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Performance Art13
Haunted Lesbians: Allyson Mitchell and Deirdre Logue's Kill Joy's Kastle.
By Kate Barry
Having just completed the Kill Joy's Kastle: A Lesbian Feminist Haunted House tour, it was difficult for me to form a clear sentence when I was escorted into a small room, and seated on a faux-fur stool. I was to be a part of a 'processing session' with a Real-Life Feminist Killjoy, the fabulous writer Sarah Schulman. The group I was touring with did manage to discuss the artwork with some coherence. Someone asked a critical question, "does this project suggest that lesbian feminism is dead?" The thing that struck me about this question, in the context of the haunted house, is that it illustrates the ghosts of lesbian feminist's past are still keeping the theory, the activism and the art alive. Being someone who is obsessed with death, I know things never fully die instead they take on new forms.
On opening night, when I first entered Allyson Mitchell's Kill Joy's Kastle there were posters of warning and encouragement from lesbian political organizations and magazines from the 1970s, 1980s and 1990s. There was a graveyard installation dedicated to these organizations that have now deceased: Queer Nation, The Lesbian Avengers, D.A.R.E.(Dykes Against Racism), Lesbians Against the Right, L.I.A.R (Ladies into Anarchist Readings, On Our Backs, among many others.
At the beginning of the tour, our guide from the Demented Women's Studies Professors group, Dainty Box, greeted us. Our Professor sternly lectured us on the hellish antidotes of the uber privileged claiming to be feminist but who, in fact, work to propagate the status quo.
Gravestone for Lesbians Against The Right, Allyson Mitchell, installation, 2013.
Dainty Box,Demented Women's Studies Professor, performance, 2013.
According to Mitchell, the research for this project included investigating real-life Evangelical Christian hell houses. Apparently these hell houses are a tradition in the Evangelical religious sect dating back to the 1970s. In fact, in the Niagara Falls region there are FIVE of these haunted houses. The religious hell houses are created to put "the fear of God" into you via the fear of death, the devil, and the punishments associated with the Judeo-Christian act of sin. These so-called sins include: homosexuality, polygamy, abortion and so on. Unlike the tradition of Evangelical hell houses, Kill Joy's Kastle was a unique feminist performance and installation art space filled with Mitchell's tongue-in-cheek textiles pieces, an assortment of rug-hooked, crocheted, papier mâché and painting constructions. This project was 5-years in the making, and this is clear in its execution. With a team of collaborating artists from various locales, socio-economic backgrounds, race, genders and abilities, Mitchell successfully creates a non-oppressive and inclusive space.
Christina Zeidler as Felice Shays, performance, 2013.
FASTWÜRMS' as The Scary Shaft Inhabitors, performance, 2013.
What impressed me the most about Kill Joy's Kastle was its use of parody. For me, it is easy to be angry and OUTRAGED as homophobia, transphobia and 'lezphobia' is still so prevalent worldwide. It is also easy to offer shortsighted and reactionary responses to this complicated art project. If you haven't experienced the installation, or bothered to research Allyson Mitchell extensive body of contemporary artwork you maybe missing her educated discourse around ending misogyny. With that said, what is more difficult to do and what Mitchell does in this artwork is, she thinks creatively, and subversively about ways to respond while having a good and therapeutic laugh.
The opening night of Kill Joy's Kastle was a hilarious adventure to undertake. Sometimes its humor was sublime as with FASTWÜRMS' performance as The Scary Shaft Inhabitors. The FASTWÜRMS' piece involved a trio of three real-life witches who performed the act of drinking each other's sperm. At other times the hilarity of Kill Joy is in-your-face, such as The Lesbian Zombie Folk Singers or The Ball Busta.
The highlights of Kill Joy's Kastle included the hellish folk singing and some scary ball-busting. There is nothing like a zombie-lesbian-feminist singing Ani Difranco's Both Hands or Christina Zeidler as Felice Shays singing Valerie Solanas' S.C.U.M Manifesto. The Ball Busta performance included two dykes at a tool bench smashing plaster castings of Truck-Nuts. Truck-Nuts are from car and truck culture and are decorative items some people use to embellish their automobiles; they are often hung under the license plate of a car or truck between the rear wheels to exhibit the manliness of the driver via their big balls. Changing the context of Truck-Nuts by casting them in white plaster is very comical -since they are the ultimate representation of white patriarchy.
Lorri Millan and MC MacPhee, The Ball Busta, performance, 2013
To backtrack, and in order to give you some context around Allyson Mitchell's inspiration, I want to talk about the feminist reclamation of the term killjoy. Mitchell stated in a radio/podcast interview with Roy Mitchel on Roynation that the idea behind Kill Joy's Kastle comes from Sara Ahmed's book "The Promise of Happiness." According to Mitchell, in Ahmed's book she used the term killjoy to refer to the prevalent stereotype of feminists as being humorless. Killjoy is a stereotype that represents a societal preoccupation with the idea of an unhappy feminist/outsider. The concept is that "real happiness" is rewarded to woman who do everything correctly by societies definition of a proper woman, that is, she conforms to gender norms, she marries a man, bares children and lives an upper class or middle class lifestyle but (most importantly) she is anti-feminist.
Historically in Western's dominant culture the ideal woman is defined as white, heterosexual, ablebodied and thin. Kill Joy's Kastle: A Lesbian Feminist Haunted House tells another story as it addresses the truths of real-life. It speaks to gender and queer identities and ways of being outside the norm. Kill Joy's Kastle and Allyson Mitchell's theory and artistic practice coined Deep Lez is also concerned with keeping radical art, activism and idea-making alive and relevant to the 21st century. Kill Joy is about the politics of anti-assimilation surrounding queer practices. In Mitchell's interview on Roynation she asks, what happens when queer identity is appropriated into mainstream culture such as gay marriage?
Personally, I think that when queer culture is assimilated aspects of queer identity die, such as the identity crisis many Canadian queers experienced when gay marriage was legalized. When this happens things change, morph and take on new forms and new ideas. To be honest, I am happy when aspects of queer culture die, leaving us with the traces and ghosts of our past. Even at the cost of being appropriated by mainstream society and having to endure horrific misrepresentations of lesbian culture. Or having to watch as gays spend exorbitant amounts of money on marriage ceremonies. A culture that does not change would be the most frightening thing ever! Despite my gender and class angst, I'm pleased about gay marriage as a victory for human rights.
Allyson Mitchell's Kill Joy's Kastle: A Lesbian Feminist Haunted House is more than an entertaining event, it is a performance and installation space that carries on feminist discourse from past generations and brings a much needed dialogue around queer feminist performance and installation art into the 21-century. By way of example, if in 1972 there was no feminist art installation and performance spaces such as the woman-only Womenhouse (organized by Judy Chicago and Miriam Schapiro), would there be a trans positive and queer positive space such as Kill Joy's Kastle in 2013? No, probably not. Kill Joy's Kastle would not exist if it was not for the discourse and argumentation of past generations? There is even a direct reference to Womanhouse at the entrance of Kill Joy's Kastle in a sign that reads, "this ain't no woman haus!" Mitchell's project makes a direct reference the death of old ways and the shifts in theory and practice in the last 41-years. Her project furthers lesbian feminist discourse through the death and rebirth dynamic where the ghosts of our ancestors paradoxically inform and keep discourse, art and activism alive.
Both queer culture and the art world are similar in that artists, writers, activists and so on, carry on debate from one generation to the next. I think culture needs things to continuously change and unfortunately that change is often fuelled by a cultural assimilation or appropriation. I'm not suggesting that the power issues involved in cultural appropriation or assimilation are always a good thing, or even an ethical one. What I am suggesting is, artists require death in order to create.
Allyson Mitchell, 2013.
Kill Joy has spawned many questions and there is so much more ghoulish detail to write about! However for the purposes of this blog posting I have offered you a sampling of subjective walk through from my opening night adventure.
Kill Joy's Kastle is open 17-30 October, 4-8 p.m. at 303 Lansdowne Avenue. Fear no art and check it out!
Kill Joy's Kastle: A Lesbian Feminist Haunted Housean presented by Art Gallery of York University (AGYU).
Full list of artists/participants:
Felice Shays as Valerie Solanas
Andrew Harwood as Madame Zsa Zsa
Lee Airton
The Jolly Goods
Christina Zeidler, and Gretchen Phillips as The "Lesbian" Zombie Folk Singers
Mo Angelos, Natalie Kouri-Towe, Dainty Smith, Shawna Dempsey, Moynan King and Ponni Arasu as The Demented Women's Studies Professors
Chelsey Lichtman as The Polyamorous Vampiric Granny
Eli Campanaro as The Carpet Muncha
Tracy Tidgwell and Jamie Zarowitz as 2 Adult Women in Love
LJ Roberts and Silky Shoemaker as The Dank Cave Dweller and
Labrys Guillotine Operator
Ginger Brooks Takahashi, Dana Bishop-Root, Jess Dobkin, Trixie & Beever as The Paranormal Consciousness Raisers
Carolyn Taylor as The Straw Feminist
Lorri Millan and MC MacPhee as The Ball Busta
Golboo Amani, Steph Markowitz, Juli(a) Rivera, and Anni Spadafora as The Gender Studies Professors
Kalale Dalton, Coral Short, Petra Collins and Shary Boyle as The Riot Ghouls
FASTWÜRMS as
The Scary Shaft Inhabitors
Rachael Shannon, Jesi the Elder, and Flare Smyth as The Garbage Monsters
Amy Lockhart as The Bearded Clam Operator and Kitten Midwife
Aleesa Cohene as Ye Olde Lesbian Feminist Gift Shoppe Keep
Sarah Schulman, Ann Cvetkovich, Ann Pellegrini, and Kim Crosby as Themselves!
(The Real-Life Feminist Killjoys)
Deirdre Logue, Emelie Chhangur, Philip Monk,
Chris Mitchell, Brette Gabel, Johnson Ngo, Suzanne Carte
Allyson Mitchell website:
http://www.allysonmitchell.com
Roynation blog:
http://www.blogtalkradio.com/roynation
Posted by mz.katebarry at 6:01 AM 1 comment:
Labels: Allyson Mitchell
E C O S E X Y
As a performance artist I once married the planet earth. This is NOT the weirdest thing I have done but it was one of the most memorable. Last summer while visiting the Canadian Rockies, I fell in love all over again and I was reminded of my wedding vows, to love and cherish the earth forever. Or as artist Elizabeth Stephens says, to love and cherish the earth until death brings us closer together.
Way back in March 2011, I met Annie Sprinkle and Elizabeth Stephens when I married the earth and water, alongside three hundred other people. I performed in their seventh wedding White Wedding to the Snow. The performance took place in Ottawa, Canada in a desancified Roman Catholic Church now called Saint Brigid's Centre for the Arts.
This last summer I was informed that Stephens and Sprinkle were also having a love affair with the mountains, the Appalachian Mountains in West Virginia. To honour their love Stephens and Sprinkle created a film: Goodbye Gauley Mountain: An Ecosexual Love Story. This documentary is heartrending and thought provoking. It is a film that walks us through the big business of mountaintop removal (MTR) mining practices with humor, ecosex performance art and truckloads of scientific data. In the film Stephens sums up her attitude by stating: "Gays and Lesbians can live without getting married, but they won't survive unless they have drinking water and clean air to breath."
Goodbye Gauley Mountain: An Ecosexual Love Story offers the audience a commitment to compassion and respect for the earth as a feasible alternative to environmental destruction. The film questions business practices that exploit the earth's resources causing direct harm to us and our communities. The film also offers the audience playful insight into Stephens and Sprinkle's personal lives as performance artists and social activists.
Mountain Top Removal Site. Photo by Paul Corbit Brown
For Sprinkle and Stephens things really started to heat-up back to 2005 when they performed their first marriage ceremony, Wedding One. This first ceremony was foundation for their future creative life together. Harkening back to 2005, I remember it was still considered radical for a same-sex couples to marry in the U.S.A. and Canada. The politics of Stephens and Sprinkle's "domestic partnership" motivated them to publicly proclaim their love as an alternative to the culture of war and environmental devastation, in which they lived.
Since that first wedding they have produced fifteen or sixteen performance art weddings as well as a host of other visual art, performance art, video, research and writing projects including The Love Art Laboratory and Sexecological Walking Tours and the film, Goodbye Gauley Mountain: An Ecosexual Love Story.
At this point, I will discuss in greater detail their weddings in order to focus on their history as performance artists within their art & social activism oeuvre.
In the wedding I participated in, White Wedding to the Snow, I was one of over fifty artists who performed and took part in a ceremony. In the performance we vowed to help protect the earth and its resources. I performed a piece called Snow Painting where I created painting 'portraits' as gifts for the other artists and the wedding guests, I used snow on white paper to make the paintings. Prior to performing, I had a conversation with Stephens and Sprinkle about our mutual respect for the FLUXUS art movement. So I wanted to create a performance with a FLUXUS sensibility, I thought a 'snow painting' had this quality since they are paintings that disappeared leaving only a trace or wrinkle on the page. Also, they respond to the over commercialization of art since they are ephemeral.
For those of you who might not be familiar with FLUXUS, they were that notorious group of Manhattan (NYC ) art radicals from the 1960s whose performance art was often politically motivated. Yoko Ono' Cut Piece, first performed at Carnegie Hall, in 1965 is possibly the most famous example of a feminist performance art piece created during the heyday of FLUXUS.
Like all of Annie Sprinkle and Beth Stephens' projects things at their White Wedding to the Snow were hot and steamy. Thing began with a phantasmagoric wedding procession that led us to the main stage. Next there were a series of live performances including the ecosexy wedding vows. During the vow ceremony, as described above, audience members were asked to love and protect the earth and its water. This ritual consisted of Stephens, Sprinkle and over three hundred guests vowing in unison to love and cherish the earth, snow and water forever. For those of you who are not from Ottawa, Canada, getting us to marry the snow is quiet the accomplishment after a long, cold and difficult winter. In fact, I never wanted to see snow again. Regardless almost everyone participated and the vow ceremony. This participation granted the audience members an opportunity to become performers themselves.
The climax of the ceremony was an intimate personal exchange between Stephens and Sprinkle. Their performance turned things up full volume as Stephens and Sprinkle consummate their love with an ice dildo (brrr). During their lovemaking I heard a collective shutter from the audience as Elizabeth Stephens glided the frozen water into an ecstatic Annie Sprinkle. I think many women in the room vicariously shivered during this holy union. I know I did.
White Wedding to the Snow, 2011
Both their Ecosex Wedding Performances and their new documentary, Goodbye Gauley Mountain: An Ecosexual Love Story marry art and activism in a fun, sexy and diverse way.
As their manifesto explains: WE ARE THE ECOSEXUALS. The Earth is our lover. We are madly, passionately, and fiercely in love, and we are grateful for this relationship each and every day. In order to create a more mutual and sustainable relationship with the Earth, we collaborate with nature. We treat the Earth with kindness, respect and affection.
Goodbye Gauley Mountain: An Ecosexual Love Story, 2013
For more information on bookings for Goodbye Gauley Mountain: An Ecosexual Love Story, contact Elizabeth Stephens, bethstephens@me.com
Goodbye Gauley Mountain: An Ecosexual Love Story: http://goodbyegauleymountain.org
Sexecology: sexecology.org
Posted by mz.katebarry at 3:44 PM No comments:
Labels: Annie Sprinkle, Beth Stephens
( )ound, Performance by Coman Poon
Interview and introduction by Kate Barry
On June 29, I had the pleasure of performing alongside Toronto artist Coman Poon during the Proud Voices festival, Glad Day Bookshop and Toronto PRIDE 2013. In Poon's 45-minute performance art piece, titled ( )ound, he was dressed in white underwear and he carried around his neck a white cloth bag full of white power. During the performance he slowly walked toward and around his lover, Brian Smith, who was located underneath a metal bed. While he walked Poon covered his feet and the feet of audience members in the white powder. When he reached the bed, he laid down on the bare metal frame while Smith lay beneath him. For the duration of the performance, the audience heard faint noises in the background that sounded like various conversations and some low-fi music. The noise came from a soundscape that accompanied the performance and installation. This haunting performance piece evoked, for me, deep feelings of entrapment as well as profound feelings of compassion. Poon's performance brings to mind what Chicano performance artist Guillermo Gómez-Peña describes as boundary crossing or border crossing. Poon's performance crossed a range of locals and identities including the bedroom and the prison as well as sexuality and race. ( )ound addressed the experience of some queer persons of colour and it considered GBLTQ issues on a global scale. In the following interview with Poon he states "Like many queer folk of colour, whether I am conscious of it or not, I am and have been imprisoned even though I have not been in a physical jail per se." He speaks to the fact that people are jailed, raped or beaten for being gay, lesbian, bisexual or transgendered. As the below interview illustrates, Poon's research extended to include the United States of America's Prison Industrial Complex (PIC), a system of incarceration and punishment that exploits prisoners. Similar to the work of Gómez-Peña, Poon's work is critical of systems of power as well it is critical of mainstream society's compliancy toward these abuses of power. Poon's performance ( )ound is successful because it is concerned with human rights issues that go beyond the four white walls of the performance space.
Interview with Coman Poon by Kate Barry
KB: What does the title of your performance ( )ound refer to?
CP: Discovering/being locked up in the space of the 'in-between.' Bound. Found. Ground. Sound. Wound. These were just a few obvious English words that could emerge from this alphabetical glyph but ( )ound also has a conceptual intent.
I titled the performance/installation ( )ound in the hope that it opens up in the audience the permission "to not know" as well as an invitation to insert or allow their own subjectivity to direct their experience...whether through the visual, embodied, sonic, tactile and/or an olfactory experience.
( )ound, performance by Coman Poon. Photo credit Henry Chan
KB: In your performance I related with feelings of restriction. I felt a great concern for the other performer (Brian Smith) who was taped to the floor. As an audience member I became invested in the performance because I was concerned for Brian's safety. This experience reinforced for me the larger idea that as citizens we have a responsibility toward prison's rights and the abuses that occur in the so-called "justice system." As a queer woman I am able to relate to, or develop compassion toward, people who experience human rights abuse because women and lesbians have not always been considered real citizens. For example, our foremother's had to fight for the right to vote, and more recently we fought for the human right to marriage.
On a technical note, can you tell me about the soundscape used during your performance?
CP: The ambient soundtrack is found sound from a tour through Seductions (a four-story mega sex store directly across from Glad Day's event space). During my opening stance I inserted myself in one window of the performance space, beside me was a second window that looks onto an advertisement for Seductions. At the beginning of the performance I mimic the Seductions' mannequins that sell sexy underwear and the male models on posters. The 30-minute soundtrack includes traces of a conversation with a saleswoman about the various sexy men's underwear that I tried on. The final 5 minutes of the recording is of the nighttime streetscape of Yonge Street, between Seductions and the Glad Day Bookshop. It is part of my strategy to bring inside the outside world as a subtle, everyday sonic anchor and a disruptor of the liminal, or in-between space, of the performance and the city street.
KB: In a subtle way the sound added a lot to the performance. I had no idea what I was listening to, however I found myself trying to figure out what the sounds were as they seemed vaguely familiar.
For your next question I am wondering, where does your interest in queer politics and its relationship with prisoner rights stem from?
CP: Like many queer folk of colour, whether I am conscious of it or not, I am and have been imprisoned even though I have not been in a physical jail per se. I have a natural empathy for those who have been incarcerated and feel strongly that the Prison Industrial Complex (PIC) should be dismantled.
While living in Chicago in 2008, I became aware of the existence of Tamms, which housed a Supermax 'correctional' facility where prisoners had been held in solitary confinement for up to a decade. This prison had no yard and no cafeteria much less classrooms or a chapel. This prison did not allow phone calls, any communal activity or visitors and was designed with the tactic of sensory and social deprivation. So called 'disruptive prisoners' were sent there to 'break them'. Many were subsequently left at Tamms for years and years, without an appeal.
In the shadow of global controversy over solitary confinement and torture at Guantanamo and Abu Ghraib, Tamms Ten Year campaign was launched to raise awareness about this blatant violation of human rights in southern Illinois. At the time, I was part of TRADESHOW, a month-long art-activist initiative in Chicago's East Pilsen neighbourhood that featured devised performances, multidisciplinary installation, talks and community-engaged 'anti-sweatshops' to raise awareness around the intersection between history, labour and social and political injustice.
In the United States and increasingly in Canada, the overlapping interests of government and industry that use surveillance, policing, and imprisonment as solutions to economic, social and political problems is referred to as the Prison Industrial Complex (PIC). As artist-activists, it became an ambition of the TRADESHOW participants that the dots connect between labour rights and prisoners' rights.
Lately, I have been interested in the Roman notion of homo sacer, which is a banned person living outside of Roman law, that is deprived of all rights. He or she is vulnerable to being killed (without the killer being classified as a murderer). This is considered sacred; by this pre-Christian idea of 'sacred', I mean 'set apart' which can also include being sacred or accursed. Italian philosopher Giorgio Agamben talks about this in terms of someone being reduced to "bare life". Look at what is happening in Russian to queers today and what oppressed (and continues to oppress) African-Americans/African-Canadians, Mexican and Indigenous peoples in North America. You see that these groups share in common the experience of being defined outside the boundaries of humanity.
My initial impulse was to explore the connection and tension between the prison and the metaphor of the 'closet'. To do this, I combined images and rituals to engage the audience on a symbolic level. The installation component of ( )ound consisted of a seating arrangement that faced the installation and centered around the lone figure of a male (Brian Smith) who laid bound to the ground by duct tape echoing the rainbow flag. Smith is situated beneath a raised white metal bunk bed evocative of the ones associated with prison beds. There is no mattress above but rather a set of stark lights that draw a grid pattern of shadows over him. This installation set the foundation for the ritual / performance experience.
KB:You mentioned the role of TRADESHOW in the development of
( )ound, but I also see a clear connection with artist and political activist Guillermo Gómez-Peña. Can you describe, if any, the influence he has had?
CP: As a writer and a performance artist, Guillermo is a trailblazing artist-activist I hold in high admiration. After many years of crossing paths in Chicago and Toronto specifically, I was at last able to work with him during the Winter Intensive hosted by La Pocha Nostra in Tucson this past February (2013). During this two-week period, a group of international artists, academics and activists gathered to participate as well as to witness the US military's Operation Streamline firsthand.
For those who are not aware of what the USA military's Operation Streamline is, a fact sheet put out by Cultureofcruelty.org will be illuminating. I offer the following excerpt from this website because it touches the heart of what radicalized my training and artistic-activist experience with Guillermo Gómez-Peña and La Pocha Nostra.
"By leveling criminal charges for violations of civil immigration law, Operation Streamline has funneled hundreds of thousands of unauthorized immigrants directly from Border Patrol custody into the federal prison system. After sentencing, Operation Streamline defendants are placed in the custody of the Federal Bureau of Prisons, which increasingly holds immigrant prisoners in for-profit prisons and detention centers run by prison firms like Corrections Corporation of America and GEO Group. Consequently, Operation Streamline has played a key role in the expansion of private prisons, including injecting more than $1.2 billion into the largely for-profit detention system in Texas. Thus, Operation Streamline has not only forced immigrants into dangerous and utterly unaccountable private prisons, but has helped reinforce an industry with a direct financial stake in driving the criminalization and incarceration of immigrants."
I was aware that Operation Streamline is the end result of the border policing and public arrests made under Arizona SB 1070, but witnessing these 'coached' admissions of guilt had the duo impact of implicating us as helpless while tearing us apart emotionally. We were being held in complete silence by the strict rules of conduct in the court of law. In the context of my performance and installation, I was interested in attempting to translate this experience for the audience.
The humiliation of Mexician and Indigenous detainees was a judicial 'show', with men shackled at their wrists and ankles and chained. In place where their families (often living on both sides of the United States-Mexico borders) would have sat were a scattering of public defenders and on this occasion I refer to, 25 artists-activists-witnesses from around the world. Convicted of federal crimes in order to leverage the waiving of heavy state fines, these economic migrants of the globalized world were humiliated and exiled. I did not know it at the time but these men, along with prisoners at Guantanamo, were the USA equivalent of the Roman notion of homo sacer: outside of being human.
Posted by mz.katebarry at 4:56 PM 1 comment:
Imponderabilia: Re-enacting Abramovic
Imponderabilia was first performed in 1977 by Marina Abramovic and Ulay at Galleria Comunale D'Arte Moderna, in Bologna, Italy, for the duration of ninety minutes before the police shut it down. It was first created and performed during the height of second-wave feminism of 1970s, a time that brought about changes in mainstream society's understanding of sexuality, a time dubbed the sexual revolution.
In North America this era brought feminist consciousness, public nudity, birth control, gay and lesbian rights, as well as ideas of "free love" (sex outside the institution of marriage), into a wider consciousness. Harkening back, I am reminded that many iconic performance pieces from this era employ nudity as a transgressive strategy, most notably Vito Acconci's Trademarks (1970), Hannah Wilke's S.O.S. — Starification Object Series (1974) and Carolee Schneemann's Interior Scroll (1975). In this essay, Imponderabilia: Re-enacting Abramovic, I share my experience reenacting the performance while claiming for a feminist perspective when considering the significance of this important work.
Abramovic's performance Imponderabilia is ephemeral — it is about being in the moment and experiencing live art. In my personal experience, Imponderabilia is physical and sexy. It's a performance where two artists stand naked in the main entrance of the museum, facing each other, creating a space of uncertainty between the audience and artists. If the audience wants to enter the gallery space their single option is to pass sideways through the small space between two naked artists.
In 2010, I reenacted Imponderabilia during Scotiabank Nuit Blanche, at Hart House, University of Toronto, in a performance organized by the Justina M. Barnicke Gallery and presented in conjunction with the exhibition Traffic: Conceptual Art in Canada 1965-1980, curated by Barbara Fischer. I performed Imponderabilia for a total of five hours.
A diverse group of six artists of different genders, ages, shapes, sizes and racial backgrounds reenacted the piece. During Nuit Blanche we performed for one-and-a-half-hour segments, from 7 pm until 5 am. I performed Imponderabilia standing across from Gail Zamozniaka, a Toronto-based performance artist and yoga instructor, for such an interval. I also performed for three-and-a-half hours across from Francisco-Fernando Granados, a Guatemalan-born, Toronto artist and performer extraordinaire.
According to Abramovic, "the process is much more important than the result in performance art, everything is about process." In this spirit, prior to the event, we went through an intensive two-day training process designed by Abramovic and led by two performers, who reenacted the piece during the 2010 Museum of Modern Art exhibition The Artist is Present. The training process was designed to slow us down and bring us fully into our bodies. In one exercise, for example, we wrote our names for one hour without removing the pencil from the paper. In another, we sat blindfolded in a park for one hour. During the preparation we were also asked to fast during the day, and in the evening we were fed light, wholesome foods like fruits, vegetables, rice, water and herbal teas in order to purify our bodies. According to the Abromavic, the preparation for Imponderabilia trains the artist to be fully present in his or her body in order to gain a greater sense of interconnectedness with their performance partner(s), and the audience. [1]
What I learned from performing the piece is, Imponderabilia's ability to utilize the artist's body and physicality as an artistic medium allows for a questioning of patriarchal norms about sexuality, confirming that nudity can still be considered a subversive or trangressive act. Since radical resistance and cultural change depend upon destabilizing the status quo, nudity can still be considered a tool of resistance and a revolutionary strategy, broadening our awareness of sexuality and specifically its relationship to gender.
I think members of the public — like those at the University of Toronto campus — were more comfortable with the idea, or fantasy, of nudity in relation to the female body, since we are socialized to see naked female bodies in culture and art history. One direct example of this was that, when I performed Imponderabilia with a male partner, nine out of every ten passers-by would not face him, but instead faced me while making the passageway between us.
Moreover, the female body has a tradition of being mediated through social hierarchies. In the canon of art history, for example, the female body is framed as an object to be looked at and consumed. Yet, when a real naked female body is positioned in a performance space, it can most often disrupts expectations and norms around beauty, age, race, ability and objectification of female bodies.
While performing Imponderabilia, problems arise because the female nude is no longer mediated through pop culture or art history, but is instead confronted face-to-face. The presence of nude bodies, in the Hart House performance space, transformed the viewing experience from audience members looking at the body as object to audience members encountering it as subject.
While hundreds of audience members peacefully passed through us, many audience members could not bring themselves to pass through at all! Still others passed through with much hostility. This unknown territory of actual bodies still unnerves people.
Thirty-three years after Imponderabilia was first performed, it continues to bring the politics of the body to the forefront by illustrating how the audience's relationship to nudity destabilizes the dynamic between artist and audience. In Imponderabilia, nudity is used as a strategy to disrupt patriarchal norms in mainstream popular culture and art history, demonstrating it be considered a feminist and revolutionary action.
[1] During the training sessions we also created code-words for our safety, so that a volunteer, coordinator, security guard, or another performance artist who heard the code-word could intervene. And yes, I was paid and treated well.
QUEER NOISE SOLIDARITY
Skillfully chosen as the site for QUEER NOISE SOLIDARITY, Christie Pits Park has a long history of resistance after the legendary race riots that took place there in 1933. More recently this beautiful green-space and recreational park has been the location of a number of assaults on women. QUEER NOISE SOLIDARITY descended on Christie Pits on Friday evening as a way to respond to this violence, while linking feminism and the LGBTQI2S (Lesbian, Gay, Bisexual, Transgenered, Queer, Intersex and Two-Spirited) communities with live art.
The performance itself consisted of drumming in the park – not your stereotypical feminist, bongo-style, peace-loving drum circle, but rather it was a loud, experimental, triangulated fury of noise. During the performance, Calgary artist Wednesday Lupypciw acted as the conductor as she stood in the middle of a triangle (vulvic) shape of twelve all-female drummers: Celina Carroll, Tyla Crowhurst-Smith, Shavonne Tovah Somvong, Eleanor King, Conny Nowe, Karen Frostitution, Samara Liu, Laura Hartley, Rita Mckeough, Heidi Chan, Simone Baril, Alaska B. This large, loud, all-female ensemble puts the traditionally male-dominated world of rock n' roll to shame.
Karen Frostitution (left) and Heidi Chan (right), 2013.
Born from a small scale, feminist drum circle (with actual drum kits) that Lupypciw originally created for the visual arts component of Calgary's Sled Island festival, she worked together with FADO performance art centre and the Feminist Art Gallery (FAG) to bring things to the next level. Lupypciw created QUEER NOISE SOLIDARITY specifically for Toronto audiences.
By occupying Christie Pits Park QUEER NOISE SOLIDARITY adeptly positions itself as a unifying tour de force. To paraphrase artist Allyison Mitchell, if anyone thinks feminism is dead in Toronto, they couldn't be more wrong!
Above drum triangle photo credit Coman Poon.
All the other photos were taken on my iphone.
Wednesday Lupypciw (in red) standing in the middle of the drumming triangle.
FADO Performance Art Centre
Posted by mz.katebarry at 3:50 AM No comments:
Performance Ar13 features local and international live art and performance based work. I understand art to be an ongoing conversation and in that spirit, I will include some of my own work.
This Blog is performative itself as it stems from life and my motivation to make work that asks, "What is it like to be a female artist in the 21-century?" and to touch upon some truth in our common experience. I'll feature artworks that engage in genderqueer, feminist and other forms of transgressive or radical dialogue.
Today, I am inspired my some female performance artists in China.
Three lesbian couples protested against discrimination with performance art staged at Houhai in Beijing on May 16, 2013, in conjunction with the International Day Against Homophobia, which falls on May 17 every year.
Click here for the link
These female performers and activists are demanding basic human rights, illustrating how performative protest can speak volumes and how news & images can travel so readily over the Internet.
This International Day Against Homophobia protest is especially relevant in light of renowed Chinese artist Ai Weiei, and the incredible documentary, "Ai Weiwei: Never Sorry" 2012, a film directed by American filmmaker Alison Klayman. With a special appearance by one of my favorite chinese performance artists Tehching Hsieh. If you haven't seen it, you should watch it now, click here: Never Sorry
Haunted Lesbians: Allyson Mitchell and Deirdre Log...
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Home » Celebrities » Jed Wyatt, The Bachelorette Favorite, Exposed as Serial Cheater
Jed Wyatt, The Bachelorette Favorite, Exposed as Serial Cheater
06/27/2019 Comments Off on Jed Wyatt, The Bachelorette Favorite, Exposed as Serial Cheater
We have good news and bad news for Hannah Brown:
The good news? Jed Wyatt has totally been outed as a serial cheater and liar and we have the receipts to prove it.
No Bachelorette spoilers here. It's all out in the open, so at least you now can make the most informed decision.
The bad news?
Filming on The Bachelorette concluded months ago, long before all this sordid information about Jed came to light.
For those just catching up, Wyatt is considered one of the front-runners on Season 15 of the long-running franchise.
(Will he actually win the whole thing and propose to Brown on the finale? Visit our section of The Bachelorette spoilers to find out!)
However, earlier this month, a woman named Haley Stevens came out and said she was dating Wyatt when he applied to be on the show and then when he was actually accepted as a contestant.
"We spent the night together the night before he headed to L.A.," Stevens flat out told People Magazine, adding:
"He told me [the show] was just an obstacle and we'd be stronger on the other side because of it."
Here's the thing, too: This wasn't just Haley's word.
There's an actual text message seemingly sent by Wyatt to Stevens (above) on the day he left to shoot The Bachelorette.
"I love you! Don't forget that. Everything is always working out," it reads.
Sources have since said that Jed only went on the show to further his music career, never planning to fall for Hannah and always planning to just stay in his relationship with Haley.
Talk about the wrong reasons, right?!?
According to Haley, via an interview with E! News, her "whirlwind" romance with Wyatt was very serious; it included meeting each other's families and taking a vacation together to the Bahamas.
And then Jed was simply… gone.
"I never even got broken up with. Never got any explanation," Haley told E! News. "I could get choked up thinking about it right now."
Sadly for Haley, however, this was news that had already broken prior to Thursday.
We already knew Jed was a two-faced liar who had bad intentions upon joining The Bachelorette and who has not been remotely up front with Hannah.
But now we've learned something news and equally troubling.
During a conversation with host Steve Carbone on the Reality Steve podcast today, Haley was told about a woman Jed allegedly slept with during their relationship.
In other words: he cheated on Stevens separately from The Bachelorette.
"She showed me everything…this was I believe 10 days before you left for the Bahamas, he slept with another woman," Steve said on the podcast.
"And I have the text messages to prove it."
"Were you not aware that Jed was with another woman, 10 days before he went to the Bahamas with you?" he asked Haley.
"Nope," she replied. "I can only deal with so many things at one time. It's a lot to tackle. To watch it play out on TV and also, like here, you know?"
When asked if there's any chance she'd ever get back with Jed at this point, Haley responded: "No, nope. Irreparable damage."
Overall, it's not shocking that Wyatt is a cheater.
Men can be dogs. Heck, so can women.
The only shocking part to this whole story?
That Luke Parker is no longer the most despicable contestant on this season of The Bachelorette. Crazy.
The Bachelorette Spoilers: Who Gets Exposed? Who Wins Hannah's Heart? [UPDATED]Start Gallery
Kevin Spacey Sued by Accuser in Nantucket Criminal Case
Oh we DO like to paddle in a rock pool

redpajama_set_name: RedPajamaCommonCrawl


Jon and I got new dishes a couple of years ago. We'd had our old stuff for 15 years and it was showing its age. Many of the plates and bowls had faded or chipped. Same with the serving pieces. I went through a period where I couldn't have enough serving platters so I'm a little embarrassed to share how many I have. The dishes that are in good shape I kept. They are in my attic. I kept the platters also, the ones in good shape and the ones that are chipped. I don't use any of them, but I could and I might some day.
Last Christmas my mom gave us new wine glasses. I wanted something that looked a little vintage, these do and I really love them. I still have the ones those replaced. I love those also. They are on the top shelf in my kitchen, I can get to them if I want or need to. I haven't. I have a set of wine glasses that were my parents, they are tucked away and I'd forgotten about them until writing this.
I have two micro planes for zesting. I use one all the time and never take the other one out of the drawer. I also have two zesters that makes a twist to garnish a drink. I never use that either. I have five pastry brushes, I use maybe two of them.
I have eight casseroles. Eight! I do use those though. I have two muffin tins, haven't made cupcakes or muffins in years. I have eleven cutting boards! Various shapes and sizes, I use about four. Probably wouldn't miss the other seven.
We have crystal and china that belonged to my grandparents that would set a beautiful table if only I would pull them out of the cabinet.
Before I started this piece, I'd tell you that my kitchen along with the rest of my house is nicely edited. I fear I'd be fibbing.
Now, I don't believe I'm the only one sitting in this circumstance. We all have A LOT of stuff. Stuff we love and use, stuff we don't. There is no magic timeline on how long we should keep our stuff. That being said, it is never too early to start sorting, gifting and donating or at least thinking about it.
And I will. Soon. For some things.
Some things I'll keep a little longer.
My father loved clocks. Growing up we had a cuckoo clock in our kitchen and a grandfather clock in the living room, right off the base of the stairs. There were clocks in every room of course; the cuckoo clock and grandfather clock were his two favorites. He loved the grandfather clock most of all. Every 15 minutes it played a piece of The Bells of St. Martin. On the hour, it chimed. My bedroom was at the top of the stairs, so I heard it every 15 minutes all night and I loved it (no I didn't.) Through many moves and downsizing my dad's favorite clocks found different homes.
Fast forward many years later and my dad again had a new and very much beloved grandfather clock and a cuckoo clock. I wish I could capture the pleasure those clocks brought him, especially the grandfather clock. Daddy was able to get the clock at a discounted price because there was a small crack in a small piece of side glass near the top. You never saw the crack because of the way it was situated. My dad was never much of a housekeeper, but he tended to his clocks. Especially his grandfather clock.
We moved from Houston to Austin in 2013. My parents were kind enough to move also, their new home just 15 minutes from ours. My parents showed great courage in making this move. They were in their late 70's and early 80's and Houston had been home for 50 years. After we had been here about six months, my dad was taken by ambulance to the hospital. He was severely dehydrated, his heart rate was dangerously low and he was in acute renal failure. After a week, the addition of a pacemaker and lots of hydration, my dad was discharged from the hospital to skilled nursing for rehab. While at the nursing facility my dad's decline became brutally apparent along with the toll it had taken on my mom. His needs were far too great for her. So he became a full time resident.
Now my mom was in a home considerably larger than she needed or wanted. And as my mom is not one to sit still, she started whittling away. She gave her Christmas decorations to the nursing home. She gave furniture and clothes to its staff. She hauled stuff to Good Will. And all this before we decided she would live with us. Once we made that decision, she went into hyper-drive.
Please understand this was emotional for me, I felt I was letting my father down, dishonoring him. I did not want the clock and neither did anyone else. I ended up taking it to the Thrift Store near the nursing home and I was overwrought with guilt.
Then my sister spoke some magic to me. She told me that the clock would go to someone who really wants it. And that will honor Daddy. And she was right. And I felt better.
I tell this story because we all have our own unique grandfather clocks and other precious stuff. Stuff that we've collected over a life time. Stuff that represents precious memories. Stuff that helps define our life. And at some point we'll part with it. Some will go to children and grandchildren, friends and associates and they will be delighted and honored. And some will go to strangers, and please know that they will be delighted as well.


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@interface EM_ChatBaseView : UIView

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redpajama_set_name: RedPajamaGithub


THE FIRM'S PARTNERS AND ASSOCIATES have more than 20 years of vital industry experience and over the years have gained considerable exposure in both contentious and non-contentious aspects of Corporate and Commercial Law, Banking Law, Taxation Law, Shipping and Admiralty Law, Insurance and Re-insurance Law, Merger and Acquisitions etc.
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All work undertaken by the Firm is partner-led, with lawyers from respective departments, who are involved in the core areas of the law.


Telegram is my favorite messaging platform. It's secure, ubiquitous across operating systems, and feature-rich. More things get added all the time to the service, such as voice calls and themes, that bring it closer to its competitors like WhatsApp. V4.0 has landed and it brings a few things of note.
Video messages. Tap the mic icon to switch to camera mode, then tap and hold to record stylish video messages. Swipe up while recording for hands free mode (works with voice notes).
Meet Telesco.pe, where anyone can view video messages from public channels — no Telegram account required.
Bots can now accept payments from users.
The Instant View Platform is now public and will soon support thousands of websites, including your favorite ones.
Recording stylish video messages is different than video calling, which has not been introduced yet (though voice has been). It works pretty seamlessly, all things considered. There is also mention of Telescope, which is a hosting platform for video messages. This is more relevant to bloggers or those with some kind of following, and you don't need a Telegram account to view these.
The big news lies in the release of the Instant View Platform, which allows you to view webpages directly in Telegram and the messaging thread. It's meant to be more seamless than even the in-app version of Chrome. It does this by re-wrapping the webpage in an easy-to-read manner. It'll show the text (duh) and any other media like photos or videos. This will work even if the page in question isn't optimized for mobile viewing.
Though it's a brief note in the changelog, Telegram has an entire blog post about bots and payments. Starting on this version, you can order goods or services right in Telegram through bots (third-party applications that run inside of Telegram) that support them. You might find a "Pay" button below some of these bots' messages; tapping it will prompt you for billing info and then you're done. Accounts protected under 2FA can save card information.
Each instance of Instant View is lightweight and cached on Telegram's servers, so it should theoretically work on most connections. The platform itself is going public, meaning that anyone can create custom templates for how they want Instant View pages to look. There's a contest going on for creating these templates; be sure to check out the source link for more information. Instant View will also come with settings for background color, text size, and font — there's also an automatic night mode (which might be limited to iOS for the time being).
The v4.0 update should be live for everyone in the Play Store, so go check on your device. In the event that you have not received it yet, however, we have it over at APKMirror just for you.


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Jan 23rd - Identifying and working through problematic parenting patterns in treatment [SickKids CCMH Learning Institute]
Jan 24th - Incorporating Dialectical Behaviour Therapy (DBT) Informed Practice Working with Children, Adolescents and Their Families [SickKids CCMH Learning Institute]
Jan 25th - Understanding and comparing dreams from multiple perspectives in analytic treatments [The Toronto Institute for Contemporary Psychoanalysis]
Jan 28th - So, You Only Have Eight Sessions, What Do You Do? Integrating Evidence Based Practices in Time-Limited Psychotherapy/Counselling [SickKids CCMH Learning Institute]
Jan 30th - Trauma-Focused Cognitive Behavioral Therapy: Blending Theory with Innovative Techniques [SickKids CCMH Learning Institute]
schools agencies and other institutional orders (click here)
Mental Health in the Medical Setting: Delivery, Workforce Needs, and Emerging Best Practices; an Issue of Psychiatric Clinics of North America
Buckley, Peter F. (Edt)
Mosby / JOURNAL OR ANNUAL HA / 2015-03-01 / 0323391419
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Physical health and mental health are inextricably linked together. Moreover, as the biology of mental illnesses is gradually - and inexorably - being elucidated, the overlap between physical illnesses and mental illnesses has become even more apparent. These observations set the stage for readers of this issue of Psychiatric Clinics in which a variety of articles are presented from all aspects of medicine - from emergency mental health to how burn patients heal and cope with the physical and mental outcomes, to coverage of issues such as prolonged stay in the intensive care unit, comorbidities in the elderly, food allergies, depression and other common primary care conditions, and childhood diabetes. A primer on interviewing techniques and role play is presented along with the role of nurses who cross both mental and physical aspects of healthcare and the essential role of a supportive family to the interdiscipinary team .
Peter F Buckley, MD, is Professor and Chairman in the Department of Psychiatry at the Medical College of Georgia in Augusta. He immigrated to America in 1992 after completing his medical degree and post-doctoral training at the University College Dublin School of Medicine in Ireland. His thesis was on the subject of neuroimaging and neurodevelopment in schizophrenia. Before joining the Department of Psychiatry at the Medical College of Georgia, Dr Buckley was Professor of Psychiatry and Vice Chair in the Department of Psychiatry at Case Western Reserve University School of Medicine in Cleveland, Ohio and served as Medical Director at Northcoast Behavioral Healthcare System (NBHS), the adult state psychiatric services for Cleveland and Toledo, Ohio. Dr Buckley conducts research on the neurobiology and treatment of schizophrenia. He is author of a textbook on psychiatry and has edited eight specialist books on schizophrenia, as well as publishing widely in major psychiatric journals with over 250 book chapters, articles and abstracts. Dr Buckley is also Editor-in-Chief of the Journal of Dual Diagnosis and is on the editorial board of five other journals. He is recipient of several awards for his work, including an Exemplary Psychiatrist Award from the National Alliance for the Mentally Ill. Dr Buckley is also the recipient of the 2004 American Psychiatric Association Administrative Psychiatric Award.
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Moscow and St. Petersburg, in the footsteps of the tsars
The idea of a trip to Russia? it was quite sudden and we made it in a few days with the help of a travel agency. Among the various options available, we chose the Francorosso tour that seemed to us the one with the best value for money.
Does the tour include a visit to the two main cities? Russia, St. Petersburg and Moscow.
On arrival in St. Petersburg, what time? sunny and very hot.
After the usual customs checks, the guide who welcomes us at the airport takes us to the hotel.
The hotel? the Original Sokos Hotel Olympia Garden.
The hotel looks rather anonymous and ugly on the outside but once you enter the atmosphere? cozy, with a very nice restaurant and an always-on fireplace.
The hotel is 600 meters from the "Technological Institute" metro station which, with the blue line, leads in two stops to the "Nevsky Prospect" station, the nerve center of the city. The Metro ? very deep, it takes almost three minutes to get off the train.
Not ? late and take the opportunity to get to know the city a little. After dinner at the hotel, we arrive by subway in Nevsky Prospect, a straight line almost 4 km long, arriving then, in a quarter of an hour's walk, to the banks of the Neva river and the Hermitage museum, which we admire from the exterior, even if partially covered by scaffolding.
Along the river sails a boat with red sails, for the feast of maturity? which is celebrated on this very day. It is the famous festival of scarlet sails which is celebrated every year in conjunction with the end of schools.
Is it past 23 pm and the sun? still high, we are not fully aware of the late hour. St.Pietroburgo ? in fact placed around 60? parallel and in this period? characterized by white nights. The sun sets very late, after 23.30pm, and even after that the sky never darkens. A nice news? for us, which at first creates some sleep problems.
The day ? dedicated to visiting the Hermitage Museum, the most? famous and important museum of Russia and among the most? important to the world. The museum ? It was designed by the architect Bartolomeo Rastrelli and is truly impressive on the outside. We enter around 10.45 am, equipped with a headset through which we listen to the explanations of the guide, interesting but sometimes too long.
Built for Tsarina Elizabeth of Russia who had made it her residence, it was completed only after her death. Catherine the Great was the real creator of the museum. Today it houses thousands of works of art with paintings by countless painters and sculptors (Caravaggio, Leonardo, Canova, Monet, etc.). The entrance welcomes us with a splendid staircase of honor in precious marble. The interior ? rich in decorations, gilded stuccoes and truly luxurious marble floors.
The visit lasts almost four hours and is really tiring, we leave satisfied, even with the feeling of having really seen an infinitesimal part of the works present. There? a lot of Italy represented, the designer architect? Italian cos? as the countless artists represented here are Italian. Back to the hotel for lunch.
The afternoon ? dedicated to visiting the Pushkin Palace, 25 km from the city. Pushkin looks like a city? very clean and with lots of green spaces, in a park? present the monument dedicated to the great Russian writer Alexander Pushkin, who lived in the first half? 800.
The Pushkin Palace appears with a European style,? the influence of Buckingam Palace in London from which it draws inspiration is evident.
It is also known as the Catherine Palace and was born as a summer residence of the tsars.
The first part of the visit concerns the beautiful garden, with great attention to detail with geometrically designed lawns, floral decorations, pavilions. In an artificial lake? there is even an original gondola from Venice. The interior ? very opulent, in Russian Baroque. We are struck by the sumptuous rooms richly decorated and furnished. Great impression is provided by the Hall of Mirrors and the famous Amber Room whose walls are embellished with precious stones.
Does the day begin with a city tour? by bus which includes some photo stops.
Among these we are struck by the Church of the Holy Savior on Spilled Blood, with the traditional onion domes reminiscent of the more? Notes of the St. Basil's Church in Moscow.
Next, the Smolny Monastery. The Monastery is striking mainly for its external appearance with shades of color. white and blue and? considered a true masterpiece of the Italian architect Bartolomeo Rastrelli. The building, consisting of the central church surrounded by the convent, stands out for its baroque style combined with the classic elements of Russian architecture, with the classic domes of Orthodox monasteries.
Today the city administration, a monastic building and a faculty are located there. university.
We make a brief stop at the Church of St. Isaac. It is richly decorated and? covered with 14 different types of marble. The Cathedral's masterpiece? the dome for the construction of which over 100 kg of gold were used. Do we also visit a part of the city? beyond the Neva River from which? visible the Palace of the Hermitage in all its grandeur.
The afternoon ? dedicated to visiting the Petrodvorec palace, 30 km from the city.
The complex includes about twenty palaces, several parks and some woods and was built at the behest of Tsar Peter the Great, determined to build a work capable of surpassing the most in terms of luxury and splendor. sumptuous European courts, primarily the French Varsailles.
Do we not visit the interior of the palace, the palace? in fact famous above all for the magnificent park with its numerous tree-lined avenues, canals, pavilions, palaces, fountains and water features.
Among these, stands out for its grandeur and theatricality? the Great Waterfall, which descends from the terrace of the Grand Palace towards the lower Park.
Last morning in town? ? dedicated to visiting the Church of Santi Pietro e Paolo, designed by the architect Domenico Trezzini. Is it 122 meters high and at the top? placed an angel holding a cross.
The interior is also characterized by the presence of a single iconostasis (instead of, as usual, with three doors). The Cathedral also houses the remains of almost all the rulers of Russia from Peter the Great to Nicholas II and his family.
The visit of St. Petersburg ends. With the bus we transfer to the railway station from which, punctual at 15.00, the train leaves for Moscow where we arrive after four hours.
Travel ? quiet, the train? comfortable. The countryside landscape is disappointing, rather monotonous. Moscow welcomes us in gray and humid weather, having stopped raining a few hours earlier. But in the following days we will have to complain especially about the great heat. They lead us to the hotel, the Holiday Inn Moscow Sokolniki, a 25-storey building in front of the Sokolniki metro station which leads to Red Square in 6 stops. The hotel looks very luxurious but is it actually? we find more? of some disservice. Even the restaurant will not be? fully satisfactory.
The visit of Moscow can not? than to start from the monument pi? important of the city, the Kremlin, the fortified citadel located in the central area of the city, on the left bank of the Moskva River. It looks like an agglomeration of various buildings from different eras.
The visit begins with the Armory Museum where splendid and precious jewels of the tsars are kept, including the famous Faberg? Eggs. And then carriages and period clothes, precious pottery, war weapons and much more. Leaving the museum, we pass in front of the Great Kremlin Palace, with a 125 meter long facade. Is it the symbolic building of the city? in the halls of which diplomatic and state receptions are currently held.
Pi? forward there? the Square of the Cathedrals. It is the central square of the Kremlin where all the streets once converged. It takes its name from the three cathedrals that rise there, the Cathedral of the Dormition, the Cathedral of the Archangel Michael and the Cathedral of the Annunciation, characterized by the traditional onion domes.
In addition to these, the Faceted Palace, the Church of the Deposition of the Robe and the Church of the Twelve Apostles also overlook it.
The square was the site of the solemn coronations and funeral processions of all the Russian tsars. Still? background of the inauguration ceremony of the Presidents of Russia and the daily changing of the Horse Guards. The visit to the Kremlin comes to an end, not before passing in front of the Tsar's Bell, the most? large existing bell of 216 tons. The bell never rang: during a fire that broke out in 1737, a large piece of 11,5 tons came off? while still in the casting pit.
Leaving the citadel, we head towards the nearby Red Square, accessing it through the Door of the Resurrection. The door dates back to the middle? of 1500 but in the 20s the govern? Soviet ordered? the demolition as an obstacle for military vehicles that passed through Red Square during the frequent parades. Between 1994 and 1995 the whole complex was rebuilt. Near the door there? km 0 of Russia, the point from which distances across the country are ideally measured.
The Red Square? certainly a splendid monumental square, 700 meters long and 130 meters wide, enclosed on its four sides by splendid monuments. As soon as you enter the square, on the right? the splendid Historical Museum is visible while the Kazan Church on the left. Pi? ahead, always on the left, are the Magazzini Gum, a large shopping center built in the late 1800s, divided into three covered galleries for three floors in height. Today there are many luxury and fashion brands, many of them Italian and? frequented mainly by wealthy Muscovites. Its location in the city center? makes it a major tourist destination in the Russian capital. On the right there? the eastern wall of the Kremlin, the institutional seat of the Russian president, Lenin's mausoleum and the Tower of the Savior, the main tower of the Kremlin, consisting of a double series of walls and surmounted by a large red star with which it reaches 71 meters in height . It is equipped with a beautiful and massive clock-chime.
But the largest monument? famous of the beautiful square? the Cathedral of San Basilio, located at the end of the square and overlooking the Moscova river.
It comes with bright colors and the classic onion domes. The interior ? an intricate labyrinth in which nine chapels adorned with splendid iconostases alternate.
Does the day start with a city tour? by bus, passing in front of the pi? important monuments of the city, the Bolshoi Theater, the Red Square, the University. Beautiful photo stop with a privileged view of the Kremlin Palace, on the other bank of the Moskva River, a very famous shot of the Presidential Palace and the churches with their traditional onion domes.
We cross long boulevards, some of which consist of eight lanes in each direction of travel. The next visit concerns the Novadevici Monastery. Founded in 1524 by Basil III, the convent was known to shelter many women of the Russian imperial families and the Boyar family, who were often forced to take vows. It doesn't strike us in a particular way, even if we appreciate style and silence. We will return on the occasion of the night tour of the city. The tour continues to the Red Square where we stop there for a while, taking advantage of the information provided by the guide. We then separate from the group and venture into the huge streets of Moscow, where we juggle thanks to the map of the city? and despite the writing in Cyrillic of the signs and topographical indications. After about forty minutes of walking through the wide streets of the city? and with the great heat, we reach the Arbat, an important artery of the city, a pedestrian area with characteristic and elegant shops.
Down the street there? a Ministerial Palace, an ugly building with more? of 30 floors in typical Soviet style. The long walk ends at the Church of the Redeemer, yet another example of an Orthodox church with onion domes. From the nearby metro station we take the train that takes us, after a tiring day, to our hotel.
The day ? dedicated to visiting the Monastery of San Sergio, the most? important monastery and spiritual center of the Russian Orthodox Church.
It is located in the city? Sergiev Posad, about 70 km from Moscow, which we reach in about two hours by bus. Unfortunately much of the monastic complex? covered with scaffolding. There are numerous churches, the Cathedral of the Assumption, the Cathedral of the Trinity? and the Refectory of San Sergio. In the Cathedral of the Trinity? there? the tomb of San Sergio, still very much venerated.
The afternoon ? dedicated to visiting some of the subway stations, true masterpieces of the Soviet era. Komsomolskaya Station, with mosaics, marble columns and fine chandeliers, the richly decorated Koltsevaya Station, Ploshchad Revolyutsii stop, with countless life-size bronze statues. Real free museums available to everyone.
The evening ? dedicated to visiting Moscow by night. Let's retrace the pi? important monuments of the city? revisited with artificial lighting.
We are especially struck by the Red Square, with the illuminated St. Basil's Cathedral, and the Novadevici Monastery, which is reflected in the nearby lake.
The journey comes to an end. The only thing missing is the return flight that takes us to Rome in the late afternoon. A really challenging journey, with few stops and many visits.
In St. Petersburg we were surprised by the white nights, a beautiful and strange feeling to fall asleep late in the evening with the sun still above the horizon. A city? elegant, imperial. Does it have Central European inspirations that make it similar to a city? like Berlin or Paris. Moscow? instead a city? profoundly Soviet in which, in beautiful and modern buildings, the old buildings of the communist era, ugly and austere, still resist. Will I stay in memory above all the splendid and monumental Red Square.
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Marseille. The French apartment
4 days in Prague


2014: In seven games, ran three times for 13 yards...Also made four total tackles (three solo)...Earned a spot on the Great Lakes Intercollegiate Athletic Conference Football All-Academic Team (cumulative grade-point average of 3.00-3.49).
2013: Played in the final six games of his sophomore season...Ran five times for 20 yards and a touchdown...Also recorded three total tackles (one unassisted and two assists)...Earned a spot on the GLIAC Football All-Academic Team.
2012: Did not play in a game.
High School: Was recognized as a first-team All-Ohio selection in 2010 and 2011...Was named the Division V defensive player of the year in 2011...Was named to the all-conference team in 2009, 2010 and 2011...Was a two-time, first team All-Central District choice...Was the 2011 conference player of the year and the 2011 NCOFCA player of the year...In 2011, rushed for 1,444 yards and averaged 12.1 ypc...Played on four teams that claimed conference championships...During career, played in the state playoffs twice and the 2011 team was ranked third in the state...Lettered on the gridiron four times.
Personal: Son of Tami Bibler.


text:
Tag: installation
VIP Launch : Gallery
Celebrating the launch of the ART-AI Festival at Phoenix with an opportunity to see Klingemann's and Heaney's work.
Installations are open throughout the festival (May 16-31).
Installation : Britbot
The Britbot was originally commissioned for Sky Arts as part of their Arts 50 programme. It is an online voice activated chatbot that asks open-ended questions about 'Britishness' following topics in the UK citizenship test and corresponding book Life in the United Kingdom. Britbot responds to the answers given by someone interacting with it by sifting through hundreds of books, online articles and debates from which it compiles a reply it judges to be the best fit.
Britbot has been online since June 2018 and overtime has learnt from the people it interacts with. Its aim is to gather and reflect a diverse range of views and insights about what 'Britishness' really means today. When Britbot leaves Leicester's Art AI Festival, it will be reformatted into a legacy website with insights drawn from its conversations with audiences. A book will also be published based on a selection of interactions with users.
As part of the ART AI Festival 2019 artwork trail, Libby Heaney's Britbot is on display at Phoenix, 4 Midland Street, Leicester, LE1 1TG - download map.
Installation : Interstitial Space 2019
In this new interactive installation for the ART-AI festival, Klingemann has created an open feedback loop between the viewer and a portrait- generating adversarial network (GAN) – a type of AI system where two neural networks are pitted against each other.
Through a camera, the system behind the installation observes its own output - as it is being projected onto the wall of the gallery - and tries to identify facial features in real time. These features are then reinterpreted by a GAN that has been trained on portraiture from western art, which then becomes part of a new output, projected on the opposite wall of the space.
The noise and misinterpretation introduced by the neural models involved in this process mean that this system will never repeat itself, revealing the nature of the data it has been trained on. By stepping into the gap between the camera and the projection, the viewer's portrait becomes part of the cycle and they can attempt to take control over the emerging visuals.
As part of the ART AI Festival 2019 artwork trail, Mario Klingemann's Interstitial Space 2019 is on display at Phoenix, 4 Midland Street, Leicester, LE1 1TG - download map.
Installation : Neural Zoo
Neural Zoo is an exploration of the ways creativity works: the combination of known elements into a new, previously unseen element. The creator in this case is the algorithm itself but with a human artist as its muse. Isn't all art made by humans an execution or reshaping of data absorbed through biological neurons? How can we continue to inspire machine learning algorithms to create art for us, emotional humans?
The work has been made in collaboration with a convolutional neural network. These images resemble nature but they represent an imagined nature that has been rearranged. Our visual cortex recognises the textures but the brain is simultaneously aware that the elements do not belong to any arrangement of reality that it has access to. Computer vision and machine learning have offered us a bridge between what we know and a speculative 'naturess' that can only be accessed
through high levels of parallel computation.
Extending this idea, the artist explores our known reality. She argues that we could ultimately be digitising cognitive processes and utilising them to feed new inputs into the biological world. Routines in an artificial neural network become responsible for authorship. The resulting change of roles between human and machine further confronts us with the question: can art be reduced to the remapping of data absorbed through sensory processes?
As part of the ART AI Festival 2019 artwork trail, Sofia Crespo's Neural Zoo is on display at Highcross and Haymarket Shopping Centres. In Highcross, you can find the work located adjacent to Next (near the Bath House Lane entrance) and in Haymarket (5 Shires Lane, Leicester, LE1 4AN), the work is on display opposite The Entertainer on the ground floor and adjacent to TKMaxx on the first floor (1 Kildare Street, Leicester, LE1 3YA) - download map.


text:
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var _react = require('react');

var _react2 = _interopRequireDefault(_react);

var _propTypes = require('prop-types');

var _propTypes2 = _interopRequireDefault(_propTypes);

var _classnames = require('classnames');

var _classnames2 = _interopRequireDefault(_classnames);

var _utils = require('./utils');

function _interopRequireDefault(obj) { return obj && obj.__esModule ? obj : { default: obj }; }

function _objectWithoutProperties(obj, keys) { var target = {}; for (var i in obj) { if (keys.indexOf(i) >= 0) continue; if (!Object.prototype.hasOwnProperty.call(obj, i)) continue; target[i] = obj[i]; } return target; }

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exports.default = Badge;


Cheap and delicious pizza, spacious outdoor courtyard with fenced cubby house, slide and black board to entertain the littlies.
Playground open daily 7:30am – 6pm.
Play Area : Cubby with slide.
Refreshments : Coffee, breakfast menu, pizza, pasta, and drinks.


Braces or Dental implants? Which one should be done first?
Braces or dental implant? Which one should be done first?
There is a group of patients who require different types of dental treatment in order to enjoy a new and healthy smile. These patients have their teeth in a relatively good shape but need to straighten them. There appears a problem what to first and what is the better dental implants or orthodontic treatment? The solution is never the same, as it varies depending on the patient. In such cases, it is of uttermost importance to consult both an implantologist and orthodontist. They will propose the individual course of treatment which will provide each patient with the expected results. Below, you can read a grasp of important information that might be useful before you consult the dentist.
Dental Travel Poland makes it possible to have both cheap dental implants and braces abroad. You can have both your implantologist and orthodontist in Poland in the same dental office. It is important that your doctors cooperate with one another closely with regard to your treatment plan and visits dates. What is more, your dentists in Poland will be highly-experienced professionals whom you could trust. The good relationship with your dentist is vital because you will see each other many times within months or even years. Combining implantation with braces abroad will provide you with excellent results! Also, you have the possibility to choose your implantologist and orthodontist. Dental Travel Poland works with multiple dental offices and a variety of specialists, so if you feel you need to consult a few dentists before choosing the clinic and specialist, you can do it by all means!
Most patients are advised first to have an orthodontic treatment and secondly to have implantation performed. In such cases, the teeth position and bite are corrected before dental implants are installed. The important thing is that the braces treatment needs to be completed in order to proceed with implantation. Implants are impossible to be re-positioned orthodontically. Depending on bite problems, braces can be worn even 2-3 years. As soon as bite and teeth are straightened and adjusted, an implantologist is able to fit an implant perfectly in place. The right implant placement guarantees a natural look and minimizes the risk of any complications. So, after the orthodontic work, your teeth are in the correct positions and there is a space to install the implants.
Performing implantation before braces done extremely rare. Usually, dentists recommend completing orthodontic treatment, and after that implantation. The main reason for that is the fact that once implants are inserted, they stand still and cannot be moved by braces. Still, there are 2 exceptions where implants can be installed before putting braces. If your braces do not apply to the teeth opposing or surrounding the implant, they can be fitted. So, e.g. an implant on one of the back teeth can be installed if you need braces only for front teeth. And secondly, some dentists may decide to insert an implant because it could serve as an anchor helping move teeth in an orthodontic treatment.
Braces in Poland, as well as implants in Poland, are astonishingly cheap. Yet, their price varies depending on the individual patient. Dental Travel Poland offers a wide range of cheap dental implants abroad as well as various braces types. Patients can always choose between standard and premium Dental implants types and braces materials. The prices for braces start from 399 GBP, and for an implant with a crown on it from 800 GBP! We offer also assistance with logistics and with pleasure, we will help you organize your journey and stay in Poland!


You are visiting the placeholder page for Jack Nicholson. This page is here because someone used our placeholder utility to look for Jack Nicholson. We created this page automatically in hopes Jack Nicholson would find it. If you are not Jack Nicholson, but are an alumni of Manasquan High School, register on this site for free now.


text:
BHA launches drive to recruit UK workers
The hospitality industry has launched a new plan to reduce its dependence on EU workers in the wake of Brexit.
The British Hospitality Association's ten year strategy focuses on encouraging three distinct sections of the UK population to find work in the sector: the unemployed, returners to the labour market, and the next generation of workers.
UK citizens in the groups identified will be targeted via tailored events, promotional campaigns and school outreach work.
The strategy will build on the work already carried out through the BHA's Hospitality Works and The Big Hospitality Conversation campaigns and will aim to reposition the industry as a great place to work.
The BHA presented the plan to the government last week to coincide with a new report which shows that the industry would need to recruit more than 60,000 UK workers each year in the event that free movement of labour is ended as part of a Brexit settlement.
The report by KPMG and commissioned by the BHA concluded that this figure would be unobtainable given the competing resourcing requirements of other sectors and called on the government to ensure continued access to the EU workforce whilst the extent of the industry's reliance on migrant labour steadily declines.
The hospitality sector is highly reliant on EU national workers, according to the report, with up to 24% of the sector's workforce made up of EU migrants, including 75% of waiters and waitresses and 25% of chefs.
"It is clear from the KPMG report that hospitality and tourism face major problems in recruitment if there is any major cut in the number of workers allowed to enter from the EU," said Ufi Ibrahim, chief executive of the BHA. "We want to avoid there being any cliff edge but the government must be aware that in the medium to long term we will still need considerable numbers of EU workers, who have contributed so much to our industry and the UK economy in general."
Responding to the BHA's strategy, Unite regional officer, Dave Turnbull, said the industry would need to change the way it operates if it's to cope with the recruitment crisis. "There is no escaping that this is an impending crisis of the industry's own making," he said. "Recent months have seen even more restaurants exposed for 'creaming off' staff tips, despite the government's promise to crackdown on such scams, and workers being paid below the minimum wage in a Michelin-starred restaurant."


The First step of the Disposition schedule is "CutOff"
I need to trigger the Disposition schedule at a particular Date.
This date is independent of the creation date of the Record Folder.
I have created a manual Event at this Record level to start CutOff.
If i can find a way to write a code which would automatically complete this event instead of a manual completion at a desired date then my requirement would suffice.


text:
Q: How to show a quiz in HTML over Vimeo video in fullscreen mode for sure it is easy when the video is not fullscreen.
here the structure
.boiteVideo iframe{
  position: absolute;
  top: 0;
  left: 0;
  width: 100%;
  height: 100%;
}

#affiche{
z-index: 2147483647;
position: absolute;
left:200px;
top: 200px;
}

Un test overlay

I use Vimeo video and pyayer.js to show the quiz at good moment during the video
Everything work well the #affiche is over the video but in fullscreen nothing to do.
When I look the structure of Vimeo in fullscreen I see a class player, vp-video-wrapper, vp-video, vp-player-ui-overlays.
Someone have an idea it will be very appreciate
thanks
i try every class like player,vp-video-wrapper,vp-video,vp-player-ui-overlays
i can see in fullscreen to show the <div id="affiche" and nothing work.
also i try to include this div in the iframe like this
$("#affiche").appendTo($("iframe"));

A:

$("#btnFullScreen").click(function() {
  var element = document.querySelector(".boiteVideo");

  element.requestFullscreen();
});
.boiteVideo iframe {
  position: absolute;
  top: 0;
  left: 0;
  width: 100%;
  height: 100%;
}

#affiche {
  z-index: 2147483647;
  position: absolute;
  left:200px;
  top: 200px;
}
<button id="btnFullScreen">Open Video in Fullscreen Mode</button>

Un test overlay

redpajama_set_name: RedPajamaStackExchange


Your federal Member of Parliament is charged with the responsibility of representing your interests in Canberra. You have a right to advise your local MP of any concerns you have with dealing with the Child Support regime managed by the Australian Government.
A list of important or marginal electoral seats are included in the Resources section of this site. As these seats largely determine the outcome of the next election, these MP's should be made aware of the importance of child support reform. Constituents in these seats are in a particularly powerful position to help lobby for reform.


text:
Q: What happens if I use sessionStorage.getItem("data-theme"); if "data-theme" has not been defined yet? I grabbed javascript code from the internet that creates a button to toggle dark mode on and off and it works perfectly fine. Here I'll paste only the relevant chunk of what I've written so far:
    <script>
    // Wait for document to load
    document.addEventListener("DOMContentLoaded", function(event) {

    //store in a variable whatever the data-theme is in the sessionStorage
    var sessionVariable = sessionStorage.getItem("data-theme");

    /*
    // if it doesnt exist (which is null, i think) then it sets the data-theme value to light
    if string(sessionVariable) == "null"{
        document.documentElement.setAttribute("data-theme", "light");
    // if it does exist, which means data-theme is either dark or light, then it sets it to that
    } else{
    document.documentElement.setAttribute("data-theme", string(sessionVariable))
    }
    */
    document.documentElement.setAttribute("data-theme", "light") //THIS IS THE LINE THAT WORKS, I WOULD LIKE TO REMOVE IT FOR THE COMMENTED OUT CODE ABOVE

    // Get our button switcher
    var themeSwitcher = document.getElementById("theme-switcher");

    // When our button gets clicked
    themeSwitcher.onclick = function() {

    // Get the current selected theme, on the first run  it should be `light`
    var currentTheme = document.documentElement.getAttribute("data-theme");

    // Switch between `dark` and `light`
    var switchToTheme = currentTheme === "dark" ? "light" : "dark";

    sessionStorage.setItem("data-theme", "currentTheme"); //store in the sessionStorage whatever the data-theme's value is (the currentTheme)

    // Set our current theme to the new one
    document.documentElement.setAttribute("data-theme", switchToTheme);
    }
  });
</script>

It's all commented and pretty. You can check it out at pepesito1.github.io/test/general.html. The button works fine.
Now what I'm trying to do is add sessionStorage functionality to it. As you can see at the beginning I commented out a huge chunk of code: I think that should work but it doesnt, and the original unedited line that I grabbed from the internet is the one I said I want to replace.
So, my logic is, when the page is opened for the first time, clearly there is no "data-theme" stored on the sessionStorage. And when the second javascript line tries to getItem("data-theme"), it should return "null", right?. Then I make it so that if data-theme is null (which means its not been defined yet) it sets the theme to light (default mode), but if it is indeed defined then it sets it to whatever it is (either light or dark)
Yet when I erase the line that I want to delete and un-comment out that chunk of code, the button stops working alltogether. I suppose its because theres something wrong with my "if" statements. What is it? Is the sessionVariable not "null" when its not been defined yet?

A: The following line
if string(sessionVariable) == "null"{

should be changed to
if (sessionVariable === "null"){

A: The wrong thing with your "if" is that, you are comparing it with string null not actual null
i.e.
"null" /* this is string */

try
if(sessionVariable === null)

here null is absence of any value


Track your activity levels, sleep patterns, and heart rate data with the small Charge HR Wristband in black from Fitbit. This wrist-worn activity monitor tracks how many steps you take, your distance traveled, calories burned, floors climbed, and how many minutes you stay active. Thanks to its onboard PurePulse technology, the Charge HR also provides continuous and automatic heart rate data. You can use this heart rate data to monitor your intensity, analyze the effectiveness of your activities, maximize your workouts, and more—all without the need of an additional heart rate chest strap or accessory.
The Charge HR houses an OLED display that lets you see your progress in real-time throughout the day. In addition to activity tracking and heart rate data, the Charge HR is built with Caller ID, so you can see your incoming calls when your phone is nearby. Additionally, it features sleep tracking capabilities and is equipped with a silent vibrating alarm to help you wake peacefully. You can sync your stats wirelessly to compatible mobile devices and computers. Simply download the fitbit app to sync with a smartphone, which is available for iOS, Android, and Windows Phone devices. The Charge HR's built-in rechargeable battery lasts up to 5 days before needing to recharge.
Track workouts, heart rate, distance, calories burned, floors climbed, active minutes, and steps.
See daily stats, time of day, and get call notifications from compatible devices.
Get real-time run statistics, workout summaries, and review your routes and splits on the mobile app.
Use the Charge HR to automatically track your sleep at night, then review your trends on the dashboard. You can also set a silent vibrating alarm for peaceful waking in the morning.
The Charge HR automatically syncs your stats wirelessly to your computer and smartphone, so you can see your progress on-the-go and see detailed charts and graphs for tracking your trends over time. Download the Fitbit mobile app to sync with a smartphone, which is available for iOS, Android, and Windows Phone devices.
The built-in rechargeable battery lasts up to 5 days on a single charge.


It's 1st of April, but there's no fooling around on our car free day (CFD) ride on Easter Day. We rode over than 33 km from our house to Petak Sembilan and Monas, before cycled back through Antasari.
Taking opportunity of a less-crowded CFD (it's still a lot of people, mind you), we managed to arrive at Hotel Indonesia runabout and then, Petak Sembilan quite quickly.
Us in Hotel Indonesia rinabout with Asian Games counter – only 139 days to the biggest sporting event in Asia!
However when we arrived there, we were not really sure where to go. Yes, there was this "klenteng" (praying place), however as we were afraid to disturb the procession, we decided to explore some of the place's narrow alleys instead.
Then after a short ride, we stopped by at the fancy Pantjoran Tea House for breakfast. It is a nice heritage place which serve traditional chinese tea as its main serving. I wrote a dedicated post of the place here.
As you might read from my previous posts, Rafif is currently happy doing his toy photography stuffs. And this Sunday bike session gives him opportunity to explore different places which he can use as backdrop of his photo scene.
This time, Jakarta's land mark, Monas (stands for "Monumen Nasional" or national monument) become the place for this. We spent about an hour in Monas complex, and I let him explore. I don't mind though as I need time to rest, while eating my favorite bread from Delicious bakery, which I bought along the way to Monas.
Stopped by Delicious Bakery for my favorite banana-cheese bread.
Finally, at 09.30 we cycled back home via Antasari. I don't know if we're already get used to this, as I didn't find too tired for the whole cycling session, despite the fact we took less stops than our previous CFD session. Granted it was 8 km less than the previous ride to Kota Tua, but I don't think it was much of difference. Alhamdulillah for another great CFD ride!


text:
Protection and enhancement of Murray Cod populations in anabranches
The decline in connectivity of lowland rivers to their floodplain habitats (amongst a range of other factors) has contributed substantially to the decline of their native fish populations. Murray cod (Maccullochella peelii) are a fish species that are known to use both mainstem and anabranch habitats in the Murray-Darling Basin, but the importance of these habitats to this species remain unresolved. The objectives of this project were:
Compare anabranch and mainstem Murray cod populations
Determine the degree of movement of Murray cod between mainstem/anabranch populations
Provide a fishway operation guide to river managers of the Broken Creek
Populations of main channel and anabranch Murray cod were compared by capturing Murray cod by boat electrofishing. The movements of Murray cod was assessed using radio-telemetry and mark re-capture methods.
Numbers of Murray cod were found to be higher in the Mullaroo Creek anabranch compared to the main Murray River channel. The Mullaroo Creek anabranch population comprised a higher proportion of larger individuals compared to the Murray River main channel population. Mature sized Murray cod that inhabited the main river channel generally moved into this anabranch prior to, and during the spawning period. In general, larger Murray cod were found to make upstream migrations prior to and during the spawning season, though some of these movements occurred several months before the spawning season. Most migrating individuals returned to their home site after the spawning season was over. Juvenile Murray cod (< 500 mm) were found to only make small localised movements during both spawning and non-spawning times.
The Lindsay-Mullaroo system. Photo credit: Fern Hames
Nice cod being carefully released. Photo credit: Jamin Forbes
Murrumbidgee cod. Photo credit: Jamin Forbes
Anabranch systems such as Chowilla in SA provide vital year-round habitat for species including Murray cod. Photo credit: Jason Higham
Anabranches are an important year-round habitat and a likely important spawning habitat for Murray cod. Passage to and from these off-channel habitats is important for Murray cod populations.
This study suggests that Murray cod at the legal size for taking (500 mm) are unlikely to have spawned. This has important implications for populations of Murray cod in heavily fished areas. Since this study, the legal size of Murray cod has been increased to 600 mm.
MD1284 – Mesoscale movements of small– and medium–sized fish in the Murray–Darling Basin
MD 1959 – Murray cod fishery management model
Murray cod workshop
Native Fish Fact Sheets
Project MD158 Murray cod in anabranches
Saddlier, S., O'Mahony, J. & Ramsey, D. (2008). Protection and enhancement of Murray cod populations. Arthur Rylah Institute for Environmental Research Technical Report Series No. 172. Heidelberg, Victoria: Department of Sustainability and Environment.
Koehn, J.D. (2009a). Multiscale habitat selection by Murray cod Maccullochella peelii peeli in two lowland rivers. Journal of Fish Biology, 75, 113-129.
Koehn, J.D. (2009b). Using radio telemetry to evaluate the depths inhabited by Murray cod (Maccullochella peelii peelii). Marine and Freshwater Research, 60, 317-320.
Koehn, J.D. (2011). Spatial management of freshwater fish: a case study for Murray cod. In: Treloar, M.A. and Tilzey, R.D. (eds.) Spatial Management in Fisheries. Proceedings of the Australian Society for Fish Biology Workshop. Australian Society for Fish Biology, Canberra.
Koehn, J.D., McKenzie, J.A., O' Mahony, D.J. and Nichol, S.J. (2009). Movements of Murray cod (Maccullochella peelii peelii) in a large Australian lowland river. Ecology of Freshwater Fish, 18, 594-602.
Todd, C.R. (2009). Murray cod management model: an application of essential modelling software. Arthur Rylah Institute for Environmental Research, Department of Sustainability and Environment, Melbourne.
Under: Fish Habitats


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Local councils in England with an annual turnover of £65 million or less must complete an annual return in accordance with proper practices summarising their activities at the end of each financial year. In this annual return the term 'Local Council' includes a Parish Meeting, a Parish Council and a Town Council.
Each council must approve this annual return no later than 30 June following the year to which the return relates.
The files listed below include the Annual Returns made by Kennington Parish Council under these regulations.