, the Navy should reconsider this policy and allow creative military thinkers to continue experimental testing of the two planes beyond fiscal year 2016.

 

The rhetoric of Secretary Mabus points the Navy in the right direction for the future. Now, he must follow through with action. Extending the UCAS-D test program and refining UCLASS requirements toward a high-end strike aircraft would cement Mabus’ legacy and truly put the Navy on the path to continued dominance in the future.

 

The Nuva archer is a skilled warrior and technological wonder. The concept was brought about by General Taka's imagination and executed by the hands of the most skilled matoran. This archer differs from traditional archer units in that he does not need to carry his ammunition on his body during battle. His "arrows" or bolts are stored, generated, and replinished within his technologically advanced left arm which coordinates with the "crossbow" or bolt thrower that he wields. The bolt thrower is one of a kind and is viewed as a breakthrough in modern weaponry. Though quite bulky, the bolt thrower allows the archer to fire single highly charged energy bolts, which have the power to penetrate light/medium armor, at a rate of 1.5 seconds. After firing 10 bolts the archer's arm requires a cool down period which lasts approximately 8 to 10 seconds. Once completed, the archer may continue raining destruction down upon the enemy. The archer's built-in optical system allows the archer to target enemy's from a greater distance than the typical archer. The Nuva archer's advanced weaponry and overal engineering give the Nuva army a great advantage on the battlefied when facing overwhelming numbers.

 

I hope you guys enjoy this one! Building him really inspired me to go back and revamp General Taka and the Nuva Infantry, so stay tuned for those guys in the future! Thanks for all of your support this past year! Looking forward to the next year!

And with advance to REALITY COPY there’s certainly no way of changing this perception only enforcing it, nothing in reality is good enough for “REALITY COPY” that is just another paradox that is not futuristic.

We might be still skeptical about the arrival of REALITY COPY, but its only before its sold at the supermarkets.

What would happen after “Reality Copy” when the progress of all possible levels of true “reality copy” (in technical sense, not psychologically-philosophical) are achieved. The reality hence is copied and sealed.

Technology won’t stop there… one wonders. What is next.

In political sense when reality in representation is something embraced by conservative social power than with “reality copy” the conservative power is the dominating from the social point of view having new level of reality and it’s copy to be controlled.

*seems like the only possibly alternative to REALITY COPY could be ultra radical Invisibility)

In principle the artist aims to deform the reality subjectively to create not the “reality copy” lacking such skills but to convey the artistic poetic goal of expressing whatever given artist wants to express.

In a matter of “reality copy” what is left for the artist to argue with and deform… to question and test… Nothing really changes socially except for more pressure applied to the issue of dealing with self-image and tools to “sell” When a person changes the image the higher the technology the more transformed is the final product.

The progress of mental growth is just as conservative as control on the “visual image of reality” and its copy.

The ongoing technological progress is irreversible as it carries percent of good with bad,

It is common knowledge how for instance internet is benefit and at the same time does damage. A person who knows about the addiction and suffers would acquire the knowledge and hope from the place the person suffers the internet of course.

Same thing is with photography and video. Reality copy would add more psychological problems to the present but create more visual attraction of true-life experience with whatever could be rediscovered in Lifecopy style. Probably is benefits pornography since it will continue same as consumption of food. The basic things… Consumerism benefits since it is super-trained for “instant reach” affect and will commercially exploit the “reality copy” to sell more of “reality copy” gadgets the phones, screens, etc.

New generation of people will repeat the cycle in new technological means of having “reality copy” as nothing new but similar to any visual information currently available.

The creative people are the ones BEHIND the time it seems in a matter of “reality copy” and being unable to have anything is an alternative.

The Invisible alternative is the ONLY ONE to question “reality copy”

That is the power of UNKNOWN.

Techno progress can deal in “reality” bringing higher resolution to the fore to sell new generation of phones and gadgets.

But it really doesn’t change the philosophical issue of questions asked by philosophers, what is life, what is art, why do we live. Questions remain unanswered when techno progress veils those questions with the promise that higher technology would bring the end to all unanswered questions and answer them for people.

So far the techno advance puts the artistic, literary and philosophical field out of business. As when people get the toys (gadgets) and the playground (the podium of internet) the art is irrelevant and completely disconnected from the social phenomenon of self-representation. Art is not interested to question something with no philosophical substance to it.

The commercial art is willing to supply more stuff for consumerism. If its reality-copy than someone empowered by financial wealth (born rich) would come up with more decorative solutions that could serve REALITY COPY in needed fashion, add more details to the “reality set” to those who can afford it.

Same way it is now when people with means live with more things.

“Reality Copy” of people without means would look just as it is in reality, gray and unexciting. To help people without means the software would offer “decoration” solutions to add the faux details able to transform the surroundings to less depressing. It would enter the person into “life copy” of vacation at Caribbean resorts… etc.

What in such situation could be philosophically questioned, if nothing changed in human morality, but techno advance manage to involve people into self-entertainment to such degree that a person is no longer interested to read books about other people or watch movies and hear news. Self-promotion is the ongoing and time-consuming thing. One has to research the “popular” topics.

As to participating in reality activities, there’s the issue of not having time for anything that doesn’t deal with self-promotion and earning a living.

ART commerce is growing commercially going Industrial since supplying consumer goods is always rewarding in sales. On the other hand this and techno revolution reduces interest of writers and philosophers to dig in depths where there is no depth. It makes such people disengaged with the process. When there are no critical voices to the established situation or some few art critics pretend to do what is expected of them – know about current situation not only on the art scene but at large - socially, and have strong voice against the trends that contribute to the lowering of culture. There’s no more liberal freedom since nobody reads the newspapers. Even if the working critics were principal enough to write articles and books they know their voice would not be heard. They are not vociferous about anything at all because there’s a concept of supporting and art endavour since art is in decline and anything that relates to art needs their support.

There are no voices to oppose the current situation for many reasons such as no younger people would be interested in such undertaking also for many reasons of being disoriented in expectation of techno changes or living their me-life.

The young ones are the invisibility movers, every day someone who is young, information and internet savvy adds the invisibility statement to their online identity. I saw it on tumblr and Iheart. (samples year web address – source)

Art consumer goods sell and make the seller get the goods since sale is the rule.

Art critics silently agree and actually it seems if they even try to disagree there is nothing in art that presently shows any direction against the established art situation.

There isn’t anything not saying a serious claim to deny aesthetic values of the art present and past, to turn away from any influence and history by the fashion avant-garde to question than resuscitate (bring back from death) art that lost vitality and practically is a dead art of dominating taste in an authoritarian culture and conformity.

Bring new blood to reinvent the art into weapon against the outlived old and positioning itself as direct opposition AGAINST art that represents culture of the present time.

Culture of consumerism that turned into visual consumerism with the help of internet is hard to oppose and challenge in any attempt of making bid public art spectacle, won’t challenge any concept but serve certain need for entertainment.

 

Invisible art of Paul Jaisini stands against all that is dominating and culturally regressive in the present, false visual multiplicity that imply democracy and absence of segregation in visual sphere, all inclusiveness.

On so many levels Paul Jaisini brings knowledge of how the present condition reflect on a mind. (non-linear thinking, information processing, constant analysis is the advanced state of high analytical creative mind /osd, adad is the side effect but there are more worse side effects) Shows the burst to create in manifestation of genius mind (can do any task without training) but unable to maintain the creative process as wholesome, bored with the immediate results. Invisibility is theoretical stability and result of high impact activity that gives fast result of creativity and genius realized in art. Then instability in the fact of the created art un--preserved and lost, destroyed.

On a lower level of people who start building some blog with enthusiasm dedicating time, research than abandoning it to become digital graveyard demonstrates inability to continue and search for new. Inability to face what yesterday seemed interesting and capture someone’s mind to give the creative boost.

(fast life, no sleep, high tech knowledge, constant search for new, unsatisfied… new is old – altogether supports “CONSUMERISM” when buying is haul more than physically needed, quantity is the need for new.

Invisible art as a concept seem to attract wide public and elite in such diametrically opposed combination, of people without high aesthetics in mind or the complete opposite illuminati-culturati. People with average or below average taste and aesthetic requirements are as interested and supportive as the elite. When it comes to someone in the middle- another phenomena, quite often those who are educated and intelligent take a stand against even one mention of the art being possibly somehow invisible.

These people respond very well and willing to agree with the concept as Invisible art is brought to them by mass media. In the beginning I was using internet to send out essays and saw the proof that as avant-garde wanted to reach people who never acquired artistically developed taste the invisible art was and now is more than ever suits their taste even to degree of obsession.

That’s adds insult to injury when nobody even pay attention and there’s nothing to offer as the alternative.

They want something tangible as the alternative, the grown philosophy to brew in the minds of people and artists as the sign of time.

The invisibility is the idea that has the power to antagonize the “reality copy” but not in a sense that is widely used in the present time. To express social isolation in case of the teens as seen on tumblr. (examples and variations of Invisibility trend in primitive pictures shared every day in such huge quantities no art publication ever knew, teens and pre-teens are those with passion among the rest of us, when they spread the word it goes far, same as the early internet time, when the word would go far distances to large number of people)

Historically known of the episodes when many artists tried to create the so-called invis art but it really didn’t involve much creativity except for the concepts they came up with, but in reality it involved the reduction of visual means and performance art when the audience came up with more ideas acting around the non-existent artwork than the artist.

Personally I discovered high interactive value of the “PRESUMED” invisible painting when I was getting a lot of responses with very interesting commentaries from the people who actually insisted I was sending them info about the invisible artworks. I never made any claims when sending written essays. People decided for me and probably this is the best way for the interactive dialogue to let people decide.

The only known versions of invisible artworks would be not something that can turn into a philosophical school of thought but random reductions of visual means of various artists. It all came to same MOA that involved frames etc., not the process of creativity or life long creativity that would show how such artistic philosophy develops and what various periods of the artist’s life produce by his belief in his artistic style.

The known precedents of exhibiting so-called invisible art were always random statements that never continued to develop in a distinct style.

What one usually expects is a blank canvas, a picture with some written ideas which is more a topography art, a picture that is in a wrapping of covered up and is a found object art. The only known artists who continued wrapping is Christo but his art is not considered invisible even though he hides or attempts to hide what is inside the wrapping….

Recently same as in more distant periods in time many artists are trying to reduce their visual means. There’s a difference though. In previous times artists ventured into reduction of visual means with more ease. The artworks from older times with reduced visual means had much less labor and look less worked on.

Now the reduction of visual means is something that doesn’t fall under the artistic philosophy when an artists trying to prevent an overkill of the visual imagery.

If Rothko worked on his abstract painting laboriously than in current standards his work would be considered not sale’s worthy. Now to be sale-worthy the abstraction is worked to show a lot of workmanship. Surely Rothko doesn’t want anyone to see a lot of workmanship quite the opposite, he wanted his paintings to look fresh and not overdone. And in current standards he would have to toil on every dot in his painting to perfect it.

Today’s abstract paintings look like very hard-worked on simulations of surfaces that look like some textures (varieties of plain or distressed surfaces /stone and whatever is the decorative surfaces of abstracts, patterns that are used in interior design.

Overworked, machine-like is expensive looking enough to sell in the gallery but it creates a certain amount of fatigue in time. The commerce knows about it, the fatigue would bring the art buyer to buy more to add some new life to the art collection ed infinitum.

Art commerce wants more art collectors in the times when art is selling and makes money and should be called what it is – decorative luxury items.

Art or luxury decorative items was always meant for people with wealth and they always wanted to get their money worth.

When abstract painting is done in a manner to be worthy of selling price it is not creativity of conceptual thought and has no abstracted meaning. The craft of simulating surfaces is widely known and is used in interior design. When it is unique that no other craftsman can repeat it is recognized nearly as jewelry and rag-making, etc. All the items that cost money due to the high workmanship and hours, months and sometimes years of creation. Same way was built the historical hand-made furniture. Same way the current abstract decorations will hold in time. It is made for someone as rich as royalties but it doesn’t mean that it has anything to do with artistic creativity, the most mysterious and unexplained human phenomenon.

So anyone who is interested to earn money as a maker of such luxury items and be able to place them in the store for sale – the art gallery, can come up with own recipe for surface replica and start working will find a paying job on the art scene nowadays...

It doesn’t involve questioning of morals, times and life. It involves many hours of working and ability to produce varieties of the same surfaces in good taste. Instead of questioning human spirituality, or questioning art means that someone considers irrelevant and outdated, not for any breakthrough to create something revolutionary new.

I chose this shot of the Raptor for this rant because it does not glorify the technological marvel that it is. It shows the culmination of the 20 year+ path it took to get to this picture. Here it shows a Raptor taxing out for a sortie over the Nellis ranges amongst its operational stablemates. The F-22 has come a LONG way to deliver the goods and now, once its capability is just being understood Secretary Gates and the Obama Administration TERMINATED THE PROJECT in favor of the F-35. Here is my response to a fraternity brother who wrote me in response to today's cuts. He stated he is happy that the money is going more towards the troops on the ground and not these flying overpriced techno-dream machines. To his credit he served heroically 18 months in iraq during the worst of the Shiite uprising. Please take the time to read it and tell me your thoughts on today's events.

______________________________

 

You are right right, our ground troops need a much higher focus going forward. But Gates has not given them that at the expense of the F-22. No he actually cut our battalions from a goal of 48 to 45 and shelved the badly needed Future Combat System that would give the ground guys "netcentric" 21st century technology. OH but he did increase Pentagon bureaucracy by a HUGE margin.

 

Why is the F-22 needed.

1.) Although 183 airframes seems like a lot, it is NOT. If we were to go to war tomorrow it would only leave a SUSTAINED force of about 30-40 jets that would be combat ready at any given time. The rest believe it or not are stuck in training, upgrades, depot, systems testing or tactics development. Each raptor carries 8 missiles, 6 of which (beyond visual range AIM-120Cs) would be used if everything goes RIGHT. If it does not the other 2 (AIM-9M) plus the 480rds of 20mm are for self defense. In other words after 6 shots the raptor runs. Further they usually volley 2 AIM-120Cs per target. That leaves a real world potential kill probability of 3 airframes per sortie against a serious threat. Raptors fight in divisions of 4 at a time so that is 12 enemy aircraft destroyed before they have to re-arm. This is NOT ENEOUGH CAPABILITY AGAINST THREATS SUCH AS CHINA OR EVEN LOWER TIER FOES WITH CRUISE MISSILES. Enemies will now know that all they have to do is saturate the Raptor to break through to our high value assets (AWACS, JSTARS, TANKERS, NETWORK RELAY AIRCRAFT, CARRIERS, GARRISONS ETC.) it simply is not enough capability for first day of war scenarios.

 

2.) The Raptor can do things the F-35 cannot. The F-35 can only carry 4 AIM-120s with no close in heaters like the AIM-9X (Infra Red homing and highly maneuverable). That means the F-35 can only kill 2 targets at beyond visual range with high probability of kill. Further only the USAF version of the F-35 will carry and internal gun for self defense close in.

 

3.) The Raptor can supercruise (obtain sustained supersonic speed without gas guzzling afterburner) the F-35 cannot. The F-35 is a heavy single engine aircraft that is not even as maneuverable as an F-16 in certain areas of the flight envelope. It has no thrust vectoring for super maneuverability and is not as stealthy nor stealthy in all aspects like the F-22. Simply it is not even close to a replacement for air superiority. They are apples and oranges.

 

4.) The F-15 is old, if we retain 173 "GOLDEN EAGLES" with the new Electronically Scanned Array Radars (APG-63V3) along with other upgrades it will only be ON PAR with the Suckhoi Su-27 derivatives that are being exported by Russia RIGHT NOW. The upgraded F-15s will rely on the F-22 using its supercomputer listening and targeting technology to forward targets to it to shoot beyond visual range. If you don’t have enough F-22s to maintain battlefield persistence then these upgraded Eagles will have a greater possibility of be destroyed.

 

5.) THE BIG ONE: WHY DO WE NEED THE F-35 IF WE HAVE ENOUGH RAPTORS????????

WE DONT. It is a handout to industry. If we had enough F-22s we could kick down the door of the enemy in the first hours of war, destroying all their aircraft in the air and on the ground as well as the enemy's air defense networks (yes the F-22 is a FANTASTIC bomber too when paired against modern integrated air defense systems). Instead of buying the F-35 we could buy new block F-16s and F/A-18E/Fs at HALF the cost of an F-35. Once air superiority is obtained, you don’t need stealth, you need reliable proven platforms to SUPPORT THE WARFIGHTER ON THE GROUND.

 

6.) The F-22 is a "known" weapon system. In other words it is PROVEN to be highly effective, flying today, in production and beating all the goals set out in its genesis. The F-35 has only flown 200 hours in a pre-production prototype configuration, yet the DoD and Lockheed have ALREADY put it into full production!!!! Its insane and unprecedented. The F-22 took 8 years of FLIGHT testing in this stage to be validated and reach initial operational capability. DoD has bypassed TESTING because we need it now and partner export countries need it yesterday. In reality the aircraft will be YEARS over schedule and we are throwing HUGE money away building an invalidated aircraft yet alone a vetted integrated weapons system. Remember the grounding of the F-15s last year leaving the US with its pants down do to cracks in the forward "longeron" structural booms? Well these types of flaws can now be tested for over years of evaluation. This is especially scary for the F-35 because they literally lightened up its structure dramatically so it could meet the weight qualification needed for the vertical takeoff version intended for the marines. The F-15 was originally OVER built in true McDonald Douglas fashion and after 30 years it experienced airframe ending cracks. The F-35 is under built from the get-go and UNTESTED and will need to last 30 years!!!! Good luck.

 

7.) The F-35 is a one size fits all airframe. The F-22 is a thoroughbred built to KILL ANYTHING. The F-35 is a compromise in every since of the word. I mean do you really think the Marines are going to keep such a fragile aircraft flying in dusty desert environment while keeping up the radar absorbent materials? Have you ever seen a deployed USMC AV-8B harrier? They DO NOT win the housekeeping seal of approval! NO WAY. PIPEDREAM. Its an overcomplicated solution for marines especially that will result in low availability rates and high costs.

 

8.) The F-35 is made to be exported to tens of allied nations like the F-16 was. We will order over 2500, the partner nations another 1000 or more. We don’t need this weapon system, but our industry does. So DoD, instead of buying enough raptors to gain full air supremacy while SAVING money buy purchasing rugged and cost effective F-16s, AV-8Bs, F/A-18E/Fs decides to purchase a high risk, over complicated one size fits all airframe in order to make Lockheed a little bit more wealthy and ensuring our weapons exports for the next couple of decades. In effect saying, SCREW THE WAR FIGHTER WHILE SLEEPING WITH THE BIGGEST OF ALL DEFENSE CONTRACTORS. Its stupid, expensive and a bad choice for America.

 

9.) As far as costs go, you site a flyaway cost of over 150million, you are right. But what you don’t mention is that the first HUNDREDS of F-35s will cost the US almost as much money for much less capability! Yes that’s right the F-35 will cost well over 125million for first decade of lots! Only after hundreds and hundreds have been built will cost come down to almost twice that of a well equipped F-16!!!!! This is NOT a cost effective piece of machinery. No, very much the opposite! It is a poster child for the DoD’s “capability creep” that is PARALYZING good weapon systems by making them too expensive to field in appropriate numbers.

 

10.) Does it really make sense to have a stealth techno marvel giving air support to grunts months after the aerial opposition has been dismantled? NO! Why pay the huge premium of an all stealth force when the Raptor, B-2, UCAVs, and cruise missiles can do the job more cost effectively? We need to go back to the classic Hi-lo mix of airframes. The high end to kick down the door, the low end to make sure the forward air controllers always have something with weapons ready to deliver above troops in contact’s heads.

 

In essence this is not an argument about redistributing funds from the air to the ground but what to BUY for the air! The answer is F-22s AND reliable, tried and trusted platforms that are cheap to build and operate. Instead, we have a one size fits all force for very NOT ONE SIZE FITS ALL threat profiles which we face around the world. Its dangerous, near sighted, distracting, expensive, biased toward corporate America and not the war fighter and its just plane WRONG.

 

Remember you don’t need an F-22 until you really need an F-22!

 

My thoughts.

 

Ty

 

***NOTE: READ THROUH THIS BLOG, AN AMZING SERIES OF EVENTS THAT HAVE PRETTY MUCH COME TO PASS EXACTLY AS STATED.

Somewhere between technological singularity and ecological singularity

francois-quevillon.com/w/?p=5242

 

Quelque part entre la singularité technologique et la singularité écologique

francois-quevillon.com/w/?p=5231

  

Firearm was a notorious, technologically-advanced bounty hunter who continuously threatened the Hero Factory. Firearm is a mercenary more than capable of carrying out assignments but lacking in the ambition to mastermind his own agenda.

 

Shortly before the betrayal of Von Ness, Firearm came to operate exclusively out of the Delta Quadrant, gaining experience as a mercenary and branching out his services. For some time, Firearm established his headquarters along the edge of the Necron Expanse, a vast region of frontier space with no stars systems for 200 lightyears. Following the success of Hero Factory in the galactic neighborhood, Firearm was able to inflate his service charges exponentially, with bounty hunters coming in short supply.

 

Over the course of his career, Firearm has utilized a number of weapons and gadgets to carry out his assignments, initially starting with standard issue Meteor Blasters and later diversifying to carry heavily customized gear for each mission. Most prominently, he has been known to carry a modified Combat Rifle looted from a Makuhero Industries factory.

 

Unlike many of his contemporaries, Firearm has been known to keep several extensive weapons and ammunition caches on planets around the Delta Quadrant, often containing launchers looted from Heroes or other criminals.

Straight out of the camera.

Technological Coffin

 

Check my website: photography.marcinbaran.com

DDC-Technological Dog!

Poetography-Dog

 

I had to use this photo and quote because with Shizandra it isn't true! She is very aware of the camera. Whenever I set her up for a photo she goes into her "pose mode!" She is so aware of what's going on around her. So perhaps Border Collies are the exception to this rule? She posed for me with my Fuji X-30. She got a cookie too!

Technological progress in the air, and in the hand, as a traveler converses on his mobile telephone while passing by an exhibit on the history of United Airlines at San Francisco International Airport.

Quoting Smithsonian National Air and Space Museum | North American P-51C, "Excalibur III":

 

On May 29, 1951, Capt. Charles F. Blair flew Excalibur III from Norway across the North Pole to Alaska in a record-setting 10½ hours. Using a system of carefully plotted "sun lines" he developed, Blair was able to navigate with precision where conventional magnetic compasses often failed. Four months earlier, he had flown Excalibur III from New York to London in less than 8 hours, breaking the existing mark by over an hour.

 

Excalibur III first belonged to famed aviator A. Paul Mantz, who added extra fuel tanks for long-distance racing to this standard P-51C fighter. With it Mantz won the 1946 and 1947 Bendix air race and set a transcontinental speed record in 1947 when the airplane was named Blaze of Noon. Blair purchased it from Mantz in 1949 and renamed it Excalibur III, after the Sikorsky VS-44 flying boat he flew for American Export Airlines.

 

Gift of Pan American World Airways

 

Manufacturer:

North American Aircraft Company

 

Date:

1944

 

Country of Origin:

United States of America

 

Dimensions:

Wingspan: 11.3 m (37 ft)

Length: 9.8 m (32 ft 3 in)

Height: 3.9 m (12 ft 10 in)

Weight, empty: 4,445 kg (9,800 lb)

Weight, gross: 5,052 kg (11,800 lb)

Top speed: 700 km/h (435 mph)

 

Materials:

Overall: Aluminum

 

Physical Description:

Single seat, single engine, low wing monoplane, World War II fighter modified for racing.

 

• • • • •

 

Quoting Smithsonian National Air and Space Museum | Boeing 367-80 Jet Transport:

 

On July 15, 1954, a graceful, swept-winged aircraft, bedecked in brown and yellow paint and powered by four revolutionary new engines first took to the sky above Seattle. Built by the Boeing Aircraft Company, the 367-80, better known as the Dash 80, would come to revolutionize commercial air transportation when its developed version entered service as the famous Boeing 707, America's first jet airliner.

 

In the early 1950s, Boeing had begun to study the possibility of creating a jet-powered military transport and tanker to complement the new generation of Boeing jet bombers entering service with the U.S. Air Force. When the Air Force showed no interest, Boeing invested $16 million of its own capital to build a prototype jet transport in a daring gamble that the airlines and the Air Force would buy it once the aircraft had flown and proven itself. As Boeing had done with the B-17, it risked the company on one roll of the dice and won.

 

Boeing engineers had initially based the jet transport on studies of improved designs of the Model 367, better known to the public as the C-97 piston-engined transport and aerial tanker. By the time Boeing progressed to the 80th iteration, the design bore no resemblance to the C-97 but, for security reasons, Boeing decided to let the jet project be known as the 367-80.

 

Work proceeded quickly after the formal start of the project on May 20, 1952. The 367-80 mated a large cabin based on the dimensions of the C-97 with the 35-degree swept-wing design based on the wings of the B-47 and B-52 but considerably stiffer and incorporating a pronounced dihedral. The wings were mounted low on the fuselage and incorporated high-speed and low-speed ailerons as well as a sophisticated flap and spoiler system. Four Pratt & Whitney JT3 turbojet engines, each producing 10,000 pounds of thrust, were mounted on struts beneath the wings.

 

Upon the Dash 80's first flight on July 15, 1954, (the 34th anniversary of the founding of the Boeing Company) Boeing clearly had a winner. Flying 100 miles per hour faster than the de Havilland Comet and significantly larger, the new Boeing had a maximum range of more than 3,500 miles. As hoped, the Air Force bought 29 examples of the design as a tanker/transport after they convinced Boeing to widen the design by 12 inches. Satisfied, the Air Force designated it the KC-135A. A total of 732 KC-135s were built.

 

Quickly Boeing turned its attention to selling the airline industry on this new jet transport. Clearly the industry was impressed with the capabilities of the prototype 707 but never more so than at the Gold Cup hydroplane races held on Lake Washington in Seattle, in August 1955. During the festivities surrounding this event, Boeing had gathered many airline representatives to enjoy the competition and witness a fly past of the new Dash 80. To the audience's intense delight and Boeing's profound shock, test pilot Alvin "Tex" Johnston barrel-rolled the Dash 80 over the lake in full view of thousands of astonished spectators. Johnston vividly displayed the superior strength and performance of this new jet, readily convincing the airline industry to buy this new airliner.

 

In searching for a market, Boeing found a ready customer in Pan American Airway's president Juan Trippe. Trippe had been spending much of his time searching for a suitable jet airliner to enable his pioneering company to maintain its leadership in international air travel. Working with Boeing, Trippe overcame Boeing's resistance to widening the Dash-80 design, now known as the 707, to seat six passengers in each seat row rather than five. Trippe did so by placing an order with Boeing for 20 707s but also ordering 25 of Douglas's competing DC-8, which had yet to fly but could accommodate six-abreast seating. At Pan Am's insistence, the 707 was made four inches wider than the Dash 80 so that it could carry 160 passengers six-abreast. The wider fuselage developed for the 707 became the standard design for all of Boeing's subsequent narrow-body airliners.

 

Although the British de Havilland D.H. 106 Comet and the Soviet Tupolev Tu-104 entered service earlier, the Boeing 707 and Douglas DC-8 were bigger, faster, had greater range, and were more profitable to fly. In October 1958 Pan American ushered the jet age into the United States when it opened international service with the Boeing 707 in October 1958. National Airlines inaugurated domestic jet service two months later using a 707-120 borrowed from Pan Am. American Airlines flew the first domestic 707 jet service with its own aircraft in January 1959. American set a new speed mark when it opened the first regularly-scheduled transcontinental jet service in 1959. Subsequent nonstop flights between New York and San Francisco took only 5 hours - 3 hours less than by the piston-engine DC-7. The one-way fare, including a $10 surcharge for jet service, was $115.50, or $231 round trip. The flight was almost 40 percent faster and almost 25 percent cheaper than flying by piston-engine airliners. The consequent surge of traffic demand was substantial.

 

The 707 was originally designed for transcontinental or one-stop transatlantic range. But modified with extra fuel tanks and more efficient turbofan engines, the 707-300 Intercontinental series aircraft could fly nonstop across the Atlantic with full payload under any conditions. Boeing built 855 707s, of which 725 were bought by airlines worldwide.

 

Having launched the Boeing Company into the commercial jet age, the Dash 80 soldiered on as a highly successful experimental aircraft. Until its retirement in 1972, the Dash 80 tested numerous advanced systems, many of which were incorporated into later generations of jet transports. At one point, the Dash 80 carried three different engine types in its four nacelles. Serving as a test bed for the new 727, the Dash 80 was briefly equipped with a fifth engine mounted on the rear fuselage. Engineers also modified the wing in planform and contour to study the effects of different airfoil shapes. Numerous flap configurations were also fitted including a highly sophisticated system of "blown" flaps which redirected engine exhaust over the flaps to increase lift at low speeds. Fin height and horizontal stabilizer width was later increased and at one point, a special multiple wheel low pressure landing gear was fitted to test the feasibility of operating future heavy military transports from unprepared landing fields.

 

After a long and distinguished career, the Boeing 367-80 was finally retired and donated to the Smithsonian in 1972. At present, the aircraft is installated at the National Air and Space Museum's new facility at Washington Dulles International Airport.

 

Gift of the Boeing Company

 

Manufacturer:

Boeing Aircraft Co.

 

Date:

1954

 

Country of Origin:

United States of America

 

Dimensions:

Height 19' 2": Length 73' 10": Wing Span 129' 8": Weight 33,279 lbs.

 

Physical Description:

Prototype Boeing 707; yellow and brown.

 

• • • • •

 

Quoting Smithsonian National Air and Space Museum | Concorde, Fox Alpha, Air France:

 

The first supersonic airliner to enter service, the Concorde flew thousands of passengers across the Atlantic at twice the speed of sound for over 25 years. Designed and built by Aérospatiale of France and the British Aviation Corporation, the graceful Concorde was a stunning technological achievement that could not overcome serious economic problems.

 

In 1976 Air France and British Airways jointly inaugurated Concorde service to destinations around the globe. Carrying up to 100 passengers in great comfort, the Concorde catered to first class passengers for whom speed was critical. It could cross the Atlantic in fewer than four hours - half the time of a conventional jet airliner. However its high operating costs resulted in very high fares that limited the number of passengers who could afford to fly it. These problems and a shrinking market eventually forced the reduction of service until all Concordes were retired in 2003.

 

In 1989, Air France signed a letter of agreement to donate a Concorde to the National Air and Space Museum upon the aircraft's retirement. On June 12, 2003, Air France honored that agreement, donating Concorde F-BVFA to the Museum upon the completion of its last flight. This aircraft was the first Air France Concorde to open service to Rio de Janeiro, Washington, D.C., and New York and had flown 17,824 hours.

 

Gift of Air France.

 

Manufacturer:

Societe Nationale Industrielle Aerospatiale

British Aircraft Corporation

 

Dimensions:

Wingspan: 25.56 m (83 ft 10 in)

Length: 61.66 m (202 ft 3 in)

Height: 11.3 m (37 ft 1 in)

Weight, empty: 79,265 kg (174,750 lb)

Weight, gross: 181,435 kg (400,000 lb)

Top speed: 2,179 km/h (1350 mph)

Engine: Four Rolls-Royce/SNECMA Olympus 593 Mk 602, 17,259 kg (38,050 lb) thrust each

Manufacturer: Société Nationale Industrielle Aérospatiale, Paris, France, and British Aircraft Corporation, London, United Kingdom

 

Physical Description:

Aircaft Serial Number: 205. Including four (4) engines, bearing respectively the serial number: CBE066, CBE062, CBE086 and CBE085.

Also included, aircraft plaque: "AIR FRANCE Lorsque viendra le jour d'exposer Concorde dans un musee, la Smithsonian Institution a dores et deja choisi, pour le Musee de l'Air et de l'Espace de Washington, un appariel portant le couleurs d'Air France."

Contax T3 Kodak 400UC

 

sf/ca 2011

 

www.terrybarentsen.com

Maker: Jacques-Athanase-Joseph Clouzard (1820-1903) & Charles Soulier (1840-1876)

Born: France

Active: France

Medium: albumen on glass stereoview

Size: 6 3/4 in x 3 1/4 in

Location: France

 

Object No. 2023.007

Shelf: C-38

 

Publication: John B Cameron & Janice G. Schimmelman, The Glass Stereoviews of Ferrier & Soulier, 1852-1908, The Collodion Press, Rochester, MI, 2016, fig 120

 

Other Collections:

 

Provenance:

 

Notes: In 1854 Clouzard & Soulier obtained a patent for a transparent passe-partout glass stereoview, which eliminated the need for a third piece of glass, a milestone in the international production of glass stereoviews.

 

Ferrier was born in 1811 in Lyon, France. He began his career as an artist, studying at the École nationale supérieure des beaux-arts de Lyon. He then became interested in photography and began to experiment with the new medium, initially becoming known for his portraits of notable French people. By 1851 he had settled in Paris and in that year he exhibited at the Great Exhibition in London. His work so impressed the organisers that, together with the English photographer, Hugh Owen, he was asked to make photographs of the exhibits. More than 140 bound sets of reports and accompanying photographs, known as the Exhibition of the Works of Industry of All Nations, 1851: Reports by the Juries on the Subjects in the Thirty Classes into which the Exhibition was Divided were presented to, among others, Queen Victoria, Heads of Foreign Governments, the Exhibition commissioners, and the British Museum. In 1855, Ferrier exhibited at the Exposition Universelle of Paris, where he was awarded a silver medal. He is credited with creating the first glass stereoviews for the Brewster stereoscope in 1852. These became very popular and in 1857 he produced several series of stereoviews of France, Switzerland, Germany, Italy, Greece and Turkey. Initially he collaborated with Jules Duboscq, with the two selling each other’s stereoviews. This arrangement came to an end when Duboscq experienced financial difficulties. In 1859 Ferrier went into partnership with his son and with another stereo photographer, Charles Soulier, with the business being sold in 1863 to Léon & Lévy, a company that specialized in stereoscopic views and picture postcards. However, Ferrier and Soulier continued to sell their photographs through the company. Ferrier continued to work as a photographer until his death on 13 July 1889.

 

The Exposition Universelle of 1855 was originally conceived as a French response to the Great Exhibition of the Works of Industry of All Nations, held in 1851 at the Crystal Palace in London, and widely considered the first modern world’s fair. Comprised of four sections [Raw Material, Machinery, Manufacturers, and Fine Arts] and over 109,000 exhibits, the Paris Exhibition was a financial and critical success. Determined to outdo their English rivals, French organizers mounted an even greater exposition to showcase the technological prowess of their newly industrialized society. The 1855 Exposition Universelle drew more than five million visitors during its six-month stint on the Champs-Élysées. It featured luxury items, foreign goods, and inexpensive, mass-produced consumer items to appeal to the needs of middle and working class visitors. Although these products of “domestic economy” received little critical notice at the time, they were integral to the Exposition’s success as a celebration of commodity culture, in which “the display of goods was surpassed only by the display of people… who came to look at them”

 

To view our archive organized by Collections, visit: OUR COLLECTIONS

 

For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE

 

Photo:Fpurkhalter, modèle:Leeloo Wayne, Design/Retouche:Montage:AXIA Agence de communication (Stéphane Benedetti)

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Montblanc Elizabeth I Patron of Arts 2010 fountain pen.

1/4 You Tube vid: youtu.be/DWN22eyQ64A

 

Montblanc Elizabeth I writing instrument seriously tempted my pocket book but MAC preferred another holiday trip to a warm climate.

 

Limited Edition 4810 and Limited Edition 888

 

Montblanc's Patron of Art Edition has annually honoured a legendary benefactor of the arts and culture since this special writing instrument line was originally conceived in 1992. This year’s edition is dedicated to an all time great cultural force - Elizabeth I. Regarded the most successful monarch to ever ascend an English throne, under Elizabeth's astute and skillful rule, England "came of age" and, witnessing groundbreaking achievements, was transformed from a "remote backwater" to a globally dominant imperial power. Great battles were won. The New World - or the "Americas" - was discovered and the English Renaissance reached its zenith because of Elizabeth's artistic patronage.

 

Patron of Art Edition Elizabeth I - Limited Edition 888

 

Patron of Art Edition Elizabeth I - Limited Edition 4810

 

The "best educated woman of her generation..." Elizabeth was "passionately" interested in the arts and her "luminous" court stimulated some of the greatest artistic achievements of all time. William Shakespeare and Christopher Marlowe flourished during her reign as did the poet Edmund Spenser, the painter Nicholas Hillyard and the English composers William Byrd, John Dowland and Thomas Tallis.

 

Elizabeth I was also a gifted writer and the 2010 Montblanc Patron of Art Edition is therefore composed of two writing instruments conceived with sumptuously striking and clever adornments celebrating her intellect and inimitable regal flair. Patron of Art Edition Elizabeth I, limited to 4810 pieces and limited to 888 pieces, will debut in April 2010 and May 2010, respectively. And, as their presentation has always been associated with the Montblanc de la Culture Arts Patronage Award - which annually celebrates contemporary arts and cultural patrons - the Patron of Art Edition continues a story linking a historical figure with future talent.

 

Elizabeth I - A Legend in her Own Lifetime

 

Centuries after her death, Elizabeth I (1533 - 1603), is still considered as one of England's "most popular and influential rulers". She was born at Greenwich Palace on 7 September 1533 to Anne Boleyn, the second wife of Henry VIII, although her arrival was greeted with "surprise and displeasure", by the Court. The "failure" to produce a son for King Henry jeopardized Queen Anne’s life due to her husband's obsession with conceiving a male heir. Charged with adultery, she was beheaded in May 1536.

 

A retinue of governesses raised the young princess Elizabeth and though she was shunned by her father, Catherine Parr, the "remarkable" sixth and last wife of Henry VIII, oversaw the education which groomed the future queen for greatness and the Patron of Art Edition Elizabeth I will celebrate their special bond. Under the Cambridge scholar Roger Ascham, Elizabeth studied the classics, read history and theology and became fluent in six languages - Greek, Latin, French, Italian, Spanish and German. Her love of music and, skill as a musician, developed from the 60 instrumentalists who resided at Hatfield House, her childhood residence. From age 11, she composed prayers and poems and, when jailed for suspected treason against Mary I, her cousin in 1554, she etched onto a glass prison window a two-line verse with a diamond.

 

Upon ascending the throne on 15 January 1559, Elizabeth's writing focussed on government matters. She wrote powerful speeches, such as that which she delivered at Tilbury in Essex where English troops had gathered to prepare for Spanish invasion in 1588. Brandishing a silver breastplate over a flowing white velvet gown she arrived on horseback demonstrating the "courage and leadership the English expected" of a monarch - but had never been displayed by a female - and declared to the troops: “I have the body but of a weak and feeble woman but I have the heart and stomach of a king and of a King of England, too".

 

Nine days later, the defeat of the Spanish Armada proved England's "finest hour". Elizabeth's popularity reached a level no "English woman had enjoyed as a public figure" and she attained supreme power comparable to a "biblical and mythological figure". Her grand mode of dress overawed her subjects while the flourishing of her Renaissance court stimulated new literary, artistic and musical achievements. "Theatres thrived", and, as Shakespeare elevated the English language to its highest level of development, England’s literacy rate soared. Elizabeth attended the debut of Shakespeare's romantic comedy A Midsummer Night's Dream. Numerous works were dedicated to her including poet Edmund Spenser's masterpiece The Fairie Queen. Composers William Byrd, John Dowland and Thomas Tallis also toiled at her court.

 

The discoveries of adventurers Sir Francis Drake, who circumnavigated the world in 1580, Walter Raleigh's exploration of eastern Venezuela in 1594 and Humphrey Gilbert’s conquering of Newfoundland for the English throne in 1583, spearheaded a new age expansion by the end of Elizabeth's reign. Upon her passing on 24 March 1604, the pioneering monarch, it is said, "departed this life mildly like a lamb, easily like a ripe apple from the tree".

 

The Limited Edition Celebrating the Elizabethan Age

 

Patron of Art Edition Elizabeth I 4810

 

The design and adornments of the Patron of Art Edition Elizabeth I 4810 reflects the life, reign and heraldic regalia of Elizabeth I. Hand engraved on the 18 K gold nib is a bejewelled gold crown which she brandished ascending the throne in 1559. Lacquer barrel and cap signify the spots which appear on an ermine cape, part of the traditional coronation attire which Elizabeth also flaunted. While an ivory coloured Montblanc emblem tops the cap, the clip descends from gold plated Tudor Rose. This "double rose" motif became England’s floral emblem after Henry VII, Elizabeth's grandfather, commandeered it as the symbol of the Tudor Dynasty upon taking the crown from Richard IIII in 1485. The green cabochon embellishing the gold-plated cross upon the clip also reflects the bejewelled cross upon Elizabeth's crown.

 

Encircling the gold plate band adorning the cap - as well as the cone - is an elegant interlaced pattern inspired by the pretty needlework sleeve Elizabeth conceived for a prayer book she created especially for her stepmother, Catherine Parr, as a New Year's gift in 1544. Entitled The Mirror of the Sinful Soul, it was Lady Elizabeth's own English translation of the French verse originally composed by Queen Margaret of Navarre. A friend of Anne Boleyn, the French Queen gave the original manuscript to her and the religious poem was also a favourite of Catherine Parr’s. Today, Elizabeth I’s handmade book is owned by the University of Oxford's Bodleian Library. Etched by gold plated cap ring is "Video et Taceo" - or "I see and I keep silent". This maxim of Elizabeth I signified her moderate political views and cautious approach to foreign affairs.

 

Patron of Art Edition Elizabeth I Limited Edition 888

 

This 750 solid gold fountain pen features a barrel and cap in precious lacquer. Hand engraved on its 18 K gold nib is a bejewelled gold crown in which Elizabeth I ascended the throne in 1559. Topping the cap is the Montblanc emblem rendered in shimmering mother-of-pearl. The clip descends from a solid gold Tudor Rose while its embellishment - a princess cut green garnet - reflects the bejewelled crown. The intricate interlaced motif, derived from the needlework cover of The Mirror of the Sinful Soul, beautifies the solid gold cap and barrel. Elizabeth I's "Video et Taceo" maxim is embossed upon the cap ring.

 

Montblanc de la Culture Arts Patronage Award

 

Celebrating Past and Present

 

The Montblanc de la Culture Arts Patronage Award is presented in 11 countries and represents an exemplary bond forged between past and present and, since its inception in 1992, this merit has been directly linked with the Patron of the Art Edition. The prize, therefore, combines a tribute to an historic patron of the arts while acknowledging a contemporary one. By recognizing the importance of private patronage, the award conveys to the public its crucial role in fostering the arts and culture.

 

Each recipient of the Montblanc de la Culture Arts Patronage Award is chosen by an international jury of artists and receives financial support of € 15.000 in each country for a cultural project of their own choice. Montblanc also presents the honoree and the jury members with the precious Patron of Art Edition. Sought after by collectors around the world, Montblanc's Patron of Art Edition are writing instruments that will last a lifetime. And like every Montblanc writing instrument, these exceptionally handcrafted fountain pens have been created with the highest demand of craftsmanship that has made Montblanc the benchmark for writing culture.

 

Prized by connoisseurs and avid collectors, the Montblanc Patron of the Art Edition is a commemorative keepsake meant to be passed down through generations. Manufacturing tools, specially developed for the making of every Montblanc Limited Edition, are destroyed at the end of each production run. As a consequence, these intricately handcrafted pens are collector’s items. Limited Editions produced between 1992 and 2000, for example, have sold at auction for sums greatly exceeding their original retail price, ranging from (US) $ 2,200 to (US) $35,000. And nine years after its 1992 debut, Montblanc Patron of the Art Lorenzo de Medici sold at Christie’s in New York for more than six times its initial cost of (US) $1,292.00, ultimately fetching (US) $8,225.00.

 

Mei Boa-Jiu, China:

 

en.m.wikipedia.org/wiki/Mei_Baojiu

 

www.flickr.com/photos/gregsu/14914200150/in/photolist-uiq...

 

Mei Baojiu (Chinese: 梅葆玖; pinyin: Méi Bǎojiǔ) (29 March 1934 – 25 April 2016)[1] was a contemporary Peking opera artist, also a performer of the Dan role type in Peking Opera and Kunqu opera, the leader of Mei Lanfang Peking Opera troupe in Beijing Peking Opera Theatre. Mei's father Mei Lanfang was one of the most famous Peking opera performers. Mei Baojiu was the ninth and youngest child of Mei Lanfang. For this reason, he was called Baojiu, since in Chinese, jiu means nine.[2] Mei Baojiu was the master of the second generation of Méi School descendant, he was also Mei Lanfang's only child who is now a performer of the Dan role of the Peking Opera.[3]

 

Mei Baojiu: 梅葆玖

Born: 29 March 1934. Shanghai, China

Died: 25 April 2016 (aged 82) Beijing, China

Occupation: Peking opera artist

Parents: Mei Lanfang (father), Fu Zhifang (mother)

From childhood, Mei had learned Peking Opera from many artists. Mei Baojiu's first opera teacher was Wang Youqing (王幼卿), the nephew of Wang Yaoqing (王瑶卿), who had been the teacher of Mei Lanfang. Tao Yuzhi (陶玉芝) was his teacher of martial arts, while Zhu Chuanming (朱传茗), the famous performer of the Dan role type in Kunqu opera, taught him Kunqu. After that Mei learned the Dan role from Zhu Qinxin (朱琴心). Mei's regular performances of traditional opera include The Hegemon-King Bids His Concubine Farewell, Guifei Intoxicated (貴妃醉酒), Lady General Mu Takes Command (穆桂英挂帅), The story of Yang Guifei (太真外传), Luo Shen (洛神), Xi Shi (西施), etc. Mei has made significant contributions to cultural exchanges and promoting Peking Opera culture. Meanwhile, he also trains more than twenty students, such as Li Shengsu (李胜素), Dong Yuanyuan (董圆圆), Zhang Jing (张晶), Zhang Xinyue (张馨月), Hu Wenge (胡文阁) (the only male student),[4] Tian Hui (田慧), Wei Haimin.[5]

 

Biography:

 

Mei Baojiu as a child

In the spring of 1934, Mei Baojiu was born at No. 87 Sinan Road, Shanghai.[2] Because of his comely appearance and delicate voice, his father decided to send Baojiu to learn Peking opera and hoped that Baojiu could make contributions to Méi School. Baojiu himself also showed great interest as well as gifts in Peking opera in his early life. In 1942, Mei Lanfang and his wife Fu Zhifang (福芝芳) invited Wang Youqing (王幼卿), the disciple of famous Dan role performer - Wang Yaoqing (王瑶卿), from Beijing to teach Baojiu as his first qingyi teacher while requesting Zhu Chuanming (朱传茗), one of the most prestigious performers of the Dan role type to teach Baojiu Kunqu Opera. When Mei Lanfang was free from work, he also gave directions to his son himself.[6]

 

When Baojiu was ten years old, he played Xue Yi (薛倚) in San Niang teaches the child (三娘教子) as his first performance in Shanghai. At the age of twelve, together with his sister Mei Baoyue (梅葆玥), Baojiu acted in Yang Silang Visits His Mother (四郎探母). Being a Qingyi (青衣) performer, he started giving performances of the Legend of the White Snake, The Story Of Su San (玉堂春) and some other traditional plays for charity since the age of 13. He also performed in Wu Jiapo Hill (武家坡) with Baoyue (梅葆玥) at the same time. When Baojiu was 16, he took part in the national tour of the Mei Lanfang Troupe, and toured the country with the troupe. Usually, Baojiu performed for the first three days, and Mei Lanfang performed plays in the rest, sometimes they also performed cooperatively, such as in Legend of the White Snake. Baojiu played the part of Xiao Qing the green snake, while his father played Bai Suzhen the white snake.[6]

 

Mei Lanfang used to make suggestions to Baojiu in order to make the performance of Baojiu perfect when Baojiu was young. Once, after watching the play The Story Of Sue San (玉堂春), in which Baojiu performed, he came to Baojiu and suggested that Baojiu change the way of acting the spoken parts. He mentioned that it was the most exciting time when the heroine, Sue San, got the Senior judge. For this reason, Baojiu should speak infectiously, he should speak faster and faster to create tension.[7]

 

Baojiu also got a chance to share the stage with some prestigious senior performers, such as Xiao Changhua (萧长华), Jiang Miaoxiang (姜妙香) and Yu Zhenfei (俞振飞).[8]

 

Due to the guidance of the actors from the earlier generation, Mei Baojiu's acting greatly improved and hemade a great effort to promote Méi School as well.[9]

 

In 1961, after Mei Lanfang died, Baojiu took over the position of the leader of Mei Lanfang Peking Opera troupe. During this time, he acted in some other well known plays, such as The mulan (木兰从军), Return of the Phoenix (凤还巢) and Lian Jinfeng (廉锦枫). However, after 1964, almost all performance of traditional plays was forbidden, according to central government regulations. For this reason, Baojiu was forced to do recording and stage lighting related work.[10]

 

Fourteen years later, in 1978, Baojiu returned to the Mei Lanfang Peking Opera troupe and came back to stage. He reformed the troupe and rearranged many traditional plays like Yuzhoufeng the Sword(宇宙锋), The story of Yang Guifei (太真外传), Luo Shen (洛神), Xi Shi (西施) as well as Royal pavilion (御碑亭) at the same time.[11]

 

From 1981 to 1984, together with his sister Mei Baoyue and descendants of other schools, he participated in the performance of a series memorial activities to commemorate his father. Making the eight-hour long play lasts for only three hours, he also rearranged The story of Yang Guifei in the late 1980s.[12]

 

In 1993, led by Baojiu, the Mei Lanfang Peking Opera troupe visited Taiwan and gave elaborately prepared performances to the public. He has made significant contributions to cultural exchanges and promoting Peking Opera culture.[13]

 

Baojiu cultivates more than twenty students, such as Li Shengsu, Dong Yuanyuan (董圆圆), Zhang Jing (张晶), Zhang Xinyue (张馨月), Hu Wenge (the only male student), Tian Hui (田慧), Wei Haimin (魏海敏). In the last twenty years, he mainly focused on training these students.

 

As a member of the National Committee of the Chinese People's Political Consultative Conference (CPPCC), Mei Baojiu put forward a proposal on introducing Peking Opera into elementary schools in 2009.[14]

 

In March 2012, at the Chinese People's Political Consultative Conference, Mei put forward a proposal on introducing the form of animation into Peking Opera in order to make more teenagers be interested in Peking Opera.[15]

 

On 26 March 2012, Mei received his Ph.D. from J. F. Oberlin University in Japan.[16]

 

On 31 March 2016, Mei was hospitalized because of bronchospasm. He died on 25 April 2016, at the age of 82.[17]

 

Famous plays:

 

Like his father, Mei Baojiu acts Dan role in the following classic Peking opera plays. The Hegemon-King Bids His Concubine Farewell tells the sad love story of Xiang Yu and his favourite concubine Consort Yu when he is surrounded by Liu Bang’s forces. Mei plays the role of Consort Yu. Shang Changrong (the 3rd son of Shang Xiaoyun) once played the role of Xiang Yu as Mei's partner.

 

Guifei Intoxicated, also named Bai Hua Ting (百花亭), is about Yang Guifei. In this play she drinks down her sorrow because she is irritated by Emperor Xuanzong of Tang breaking his promise. Based on Mei Lanfang’s original work, Mei Baojiu adapted this play for The Great Concubine of Tang (大唐贵妃), a contemporary Beijing opera with historical motif in 2002. Mu Guiying Takes Command, a classic Yu opera was adapted by Mei Lanfang in 1959, and he acted the leading role the same year in celebration of the 10th anniversary of PRC.

 

Cooperating with famous Yu opera master Ma Jinfeng (马金凤), Mei Baojiu performed this play in the Shuang xia guo style (双下锅), which means different forms of opera performed in one play.[3]

 

Family:

 

Mei Baojiu's mother, Fu Zhifang (福芝芳), the second wife of Mei Lanfang, bore 9 children, but only 4 of them survived.

 

Mei Baojiu is the youngest child in his family. His eldest brother, Mei Baochen (梅葆琛) (1925-2008), was a senior engineer in Beijing's Academy of Architecture (北京建筑设计院). His elder brother, Mei Shaowu (梅绍武) (1928-2005), was a researcher of the Chinese academy of social sciences institute of the United States (中国社会科学院美国研究所) and the president of Mei Lanfang Culture-art Seminar (中国梅兰芳文化艺术研究会). His elder sister Mei Baoyue (梅葆玥) (1930-2000) was a performer of the Laosheng role type in Peking Opera, and performed together with Mei Baojiu sometimes. Mei Baojiu is the only heir to the Meipai Qingyi (梅派青衣).[3][18]

 

Mei Baojiu's wife is named Lin Liyuan (林丽媛), she is the consultant of Mei Lanfang Troupe. They have no children.[19]

 

References:

 

^ Mei Shaowu (梅绍武), Mei Weidong (梅卫东), Biography of Mei Lanfang (梅兰芳自述) :Appendix - studies (附录：年谱简表)

^ a b Wu Ying (吴迎), From Mei Lanfang to Mei Baojiu (从梅兰芳到梅葆玖) Page 50

^ a b c "梅氏家族 (May Family)". Archived from the original on 19 January 2012. Retrieved 7 May 2012.

^ "胡文阁被梅葆玖"看"得紧紧的(组图) (Mei Baojiu keeps a close watch on Hu Wenge (photo))". 9 January 2012. Retrieved 7 May 2012.

^ "梅葆玖简介 (About Mei Baojiu)". July 2009. Retrieved 7 May 2012.

^ a b Li Zhongming (李仲明), The Family of Mei Lanfang (梅兰芳家族) Page93

^ Li Zhongming (李仲明), The Family of Mei Lanfang (梅兰芳家族) Page 96

^ "梅兰芳的剧照 Mei Lanfang snapshot". Archived from the original on 17 April 2012. Retrieved 7 May 2012.

^ Li Zhongming (李仲明), The Family of Mei Lanfang (梅兰芳家族) Page92 - 93

^ Li Zhongming (李仲明), The Family of Mei Lanfang (梅兰芳家族) Page110

^ Li Zhongming (李仲明), The Family of Mei Lanfang (梅兰芳家族) Page112-113

^ Xu Beicheng (徐北城), Mei Lanfang and the 20th century (梅兰芳与二十世纪) :chapter 10. the Dance of Mei (第十章：梅之舞)

^ Li Zhongming (李仲明), The Family of Mei Lanfang (梅兰芳家族) Page113-121

^ "Mei Baojiu". 11 March 2009. Retrieved 7 May 2012.

^ "Mei Baojiu". 7 March 2012. Retrieved 29 May 2012.

^ "Mei Baojiu". 29 March 2012. Retrieved 29 May 2012.

^ "京剧大师梅葆玖去世享年82岁 世间从此再无"梅先生"". people.cn. 25 April 2016. Retrieved 31 January 2019.

^ Li Zhongming (李仲明), The Family of Mei Lanfang (梅兰芳家族) Page84 - 90

^ "About Mei Baojiu". 29 March 2012. Archived from the original on 5 December 2012. Retrieved 29 May 2012.

 

Martine Franck, France:

en.m.wikipedia.org/wiki/Martine_Franck

 

Martine Franck (2 April 1938 – 16 August 2012) was a British-Belgian documentary and portrait photographer. She was a member of Magnum Photos for over 32 years. Franck was the second wife of Henri Cartier-Bresson and co-founder and president of the Henri Cartier-Bresson Foundation.

 

Martine Franck

Photo of Martine Franck.jpg

Franck in 1972, by Henri-Cartier Bresson

Born: 2 April 1938 Antwerp, Belgium

Died: 16 August 2012 (aged 74) Paris, France

Occupation

Documentary and portrait photographer

Spouse(s): Henri Cartier-Bresson (m. 1970; died 2004)

Children: 1

 

Contents:

 

Early life:

 

Franck was born in Antwerp[1] to the Belgian banker Louis Franck and his British wife, Evelyn.[2] After her birth the family moved almost immediately to London.[2] A year later, her father joined the British army, and the rest of the family were evacuated to the United States, spending the remainder of the Second World War on Long Island and in Arizona.[3]

 

Franck's father was an amateur art collector who often took his daughter to galleries and museums. Franck was in boarding school from the age of six onwards, and her mother sent her a postcard every day, frequently of paintings. Ms. Franck, attended Heathfield School, an all-girls boarding school close to Ascot in England, and studied the history of art from the age of 14. "I had a wonderful teacher who really galvanized me," she says. "In those days she took us on outings to London, which was the big excitement of the year for me."[4]

 

Career:

 

Franck studied art history at the University of Madrid and at the Ecole du Louvre in Paris. After struggling through her thesis (on French sculptor Henri Gaudier-Brzeska and the influence of cubism on sculpture), she said she realized she had no particular talent for writing, and turned to photography instead.[5]

 

In 1963, Franck's photography career started following trips to the Far East, having taken pictures with her cousin’s Leica camera. Returning to France in 1964, now possessing a camera of her own, Franck became an assistant to photographers Eliot Elisofon and Gjon Mili at Time-Life. By 1969 she was a busy freelance photographer for magazines such as Vogue, Life and Sports Illustrated, and the official photographer of the Théâtre du Soleil (a position she held for 48 years).[6] From 1970 to 1971 she worked in Paris at the Agence Vu photo agency, and in 1972 she co-founded the Viva agency.[2]

 

In 1980, Franck joined the Magnum Photos cooperative agency as a "nominee", and in 1983 she became a full member. She was one of a very small number of women to be accepted into the agency.

 

In 1983, she completed a project for the now-defunct French Ministry of Women's Rights and in 1985 she began collaborating with the non-profit International Federation of Little Brothers of the Poor. In 1993, she first traveled to the Irish island of Tory where she documented the tiny Gaelic community living there. She also traveled to Tibet and Nepal, and with the help of Marilyn Silverstone photographed the education system of the Tibetan Tulkus monks. In 2003 and 2004 she returned to Paris to document the work of theater director Robert Wilson who was staging La Fontaine's fables at the Comédie Française.[7]

 

Nine books of Franck's photographs have been published, and in 2005 Franck was made a chevalier of the French Légion d'Honneur.[8]

 

Franck continued working even after she was diagnosed with bone cancer in 2010. Her last exhibition was in October 2011 at the Maison Européenne de la Photographie. The exhibit consisted of 62 portraits of artists "coming from somewhere else” collected from 1965 through 2010. This same year, there were collections of portraits shown at New York's Howard Greenberg Gallery and at the Claude Bernard Gallery, Paris.[9]

 

Work:

 

Franck was well known for her documentary-style photographs of important cultural figures such as the painter Marc Chagall, philosopher Michel Foucault and poet Seamus Heaney, and of remote or marginalized communities such as Tibetan Buddhist monks, elderly French people, and isolated Gaelic speakers. Michael Pritchard, the Director-General of the Royal Photographic Society, observed: "Martine was able to work with her subjects and bring out their emotions and record their expressions on film, helping the viewer understand what she had seen in person. Her images were always empathetic with her subject." In 1976, Frank took one of her most iconic photos of bathers beside a pool in Le Brusc, Provence. By her account, she saw them from a distance and rushed to photograph the moment, all the while changing the roll of film in her camera. She quickly closed the lens just at the right moment, when happened to be most intense.[9]

 

She cited as influences the portraits of British photographer Julia Margaret Cameron, the work of American photojournalist Dorothea Lange and American documentary photographer Margaret Bourke-White.[8] In 2010, she told The New York Times that photography "suits my curiosity about people and human situations." [10]

 

She worked outside the studio, using a 35 mm Leica camera, and preferring black and white film.[2] The British Royal Photographic Society has described her work as "firmly rooted in the tradition of French humanist documentary photography."[11]

 

Personal life:

 

Franck was often described as elegant, dignified and shy.[12][13][14]

 

In 1966, she met Henri Cartier-Bresson, thirty years her senior, when she was photographing Paris fashion shows for The New York Times. In 2010, she told interviewer Charlie Rose "his opening line was, ‘Martine, I want to come and see your contact sheets.’" They married in 1970, had one child, a daughter named Mélanie, and remained together until his death in 2004.[2]

 

Throughout her career Franck, who was sometimes described as a feminist, was uncomfortable being in the shadow of her famous husband and wanted to be recognized for her own work. In 1970, the Institute of Contemporary Arts in London planned to stage Franck's first solo exhibition: when she saw that the invitations included her husband's name and said he would be present at the launch, she cancelled the show. Franck once said that she put her husband's career ahead of her own. In 2003 Franck and her daughter launched the Henri Cartier-Bresson Foundation to promote Cartier-Bresson's photojournalism, and in 2004 Franck became its president.[8]

 

Franck was diagnosed with leukemia in 2010, and died in Paris in 2012 at 74 years old.[2]

 

Publications:

 

Martine Franck: Dun jour, l'autre. France: Seuil, 1998. ISBN 978-2-02-034771-6

Tibetan Tulkus, images of continuity. London: Anna Maria Rossi & Fabio Rossi Publications, 2000. ISBN 978-0-9520992-8-4

Tory Island Images. Wolfhound Press, 2000. ISBN 978-0-86327-561-6

Martine Franck Photographe, Musée de la Vie romantique, Paris-Musées/Adam Biro, 2002. ISBN 978-2-87660-346-2

Fables de la Fontaine (production by Robert Wilson), Actes Sud. Paris, 2004

Martine Franck: One Day to the Next. Aperture, 2005. ISBN 978-0-89381-845-6

Martine Franck. Louis Baring. London: Phaidon, 2007. ISBN 978-0-7148-4781-8

Martine Franck: Photo Poche. France: Actes Sud, 2007. ISBN 978-2-7427-6725-0

Women/Femmes, Steidl, 2010. ISBN 978-3-86930-149-5

Venus d'ailleurs, Actes Sud, 2011

ExhibitionsEdit

 

La vie et la mort, Rencontres d'Arles, Arles, France, 1980[citation needed]

Martine Franck Photographe, Musée de la Vie romantique, Paris, 2004[citation needed]

Les Rencontres, Rencontres d'Arles, Arles, France, 2004[citation needed]

ReferencesEdit

 

^ Phaidon Editors (2019). Great women artists. Phaidon Press. p. 141. ISBN 0714878774.

^ a b c d e f Leslie Kaufman (22 August 2012). "Martine Franck, Documentary Photographer, Dies at 74". New York Times. Retrieved 25 August 2012.

^ Tori (21 August 2012). "'Magnum has lost a point of reference, a lighthouse, and one of our most influential and beloved members – Martine Franck". Film's Not Dead. Archived from the original on 26 August 2012. Retrieved 25 August 2012.

^ Grey, Tobias (21 October 2011). "Martine Franck's Curious Lens". ProQuest 899273270.

^ Bussell, Mark (8 June 2010). "Martine Franck's Pictures Within Pictures". New York Times. Retrieved 25 August 2012.

^ Wallace, Vaughan (20 August 2012). "Martine Franck: 1938 – 2012". Life magazine. Retrieved 25 August 2012.

^ Magnumphotos

^ a b c Hopkinson, Amanda (19 August 2012). "Martine Franck obituary". Guardian. Retrieved 25 August 2012.

^ a b Childs, Martin (29 August 2012). "The Independent". The Independent. Independent Print Ltd.

^ Bussell, Mark (8 June 2010). "Martine Franck's Pictures Within Pictures". The New York Times. Retrieved 19 September 2016.

^ Laurent, Olivier (17 August 2012). "Magnum Photos member and photographer Martine Franck has died". British Journal of Photography. Archived from the original on 19 August 2012. Retrieved 25 August 2012.

^ Gill, A.A. (2008). Previous convictions: assignments from here and there (1st Simon & Schuster trade pbk. ed.). New York: Simon & Schuster Paperbacks. p. 90. ISBN 978-1416572497.

^ Walker, David (17 August 2012). "Photographer Martine Franck dies". Photo District News. Retrieved 25 August 2012.

^ "Wife of Henri Cartier-Bresson, Martine Franck, dies at 74". Art Media Agency. 20 August 2012. Retrieved 25 August 2012.

External linksEdit

 

Henri Cartier-Bresson Foundation

New York Times "Martine Franck's Pictures Within Pictures"

Martine Franck 1991 catalogue of Taipei Fine Art Museum, with the pencil painting of Henri Cartier-Bresson.

 

Dr. rer. pol. Arend Oetker, Germany:

 

de.m.wikipedia.org/wiki/Arend_Oetker

 

Arend Oetker was born on March 30, 1939 in Bielefeld, North Rhine-Westphalia, Germany and studied business administration and political science in Hamburg, Berlin and Cologne as well as Marketing at Harvard Business School. He received his doctorate in 1966 from the University of Cologne.

 

Dr. Arend Oetker, Managing Partner of Dr. Arend Oetker Holding, is Honorary Chairman of the Board and majority shareholder of the food company Hero AG, Deputy Chairman and major shareholder of KWS Saat AG and chairman of the board of Cognos AG.

 

Furthermore, Dr. Arend Oetker is actively involved as president of the German Council on Foreign Relations (Deutsche Gesellschaft für Auswärtige Politik e. V.), board member of the Confederation of German Employers‘ Associations (Bundesvereinigung der Deutschen Arbeitgeberverbände e. V.) and honorary member of the Federation of German Industries (Bundesverband der Deutschen Industrie e. V.). He has received a number of accolades in the field of visual arts and music.

 

Dr. Arend Oetker is married and has five children.

 

Dr. William Mong Man Wai, Hong Kong:

 

en.m.wikipedia.org/wiki/William_Mong

 

William Mong Man-wai GBS (Chinese: 蒙民偉, 7 November 1927 – 20 July 2010) was the chairman of the Shun Hing Group, the distributor of Matsushita products (National, Panasonic, Technics) in Hong Kong.

 

He attended La Salle College in Hong Kong. Mong Man-wai died from cancer on 20 July 2010, aged 82. Many buildings in Hong Kong universities are named after him.[1]

 

Award received:

 

Gold Bauhinia Star

honorary doctor of the University of Hong Kong

honorary doctor of the Tsinghua University (2007)

honorary doctor of the Chinese University of Hong Kong.

 

Giulio Mogol, Italy:

 

Giulio Rapetti (born 17 August 1936), in art Mogol (Italian pronunciation: [moˈɡɔl]), is an Italian music lyricist. He is best known for his collaborations with Lucio Battisti, Gianni Bella, Adriano Celentano and Mango.

 

Career:

 

Mogol was born in Milan. His father, Mariano Rapetti, was an important director of the Ricordi record label, and had been in his own time a successful lyricist of the 1950s. Young Giulio, who was likewise employed by Ricordi as a public relations expert, began his own career as a lyricist against his father's wishes.

 

His first successes were "Il cielo in una stanza", set to music by Gino Paoli and sung by Mina; "Al di là", a piece that won the 1961 Sanremo Festival, performed by Luciano Tajoli and Betty Curtis; "Una lacrima sul viso", which was a huge hit for Bobby Solo in 1964. Another famous song from 1961 was "Uno dei tanti" (English: "One among many") which was rewritten by Jerry Leiber and Mike Stoller in 1963 for Ben E. King and released under the title "I (Who Have Nothing)".

 

In addition to writing new lyrics in Italian for a great many singers, Mogol also took it upon himself, in years in which familiarity with the English language in Italy was still sparse, to translate many hits from overseas, especially film soundtracks, but also works of Bob Dylan and David Bowie.

 

In 1965, he met Lucio Battisti, a young guitarist and composer from the Latium region of central Italy. Mogol's lyrics contributed to Battisti's initial success as an author, in megahits such as "29 settembre", and led him to undertake the role of producer as well, as happened with the song "Sognando la California", which Mogol himself had translated from the signature number of The Mamas & the Papas, "California Dreamin'", and with "Senza luce" ("Without light"), an Italian rendering of "A Whiter Shade of Pale" by Procol Harum.

 

In 1966, Mogol, overcoming resistance from his record label, convinced Battisti to perform his own songs. The lyricist's intuition would have one of the most rewarding outcomes of the history of Italian music, as Battisti, after a halting start, would explode as a singer, becoming one of the most successful artists in the panorama of Italian music. In the same year, Mogol left the Ricordi label to create his own with Battisti, called Numero Uno, which brought together many celebrated Italian singer-songwriters. The pair wrote songs as well for Bruno Lauzi and Patty Pravo. Their greatest chart success came from the songs written for Mina in 1969–1970.

 

In 1980, Mogol broke the artistic relationship with Battisti, and successfully continued his independent career as a lyricist with the noted singer-songwriter Riccardo Cocciante, with whom he wrote the texts for some successful albums, first in the series being "Cervo a Primavera".

 

Mogol (2007)

Lately, he began his collaboration with Mango, co-writing successful songs like "Oro", "Nella mia città", "Come Monna Lisa" and "Mediterraneo".

 

Mogol has formed a stable partnership with Adriano Celentano; his songs for Celentano are scored by the Sicilian singer-songwriter Gianni Bella. This collaboration has produced the delicate song "L'arcobaleno", included in the CD Io non so parlar d'amore, which is considered dedicated to Battisti, who had recently died. Mogol has also collaborated with singer-songwriter Jack Rubinacci.

 

Mari Natsuki, Japan:

 

en.m.wikipedia.org/wiki/Mari_Natsuki

 

Junko Nakajima (中島 淳子, Nakajima Junko, born 2 May 1952), more commonly known by her stage name Mari Natsuki (夏木 マリ, Natsuki Mari), is a Japanese singer, dancer and actress.[1] Born in Tokyo, she started work as a singer from a young age. In 2007, Natsuki announced her engagement to percussionist Nobu Saitō, with their marriage taking place in Spring 2008.

 

Mari Natsuki

MJK 08427 Mari Natsuki (Berlinale 2018).jpg

Mari Natsuki (2018)

Born: Mari Natsuki. 夏木 マリ. 2 May 1952 (age 67) Tokyo, Japan

Nationality: Japanese

Other names: Junko Nakajima

Occupation: Singer, dancer, actress

Natsuki has participated in musical theatre, including that of Yukio Ninagawa. She provided the voice of Yubaba in Spirited Away, played the young witch's mother in the Japanese TV remake of Bewitched and has twice been nominated for a Japanese Academy Award. Natsuki played the character Big Mama in the Japanese version of Metal Gear Solid 4: Guns of the Patriots[2] and has also acted in television dramas, such as the 2005 series Nobuta o Produce, playing the Vice Principal, Katharine.

 

Contents:

 

Film:

 

Otoko wa Tsurai yo series:

Tora-san, My Uncle (1989)

Tora-san Takes a Vacation (1990)

Tora-san Confesses (1991)

Tora-San Makes Excuses (1992)

Tora-san to the Rescue (1995)

Tora-san, Wish You Were Here (2019)

Onimasa (1982)

Legend of the Eight Samurai (1983)

Kita no Hotaru (1984)

Jittemai (1986)

Death Powder (1986)

Otoko wa Tsurai yo: Boku no Ojisan (1989)

The Hunted (1995)

Samurai Fiction (1998)

Spirited Away (2001)

Shōjo (2001)

Ping Pong (2002)

Okusama wa Majo (2004)

Sugar and Spice (2006)

Sakuran (2007)

Girl In The Sunny Place (2013)

Isle of Dogs (2018)

Ikiru Machi (2018)

Vision (2018)

Dai Kome Sōdō (2021), Taki

 

Television: Yoshitsune (2005), Carnation (2011), Montage (2016), Meet Me After School (2018)

Video Games: Metal Gear Solid 4: Guns of the Patriots (Big Mama) (2008), Uncharted 3: Drake's Deception (Katherine Marlowe) (2011)

Japanese dub:

Live-action: Feud (Joan Crawford (Jessica Lange)), The West Wing (C.J. Cregg (Allison Janney))

Animation: Moana (Tala)

References:

 

^ Mills, Ted. "Apple Music Preview. About Mari Natsuki". music.apple.com. Retrieved 9 November 2019.

^ Metal Gear Solid 4: Guns Of The Patriots: MGS4 Voice Cast Announced Archived 30 September 2007 at the Wayback Machine.

 

Changjae Shin, South Korea:

 

en.m.wikipedia.org/wiki/Shin_Chang-jae

 

Shin Chang-jae (born 1953/54) is a Korean billionaire businessman, Chairman and CEO of Kyobo Life Insurance Company.

 

Shin Chang-jae

Born: 1953/1954 (age 65–66)[1]

Nationality: Korean

Alma mater: Seoul National University

Occupation: Chairman and CEO, Kyobo Life Insurance Company

Net worth: $2.3 billion (June 2015)[1]

Spouse(s): married

Children: 2 sons

 

Early life:

 

He is the son of Shin Yong-ho, who founded Kyobo Life Insurance Company in 1958.[1] he has a doctorate from Seoul National University.[1]

 

Career: Kyobo Life Insurance Building, Seoul

He trained as an obstetrician and worked as a professor at the Seoul National University medical school.[1]

 

He has been Chairman and CEO of Kyobo Life Insurance Company since 2000.[1] In June 2015, Forbes estimated his net worth at US$2.3 billion.[1]

 

Personal life: He is married with two sons and lives in Seoul, South Korea.[1]

 

References: ^ a b c d e f g h "Shin Chang-Jae". Forbes. Retrieved 9 June 2015.

 

Patrick Charpenel, Mexico;

 

Patrick Charpenel will be the new executive director of El Museo del Barrio in New York.

 

Charpenel is a Mexico City–based curator who has worked extensively in Mexico as well as internationally. He organized a Gabriel Orozco retrospective at the Museo del Palacio de Bellas Artes in Mexico City in 2006 and an exhibition of work by Franz West at the Museo Tamayo Arte Contemporáneo in 2009. He also oversaw the Art Public section for the 2009 and 2010 editions of Art Basel Miami Beach.

 

Charpenel served as the executive director of Museo Jumex, the private museum in Mexico City of ART news Top 200 collector Eugenio López Alonso. (Charpenel resigned from his post in 2015 amid the controversy over the cancellation of a Hermann Nitsch show.) Charpenel is also a writer and a collector of “a heterogeneous group of works” that focuses on such interests as “the structure of the global economy and the extension of artistic experience into the social sphere.”

 

Patrick Charpenel is an art historian and collector currently working as an independent curator in Mexico City. He holds a graduate degree in philosophy. Charpenel has curated numerous exhibitions including Franz West, Tamayo Museum, Mexico City, Mexico (2006); Sólo los personajes cambian, Museum of Contemporary Art, Monterrey, Mexico (2004); Inter.play, Moore Space, Miami, Florida (2003); Edén, Jumex Collection, Mexico City, Mexico (2003); and ACNÉ, Museum of Modern Art, Mexico City, Mexico (1995). He has numerous critical texts published in catalogues and magazines.

 

2018 Bienvenidos a El Museo del Barrio!

We are excited to announce the appointment of our new Executive Director, Patrick Charpenel. El Museo del Barrio is thrilled to have Charpenel join the institution’s leadership and we look forward to seeing what he will bring to the legacy of this museum.

 

YouTube: youtu.be/l1Amlj49bt8

 

Laura Garcia-Lorca de los Rios, Spain:

 

Gloria Giner de los Ríos García (28 March 1886 – 6 February 1970) was a Spanish teacher at the Escuela Normal Superior de Maestras and the Institución Libre de Enseñanza. The author of innovative manuals dedicated to the teaching of history and geography,[1] she, together with Leonor Serrano Pablo [es], developed the educational "recipe" that they called "enthusiastic observation". They also worked to change the androcentric canon of geographical studies to include women.[2]

 

Gloria Giner de los Ríos García

 

Born: 28 March 1886 Madrid, Spain

Died: 6 February 1970 (aged 83) Madrid, Spain

Resting place: Civil Cemetery of Madrid [es]

Occupation: Teacher

Spouse(s): Fernando de los Ríos

Children: Laura de los Ríos Giner [es]

Parents: Hermenegildo Giner de los Ríos [es] (father), Laura García Hoppe [es] (mother)

She lived in exile during the Francoist Spain era, forming part of the intellectual elite that carried out educational, philological, literary, legal, and cultural work. Her family had close connections to that of poet Federico García Lorca.

 

Biography:

 

Gloria Giner de los Ríos García was born in Madrid on 28 March 1886. The daughter of Laura García Hoppe [es] and Hermenegildo Giner de los Ríos [es], she spent her childhood and adolescence in Madrid, Alicante, and Barcelona, cities where her father held the Chair of Philosophy. After finishing high school in 1906 and teaching in 1908, she completed her training by attending classes at the Institución Libre de Enseñanza and taking courses in art, pedagogy, and philosophy.[3] In 1909, she was promoted to the Escuela de Estudios Superiores de Magisterio [es].[1]

 

Marriage, family, and social life:

 

On 1 July 1912, Giner married Fernando de los Ríos, who had obtained the Chair of Law at the University of Granada. It was in this city that the couple took up residence, and in which Gloria was a teacher at the Normal School, by right of consort at first, and later in her own position.[3] A year later, their daughter Laura de los Ríos Giner [es] was born. In Granada, the Ríos Giner family became friends with the García Lorca family, with Manuel de Falla, and with Berta Wilhelmi and her husband Eduardo Domínguez. Wilhelmi had been in contact with the Institución Libre de Enseñanza and had organized some community schools in Almuñécar.[4] With her collaboration, Giner organized the education of her daughter Laura and other children, including Isabel García Lorca [es], in order to separate them from Granada's private education system.[3]

 

Laura de los Ríos and Isabel García Lorca:

 

Federico García Lorca was one of the select circle of friends of the Ríos family. He dedicated the poem Romance sonámbulo to Fernando and Gloria,[5] and was the one who introduced their daughters, Laura de los Ríos and Isabel García Lorca. The friendship between the latter was very intense and lasting. They became sisters-in-law when Laura married Federico's younger brother Francisco [es]. In an interview, Isabel Garcia Lorca recalled:

 

Gloria Giner was an extraordinary being. Well, of character, I think there was a certain similarity in all of them, some high moral tension. People a little demanding with what others did and what they could do. They were like that down deep, including my mother.[6]

 

Laura, in another interview, told of her mother's life in Granada:

 

My mother attended her classes every day...in the afternoon she prepared her classes and helped my father. She translated from German, the language my father and a German teacher in Granada had taught her. She also translated from French, which she knew very well, from Greek and Latin...lovingly and intellectually my parents were a very well-matched marriage.[7]

 

Professional career:

 

In 1931, the Provisional Government of the Republic appointed her husband Minister of Justice, and in December, Minister of Public Instruction. Giner told her daughter, "I'm not going to give up my career and live as a minister."[8] Nonetheless she performed some ceremonial functions and accompanied her husband on trips through Spain.[3] In 1932 she was on leave as a teacher at the Normal School, but continued teaching at the Institución Libre de Enseñanza. In 1933, after her husband resigned from government office, she rejoined teaching by accepting a position in Zamora. For three courses she lived alone in a hotel room three days a week, returning to Madrid for the rest of the week.[8] In Zamora, as in Granada, society shunned her for being the wife of a socialist and not attending religious services.[7]

 

Exile:

 

At the end of September 1936, Fernando de los Ríos was appointed ambassador of Spain to the United States, a position he held until March 1939. Gloria Giner moved to Washington, D.C. with her daughter, her mother, and a nephew of her husband. Fernanda Urruti, Fernando's mother, would later join them. In Washington, Giner was invited to several meetings that Eleanor Roosevelt organized in the White House.[3] During the Civil War, Fernando de los Ríos was separated from his professorship at the University of Madrid. In 1939, the Franco government definitively separated him from his chair and dismissed him.

 

Fernando de los Ríos taught at The New School for Social Research in New York, an institution founded to welcome European intellectuals who emigrated for political reasons.[5] Giner was a professor at Columbia University.[3][9] The Ríos-Giner family lived in exile in the United States, which did not recognize Spanish Republican exiles and subjected those who wanted to enter to immigration laws. However, university students and artists were exempt from the rigid immigration quota, provided they were endorsed by US citizens or claimed by a university. Gloria was one of the exiled academics who passed through American universities and formed an intellectual elite.[10]

 

In 1942, her daughter Laura married Francisco García Lorca, younger brother of the poet Federico, in the Mead Chapel of Middlebury College, where both were professors at the Spanish School.[11] The couple had three daughters, and the family lived together in a New York apartment. In addition to preparing classes, writing poems, and working on the publication of her works, Giner took care of her three granddaughters, took them out for walks and, if necessary, took them on the bus and subway in New York.

 

In 1949, Fernando de los Ríos died. Over 50 personalities of politics and culture attended the funeral. José de los Ríos – the younger brother of Fernando and Francisco García Lorca – presided over the dual family. Fernando's wife, mother, and daughter stayed at the house during the funeral, in accordance with Spanish custom at the time.

 

Return to Spain:

 

Gloria Giner returned to Spain with her daughter's family in 1965. She died in Madrid on 6 February 1970.[12] She was buried in the Civil Cemetery of Madrid [es], and her husband's remains were reinterred there alongside hers on 28 June 1980.[13]

 

Teaching methods:

 

Gloria Giner and her great friend Leonor Serrano Pablo [es] worked together on the teaching of geography in order to connect with students.[14] Giner defended the formative capacity of the plastic arts "as a real basis for the teaching of history in the first years of the formation of the culture of the child". Her 1935 book Cien lecturas históricas became a prominent text for educational reformers inspired by the work of Rafael Altamira.[1]

 

With Altamira and Maria Montessori as references, they developed didactic methods that, in Serrano's words, revolved around "enthusiastic observation". This consisted of teaching geography in dialogue with the students, strengthening their physical and emotional relationship with the environment. Another component of enthusiastic observation was emotional. Impositions of rote memorization were eliminated. In Giner's words, "the soul was educated and the spirit strengthened".

 

Serrano and Giner also advocated for the meaningful inclusion of women in the androcentric canon of studies on geography. The Dictionary of the Royal Spanish Academy had, in 1803, included the meaning of the word hombre (man) to refer to all mankind. Taking the term as inclusive of women, they understood that it forced men to relate to nature as women did. Serrano considered that rendering the androcentric references in geography meaningless would foster a "new creative, loving, anti-destructive, and anti-war humanity".[2] In the opinion of professor Ana I. Simón Alegre, this teaching, in the language of the 21st century, could be called the development of environmental education or the first manifestations of ecofeminism.[15]

 

Giner's last book, Por tierras de España (1962), also incorporated audio-lingual teaching methods.[9]

 

Works:

 

Historia de la pedagogía (1910)

Weimer, Hermann 1872-1942 (translation)

Geografía Primer grado. Aspectos de la naturaleza y vida del hombre en la tierra (1919)

Geografía: Primer grado (1919), with Federico Ribas (1890–1952)

Geografía general. El cielo, la Tierra y el hombre (1935)

Cien lecturas históricas (1935)

Lecturas geográficas. Espectáculos de la naturaleza, paisajes, ciudades y hombres (1936)

Romances de los ríos de España (1943)

Manual de historia de la civilización española (1951)

Cumbres de la civilización española: Interpretación del espíritu español individualizado en diecinueve figuras representativas (1955)

El paisaje de Hispanoamérica a través de su literatura: (antología) (1958)

Introducción a la historia de la civilización española (1959)

Por tierras de España (1962), with Luke Nolfi, ISBN 9780030800238

 

References:

 

^ a b c Duarte-Piña, Olga (2015). La enseñanza de la historia en la educación secundaria [Teaching of History in Secondary Education] (Thesis) (in Spanish). University of Seville. pp. 105–108. Retrieved 15 July 2019 – via Dialnet.

^ a b Simón Alegre, Ana I.; Sanz Álvarez, Arancha (January–June 2010). "Prácticas y teorías de descubrir paisajes: Viajeras y cultivadoras del estudio de la geografía en España, desde finales del siglo XIX hasta el primer tercio del XX" [Practices and Theories of Discovering Landscapes: Travelers and Cultivators of the Study of Geography in Spain, from the End of the 19th Century to the First Third of the 20th]. Arenal. Revista de historia de las mujeres (in Spanish). 17 (1): 55–79. ISSN 1134-6396. Retrieved 15 July 2019 – via Dialnet.

^ a b c d e f Ruiz-Manjón, Octavio (2007). "Gloria Giner de los Ríos: noticia biográfica de una madrileña" [Gloria Giner de los Ríos: Biographical Report of a Woman from Madrid]. Cuadernos de historia contemporánea (in Spanish) (Extra 1): 265–272. ISSN 0214-400X. Retrieved 15 July 2019 – via Dialnet.

^ Ruiz-Manjón, Octavio (31 May 2007). "Fernando de los Ríos. Un intelectual en el PSOE". El Cultural (in Spanish). Archived from the original on 10 March 2016. Retrieved 15 July 2019.

^ a b "Ríos Urruti, Fernando de los (1879–1949)" (in Spanish). Charles III University of Madrid. Retrieved 15 July 2019.

^ Méndez, José. "Isabel García Lorca". Revista Residencia (in Spanish). Retrieved 15 July 2019.

^ a b Rodrigo, Antonia (1 May 1982). "Laura de los Ríos". Revista Triunfo (in Spanish). No. 19. p. 64. Retrieved 15 July 2019.

^ a b "La niña que tocaba con Falla" [The Girl Who Played With Falla]. Granada Hoy (in Spanish). 8 March 2009. Retrieved 15 July 2019.

^ a b "Local Pair Co-Author Spanish Text". Democrat and Chronicle. 26 December 1962. p. 15. Retrieved 15 July 2019 – via Newspapers.com.

^ García Cueto, Pedro (30 April 2015). "Dos visiones del exilio cultural español: Vicente Llorens y Jordi Gracia" [Two Visions of Spanish Cultural Exile: Vicente Llorens and Jordi Gracia]. Fronterad (in Spanish). Archived from the original on 25 July 2018. Retrieved 15 July 2019.

^ Seseña, Natacha (26 December 1981). "Laura de los Ríos, un duelo de labores y esperanzas" [Laura de los Ríos, a Duel of Labors and Hopes]. El País (in Spanish). Retrieved 15 July 2019.

^ "Doña Gloria Giner de los Ríos". El Tiempo (in Spanish). 13 February 1970. p. 4. Retrieved 15 July 2019 – via Google News.

^ "Los restos de Fernando de los Ríos recibieron sepultura en el cementerio civil de Madrid" [The Remains of Fernando de los Ríos Buried in the Civil Cemetery of Madrid]. El País (in Spanish). 29 June 1980. Retrieved 15 July 2019.

^ Ortells Roca, Miquel; Artero Broch, Inmaculada (1 December 2013). "¿Para qué sirven las inspectoras? Leonor Serrano: La pedagogía y/contra el poder" [What are Inspectors For? Leonor Serrano: Pedagogy and/Against Power]. Quaderns (in Spanish) (76). Retrieved 15 July 2019.

^ Simón Alegre, Ana I. (1 March 2013). "Los inicios del ecofeminismo en España" [The Beginnings of Ecofeminism in Spain]. El Ecologista (in Spanish) (76). Retrieved 15 July 2019.

Further readingEdit

 

Fuentes, Víctor (2010). "'Manhattan transfers' personales al trasluz del exilio republicano en Nueva York". In Faber, Sebastiaan (ed.). Contra el olvido: el exilio español en Estados Unidos (in Spanish). Instituto Franklin de Estudios Norteamericanos. pp. 223–241. ISBN 9788481388701.

Zulueta, Carmen (2001). "Los domingos de don Fernando" [Sundays with Don Fernando]. Fundamentos de antropología (in Spanish) (10–11): 130–137.

 

Candida Gertler & Yana Peel, United Kingdom:

 

Candida Gertler (born 1966/1967) OBE is a British/German art collector, philanthropist, and former journalist.[2]

 

Candida Gertler

Born: 1966/1967 (age 52–53)[1]. Frankfurt am Main, Germany

Nationality: British, German

Occupation: Art collector

Net worth: £150 million (2009)

Spouse(s): Zak Gertler

Children: 2

 

Early life:

 

She was born in Frankfurt am Main, Germany, to Romanian Jewish immigrant parents.[1] [3] She studied journalism and law.[1]

 

Career:

 

In 2003 Gertler and Yana Peel founded the Outset Contemporary Art Fund.[4]

In June 2015, she was given an OBE "for services to Contemporary Visual Arts and Arts Philanthropy".[5]

She is a member of the Tate International Council.[6]

 

Personal life:

 

She is married to Zak Gertler.[7] They are Jewish, and have two children.[8]

 

He has been called "one of London's leading property developers".[7] In 2009, Zak Gertler and family had an estimated net worth of £150 million, down from £250 million in 2008.[9] "The Gertlers developed offices in Germany, moving into the London market in the 1990s."[9]

 

References:

 

^ a b c "The Tate's Secret Weapon: Outset". Art Market Monitor. 25 August 2009. Retrieved 12 April 2019.

^ "A missionary for art". Arterritory.com - Baltic, Russian and Scandinaviawn Art Territory. Retrieved 12 April 2019.

^ ""Artfully Dressed: Women in the Art World", Volume IV: Collectors & Patrons". Issuu. Retrieved 12 April 2019.

^ www.arterritory.com/en/art_market/collections/6202-a_miss...

^ "Candida GERTLER". www.thegazette.co.uk. Retrieved 12 April 2019.

^ "Interview with Candida Gertler, OBE". Artkurio Consultancy. Retrieved 12 April 2019.

^ a b "The London Magazine". www.thelondonmagazine.co.uk. Retrieved 12 April 2019.

^ parkeastsynagogue.org/wp-content/uploads/2019/02/Annoucem...

^ a b "Zak Gertler and family". The Sunday Times. 26 April 2009. Retrieved 12 April 2019.

 

Yana Peel (born June 1974) is a Canadian executive, businesswoman, children's author and philanthropist.[2] She was CEO of the Serpentine Galleries from 2016 to 2019, and was previously a board member.[3][4]

 

Yana Peel:

 

Born: Yana Mirkin[1]. June 1974 (age 45). Leningrad, USSR (now Russia)

Nationality: Canadian

Alma mater: McGill University, London School of Economics

Predecessor: Julia Peyton-Jones

Spouse(s): Stephen Peel (m. 1999)

Children: 2

Peel is a co-founder of the Outset Contemporary Art Fund (with Candida Gertler), and Intelligence Squared Asia, and was CEO of Intelligence Squared Group from 2013 to 2016.[5]

 

Peel has several advisory positions including the Tate International Council, V-A-C Foundation, and the NSPCC therapeutic board.[6][7] She has been an advisor to the British Fashion Council, Asia Art Archive, Lincoln Center, Para Site and the Victoria and Albert Museum, where she founded the design fund.[6][8][9][7]

 

Early life:

 

Yana Peel was born in June 1974[10] in Leningrad (now St. Petersburg), Russia. Her family emigrated to Canada via Austria in 1978.[3] She grew up in Toronto, Ontario.[11]

 

Peel studied Russian studies at McGill University during the 1990s. [12][3][1] In 1996,[13] while being a student she co-organised a fashion show for charity.[1][6][14] After that, Peel undertook a post-graduate degree in economics at the London School of Economics.[3][11] Peel was a member of the 2011 class of the World Economic Forum's Young Global Leaders programme.[15]

 

Career:

 

Goldman Sachs:

 

Peel started her career in the equities division of Goldman Sachs in 1997 in London, and became an executive director before leaving in 2003.[16][6][3][2]

 

Outset Contemporary Art Fund:

 

Peel co-founded the charity Outset Contemporary Art Fund in 2003 with Candida Gertler.[17][6][11] Peel and Gertler generated a model whereby artists could be presented to potential donors in order to raise funds to purchase their work, or to fund new commissions with a view to donating them to public institutions.[6] The Fund purchased over 100 pieces for the Tate Modern, and commissioned work by artists including Francis Alys, Yael Bartana, Candice Breitz and Steve McQueen.[6][16]

 

Intelligence Squared:

 

In 2009, Peel co-founded Intelligence Squared Asia with Amelie Von Wedel, a not-for-profit platform for hosting live debates in Hong Kong.[18][17][19] In 2012 Peel became CEO of Intelligence Squared Group,[18][20] bringing the live events business out of its financial difficulties.[6] Peel has hosted interviews including: Olafur Eliasson and Shirin Neshat at Davos,[21] Ai Wei Wei at the Cambridge Union.[22]

 

Serpentine Galleries:

 

In April 2016, Peel was appointed to the role of CEO of the Serpentine Galleries.[23][3] Peel said it was her "mission to create a safe space for unsafe ideas",[2] and to promote a "socially conscious Serpentine".[11] She indicated that she wanted to give artists a greater say in the development of the Serpentine Galleries, in order to give "artists a voice in the biggest global conversations".[11] Peel worked in tandem with the artistic director, Hans Ulrich Obrist.[6]

 

Peel furthered the Serpentine Galleries' technological ambitions, introducing digital engagement initiatives including Serpentine Mobile Tours[24] and the translation of the exhibition Zaha Hadid: Early Paintings and Drawings into Virtual Reality.[25][26] Peel stated that she was "committed to maintaining and open-source spirit"[27] at the Serpentine Galleries, and that it was her ambition "to inspire the widest audiences with the urgency of art and architecture".[2] The Financial Times noted that Peel "has been able to lure companies such as Google and Bloomberg as partners to help meet the Serpentine's annual £9.5m target".[24]

 

Peel and Obrist selected both the first African architect to work on a pavilion,[28] and the youngest architect to do so.[29] In 2018, she broadened the global reach of the Serpentine Pavilion programme by announcing the launch of a pavilion in Beijing designed by Sichuan practice, Jiakun Architects.[30]

 

Together with Lord Richard Rogers and Sir David Adjaye, Peel and Obrist selected Burkina Faso architect Diébédo Francis Kéré to design the 2017 pavilion.[31] The pavilion was awarded the Civic Trust Award in 2018.[32]

 

The Serpentine selected Mexican architect Frida Escobedo to design the 2018 pavilion. She will be the youngest architect to have participated in the Pavilion programme since it began in 2000.[29]

 

She stepped down as CEO in June 2019 as a consequence of the attention paid to her co-ownership of NSO Group, an Israeli cyberweapons company whose software has allegedly been used by authoritarian regimes to spy on dissidents.[4]

 

Philanthropy:

 

Peel co-chaired Para Site, a not-for-profit contemporary art space in Hong Kong, from 2010 to 2015.[33] She has been involved with the project since 2009.[17]

 

Peel founded the Victoria and Albert Museum's design fund in 2011.[9] The fund supported the acquisition of contemporary design objects.[9]

 

Peel is a member of NSPCC's therapeutic board.[7] Inspired by her children, in 2008 Peel produced a series of toddler-friendly art books published by Templar, including: Art For Baby, Color For Baby and Faces For Baby.[34] These books feature works by artists ranging from Damien Hirst to Keith Haring. Proceeds from the sales of the books go towards the NSPCC.[35]

 

Personal life:

 

In 1999, Peel married Stephen Peel,[36] a private equity financier.[37] They have two children and live in Bayswater, London.[37][38]

 

Awards and honours:

 

Montblanc Award for Arts Patronage 2011[39]

Debrett's 500 List: Art[40]

Evening Standard Progress 1000 2017[41]

ArtLyst Power 100[42]

Harper's Bazaar Women Of The Year 2017[27]

Harper's Bazaar Working Wardrobe: Best dressed women 2018[43]

Henry Crown Fellow. Appointed by the Aspen Institute in 2018.[44]

 

References:

 

^ a b c "McGill Reporter - Volume 28 Number 11". reporter-archive.mcgill.ca. Retrieved 19 February 2018.

^ a b c d Bailey, Sarah. "In Conversation: Art and Fashion Are Both About Desire", Red, London, 1 November 2017. Retrieved on 19 February 2018.

^ a b c d e f McElvoy, Anne. "In The Hot Seat", Porter, London, 1 December 2016.

^ a b Greenfield, Patrick (18 June 2019). "Serpentine Galleries chief resigns in spyware firm row". The Guardian. ISSN 0261-3077. Retrieved 18 June 2019 – via www.theguardian.com.

^ Sloway, Diane. "Meet Yana Peel, the Audacious Canadian Who's Transforming London's Famed Serpentine Galleries", W Magazine, 29 November 2016. Retrieved on 19 February 2018.

^ a b c d e f g h i Bourne, Henry. "L’alchimista", La Repubblica, Rome, 8 May 2017. Retrieved on 19 February 2018.

^ a b c "Serpentine Galleries Announce Appointment of Outset’s Yana Peel As CEO", ArtLys

The technological magic of opening a car door without fumbling for my key which is always at the bottom of my bag.

 

43/52 in 2022 challenge: technological

 

Technological and Higher Education Institute of Hong Kong

Classic Motorshow, Bremen

 

Not only a very rare Porsche 959, but one of the original prototypes Porsche used for development testing of the components that would be fitted to these technological marvels. The ad below can tell you the specific history of this prototype so I won’t regurgitate that here, but the short version is that this prototype was involved in ABS and tire testing at the high-speed ring in Nardo, Italy. Once 959 production was completed and the prototype was retired from testing service it was returned to the Porsche factory for a full refurbishment before making its way to its first private owner. Its ownership history appears to be fully documented, with much of that history spent in collections in Japan, prior to its current availability. The 959, of course, is one of Porsche’s most historic cars, most famously for the way in which it challenged the Ferrari F40 for supercar supremacy in its day. The two car makers took very different approaches to their supercars with Porsche following its generally tack of combining the best of luxury, technology, and performance in a single package while the F40 stripped out seemingly everything to offer the purest driving expression Ferrari could manage in a road car. While never really the prettiest of machines, the 959 served as a testament to Porsche’s engineering capabilities and provided a testing bed for many features that would make their way to the 911 over the years that followed. The 959 prototypes, like the one seen here, were built off of the 930 chassis and used in a variety of development settings. Reportedly 29 total were built and it is believed that 10 have survived.

 

Text from the ad:

This is the most advanced road Porsche ever built and one of the most impressive in the automotive history. « Porsche engineers were given a goal and set free, the 959 put Porsche on the map when it came to innovative automotive technology. There were 934s and 935s, and even the 956/962, but to put it all together in a street car was unheard of. It was a major factor in moving Porsche’s racing prowess from the track to the street. ». How come a better explanation from the 959’s genesis could be ? This is the one from Dieter Landenberger, the head of Porsche historical archives.

 

In 1981 there was a big change at the head of Porsche with the replacement from Ernst Fuhrmann by Peter Schultz, a new direction and strategy were given then. Fuhrmann in the mid 70s thought the 911 was going to an end and stopped its development to focus on the front engined cars ( 924/928/944 ) but Schultz thought very different. In 1981 he gave the green light to work on the project of a « Super » 911 with the aim of building a Group B racing version complying with the all-new FIA regulations. The car was designed and built at the Porsche Motorsport department at Weissach and a prototype called « Gruppe B » shown at the 1983 Frankfurt show. It was an immense success with its amazing specifications and design, many though this could never be turned into a road car. It took another two years of development and testings to have the production car ready and to list a few of the « world premieres » it had : four wheels drive, ABS 4 channels, twin turbos, tyre pressure monitoring, adjustable torque balance front/rear from 20 to 80%, 17 inches wheels, adjustable ride height, 6 speeds gearbox and so on. The 959 was so advanced technologically that it immediately sat new standards in terms of performance and drivability. The production car launched in 1986 had 450 HP and 317km/h as top speed and ran the standing km in only 21,7 sec, beating the 288 GTO by 2secs. Porsche always have the habit of validating a new technology via Motorosport and in 1986, Jacky Icks won the Paris – Dakar race and René Metge / Claude Ballot Léna won their class at Le Mans and finished 7th OA with race prepared 959s, which other car did it ? The fabulous 959 is the first step and rolling laboratory of the 911’s rebirth. According to Porsche only 292 of them were built ( as per comparaison Ferrari built 1311 F40s ) and all sold on pre order. This is one of the rarest Porsche ever built and probably the most charismatic of their road cars.

 

This is a quite a unique opportunity in a dealer career to offer a Porsche factory prototype, considering they normally don’t come to the market, being destroyed or keep at the museum. This mind boggling 959, chassis number WPOZZZ93ZFS010067 was built in 1985, given the internal code « V1KOM » and registered BB-PW481. In 1985 Helmutt Bott ( head of the 959 development ) has taken 29 930 chassis from the Porsche factory to turn them in Weissach ( Porsche Motorsport dept ) into the 959 Pre-production prototypes and these were called « F,N or V ». These 29 prototypes were the latest ones and used for media coverage, crash tests and road tests. This car is one of the the 7 « V – Series » which were assigned to the road tests, this particular one was used for ABS and tyre development. Unfortunately most of the 29 Prototypes were destroyed and scrapped at the end of the 959 program.

 

« 10067 » is one of the 4 959 prototypes survivor and one of the only two road going ones. Interestingly enough, the first owner was Professor Tachio Saito, who happened to be a close friend of Ferry Porsche. He noticed chassis 10067 during a visit to the factory whilst translating a book that Dr Porsche had written (Helmut Bott’s personal 959 was the preceding chassis, number 10066). As the founder of the Porsche Owners’ Club of Japan, as well as its first president, Professor Saito was more than qualified as one of Porsche’s preferred customers. A copy of factory correspondence, dated 4 December 1989 and addressed to Saito, refers to certain tasks to be undertaken by the factory prior to his acquisition of this prototype. The letter was written by Herr Willrett, believed to be Elmar Willrett, who was a Porsche engineer who was deeply involved in the development of both the 935 and 935 racing engines and who worked under Rolf Sprenger in the « Sonderwisches » (Special Wishes) Program. The document suggests that this car was to be prepared for display purposes, with functional brakes and steering. Once an agreement was settled, Porsche A.G. completed the restoration of the car, and after 16 months, Professor Saito took delivery of his prototype 959.

 

The professor maintained the 959 for only a short period of time, until noted collector Hideyasu Ohba, of Tokyo, Japan, acquired it for his collection of historic Porsches. In 2000, Mr Ohba sold this car to Minoru Miura, of Chiba, Japan. In 2006, still in Japan, the 959 was then acquired by Mr Shigeru from the Miura Collection. The car went to another 2 hands before coming up to the market via Art & Revs.

 

Being an original Protoype, this car comes with its pre-production magnesium wheels, « Denloc » Dunlop tires, brakes and some lightweight panels. All the production 959s were delivered with Bridgestone RE71 tires, the Dunlops were not retained though they incorporated a world premiere with a kind of « Run Flat » technology. The car is now only 400km and can only be described as being in new condition. It is fully working and was the subject to a recent overhaul and driven for 5 km.

 

Porsche factory no longer releases any Prototype to the public, this is a unique opportunity to acquire one.

Las zonas de aguas profundas o de geología compleja son lugares en los que se localizan hidrocarburos y a los que se puede acceder en la actualidad gracias a la innovación tecnológica y a las nuevas técnicas de Exploración y Producción.

 

Más info en:

www.repsol.com/es_es/corporacion/conocer-repsol/nuestra-a...

 

Complex areas of deepwater geology are places where certain hydrocarbons are accessible today thanks to technological innovation and the new techniques of exploration and production.

 

More info on :

www.repsol.com/es_es/corporacion/conocer-repsol/nuestra-a ...

for show in L.A. at Junc. This is connected to part two but it's 11x17 so both sides had to be scanned separately.

Classic Motorshow, Bremen

 

Not only a very rare Porsche 959, but one of the original prototypes Porsche used for development testing of the components that would be fitted to these technological marvels. The ad below can tell you the specific history of this prototype so I won’t regurgitate that here, but the short version is that this prototype was involved in ABS and tire testing at the high-speed ring in Nardo, Italy. Once 959 production was completed and the prototype was retired from testing service it was returned to the Porsche factory for a full refurbishment before making its way to its first private owner. Its ownership history appears to be fully documented, with much of that history spent in collections in Japan, prior to its current availability. The 959, of course, is one of Porsche’s most historic cars, most famously for the way in which it challenged the Ferrari F40 for supercar supremacy in its day. The two car makers took very different approaches to their supercars with Porsche following its generally tack of combining the best of luxury, technology, and performance in a single package while the F40 stripped out seemingly everything to offer the purest driving expression Ferrari could manage in a road car. While never really the prettiest of machines, the 959 served as a testament to Porsche’s engineering capabilities and provided a testing bed for many features that would make their way to the 911 over the years that followed. The 959 prototypes, like the one seen here, were built off of the 930 chassis and used in a variety of development settings. Reportedly 29 total were built and it is believed that 10 have survived.

 

Text from the ad:

This is the most advanced road Porsche ever built and one of the most impressive in the automotive history. « Porsche engineers were given a goal and set free, the 959 put Porsche on the map when it came to innovative automotive technology. There were 934s and 935s, and even the 956/962, but to put it all together in a street car was unheard of. It was a major factor in moving Porsche’s racing prowess from the track to the street. ». How come a better explanation from the 959’s genesis could be ? This is the one from Dieter Landenberger, the head of Porsche historical archives.

 

In 1981 there was a big change at the head of Porsche with the replacement from Ernst Fuhrmann by Peter Schultz, a new direction and strategy were given then. Fuhrmann in the mid 70s thought the 911 was going to an end and stopped its development to focus on the front engined cars ( 924/928/944 ) but Schultz thought very different. In 1981 he gave the green light to work on the project of a « Super » 911 with the aim of building a Group B racing version complying with the all-new FIA regulations. The car was designed and built at the Porsche Motorsport department at Weissach and a prototype called « Gruppe B » shown at the 1983 Frankfurt show. It was an immense success with its amazing specifications and design, many though this could never be turned into a road car. It took another two years of development and testings to have the production car ready and to list a few of the « world premieres » it had : four wheels drive, ABS 4 channels, twin turbos, tyre pressure monitoring, adjustable torque balance front/rear from 20 to 80%, 17 inches wheels, adjustable ride height, 6 speeds gearbox and so on. The 959 was so advanced technologically that it immediately sat new standards in terms of performance and drivability. The production car launched in 1986 had 450 HP and 317km/h as top speed and ran the standing km in only 21,7 sec, beating the 288 GTO by 2secs. Porsche always have the habit of validating a new technology via Motorosport and in 1986, Jacky Icks won the Paris – Dakar race and René Metge / Claude Ballot Léna won their class at Le Mans and finished 7th OA with race prepared 959s, which other car did it ? The fabulous 959 is the first step and rolling laboratory of the 911’s rebirth. According to Porsche only 292 of them were built ( as per comparaison Ferrari built 1311 F40s ) and all sold on pre order. This is one of the rarest Porsche ever built and probably the most charismatic of their road cars.

 

This is a quite a unique opportunity in a dealer career to offer a Porsche factory prototype, considering they normally don’t come to the market, being destroyed or keep at the museum. This mind boggling 959, chassis number WPOZZZ93ZFS010067 was built in 1985, given the internal code « V1KOM » and registered BB-PW481. In 1985 Helmutt Bott ( head of the 959 development ) has taken 29 930 chassis from the Porsche factory to turn them in Weissach ( Porsche Motorsport dept ) into the 959 Pre-production prototypes and these were called « F,N or V ». These 29 prototypes were the latest ones and used for media coverage, crash tests and road tests. This car is one of the the 7 « V – Series » which were assigned to the road tests, this particular one was used for ABS and tyre development. Unfortunately most of the 29 Prototypes were destroyed and scrapped at the end of the 959 program.

 

« 10067 » is one of the 4 959 prototypes survivor and one of the only two road going ones. Interestingly enough, the first owner was Professor Tachio Saito, who happened to be a close friend of Ferry Porsche. He noticed chassis 10067 during a visit to the factory whilst translating a book that Dr Porsche had written (Helmut Bott’s personal 959 was the preceding chassis, number 10066). As the founder of the Porsche Owners’ Club of Japan, as well as its first president, Professor Saito was more than qualified as one of Porsche’s preferred customers. A copy of factory correspondence, dated 4 December 1989 and addressed to Saito, refers to certain tasks to be undertaken by the factory prior to his acquisition of this prototype. The letter was written by Herr Willrett, believed to be Elmar Willrett, who was a Porsche engineer who was deeply involved in the development of both the 935 and 935 racing engines and who worked under Rolf Sprenger in the « Sonderwisches » (Special Wishes) Program. The document suggests that this car was to be prepared for display purposes, with functional brakes and steering. Once an agreement was settled, Porsche A.G. completed the restoration of the car, and after 16 months, Professor Saito took delivery of his prototype 959.

 

The professor maintained the 959 for only a short period of time, until noted collector Hideyasu Ohba, of Tokyo, Japan, acquired it for his collection of historic Porsches. In 2000, Mr Ohba sold this car to Minoru Miura, of Chiba, Japan. In 2006, still in Japan, the 959 was then acquired by Mr Shigeru from the Miura Collection. The car went to another 2 hands before coming up to the market via Art & Revs.

 

Being an original Protoype, this car comes with its pre-production magnesium wheels, « Denloc » Dunlop tires, brakes and some lightweight panels. All the production 959s were delivered with Bridgestone RE71 tires, the Dunlops were not retained though they incorporated a world premiere with a kind of « Run Flat » technology. The car is now only 400km and can only be described as being in new condition. It is fully working and was the subject to a recent overhaul and driven for 5 km.

 

Porsche factory no longer releases any Prototype to the public, this is a unique opportunity to acquire one.

Taken at the Mineral Museum at Michigan Technological University, Houghton, Michigan.

for july 26th 2011, sooc. a little behind again.... woopppsss. this is my film camera, it's getting a lot of usage seeing as my t3i is with canon (:

  

my 365 project

Digital cameras of today are technological marvels, and capable of capturing images that even the human eye can't see. This thirty second exposure was shot at 6:30 am, well before sunrise and in nearly complete darkness - but the camera's sensor captured enough light to render the scene as if it were shot in broad daylight.

 

Location: Jensen Beach, Florida

 

For daily photos, updates and musings on all things photography - please like my Facebook page via the link below.

 

www.facebook.com/thuncherphotography

 

You can also visit my website at:

www.thuncherphotography.com

 

-30-

 

© All rights reserved. Please do not use or repost - words and images, intellectual property of Florida Life / Thüncher Photography.

ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE

 

is the critical run

and other emergency art format

 

CRITICAL RUN / Debate Format

 

Critical Run is an Art Format created by Thierry Geoffroy/Colonel

debate while running .

Debate and Run together,Now,before it is too late.

 

www.emergencyroomscanvas todo .org/criticalrun.html

 

The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates

New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,

Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...

 

CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because

a debate was necessary here and now.

 

In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich

part of Colonel solo show : The Awareness Muscle Training Center

 

----

 

Interesting publication for researches on running and art

 

www.emergencyrooms.org/formats.html

 

14 Performances. Relation Work (1976 - 1980). Filmed by Paolo Cardazzo. Marina Abramović/ Ulay. Neuer Berliner Kunstverein, Berlin, Germany.

 

Abramović, Marina. Student Body: Workshops 1979 - 2003: Performances 1993 - 2003. Milano: ed. Charta, 2003.

 

Bergson, Henri. Creative Evolution. London: Macmillan and Co., 1911.

Bergson, Henri. Key Writings. Edited by Keith Ansell-Pearson and John Mullarkey. New York:

 

Continuum, 2002.

Bergson, Henri. Matter and Memory. New York: Zone Books, 1988.

 

Blaikie, William. “Common Sense Physical Training.” In Athletics and Health: Modern Achievement: Advice and Instruction upon the Conduct of Life, Principles of Business, Care of Health, Duties of Citizenship, etc. Edited by Edward Everett Hale. New York: P.F. Collier & Son, 1902.

 

Blaikie, William. How to Get Strong and How to Stay So. New York: Harper & Brothers Publishers, 1883.

 

Cunningham, Merce. Changes: Notes on Choreography. New York: Something Else Press, 1969.

 

de Balzac, Honoré. The Human Comedy. EBook: Project Gutenberg, 2010. de Balzac, Honoré. Théorie de la démarche. 1833, 1853.

 

de Biran, Maine. “Opposition du principe de Descartes avec celui d’une science de l’homme. Première base d’une division des faits psychologiques et physiologiques. Perception et sensation animale.” In Maine de Biran. Librairie Philosophique J. VRIN, 1990.

 

de Tocqueville, Alexis. The Old Regime and the Revolution. New York: Harper & Brothers, Publishers, 1856.

 

Delaumosne, M. L’Abbe. “The Delsarte System.” Translated by Frances A. Shaw. In Delsarte System of Oratory, 4th Ed. New York: Edgar S. Werner, 1893.

 

Descartes, René. Méditations metaphysiques. 1641.

 

Gropius, Walter, and Arthur S. Wensinger, eds. The Theater of the Bauhaus: Oskar Schlemmer, Laszlo Moholy-Nagy, Farkas Molnár. Translated by Arthur S. Wensinger. Middleton, Conn.: Wesleyan University, 1961.

 

Hahn, Archibald. How to Sprint: The Theory of Spring Racing. New York: American Sports Publishing Company, 1923.

 

Hegel, Georg Wilhelm Friedrich. Phenomenology of Spirit. Translated by A.V. Miller. Oxford: Oxford University Press, 1977.

 

Helmholtz, Hermann. “On the Facts Underlying Geometry.” In Epistemological Writings: Hermann von Helmholtz. Edited by R.S. Cohen and Y. Elkana. Boston: D. Reidel Publishing Company, 1977.

 

Helmholtz, Hermann. Théorie physiologique de la musique fondée sur l’étude des sensations auditives. Paris: Masson, 1868.

 

Helmholtz, Hermann. Treatise of Physiological Optics (Handbuch der physiologischen Optik) 1856. 3 Volumes. Translated by James P.C. Southall. Milwaukee, 1924.

 

Holmes, Oliver Wendall. Soundings from the Atlantic. Boston: Tickknor and Fields, 1864. James, William. The Principles of Psychology. New York: Henry Holt & Co, 1890, 1918.

 

James, William. Writings 1902 - 1910. Edited by Bruce Kuklick. New York: Literary Classics of the United States, 1987.

 

Kandinsky, Vasily. Über Das Geistige in der Kunst. Dritte Auflage. München: R. Piper&Co, 1912.

 

Kant, Immanuel. “Was ist Aufklärung?” 1784.

 

Laban, Rudolf. A Life for Dance: Reminiscences. Translated by Lisa Ullmann. London: Macdonald & Evans, 1975.

 

Laban, Rudolf. Choreographie. Jena: E. Diederichs, 1926.

 

Laban, Rudolf. Choreutics. Edited by Lisa Ullmann. London: Macdonald & Evans, 1939, 1966.

 

Laban, Rudolf. Effort: Economy in Body Movement. 2nd Edition. Boston: Plays, 1947, 1974.

 

Laban, Rudolf. Principles of Dance and Movement Notation. New York: A Dance Horizons Republication, 1956, 1970.

 

Laban, Rudolf. The Language of Movement: A Guidebook to Choreutics. Edited by Lisa Ullmann. Boston: Plays, Inc., 1974.

  

MacKaye, Percy. “Steele Mackaye, Dynamic Artist of the American Theatre; An Outline of his Life Work,” in The Drama. Edited by William Norman Guthrie and Charles Hubbard Sergel. Chicago: The Dramatic Publishing Company, 1911.

 

Marey, Étienne-Jules. La Machine Animale: Locomotion Terrestre et Aérienne. Paris: Librairie Germer Baillière, 1873.

 

Marey, Étienne-Jules. Le Vol des Oiseaux. Paris: Libraire de l’académie de médecine, 1890. Marey, Étienne-Jules. Movement. Translated by Eric Pritchard. New York: D. Appleton and

 

Company, 1895.

 

Michelet, Jules. The History of France. Volume I. Translated by Walter K. Kelly. London: Chapman and Hall, 1844.

 

Morgan, Anna. An Hour with Delsarte: A Study of Expression. New York: Edgar S. Werner Publisher, 1891.

 

Muybridge, Eadweard. Animal Locomotion: An Electro-photographic Investigation of Consecutive Phases of Animal Movements. Philadelphia: University of Pennsylvania and J. B. Lippincott Company, 1887.

 

Muybridge, Eadweard. Descriptive Zoopraxography, or the Science of Animal Locomotion. Philadelphia: University of Pennsylvania, 1893.

 

Muybridge, Eadweard. The Attitudes of Animals in Motion: A Series of Photographs Illustrating the Consecutive Positions assumed by Animals in Performing Various Movements; Executed at Palo Alto, California, in 1878 and 1879 (1881). Albumen, Library of Congress, Washington, D.C., Library of Congress.

 

Muybridge, Eadweard. The Human Figure in Motion. New York: Dover Publications, 1955. Ramsaye, Terry. A Million and One Nights: A History of the Motion Picture. U.K.: Simon and

 

Schuster, Inc., 1926, 1954.

Richer, Paul. Physiologie Artistique: De l’Homme en Mouvement. Paris: Aulanier et Cie, 1896.

 

Sanburn, Frederic. Delsartean Scrap-book: Health, Personality, Beauty, House-Decoration, Dress, etc. New York: United States Book Company, c. 1890.

 

Schlemmer, Oskar. Briefe und Tagebücher: The Letters and Diaries of Oskar Schlemmer. Edited by Tut Schlemmer. Translated by Krishna Winston. Middletown, Conn: Wesleyan University Press, 1972.

  

Schlemmer, Oskar, and Heimo Kuchling. Der Mensch, Unterricht am Bauhaus. Nachgelassene Aufzeichnungen. Mainz: F. Kupferberg, 1969.

 

Schuftan, Werner. Handbuch des Tanzes. Preface by Rudolf von Laban. Mannheim: Verlag Deutscher Chorsänger Verband und Tänzerbund, 1928.

 

Shearman, Sir Montague. Athletics and Football. London: Longmans, Green, and Co., 1888. Smith, Shawn Michelle. At the Edge of Sight: Photography and the Unseen. Durham: Duke

 

University Press, 2013.

 

Stebbins, Genevieve. Delsarte System of Expression, 5th Edition. New York: Edgar S. Werner, 1894; orig. 1885.

 

Talbot, Frederick A. Practical Cinematography and its Applications. London: William Heinemann, 1913.

 

Wigman, Mary. The Mary Wigman Book: Her Writings. Middletown, CT: Wesleyan University Press, 1975.

 

Abramović, Marina, et al. Marina Abramović: Seven Easy Pieces. New York: Charta 2007. Acconci, Vito. Language to Cover a Page: The Early Writings of Vito Acconci. Edited by Craig

 

Dworkin. Cambridge: MIT Press, 2006.

Adolphs, Volker, and Philip Norten. Gehen Bleiben: Bewegung, Körper, Ort in der Kunst der

 

Gegenwart. Bonn: Kunstmuseum Bonn, 2007.

Agamben, Giorgio. “Movement.” In Dance: Documents of Contemporary Art. Edited André

 

Lepecki. London: MIT Press and WhiteChapel Gallery, 2012.

Alberro, Alexander, and Blake Stimson, eds. Institutional Critique: An Anthology of Artists’

 

Writings. Cambridge: MIT Press, 2009.

Albers, Kate Palmer. “Abundant Images and the Collective Sublime.” Exposure. Volume 46,

 

Issue 2 (Fall 2013).

 

Allen, Beverly. Rape Warfare: The Hidden Genocide in Bosnia-Herzegovina and Croatia. Minneapolis: University of Minnesota Press, 1996.

 

Alloway, Lawrence. The Venice Biennale 1895 - 1968: from salon to goldfish bowl. Greenwich, CT: New York Graphic Society LTD., 1968.

Anderson, Ben. “Affect and Biopower: Towards a Politics of Life.” Transactions - Institute of British Geographers, Issue 1 (2011).

 

Andras, Edit, and Bojana Pejic, eds. Gender Check: Femininity and Masculinity in the Art of Eastern Europe. Cologne: Buchhandlung Walther König, 2009.

 

Antliff, Mark. Inventing Bergson: Cultural Politics and the Parisian Avant-Garde. Princeton: Princeton University Press, 1992.

 

Arendt, Hannah. The Human Condition, Second Edition. Chicago: University of Chicago Press, 1958, 1998.

 

Arendt, Hannah. On Violence. New York: Harcourt Brace, 1969.

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Mumford, Lewis. Technics and Civilization. London: Routledge & Kegan Paul LTD, 1934, 1955.

 

Muñoz, José Esteban. Disidentifications: Queers of Color and the Performance of Politics. Minneapolis: The University of Minnesota Press, 1999.

 

Musolff, Andreas. Metaphor, Nation, and the Holocaust: The Concept of the Body Politic. New York: Routledge, 2010.

 

New Collectivism, ed. Neue Slowenische Kunst. Translated by Marjan Golobič. Hong Kong: Paramount Printing, 1991.

 

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University of California Press, 1986.

 

O’Rourke, Karen. Walking and Mapping: Artists as Cartographers. Cambridge: MIT Press, 2013.

 

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Pegrum, Mark A. Challenging Modernity: Dada Between Modern and Postmodern. Oxford: Berghahn Books, 2000.

 

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Pejić, Bojana, and David Elliot. After the Wall: Art and Culture in Post-Communist Europe. Stockholm: Moderna Museet, 1999.

  

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Writings, 1913 - 1940. New York: The Metropolitan Museum of Art/Aperature, 1990. Phillips, Murray G. Deconstructing Sport History: A Postmodern Analysis. Albany: State

 

University of New York Press, 2006.

 

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Preston-Dunlop, Valerie. Rudolf Laban: An Extraordinary Life. London, Dance Books, 1998. Preziosi, Donald. Art Religion Amnesia: The Enchantments of Credulity. New York: Routledge,

  

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Quercetani, R. L. A World History of Track and Field Athletics 1864-1964. London: Oxford University Press, 1964.

 

Rabinbach, Anson. The Human Motor: Energy, Fatigue, and the Origins of Modernity. New York: Basic Books, 1990.

 

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Radstone, Susannah, and Bill Schwarz, Memory: Histories, Theories, Debates. New York: Fordham University Press, 2010.

 

Rancière, Jacques. Aesthetics and its Discontents. Malden: Polity Press, 2004.

Rancière, Jacques. The Emancipated Spectator. Translated by Gregory Elliot. London: Verso,

 

Rancière, Jacques. The Politics of Aesthetics: The Distribution of the Sensible. London: Continuum, 2006.

 

Rees, A.L., and Duncan White, Steven Ball, David Curtis, eds. Expanded Cinema: Art, Performance, Film. London: Tate Publishing, 2011.

 

Rempel, Gerhard. Hitler’s Children: The Hitler Youth and the SS. Chapel Hill: University of North Carolina Press, 1989.

 

Richards, Mary. Marina Abramović. New York: Routledge, 2010.

Ricoeur, Paul. Oneself as Another. Translated by Kathleen Blamey. Chicago: University of

 

Chicago Press, 1992.

Rosa, Hartmut. Beschleunigung und Entfremdung: Entwurf einer Kritischen Theorie

 

spätmoderner Zeitlichkeit. Berlin: Suhrkamp, 2013.

Rosa, Hartmut, and William E. Scheuerman. High-Speed: Social Acceleration, Power, and

 

Modernity. University Park, PA: The Pennsylvania State University, 2009.

Rosati, Lauren, and Mary Anne Staniszewski, eds. Alternative Histories: New York Art Spaces,

 

1960-2010. Cambridge: MIT Press, 2012.

 

Rosenstone, Robert A., “History in Images/History in Words: Reflections on the Possibility of Really Putting History onto Film.” The American Historical Review. Volume 93. Number 5 (December 1988).

 

Rossol, Nadine. Performing the Nation in Interwar Germany: Sport, Spectacle, and Political Symbolism, 1926 - 1936. New York: Palgrave Macmillan, 2010.

 

Roxby-Maude, Alice, On Camera: Performance and Photography. Southampton: John Hansard Gallery, 2007.

 

Ruyter, Nancy Lee Chalfa. The Cultivation of Body and Mind in Nineteenth-Century American Delsartism. Westport, CT: Greenwood Press, 1999.

 

Salazar, James B. Bodies of Reform The Rhetoric of Character in Gilded Age America. New York: New York University Press, 2010.

  

Schechner, Richard. Essays on Performance Theory 1970 - 1976. New York: Drama Book Specialists, 1973, 1977.

 

Scheerder, Jeroen, and Koen Breedveld, eds. Running Across Europe: The Rise and Size of One of the Largest Sport Markets. New York: Palgrave Macmillan, 2015.

 

Seckinelgin, H., and Billy Wong, eds. Global Civil Society 2011: Globally and the Absence of Justice. Hampshire: Palgrave Macmillan, 2011.

 

Sekula, Allan. “The Body and the Archive.” October. Volume 39 (Winter, 1986). Semon, Richard. Die mnemischen Empmfindungen in ihren Beziehungen zu den

 

Originalempfindungen. Leipzig: W. Engelmann, 1909.

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Printing and Binding Company, 1954.

Shayt, David H. “Stairway to Redemption: America’s Encounter with the British Prison

 

Treadmill.” Technology and Culture, Volume 30, Number 4 (Oct. 1989).

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Philosophical Perspectives. Aachen: Meyer & Meyer Verlag, 2007.

 

Siegmund, Gerald, and Stefan Hölscher, eds. Dance, Politics, and Co-Immunity: Thinking Resistances, Current Perspectives on Politics and Communities in the Arts. Volume 1. Zürich- Berlin: Diaphanes, 2013.

 

Sileo, Diego, and Eugenio Viola, PAC (Milano), eds. Marina Abramović: The Abramović Method. 2 Volumes. Milan: 24 ORE Cultura, 2012.

 

Silverman, Kaja. The Subject of Semiotics. New York: Oxford University Press, 1983.

Slevin, Tom. Vision of the Human: Art, World War One and the Modernist Subject. London: I.B.

 

Tauris, 2015.

 

Solnit, Rebecca. River of Shadows: Eadweard Muybridge and the Technological Wild West. New York: Viking, 2003.

 

Solnit, Rebecca. Wanderlust: A History of Walking. London: Verso, 2001.

Sontag, Susan. Against Interpretation and Other Essays. New York: Picador, 1966, 2001. Sontag, Susan. “Fascinating Fascism.” The New York Review of Books (6 February 1975). Sontag, Susan. On Photography. New York: Picador, 1977.

  

Spieker, Sven. The Big Archive: Art from Bureaucracy. Cambridge: MIT Press, 2008. Stepišnik, Drago. Oris Zgodovine Telesne Kulture na Slovenskem. Ljubljana: Dražavna založba

 

Slovenija, 1968.

 

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Žižek, Slavoj. The Indivisible Remainder: An Essay on Schelling and Related Matters. London: Verso, 1996.

 

----

  

------------about Venice Biennale history from wikipedia ---------

curators previous

* 1948 – Rodolfo Pallucchini

* 1966 – Gian Alberto Dell'Acqua

* 1968 – Maurizio Calvesi and Guido Ballo

* 1970 – Umbro Apollonio

* 1972 – Mario Penelope

* 1974 – Vittorio Gregotti

* 1978 – Luigi Scarpa

* 1980 – Luigi Carluccio

* 1982 – Sisto Dalla Palma

* 1984 – Maurizio Calvesi

* 1986 – Maurizio Calvesi

* 1988 – Giovanni Carandente

* 1990 – Giovanni Carandente

* 1993 – Achille Bonito Oliva

* 1995 – Jean Clair

* 1997 – Germano Celant

* 1999 – Harald Szeemann

* 2001 – Harald Szeemann

* 2003 – Francesco Bonami

* 2005 – María de Corral and Rosa Martinez

* 2007 – Robert Storr

* 2009 – Daniel Birnbaum

* 2011 – Bice Curiger

* 2013 – Massimiliano Gioni

* 2015 – Okwui Enwezor

* 2017 – Christine Macel[19]

* 2019 – Ralph Rugoff[20]

  

----------

 

#art #artist #artistic #artists #arte #artwork

 

Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal

 

venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya

 

art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist

 

other Biennale :(Biennials ) :

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS

* Dakar

  

kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער

 

Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya

 

Thierry Geoffroy / Colonel

#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist

 

#artformat #formatart

#emergencyart #urgencyart #urgentart #artofthenow #nowart

emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart

 

#InstitutionalCritique

 

#venicebiennale #venicebiennale2017 #venicebiennale2015

#venicebiennale2019

#venice #biennale #venicebiennale #venezia #italy

#venezia #venice #veniceitaly #venicebiennale

 

#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday

 

#biennalevenice

 

Institutional Critique

 

Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology

 

Racial and Ethnic Identity, Neo-Conceptualism, Diaristic

 

Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,

 

Culture, Collective History, Group of Portraits, Photographic Source

 

, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary

 

War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict

 

Personal Histories, Alter Egos and Avatars

 

Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text

  

Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism

 

Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis

 

—-

 

CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.​

Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.

 

It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...

 

The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...

 

Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...

 

Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .

 

www.emergencyrooms.org/criticalrun.html

 

www.emergencyrooms.org/formats.html

-------

In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center

------

for activating the format or for inviting the installation

please contact 1@colonel.dk

 

www.colonel.dk/

 

-----

 

critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,

 

Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary

,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat

 

,now art,copenhagen,denmark

 

"PARALLEL" entry .. inspired a recent computer crash.. presenting an opportunity to look inside the box

30/100... 100 x: The 2015 Edition... Week 15 - Parallel.

Negative Space Project

#38 "Technology" "115 Pictures in 2015"

 

Olympus XA2 +Kodak Ektachrome Extra 100 (Expired)

Technological marvel of the 31st century.

Built in the 1960s, this Krupp Cummins 980 Front was one of the most technologically advanced trucks of its time.

 

Here is my fancy-blue Lego version of this classic German vehicle. I tried to include as many details as I could while also adding functionalities like doors and a tiltable truck bed with foldable side walls. Unfortunately, I found no way to keep the piston attached when the tipper is in a horizontal position, so it needs to be removed.

 

Many inspirations came from this fantastic historic truck by Versteinert, for example the mirrors and the spare wheel.

 

Let me know if you have any suggestions for improvements.

 

Cheers,

Lukas

Castello - Cagliari

For TLC Sept 2014 (Technologic). More info - wp.me/p49kPp-6I

hasselblad 503cx & 80mm 2.8,

 

astia 100f xpro.

la galleria Vittorio Emanuele II, a Milano

Kiyosato Lake (清里湖・Kiyosato-ko) in Yamanashi Prefecture stands out among the numerous reservoirs I have visited in the Kanto Plain. Initially, I found some of the embankment’s appearance somewhat unattractive, but little did I know that there was a fascinating reason behind its unique design.

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The Hive At Nanyang Technological University (NTU's Learning Hub)

"The Beechcraft Starship is one of the most technologically advanced aircraft of its type. Designed in 1982 by well known aircraft designer Burt Rutan's Scaled Composites the Starship is the first all composite pressurized business class aircraft. The design featured a variable sweep forward wing or canard, an all glass cockpit, in which traditional instruments are replaced by computer screens, and two rear mounted pusher turboprop engines. Rutan's company built an 85% scale proof of concept aircraft while Beechcraft began design of the full-scale prototype. While Rutan's concept plane flew in 1983 the full size aircraft suffered from production delays, design changes and other problems that pushed its first flight to March 1986. Production of the Starship began in 1988 and a total of 53 were built by 1995 when production was halted. Despite its revolutionary design the Starship was a commercial failure. Many of the aircraft never found buyers and were leased out by Raytheon, which had bought out Beechcraft during the design of the Starship. By 2004, only two or three Starships continue to fly, the rest having been consigned to the scrap yard or museums." - www.pimaair.org

Technological progress continues in the Tanzimat Empire.