View allAll Photos Tagged thomasMann
Da sinistra, Thomasmann, Brucewoland e Orasputin, osservatori esterni al Ravenna Nightmare Festival, il più importante d'Europa di genere horror e derivati. A breve un live report approfondito.
Mi piace il bianco erotico di questo scatto. Per la cronaca, Life And Death of A Porno Gang, lungometraggio serbo, si è aggiudicato il Premio Speciale della Critica. Acquisita questa foto, mi e' subito saltato per la testa.
foto by Fontanelle
Brooch: Seahorse – this is the logo for Johnny’s Gulf Line boat building business.
Materials: Acrylic, nickel, brass.
“Gulf Line”
For the past five years I’ve been looking for a building. I have this dream of having a studio in a building that pays for itself and gives me a free space to work in. I’d find a space large enough to build out a number of studio spaces that I’d rent to other artists and the rent would pay the mortgage. I was also thinking that it might be a good idea to have a real estate investment somewhere other than in New Orleans for all of the obvious reasons.
I found two likely spaces up in Allentown, PA where I grew up and where my mother still lives. I wrote business plans, and talked to banks, and made offers, and lost both deals to more aggressive entrepreneur developer types.
Desperate to get something going in that direction, I actually looked at a building here in New Orleans in spring of last year. Fortunately, it was in absolutely horrible shape, yet still teased my intentions to the max. Mid June I got a call from a realtor friend, Denise, in Bay St. Louis, MS. Denise is my sculpture shop manager Tom Paquin’s mother in-law. She found Tom and Athene’s house for them and as a result of that connection, knew of my interest in finding a building to develop.
Denise said she thought she had the perfect property for me and that I better make it over to Waveland to check it out ASAP. I asked Tom to take some shots of the place on his way into work the next morning and ten minutes after I saw them I was in the van and on my way out to Waveland. (about 45 minutes east of New Orleans)
The property was an old lumberyard, built in the 1940s and converted into a boatyard called Gulf Line Boats, in the early 80s. The guy who owned the place was a real Gulf Coast character who was now 74 years old and a little tired of building a very popular line of sport and commercial fishing boats. Johnny was ready to retire and was busy selling off the boat molds he’d designed over the previous 20 years.
Three shed buildings on five acres of land, right by the train tracks, 3/4 of a mile form the beach (and the Gulf of Mexico!), perfect for what I had I mind. I spent an hour looking around and taking pictures and spinning out the plan in my head. How much? 295K?
Johnny and I talked businesses, his and mine and employees and marketing and a half hour later we knew we liked each other good enough to work on a deal. Johnny, what about hurricanes? “Oh”, Johnny says, “Hurricane Camille tried to take us out in 69’ but she never got past the tracks.” Meaning the railroad tracks just across the street from his business. “We lost a couple sheets adat metal roofing, but no water”. He’s smokin’ a big cigar and havin’ a pretty good time with the whole thing.
OK, so the next morning I drove back over and made an offer, 285K. That afternoon I learned that Johnny had accepted it. I made a panorama scroll (about three times larger than the one pictured in the panel) and carried it around with me all summer as I traveled to do shows and teach. I called constantly to banks, and inspectors, and realtors, and Johnny, and the zoning board. I was home at the end of July for two weeks before another round of shows and workshops in California and then Chicago but the closing on the property is now set for September 15.
Two days after Katrina passes I start searching on line for satellite images of Waveland. I find Johnny’s property after hours of searching the NOAA (National Oceanic and Atmospheric Administration) website for the particular photo grid of the town that contains the Waveland Ave. property.
Gulf Line, is a scattered debris field of matchsticks. The buildings have been blown apart and the storm surge has spread the debris in a huge plume heading inland. I can see red blotches that I know are his boat molds and I can see a little black blotch in the spot where he parks his Mercedes. I am desperately hoping that he didn’t stay.
It turns out that he was safely away in Florida. I ran into him one day in November as I was snooping around the coast and there, he is puffin’ away on his stogie and kibitzin’ with the debris hauling contractors guys from Tennessee that he’s traded the demolition of his buildings for the use on the property as a staging area for their local operations (that’s what you see in the lower images on the panel).
So, my dreams are dashed once again…this time by Mother Nature. I heard at the end of January that Johnny has the property under contract again at 250K, without the buildings. The Gulf coast real estate market is booming once again. Good for Johnny!
First published in Penguin (with Tonio Kröger and Tristran) in 1955 (Main Series No.1082)
Death in Venice reprinted separately and thus first in this edition in 1971.
The cover shows a scene from the Warner Bros.presentation of Luchino Visconi's production starring Dirk Bgarde and Bjorn Andresen.
SBN 14 003242 8
Yet another book which will not survive many more re-readings!
One of the disadvantages of old age which I did not foresee is that one outlives one's paperback books.
uploaded with Uploader for Flickr for Android
Scan of an elegant book cover from a slim volume of Thomas Mann writings designed for High School German-language students.
Vintage still for Morte a Venezia/ Death in Venice (Luchino Visconti, 1971), starring Dirk Bogarde as Gustav von Aschenbach, Björn Andresen as Tadzio and Silvana Mangano as Tadzio's mother.
Thomas Mann was born into a rich merchant family in Lübeck. He grew up in this house, which was built in 1758. His novel "Buddenbrooks," for which he received a Nobel Prize, was based on his own family to a considerable extent. The house is now a museum.
Old Colonial Metuchen Cemetery also known as Metuchen Cemetery and Metuchen Colonial Cemetery - Main Street - Metuchen, New Jersey - Google Map - additional views
Brooch: BLEACH – a test tube filled with the essential chemical in the war on mold and mildew.
Materials: Steel, glass, rubber
“Mud ‘n’ Mold”
I joke with my mother-in-law Stella, a native New Orleanian who grew up in the neighborhood where my studio is now, and possesses the colloquial language particular to the Irish Channel and New Orleans in general, about her use of the word “mud” to mean “dirt”. I, me the Yankee here, tell her that mud is dirt mixed with water to make a paste or slurry. Admonished frequently enough, she catches herself if I’m around and calls dirt dirt. But in reality, her New Orleans based reference for dirt as mud is probably much more accurate. There is no dirt here…there is only mud. We think its dried out and returned to dirt but it don’t take much to make it mud again.
The canals fill with the storm surge pushing the water down the channel and up the walls. Not only is it going up, it’s going down too. It’s going down under the metal sheeting that is driven 25 feet down into the soil that once was a swamp. It should have been driven 40 or 50 feet down to prevent what is about to happen. The subsurface water is infiltrating the light particles of the soil, which is a combination of clay and sand, and turning the whole thing into a particle suspension. It is now a loose paste of “mud”.
At the floodwall things are moving rapidly towards failure. Eventually, the pressure on the walls is greater than the walls ability to resist it because its footings are….floating. It is pushed backwards towards the homes in whose backyards it resides. It flops over and the water picks up the mass of the levee and wall and washes down the slope ready to invade the homes in its path. Next, it changes from mud to a slurry to a soup, that it can’t wait to fill up the empty bowl ahead of it.
It pours into the neighborhoods and seeps into every crack, every broken window, every open door. It fills up the house, floats all the furniture and everything else. Eventually the bowl fills up, having relieved the canals of their burden and a new lake is born. Over the next several weeks the particulate in the soup sinks and settles down to the bottom of that lake, which is your kitchen counter top, your living room floor, or the shelves. Weeks later the remaining water gets sucked out of the bowl by the frantically installed pumps. You return home to a slick, thick, layer of mud on every surface, mud that used to be the levee. (The brown insert in this panel is a kitchen counter top that I cut out of a friends flooded kitchen…note the impression that containers and appliances left behind when the water receded).
Now, it’s the mold and mildew’s turn to visit their peculiar havoc on your home. Black mold may be the worst, but mold of any sort is an environmental hazard that few of us could stand to be exposed to for very long before the mycotoxins produced by these micro-organisms have a negative impact on your health.
One of the primary combatants in the war on mold is simple bleach. To rid your home of the mold spore, which penetrates the walls, floors and ceilings, you have to gut the house of drywall and spray down every stud, rafter and floor board with a strong mixture of bleach and other chemicals.
Zeitschrift für Literatur
herausgegeben von Walter Höllerer und Hans Bender.
Nachdruck: Zweitausendeins 1976
© István Pénzes
Please NOTE and RESPECT the copyright.
July 2013, test shot with the APO MACRO Elmarit 100/2.8 and Ilford Delta 100 @ 50 ASA.
Leicaflex SL2
Leica APO-MACRO Elmarit 100/2.8
Ilford Delta 100 @ 50
Kodak T-max Developer, 6 min. @ 20 degrees celsius
Imacon Flextight 343
Vintage still for Morte a Venezia/ Death in Venice (Luchino Visconti, 1971), starring Dirk Bogarde as Gustav von Aschenbach, Björn Andresen as Tadzio and Silvana Mangano as Tadzio's mother. Here, Mangano, Andresen and Nora Ricci as the governess.
Brooch: FEMA Trailer, pictures Tom’s family, happy and tight in their little trailer.
Materials: Aluminum, brass, acrylic, and paint.
“FEMA Trailer”
Imagine your house filled with water.
If your house was on the Gulf Coast of Mississippi, and the brutal storm surge force of the water didn’t destroy your house, break it up and float it miles inland, then it just filled it up and drained out in a relatively short period of time – Like hours. The tidal surge forced its way inland for miles but could still miss homes blocks apart destroying some and leaving others with the experience of having been totally submerged.
If your house was in one of the unfortunate flooded districts of New Orleans, the water came up slowly to fill your house to the ceilings, or past them….and then stayed there for weeks. The levee walls gave it up to the inertial force of the overfilled canals, collapsed and let the deluge in.
In either case, if the water didn’t compromise the structure of your home it wreaked havoc on the electrical and plumbing systems in it and along with its other disastrous effects rendered it…unlivable.
Tom and Athene Paquin and their newborn daughter (Charlotte was born three days after Katrina passed), returned to their recently purchased home in Bay St. Louis, MS, to find that they had sustained extensive wind damage to their roof from a fallen tree and that the house had taken 2 to 3 feet of water (noting the water line on the walls of the baby’s room). Their house was about a mile from the beach and the downtown section of Bay St. Louis, which was completely destroyed, and was where they had recently open a little design shop for Tom’s work.
They figured, from talking with neighbors, some of whom had stayed through the storm, that the water was only in their house for 6 to 8 hours. But it was salty, left thick slurry of mud and sand, and infiltrated the wiring, plumbing, drywall and paneling, necessitating a complete gutting of the structure. You can’t get Certificate of Occupancy until all of those systems are restored to code.
They had been living with his mother over in Florida during and after Katrina but wanted to be back in proximity to their house so they could start working on it. They applied for and received a FEMA trailer two months later. In order to get a trailer delivered you have to get an electrician to install a temporary pole and meter before the power company will hook you up and FEMA will deliver the trailer. All of this takes time, delays are inevitable an when they actually did show up the trailer is smaller than the one they requested and the guys who bring it, and install it in their absence, put it in backwards.
So, Tom borrows his father in laws pickup truck and pulls the thing out, turns it around and rehooks it up to the power and plumbing. He quickly builds a small porch, connecting it to the house because the trailer is so small that they need to use one room of the house as well.
Tom has worked with me, as my sculpture studio manager for the past ten years. He is an excellent craftsman with a multitude of shop skills. He built all of the shipping crates that this show travels in. He is, no doubt, as you read this, hard at work on restoring his home for his family.
Vintage still for Morte a Venezia/ Death in Venice (Luchino Visconti, 1971), starring Dirk Bogarde as Gustav von Aschenbach, Björn Andresen as Tadzio and Silvana Mangano as Tadzio's mother.
Less than a month after dropping an impressive first trailer last August, Dimension and Blumhouse Productions announced that their collaboration on AMITYVILLE: THE AWAKENING would not be unleashed on its original date of January 2015. Instead, it was given (and still has) the status of TBD (to...
The area around Lübeck, today a large city with a population of more than 200,000, had been settled by Slavs since the 7th century. Slavs had a settlement north of the present city called "Liubice", which was razed by the pagan Rani tribe in 1128.
15 years later Adolf II, Count of Schauenburg and Holstein, founded the modern town as a German settlement on the river island of Bucu. He built a new castle, first mentioned as existing in 1147. Adolf II had to cede the castle to the Duke of Saxony, Henry the Lion, in 1158. After Henry's fall from power in 1181, the town became an Imperial city. Emperor Barbarossa ordained that the city should have a ruling council of 20 members. With the council dominated by merchants, trade interests shaped Lübeck's politics for centuries.
In the 14th century, Lübeck became the "Queen of the Hanseatic League", being by far the largest and most powerful member of that medieval trade organization. In 1375, Emperor Charles IV named Lübeck one of the five "Glories of the Empire", a title shared with Venice, Rome, Pisa, and Florence.
Conflicts about trading privileges resulted in fighting between Lübeck (with the Hanseatic League) and Denmark and Norway – with varying outcome. While Lübeck and the Hanseatic League prevailed in conflicts in 1435 and 1512, Lübeck lost when it became involved in a civil war that raged in Denmark from 1534 to 1536. From then on Lübeck's power slowly declined. The city remained neutral in the Thirty Years' War, but the devastation from the decades-long war and the new transatlantic orientation of European trade caused the Hanseatic League – and thus Lübeck with it – to decline in importance. However, Lübeck still remained an important trading town on the Baltic Sea.
Some hundred meters down the Mengstraße from the Buddenbrookhaus the Tesdorpf wine shop (founded in 1678) is located. Under the pseudonym "Kistenmaker", Thomas Mann immortalized the family Tesdorpf.
Tesdorpf still produces the famous "Rotspon" wine. Once French wine reached Lübeck in barrels on the sailing ships, where the wine was stored and drawn to bottles. Rotspon is still produced, but I doubt that sailing ships are still used.
November 27, 2012
Policy Talks @ the Ford School event: "It's even worse than it looks: a conversation with Tom Mann and Norm Ornstein."
Thomas Mann (MA '68, PhD '77) and Norman Ornstein (PhD '74) will discussed their most recent book, the New York Times bestseller, It's Even Worse than It Looks: How the American Constitutional System Collided with the New Politics of Extremism. The book takes a comprehensive approach to understanding the current dysfunction in Congress, and provides pragmatic recommendations to remedy it.
Learn more: www.fordschool.umich.edu/events/calendar/1431
The area around Lübeck, today a large city with a population of more than 200,000, had been settled by Slavs since the 7th century. Slavs had a settlement north of the present city called "Liubice", which was razed by the pagan Rani tribe in 1128.
15 years later Adolf II, Count of Schauenburg and Holstein, founded the modern town as a German settlement on the river island of Bucu. He built a new castle, first mentioned as existing in 1147. Adolf II had to cede the castle to the Duke of Saxony, Henry the Lion, in 1158. After Henry's fall from power in 1181, the town became an Imperial city. Emperor Barbarossa ordained that the city should have a ruling council of 20 members. With the council dominated by merchants, trade interests shaped Lübeck's politics for centuries.
In the 14th century, Lübeck became the "Queen of the Hanseatic League", being by far the largest and most powerful member of that medieval trade organization. In 1375, Emperor Charles IV named Lübeck one of the five "Glories of the Empire", a title shared with Venice, Rome, Pisa, and Florence.
Conflicts about trading privileges resulted in fighting between Lübeck (with the Hanseatic League) and Denmark and Norway – with varying outcome. While Lübeck and the Hanseatic League prevailed in conflicts in 1435 and 1512, Lübeck lost when it became involved in a civil war that raged in Denmark from 1534 to 1536. From then on Lübeck's power slowly declined. The city remained neutral in the Thirty Years' War, but the devastation from the decades-long war and the new transatlantic orientation of European trade caused the Hanseatic League – and thus Lübeck with it – to decline in importance. However, Lübeck still remained an important trading town on the Baltic Sea.
"Buddenbrooks" is a 1901 novel by Thomas Mann, chronicling the decline of a wealthy north German merchant family over the course of four generations. Mann drew deeply from the history of his own family, the Mann family of Lübeck, and their milieu.
Thomas Mann´s grandfather had acquired the house in 1842, it became the setting for the novel Buddenbrooks.
Severely damaged in WWI it got rebuilt and by now is converted into the "Heinrich-und-Thomas-Mann-Zentrum" which became both a research centre and a memorial. It houses a permanent exhibition "The Manns - a family of writers", as Nobel prize laureate Thomas was not the only famous writer in that large family.
1929 war Thomas Mann zufällig auf die Kurische Nehrung gekommen und ließ sich auf dem Schwiegermutterberg in nördlichen Ortsteil von Nidden ein Haus im Stil der Fischerhäuser errichten.
Foto 2006.
Vintage still for Morte a Venezia/ Death in Venice (Luchino Visconti, 1971), starring Dirk Bogarde as Gustav von Aschenbach, Björn Andresen as Tadzio and Silvana Mangano as Tadzio's mother. Watermark of the Dutch Central Committee for Film Censorship.
Vintage still for Morte a Venezia/ Death in Venice (Luchino Visconti, 1971), starring Dirk Bogarde as Gustav von Aschenbach, Björn Andresen as Tadzio and Silvana Mangano as Tadzio's mother. Here Mangano, Andresen and Nora Ricci as the governess, at the veranda of Hotel Des Bains.
Thomas Manning, Staff Cartoonist of The Mountaineer, Butte High School, 1912
image taken from p 63 of The Mountaineer (1912) by Students of the Butte High School
The Mountaineer p 63
Unique ID: mze-moun1912
Type: Book
Contributors: John R. Cotter, Editor; Pearl Carruthers, Assistant Editor; William J. Sullivan, Business Manager; J.K. Jamison, Faculty Adviser
Date Digital: February 2011
Date Original: 1912
Source: Butte Digital Image Project at Montana Memory Project (read the book)
Library: Butte-Silver Bow Public Library in Butte, Montana, USA.
Rights Info: Public Domain. Not in Copyright. Please see Montana Memory project Copyright statement and Conditions of Use (for more information, click here). Some rights reserved. Attribution-Noncommercial-No Derivative Works.
More information about the Montana Memory Project: Montana's Digital Library and Archives.
More information about the Butte-Silver Bow Public Library.
Search the Butte-Silver Bow Public Library Catalog.
Vintage still for Morte a Venezia/ Death in Venice (Luchino Visconti, 1971), starring Dirk Bogarde as Gustav von Aschenbach, Björn Andresen as Tadzio and Silvana Mangano as Tadzio's mother.
Vintage lobby card for Morte a Venezia/ Death in Venice (Luchino Visconti, 1971), starring Dirk Bogarde as Gustav von Aschenbach, Björn Andresen as Tadzio and Silvana Mangano as Tadzio's mother.
Deliberation, Obstruction or Dysfunction? Evaluating the Modern U.S. Senate and its Contribution to American Governance
March 12, 2010, 9:30am – 11:30am
To watch the video, click here: www.americanprogressaction.org/events/2010/03/filibuster....
Whether or not a relatively small minority of the U.S. Senate should be able to block the policies put forward by the president and majorities in both houses of Congress has been a matter of great controversy in American politics since before the Civil War. Today, however, the tactical tools available to the minority are being used more aggressively than at any time in our history and the impact on the nature and quality of American government is greater than ever. On Friday, March 12th the Center for American Progress Action Fund in cooperation with the Center for Congressional and Presidential Studies of American University will sponsor a symposium the modern Senate and how current practices are impacting the quality of government.
Keynote Speaker:
Senator Tom Udall (D-NM)
Featured Panelists:
Scott Lilly, Senior Fellow, Center for American Progress Action Fund
Thomas Mann, Senior Fellow, Brookings Institution
Moderated by:
James Thurber, Distinguished Professor and Director, Center for Congressional and Presidential Studies at American University
"Two years later, in 1911, Thomas Mann, who was 3 years Diaghilev's junior, who attributed to Wagner the greatest influence on his youthful sensibility, and who in 1902 devoted a story to the Tristan theme, stayed at the Grand Hôtel des Bains and shortly afterward completed Death in Venice, his novella about a famous artist from Munich, Gustav Aschenbach, who did not bathe publicly either, but who loved "this most improbable of cities," Venice, and yet another young Polish boy, Tadzio. Aschenbach would sit on the beach, admiring the Polish lad, the symbol to him of perfect beauty. As the admiration turned to passion, Venice was invaded by Asiatic cholera."
Ekstien's now explains how the life of Diaghilev and Aschenbach - one very real, the other completely fictitious - parallel one another, down to their deaths, even down to the response of their lovers to their deaths.
"Serge Diaghilev and Thomas Mann never met, it seems. Yet the life of one and the imagination of the other overlapped to an obviously extraordinary degree. Coincidence is our term for concurrence that is not consciously willed and that we cannot explain in any definitive sense. However, if we retreat from the restrictive world of linear causality and think in terms of context and confluence rather than cause, then it is undeniable that there were many influences - to begin with, those of Venice and Wagner - at work on the imagination of Mann and Diaghilev, two giants of twentieth-century aesthetic sense, influences that led one to create a certain fiction and the other actually to live strikingly near that fiction.
"Moreover, one must ask whether Mann's story was any less real than Diaghilev's life. Heinrich Mann, in review of his brother's novella, saw that the central issue of Death in Venice was "Which came first, reality or poetry?" In his "Life Sketch" of 1930, Thomas Mann spoke of the "innate symbolism and honesty of composition" of Death in Venice, a story that, he asserted, was "taken simply from reality." Nothing was invented, he claimed, none of the settings, none of the characters, none of the events. Tadzio, it has since been established, was in fact a certain Wladyslaw Moes, a young Polish boy on holiday in Venice. Jaschiu was one Janek Fudakowski. Aschenbach bore a distinct resemblance to Gustav Mahler, who died in 1911. Thomas Mann, whose art as a whole is striking in its fusion of autobiographical and imaginative experience, called his novella "a crystallization."
Foto: C. Renner / CDU Hessen
Für dieses Bild gelten die folgenden Nutzungsbedingungen:
1. Dieses Bild darf zum Zwecke der Berichterstattung durch Pressevertreter, CDU-Verbände und deren Vereinigungen, Blogger und Privatpersonen kostenfrei heruntergeladen, kopiert und auf anderen Webseiten eingebunden werden.
2. Jegliche Veränderung des Bildinhaltes (außer Größenanpassung oder Beschnitt) durch Bildbearbeitung oder sonstige technische Hilfsmittel oder eine Bildverfälschung ist untersagt.
3. Dieses Bild darf nicht für satirische oder diffamierende Zwecke verwendet werden.
4. Eine Nutzung durch politische Mitbewerber, deren Vereinigungen oder Beauftragte ist untersagt.
5. Bei einer Nutzung ist die Bildquelle immer in unmittelbarer Bildnähe im Format "Foto: Nachname des Fotografen / CDU Hessen" anzugeben.
Missachtungen dieser Nutzungsbedingungen werden rechtlich verfolgt.
Ab 1930 verbrachte die Mann-Familie die Sommerferien in Nidden, jedes der sechs Kinder hatte ein eigenes Zimmer.
Foto 2006.
Deliberation, Obstruction or Dysfunction? Evaluating the Modern U.S. Senate and its Contribution to American Governance
March 12, 2010, 9:30am – 11:30am
To watch the video, click here: www.americanprogressaction.org/events/2010/03/filibuster....
Whether or not a relatively small minority of the U.S. Senate should be able to block the policies put forward by the president and majorities in both houses of Congress has been a matter of great controversy in American politics since before the Civil War. Today, however, the tactical tools available to the minority are being used more aggressively than at any time in our history and the impact on the nature and quality of American government is greater than ever. On Friday, March 12th the Center for American Progress Action Fund in cooperation with the Center for Congressional and Presidential Studies of American University will sponsor a symposium the modern Senate and how current practices are impacting the quality of government.
Keynote Speaker:
Senator Tom Udall (D-NM)
Featured Panelists:
Scott Lilly, Senior Fellow, Center for American Progress Action Fund
Thomas Mann, Senior Fellow, Brookings Institution
Moderated by:
James Thurber, Distinguished Professor and Director, Center for Congressional and Presidential Studies at American University
Foto: M. Olschewski / CDU Hessen
Für dieses Bild gelten die folgenden Nutzungsbedingungen:
1. Dieses Bild darf zum Zwecke der Berichterstattung durch Pressevertreter, CDU-Verbände und deren Vereinigungen, Blogger und Privatpersonen kostenfrei heruntergeladen, kopiert und auf anderen Webseiten eingebunden werden.
2. Jegliche Veränderung des Bildinhaltes (außer Größenanpassung oder Beschnitt) durch Bildbearbeitung oder sonstige technische Hilfsmittel oder eine Bildverfälschung ist untersagt.
3. Dieses Bild darf nicht für satirische oder diffamierende Zwecke verwendet werden.
4. Eine Nutzung durch politische Mitbewerber, deren Vereinigungen oder Beauftragte ist untersagt.
5. Bei einer Nutzung ist die Bildquelle immer in unmittelbarer Bildnähe im Format "Foto: Nachname des Fotografen / CDU Hessen" anzugeben.
Missachtungen dieser Nutzungsbedingungen werden rechtlich verfolgt.
Deliberation, Obstruction or Dysfunction? Evaluating the Modern U.S. Senate and its Contribution to American Governance
March 12, 2010, 9:30am – 11:30am
To watch the video, click here: www.americanprogressaction.org/events/2010/03/filibuster....
Whether or not a relatively small minority of the U.S. Senate should be able to block the policies put forward by the president and majorities in both houses of Congress has been a matter of great controversy in American politics since before the Civil War. Today, however, the tactical tools available to the minority are being used more aggressively than at any time in our history and the impact on the nature and quality of American government is greater than ever. On Friday, March 12th the Center for American Progress Action Fund in cooperation with the Center for Congressional and Presidential Studies of American University will sponsor a symposium the modern Senate and how current practices are impacting the quality of government.
Keynote Speaker:
Senator Tom Udall (D-NM)
Featured Panelists:
Scott Lilly, Senior Fellow, Center for American Progress Action Fund
Thomas Mann, Senior Fellow, Brookings Institution
Moderated by:
James Thurber, Distinguished Professor and Director, Center for Congressional and Presidential Studies at American University
From a trip to Venice in the footsteps of Thomas Mann . Death in Venice:
www.guardian.co.uk/artanddesign/2010/jul/22/venice-italy-...
Brooch: Photo Assemblage Brooch “Angel”
Materials: Bronze, glow in the dark acrylic, photograph.
“Angel”
I found this collapsed neighborhood church at the corner of Peniston and Barrone streets.
It was probably suffering from termite problems as well and the shock of the storm winds literally blew it down.
But, standing in the midst of the ruins was a statue of an angel, missing a wing but upright and present.
I found it inspirational.
I thought of Rites of Spring because I vaguely remembered something it said about the city of Venice. Lo and behold, the prologue of Ekstien's book talks a lot about Thomas Mann! How serendipitous! I probably had no idea who Mann even was when I first read Eksteins. If you like the topics of modernity, morality, and art, and feel like learning something, you can read on...
"Venice, a city of the doges, city of Renaissance, splendor, city of lagoons, reflections, and shadows, is the city of imagination. It is a city of spirits, beyond measurable time. It is a city of sensations and, above all, inwardness.
"Venice, with its mirrors and mirages, is where Richard Wagner found inspiration for his opera Tristan and Isolde, that tortured celebration of life, love, and death, and where he died in February 1883, in the Palazzo Vendramin Calerghi, in a room overlooking the Grand Canal. Venice was a favorite city also of Sergei Pavlovitch Diaghilev. He died in the Grand Hôtel des Bains de Mer on the Lido in August 1929. Wagner tried to unite all the arts in his grand opera; Diaghilev tried to unite all the arts in his grand ballet. The one created; the other crafted. Both were symbols of their eras. They both found inspiration in Venice. They both came to Venice to die."
Eksteins goes to give background about Diaghilev... his meeting and love affair with Vaslav Nijinsky, the young Polish dancer who led Diaghilev's Ballets Russes, and who later choreographed Stravinsky's The Rite of Spring.
Brooch: We Live in Bowl
Materials: Steel, aluminum, paint.
“We Live in a Bowl”
New Orleans has been a “strategic” city on the North American continent since its inception in 1718. It has served as the pivot point and staging area for the conquest of the interior of the continent by the major European countries of France, England and Spain as they competed to acquire colonies in the New World.
New Orleans was sited on a high point in the swamp, a ridge or small bluff, at a critical turn in the Mississippi River that offered harbor and the ability for defense. This little high spot eventually became overcrowded and the city went looking to produce more “land” for the city to grow into.
A system of canals were carved into the swamp which drained them into Lake Ponchartrain. The land dried out and as it did it also subsided. Flooding became a very normal event in all of these new districts. Though these areas of the city are ones that have traditionally flooded, the effect has been lessened in recent years because the city installed state of the art pumps that were capable of keeping the streets dry in all but the worst of storms.
The river historically flooded the lands on either side of it on an annual basis dropping soil and nutrients into the surrounding swampy areas that were, and still are the wetland breeding grounds for numerous forms of sea life that fuel the very lucrative fisheries industry.
As the river traffic increased after the Civil War, the importance of guarantying the accessibility of the waterway eventually led the Federal government to engage the Army Corps of Engineers in a project with the long term goal of placing levees along the length of the river in order to assure its navigability. Part and parcel of this plan was the protection of New Orleans by a levee system that would insure the survivability of the city as the very important and critical Port of Entry that it had become.
The downside of this plan unfortunately was that while the levees protected the city and kept the river open to traffic, it also defeated the rivers ability to re-flush the land with the soil and nutrients essential to maintaining the structure of the delta below the city that protected it from storm surge and served as the marine nursery. In other words, the positive economic effects of a tamed river were gained only at the future costs of a deteriorating delta environment. We are a bowl because human civil engineering created it.
In the early part of the 1940’s oil was discovered in the western Louisiana parishes and shortly after that, in the Gulf of Mexico. The oil industry further deteriorated the environment of the wetlands by cutting canals thru the swamps to install drilling rigs. Along with it came a huge industrial development to pump, refine and distribute that oil to the point that even now the Gulf region supplies 24% of the nation’s oil supply.
People have to live here to work in these industries and New Orleans was always the most desirable “big city” choice. They say that “without New Orleans, Louisiana is Mississippi”.
New Orleans is important to all of us for a lot of reasons. Yes, I know we’re known as a “party” city. And it’s true that we love our partying opportunities, but that is just the one aspect of the city that has been promoted as a tourist attraction. As a matter of fact the “living in a bowl” factor may well be one that prompts a certain joie de vivre, a celebratory attitude in the face of a constant physical threat.
Interestingly enough, my studio and my home are up on that “bluff”, known as River Ridge. This area of town never floods. I found flood maps from the 1850’s and sure enough, Magazine Street was dry even then. Just the luck of the artist I guess.
Brooch: Blue Roof with wind veins. This is a “construct” piece with an obviously abstract expression of what the wind might do to a roof.
Materials: Steel, acrylic, brass and paint.
“Blue Roofs”
If you very lucky enough, and you weren’t flooded by the breaks in the levee walls, you still might have sustained wind damage to your roof. If you did and it was bad enough you might have taken water coming down rather than up. And if you didn’t get that comin’ down water from Katrina, then you might have gotten it from Rita just three weeks later.
You might have made it back into town between the storms and brought along all of the materials and supplies you’d need to put up tarps on your own roof. If not, then you’d be waiting for FEMA to come and blue roof your roof for you.
I got back into New Orleans three weeks after the storm from Lakeside, Michigan, via San Antonio, Houston and Lafayette. Upon inspection of the roof of my studio/gallery building it was apparent that tarping the roof was necessary. We had five patches of shingles blow off and took a lot of water, probably from Hurricane Rita. Many of our larger pieces of equipment in our second floor studio were rusted and everyone’s hand tools on their workbenches were too. I found enough materials in the shop to spot-cover the torn away roofing and did so with the help of my principal assistant, Mark Garcie. Mark and I lived in the studio that week because it had power and water, while neither of our homes did.
He and I actually made jewelry that week to fill standing orders. I left at the end of the week to visit friends who were holed up south of town. That night I had a dream about blue roofs. They were everywhere but my roof was white, which it was, and the tarps were shredded and blowing in the wind of an approaching storm.
The next morning, I headed for the nearest Home Depot, some forty miles away, and bought a bundle of blue tarps and lathing and nails and headed back to New Orleans.
I spent another full day in 95 degree temperatures blue roofing our roof. The next day, I was sick as dog. We figured out that I was probably experiencing heat stroke, even though I drank at least a gallon and a half of water the previous day.
My blue roofing job has held up fine, unlike a lot of the FEMA installations. I learned from a roofing contractor from Boston that the blue plastic sheeting FEMA workers installed was of an inferior quality and wasn’t reinforced. Any blue roof put down pre-Rita tore apart in her winds. These contractors were making a small fortune replacing that low quality material with stronger, UV resistant stuff. The lighter blue material on the roof like element in this panel is the FEMA blue roofing material. The material wrapping the frame is the reinforced higher quality stuff.
Thomas Mann: Death in Venice
Together with two other stories:
Tristan - Tonio Kröger
Penguin Books - Harmondsworth, 1955
n° 1082
Book cover design by George Salter for The Story of a Novel: the Genesis of Doctor Faustus by Thomas Mann. New York: Knopf, 1961. PT2625.A44 D688 1961
Brooch: I took images of Chris and his magnet mobile and turned them into wearable objects, put magnets on them and included them in this collection of fridge magnets all of which were taken from his car.
Materials: bronze, aluminum, Lucite, photo images and glow in the dark acrylic.
“Local Artist”
Catastrophe, hardship, disaster. What would your response be to the loss of your home, your belongings, your job?
Chris Cressione is a New Orleans artist who makes his living and supports his family as a waiter at one of my favorite restaurants, Gautreau’s. The restaurant has yet to reopen as of this writing in January 06 so Chris has spent the interim months being the house-husband to his wife, Lisa who works as a nurse.
He takes care of his two children and has a lot of free time to work on his art. In an inspired fit of creativity he invented a use for all of the refrigerator magnets he saw being left on the refrigerators people had discarded and left on their curbs for FEMA to pickup and discard. He began collecting them and putting them on his car eventually covering every surface.
120,000 homes in New Orleans and the surrounding suburbs were destroyed by Katrina when the city flooded. All of their refrigerators are or will be out on the curb. Every other home in New Orleans (population 480,000) lost their refrigerators to the loss of power and the lengthy evacuation period. So we’re talkin’ probably a total of 250-350,000 refrigerators out on the curb.
This was just too much material for Chris to ignore. Everyday, as he drove his kids to their schools and events he’d spot another fridge left out to be picked up and to his surprise the owners would also be discarding the magnets! Occasionally he’d run into the owner and ask permission to take the magnets. He was never denied. They loved what he was doing with them.
Since then, he’s gotten a lot of attention for his project and a great article by Chris Rose in the Time Picayune. which is how I learned of his mission. I thought is was a perfect fit with my STORM CYCLE show because it demonstrated the resilience of our citizens, their sense of humor in the face of disaster and our hopes for the future.