I had total FOMO with the Giorgio Armani Eye Tints ($39.00) the first time I saw them, but I thought they were just too pricey so I just lusted after and thought about them for a long time. Finally, one day I just said F it and picked up Green Iron, the one I have wanted since seeing them on Christine from Temptalia, and Senso, a color I figured I could wear everyday. The FOMO was real, you guys. These are great; everything I thought they would be and some.
My lids have natural lines/creases and are very oily. Powder and cream shadows have a really hard time making love to my lids for a long time without a primer.
I swipe a couple layers of this right on my lids from the applicator. I let the color dry down for one minute and then take a fluffy brush to blend out the edges. This works on my lower lash line as well. I don't use primer with these. Both of the colors go on opaque, but you need to give them that minute to dry down, especially if you want to layer it.
The shadows last all day on me until I remove them with cleansing oil. I don't experience any creasing during normal wear but have noticed that after 15 hours, when it's time to remove it anyway, there is a bit of "build-up" in the crease which is remedied by taking a fluffy crease brush, the same brush I apply it with, and blending out the product. No need to reapply or anything, just smooth it out. I rarely wear eyeshadow for 15 hours but if and when I do it'll certainly be this one. I haven't tried using both colors together, but I don't reckon they were meant to be used that way; after all, they are nearly $40 a pop. I don't foresee any issues using them together, though. I have rounded out the edges of them before with powder shadow and the turnout was beautiful.
I love, love, love these shadows. I got so many compliments when I wore Green Iron. I would describe the color as sort of an antique green: a light colored green with gold undertones. It's not easy to pull off green eyeshadow, especially for work. But this contrasted very well with my skin tone, and it looked very clean and classy.
Senso performed in the same way as far as longevity and lack of creasing. Senso is more of a smokey-taupe and definitely works for everyday wear. I thought it would be more brown (warm) on me from swatches I saw, but it still works. When I pick up more of these, I will go for maybe a black or purple and a true brown. I honestly just want them all! These remind me of Charlotte Tilbury's Eyes to Mesmerise in quality and product, although Armani's is more thin and wet.
On a scale of 1-10, the Armani Eye Tints are a 9! I waited so long to have these and they performed as nicely as was rumored.The color payoff is beautiful, I don't have any issues with creasing, and they last allllll day. The only reason I didn't give them a 10 is because I apparently have a short eyeshadow attention span and don't reach for them every day like I did with my Master Palette by Mario!


There is 1 public school and 0 private schools listed on our site for Sumas.
There are 12 full-time teachers educating a total of 215 students. 103 students receive a free lunch while 23 receive a reduced-price lunch.


Registration is now closed. If you would like to sign-up for the waiting list, please contact Danielle Light.
The CrossRoads Fall Retreat is a time to dive deep into the role of faith in your life. Students in grades 6-8 can look forward to growing closer with friends as they explore this year's theme: Extra. Ordinary. Love. based on Ephesians 3:19.
CrossRoads will depart for Eagle Eyrie Retreat Center in Lynchburg, Virginia Friday, November 9 and return Sunday, November 11.
If you have any questions or concerns, contact Pepe Miller or Danielle Light.


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WWE dismisses recent lawsuit against US Citizenship & Immigration
Mar 11, 2021 - by Marc Middleton
WWE has dismissed their lawsuit against United States Citizenship and Immigration Services.
We noted back in late January how WWE had filed the lawsuit, but details were sealed to the public. Immigration attorney Martine G. Cuomo filed documents on behalf of WWE for the lawsuit, and it was speculated that the suit had to do with WWE not being able to get a talent or employee into the United States, possibly due to recent policy changes amid the COVID-19 pandemic.
In an update, HeelByNature reports that WWE filed a voluntary dismissal with the United States District Court of Connecticut on March 10. The suit will not move forward.
The case was assigned to District Court Judge Michael P. Shea in Hartford, CT back on January 27. That same day a protective order was filed to ensure details of the case remain confidential. US Citizenship and Immigration Services was required to answer within 60 days, and a pre-trial date was set for March 27.
There's no word on if a settlement was reached due to the court records being sealed.
McIntyre: "The only person Seth Rollins loves is himself"
Bret Hart Continues to Deny Rumors of Him Sleeping with Sunny
WWE SmackDown Social Score, John Cena on Resistance, Total Bellas – WWE Network
WWE Has BAR Wrestling Suspended from Twitter

redpajama_set_name: RedPajamaCommonCrawl


Isto é um(a) hotel para venda com 10 casas de banho e 8 quartos em 1050.00 m2. A área do terreno é: 8627.00 m2. Esta propriedade tem as seguintes comodidades: Mobiladas, Animais Permitidos, Varanda, Terraço, TV por cabo, Internet, Laundry Room, Estacionamento, Jardim, De frente para o mar.
O preço deste imóvel é: 695,000 USD.
Playa Avellanas is also 5km from Playa Negra, a wave known to be one of the best in Costa Rica! Driving 20 minutes can take you to the waves (and the night-life) of Playa Tamarindo, Playa Grande and Playa Langosto. 45 minutes to the International Airport Daniel Oduber in Liberia.
Full Description: Incredible income property.
The main house with 364 m2 has 4 bedrooms and 2 bathrooms. 3 car ports and parking space for 7 cars. Open living room. On the second floor is a large loft. The kitchen is Restaurant style.
House with 446 m2. All 4 cabinas have a laundry room, wireless internet, Direct TV, parking. They are fully furnished. The property is surounded by a beautiful tropical garden.
250 m2 Shop with a cabina, 2 bedrooms, 2 bathrooms, an office with A/C.
2 minutes from Avellanas Beach.
Lot size 8627.96 m2/ 92,870.58 sq. ft.
Home Features: Ceramic tiles floor, Telephon, Internet, DirecTV, parking, tropical garden.


Vintage 1920s green and purple crystal rhinestone belt buckle.
The belt is made up of small round cut rhinestones in a deco shape. Mounted on silver plate metal and threaded with a black velvet ribbon.
The belt will be gift wrapped and shipped worldwide free of charge.


Hallmark is once again offering a $5 off $10 Hallmark coupon. Print yours here.
Scrolling down the page I see a BOGO on holiday roll wrap ($4.99-$7.99). Any idea if they will combine this with the $5 off? It doesn't say no in the fine print. Hmmm.
Every year my store allows me to use this coupon on wrapping paper sales.
These are my favorite holiday season coupons I use them to stock up on chocolates for my children's stockings and to use as gifts.
Could someone tell me what the expiration date is, please?
Mine says it expires 11/26/2012.
I found a $5 Off $10 coupon in the December issues of Family Circle and Oprah magazine. It doesn't expire until December 24, 2012 and I was able to use them to buy Hallmark ornaments. Most of the Hallmark coupons exclude the ornaments, so I was thrilled to find these that don't.


On July 4th 1863, General Grant formally accepted Pemberton's surrender at Vicksburg. It was a defining moment of the war, although a more complex event than celebratory newspaper headlines of the time suggested (Grant paroled all 30,000 rebel defenders under the errant assumption most would never fight again). If you haven't yet downloaded our free Vicksburg campaign, today would be a fitting day to do so!
Early this May, we opened voting on a poll to see what great Civil War campaign players would most like to fight. There are so many excellent choices, but we initially narrowed the finalists to six--three from the east, and three from the west. The democratic process is an inherently messy one, which means our players wrote in three more vote-earning candidates. In another great American tradition, quite a few voters attempted to cast multiple ballots, sometimes all during the same day, and sometimes cleverly spacing out their votes over the course of weeks. Although we are not fortunate enough to have sensible voter ID laws here at 6mmACW, we do have IP address screening technology, allowing us to weed out about 50 of the 250+ votes cast in this poll.
After the break, we'll reveal the results in detail!


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Q: Unset php var when statement = "all" I try to unset my variabele when the input is not "all" in a selection of radioboxes. The if statemtent works and does the job perfectly, but the else doesn't work. Any ideas?
$profile = $_POST["profile"];

if ($profile != 'all') {
    $conditions["profile"] = $profile;
} else {
    unset($conditions["profile"]);
}

A: I think your $_POST variable may not be set. Try something like this:
either:
$profile = isset($_POST["profile"]) ? $_POST["profile"] : 'all';

or within the else block:
} else {

    if(isset($conditions["profile"])) unset($conditions["profile"]);
}

redpajama_set_name: RedPajamaStackExchange


Just wanted to share some pictures from my trip to Negril, Jamaica… by the way, I love Instagram! I believe it's worth every cent Facebook is paying for it.
I love Jamaica! Nice pictures.
Thanks! I've been going there ever since I was a child. Negril is one of my favorite places in the world.


A constraint that can be used for modelling the squared squares problem [CroftFalconerGuy91] [LintWilson92] (also called the perfect squared squares problem [Duijvestijn78]): a perfect squared square of order n is a square that can be tiled with n smaller squares such that each of the smaller squares has a different integer size. It is called simple if it does not contain a subset of at least two squares, corresponding to a square or to a rectangle. Duijvestijn has shown in 1962 that no instances exist with less than 21 squares [Duijvestijn78]. A single solution depicted by Figure 3.7.59 exists with 21 squares, where the squares have sizes 2, 4, 6, 7, 8, 9, 11, 15, 16, 17, 18, 19, 24, 25, 27, 29, 33, 35, 37, 42, 50 and must be packed into a square of size 112.
A catalogue of such simple squared squares of orders 21 through 25 is provided in [BouwkampDuijvestijn92]. The following table contains all the problem instances from the previous catalogue. The different fields respectively give the problem number, the number of squares, the size of the master square and a list of the square sizes. The two last columns present a solution as a ground instance of geost, and a graphical view (see the description below). Problems 166 and 167, 168 and 169, 182 and 183 are identical, but have two non -isomorphic solutions. A much bigger table can be found at the following link http://www.squaring.net/.
When the size of the squares is known four constraint programming approach are respectively reported in [AggounBeldiceanu93], in [VanHentenryck94], in [SimonisBourreauBeldiceanu99], in [BeldiceanuCarlssonPoderSadekTruchet07] and in [BeldiceanuCarlssonPoder08].
trashing: the status at the first node of the search tree where trashing occurs (i.e. trashing occurs at a given node if we do not immediately fail at this node but we immediately fail on all children of that node).
A two -dimensional view, which displays the compulsory part of the squares. In this context a square has a compulsory part if it has a compulsory part on both dimensions. Completely fixed squares are coloured in light grey or white, while not completely fixed squares are coloured in light red.
A cumulative view on the first dimension, which displays the squares that have a compulsory part with respect to the first dimension. Yellow squares correspond to squares that have a compulsory part in the first dimension but no compulsory part in the second dimension. All squares that are below the fat yellow profile correspond to squares for which the origin in the first dimension is fixed.
A cumulative view on the second dimension, which displays the squares that have a compulsory part with respect to the second dimension. Orange squares correspond to squares that have a compulsory part in the second dimension but no compulsory part in the first dimension. All squares that are below the fat orange profile correspond to squares for which the origin in the second dimension is fixed.
Within the context of leftbranch, each graphical view consists of similar graphic views. The only difference is that these views show how the compulsory part of an object increases as we go down a branch of the search tree. In this context the additional part of the compulsory part of an object is coloured in lighter blue as we go down a branch. This allows to see how the compulsory part of an object increases along a branch of the search tree. Finally not fat profile is shown in this context since we would have too many of them (i.e., one for each node of the path).
In the context of root, the biggest square (i.e., the light red square labelled with a 1) has a compulsory part thanks to the symmetry constraint. It also has a compulsory part with respect to the first dimension (note that we draw a rectangle since we consider the full height of the corresponding square). Finally it also has a compulsory part with respect to the second dimension.
In the context of trashing, the biggest square (i.e., the white square labelled with a 1) is completely fixed at the lower leftmost corner of the placement space. The second biggest square (i.e., the light red square labelled with a 2) is not completely fixed but has a compulsory part in both dimensions. Finally a third square has a tiny compulsory part. We retrieve these three squares in the cumulative views associated with the first and second dimension. Finally, within the cumulative view associated with the first dimension we also have a yellow square labelled with 8, which corresponds to a square that only has a compulsory part in the first dimension. On the one hand, the fat yellow profile corresponding to the first dimension consists of the three squares 1, 3, 8, which are completely fixed with respect to the first dimension. On the other hand the fat orange profile corresponding to the second dimension consists of the two squares 1 and 2.
In the context of leftbranch, we can observe how the compulsory part grows as we go down the leftmost branch of the search tree. For instance at the root node we have a small compulsory part for the biggest square (i.e., the square labelled by 1). Then, as we go down the leftmost branch, this compulsory part gradually increases until the square becomes completely fixed in the next two steps. We can also observe that the heuristics tends to gradually create compulsory parts on the cumulative view associated with the first dimension (in light blue on the second picture).


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2023 Festival Main Page
On View: Resonances
Past Currents 826 Exhibitions
Youth Internships
Elizabeth Leister : the invisible lake called telepathy
The invisible lake called telepathy was exhibited at CURRENTS New Media 2016.
Linking memory to the mirrored surfaces and murky depths of a lake, movement and voice recall the experience of swimming in dark, mysterious waters. Drawn lines animate over video footage of the moving body while the tone shifts from scientific explanation into a personal recollection.
ELIZABETH LEISTER engages a practice that includes video, performance, drawing and virtual & augmented reality. Her projects act as meditations on the unreliability of memory and the passing of time conceptualized through a feminist perspective on the female body, language and landscape. Her work has been presented at the Torrance Art Museum, Philadelphia Museum of Art and the Delaware Museum of Art; The Drawing Center, Art in General, and P.S. 122 in NY, and Highways Performance in Santa Monica in addition to various artist run spaces.
Her VR work has been presented at FIVARS, REFEST by Culturehub, FEMMEBIT and Mana Body + Camera Festival. She earned an MFA from The Milton Avery Graduate School of Fine Arts at Bard College and a BFA from Tyler School of Art at Temple University. Leister is Assistant Professor of Emerging Media Production in the Cinema and Television Arts Department at CSUN.
Andrew Elijah Edwards : UNTITLED BARRIER
UNTITLED BARRIER is a 3D animation which was shown as a single-channel video at CURRENTS New Media 2018.
There is a place that has emerged, a window opened that we've stepped through. Within it, consciousness is developing as a form of wildlife, a breeze rippling across the emerging landscape. Welcome to UNTITLED BARRIER:
the UNTITLED BARRIER from ∆ndrew Elijah Edwards on Vimeo.
My deep fascination with vision, looking, and the mind's eye, is expressed in the transmutation of light through digital media. I am creating work that explores the moving image as a medium for experimentation within a perceptual landscape of direct experience that lives on the outskirts of linguistic expression and a metaphysical power channeled through the imagination. I am in a lifelong love affair with the mystery of other worlds and the enchanted other of the dreamscape.
My processes develop in fascinations with the horizons of consciousness and new imaginal realms facilitated by our relationship to emerging digital media. There is a 'language' in the mind capable of communicating with the world in a space beyond language and my work inhabits and navigates this place.
Andrew received his MFA in Emergent Digital Practices from the University of Denver in 2014 and has been exhibiting work throughout the country from Santa Fe to Maine. He works at Spindleworks, a non profit art center in Brunswick Maine for adults with developmental disabilities where he brings a fascination with the electric landscape to facilitating an environment for animation, video, performance, and immersive installation.
http://andrew-elijah-edwards.com/
@aelijahe
Toban Nichols : Saturnine Tassajara
Saturnine Tassajara was shown as a Single Channel Video at Currents New Media 2018.
Saturnine Tassajara tells the tale of two monstrous outcasts, who, in the midst of existential crisis, set out on a hero's journey to search for what is missing in their respective lives. Intertwining both the narrative structure of an Ancient Greek play and the compositional underpinnings of a pop song, the story alternates between four acts and three response choruses.
Like Nichols' photographic and videographic work, Saturnine Tassajara explores the formal possibilities of digital distortion and the randomness of glitch as an integral process of creation. The loose narrative is displayed through amorphous forms, which transform with each successive act as the video chorus shifts through a distorted wireframe rendering of the campy, cult porn Batdude. With both sections, Nichols may be drawing a connection between the randomness of technical glitch and unforeseen potentialities in life and love.
The video addresses issues of "otherness," showing how those who do not easily fit into preconceived notions of normalcy are sometimes viewed as monstrous and undeserving of inclusion. As with the song snippet, from Frankie Goes To Hollywood, which opens the video, Saturnine Tassajara emphasizes the importance of love in our daily lives and its influence on transcendence, transformation and the conditions of identity.
Toban Nichols, is a visual artist and filmmaker from Los Angeles. His work has been seen in film festivals & galleries around LA, in Romania, Israel, & the Netherlands. He was also featured in Pop Rally at The Museum of Modern Art in New York City.
After earning a Bachelor's degree in painting, he studied New Media at the San Francisco Art Institute in California where he received an MFA in New Genres. He has been granted a residency with the Experimental Television Center in New York, and awarded the Juror's Pick at the ArtHouse Film Festival for his video entitled "BATTLESTATIONS!!
In the past eight years Nichols launched a line of textiles, created a photo app for iDevices worldwide and published his first photo book titled 'MY TWIN'.
He is currently in post production on his first feature length documentary titled "Beyond the Trees" for wide release in 2021.
www.tobannichols.com/
@notatoban
Nolan Tredway : Memory Garden
Memory Garden was shown as a Single Channel Video at CURRENTS New Media 2018.
A combination of photogrammetry and animation, Memory Garden looks at the temporal life and digital eternity, the difference between documentation and observation, and the inevitable passing of purpose.
memory garden from nolan tredway on Vimeo.
Music by Bell Mine
Found covered in moss near the Korvik River, Nolan was raised in the Great North by a mountain and a burning forest. He learned the art of storytelling from his time among the Volkos, before studying art at the University of Nebraska and Fundacion Ortega y Gasset in Toledo, Spain. He is currently the co-director of Tugboat Gallery and founder of the performance art collective, kindred.
nolantredway.com
Steve Summers : The Garage
Steve Summers screened The Garage as part of the Experimental Documentaries shown during Currents New Media 2019.
The Garage from Steven Summers on Vimeo.
Using his father's garage as a launching point of contemplation, a son compares and contrasts his blue-collar father to astronaut John Glenn. Wrestling with preconceived notions of fatherhood, what it is to be a man, and the taste of candy corn, he unlocks what it means to be a son.
Steve Summers is a filmmaker living and working in Chicago. His work varies from installation-based work to narrative films to experimental documentary.
www.stevensummers.net
Federico Cuatlacuatl : Tiempo
Tiempo, a 2D and 3D animation by Federico Cuatlacuatl was shown as a single channel video, along with two other pieces by the artist, at Currents New Media 2019.
Tiempo from federico cuatlacuatl on Vimeo.
Single Channel 9 minute looping video: "Tiempo" is a video and animation that used various techniques and methods in the production stages: live action footage, 3D animation, and 2D animation. This project explores the perception of time from an immigrant's experience and perspective. The visualization of the past, present, and future becomes a poetic approach through the scope of personification: the past misses me and begs me not to abandon it or forget it while the present needs me next to it at all times, and the future has always been desperately awaiting for my arrival.
Born in Cholula, Puebla, Mexico, Federico Cuatlacuatl is an indigenous artist based in Virginia. He grew up in Indiana and received his MFA in 2015, specializing in Digital Arts from Bowling Green State University. Federico's work is invested in disseminating topics of Latinx immigration, social art practice, and cultural sustainability. Building from his own experience growing up as an undocumented immigrant and previously holding DACA (Deferred Action for Childhood Arrivals), Federico's research is primarily concerned with pressing realities in current social, political, and cultural issues that Latinx undocumented immigrants face in the U.S. Federico's independent productions have been screened in various national and international film festivals. As founder and director of the Rasquache Artist Residency in Puebla, Mexico, he actively stays involved in socially engaged works and binational endeavors.
www.cuatlacuatl.com
Matteo Zamagni : Horror Vacui and Nature Abstraction 2.0
Matteo Zamagni installed the immersive VR experience Nature Abstraction 2.0 and screened Horror Vacui at Currents New Media 2019.
Horror Vacui from øøøø on Vimeo.
Taking place in the current unfolding global crisis,
the film explores the geological self-similar formations of Earth and the frenetic hyper-development attained by mankind;
It reflects upon the alienation from nature and the resulting break of the harmonious balance of life.
By apposing computer generated images and real-world footage the video blurs the distinction between reality and a digital recreation of it, questioning the act of perceiving and the biased notion of 'reality'.
Techniques used consists of Aerial Drone footage, Macro photography, 3D scanning, geological LIDAR point cloud, Ultra hi-res Satellite Imagery, 3D Modelling, Organic Physics simulations.
Horror Vacui (from Latin :'Fear of empty space') referred during Middle Ages, to the style of filling entire surfaces with detail;
this term reflects the ongoing human expansion in the film.
On the other hand 'Horror Vacui' relates to the Buddhist concept of Emptiness, the fear of the unknown and attachment to the materialistic worldview.
'Here then,
Form is no other than emptiness,
Emptiness no other than form.
Form is only emptiness,
Emptiness is only form.
Feeling, Thought, and choice,
Consciousness itself,
Are the same as this.
So, emptiness, no form,
No feeling, thought, or choice,
Nor is there consciousness.
No eye, ear, nose, tongue, body, mind;
No colour, sound, smell, taste, touch,
Or what the mind takes hold of,
Nor even act of sensing.'
Excerpt taken from the Buddhist Sevenfold Puja.
Created by Matteo Zamagni
Soundtrack by TSVI
3D Production : Lino Sabia, Lorenzo Depascalis, Claudio Giambusso, Matteo Zamagni
Editing, Compositing, VFX, Grading: Sabrina Haas, Claudio Giambusso, Matteo Zamagni
Executive Producer : Thomas Wightman
Nature Abstraction – Fractals Excerpt from øøøø on Vimeo.
Nature Abstraction is an immersive sensory experience that explores the arcane forms of fractals, mathematical visual representation of natural and biological forms.
Hosted at the Barbican Centre for the group show 'Interfaces' the project gives an insight into fractal formations through virtual reality, where they appear as three planets: Birth, Communion and Aether; Each accompanied with scores designed to facilitate meditative state and relaxation;
The fractals have also been processed through Google's Deepdream, transforming the fractal landscapes into morphing psychedelic patterns that our eye will recognize as
very familiar shapes although the way the images are created only aims to create a variety of random patterns on the canvas.
The audience is guided to explore these planets and dive into their vast complexities as well as observing the contrast between the entirely digital created world inside the VR against the fully analogue created film projected onto the faces of the cube which have been filmed in real life, recreating using analogue visual effects and various chemical elements.
Installation/Fractals : Matteo Zamagni
Scores : Daniel Ben Hur
Deepdream : David Li
Matteo Zamagni is an Italian born, new media artist and director based in London. He uses technology as a tool to create Immersive and interactive videos, Installations and performances.
His research stands between spirituality, art and science to create works that explores themes of consciousness, the body as perceptive interface, the expansive impact of mankind on the ecosystem as well as the recursive relation of natural phenomenons spanning across the observable world.
alt-o.com
Natasha Maidoff — Is There A Cure For My Friend
Two best friends embark on a mystical odyssey to find a cure for a life-threatening disease.
Is There A Cure For My Friend by Natasha Maidoff was featured in at the 2019 Festival Experimental Documentary Screening.
You can watch an excerpt of the film here on our IGTV or the film in its entirety on Vimeo, link following.
Is There A Cure For My Friend? from Natasha Maidoff on Vimeo.
"In 1987 my best friend found out she was HIV. We'd known each other since we were 3, and I couldn't face thinking of the future without her. We decided to make a film together, and make it much the way we did as children, calling our production company, "Two Girls Lost In the Forest." Our images came from games we played as children such as doing "the bicycle" with each other, or pretending to "run away" from home. This time, we were searching for a cure for her life-threatening disease. An androgynous shaman sends us on a journey through the four elements: first water, then air, fire, and finally, earth. I bury my best friend. The process of making the film was as important to us as the film itself; it brought us closer."
Natasha Maidoff's work is held in the permanent collection of the Museum of Modern Art, New York and in the online archive at the Brooklyn Museum, Elizabeth A. Sackler Center for Feminist Art. Her films The Orange Orange, Is There A Cure For My Friend and Traverse have toured internationally and have been screened at Guggenheim New York and the Pecci Museum in Italy. She has been a recipient of a Yaddo Artist Residency, and her triptych, "Live Cinema! The Sleepwalker, The Cowgirl & The Motherboard" opens at the Kennedy Museum of Art for Spring 2020 in Athens, Ohio. For the past four years her installations, performances and multi-channel works have been included in the Venice Family Clinic Artwalk and screened at Google,Venice.
www.natashamaidoff.com
For more information about the ongoing fight to end the AIDS crisis please visit:
https://www.amfar.org/ The Foundation for AIDS Research
https://nycaidsmemorial.org/ The New York City AIDS Memorial
https://actupny.com/ ACT UP New York
https://www.blackandpink.org/ Black and Pink organization fighting alongside incargerated LGBTQ+
Liat Berdugo + Emily Martinez as Five Twins
Anxious to Make is the collaborative practice of Liat Berdugo and Emily Martinez, two commissioning bodies.
Their focus is on the so-called "sharing economy" and the contemporary artists "anxiety to make" in the accelerationist, neoliberal economic landscape. Our work has appeared recently in EMMEDIA, Transmediale, Yerba Buena Center for the Arts, The Luminary, V2_Lab, and MoMA PS1.
Performative Validation For Working With Unfamiliar Materials was shown as a single channel video at the 2019 Festival.
How is one to understand technology by investigating its economies? The video "Liat Berdugo + Emily Martinez as Five Twins" is an ongoing commission of fake twins sourced from Fiverr.com who double themselves in postproduction. In outsourcing identities to laborers in this economy, this work examines the kinds of subjectivities produced by the sharing economy– and how these ideas relate to a subject re/produced in vulnerability, self-appreciation and self-esteem, qualities that underlie the psychology of the neoliberal subject.
Liat Berdugo + Emily Martinez as Five Twins from anxioustomake on Vimeo.
Anxious to Make, is taking artistic entrepreneurship to the next level. From existential anxiety to art market worthy end product, Anxious to Make proposes that by outsourcing all of the facets of artistic practice (and life) to gig workers and algorithms, anyone can make themselves into a creative enterprise and achieve the neoliberal dream.
Anxious to Make developed a methodology – along with a series of online generators, commissioned performances, interactive quizzes and an analog algorithm – to walk artists through common blockages and offer solutions that can be commissioned through the sharing economy, gesturing toward an endless productive duplication. This piece documents the body of video work resulting from this project.
Liat Berdugo is an artist, writer, and curator whose work focuses on embodiment and digitality, archive theory and new economies. Her work has been exhibited in galleries and festivals internationally and she collaborates widely with individuals and archives. She is currently an assistant professor of Art + Architecture at the University of San Francisco.
anxioustomake.ga
Guli Silberstein : Cut Out & Disturbdance
This week for Revisiting we are featuring two shorts by Guli Silberstein which were featured in our Experimental Documentary screening during last year's 2019 Festival.
Watch both here on our IGTV channel, along with previous Revisiting artists.
Cut Out from Guli Silberstein on Vimeo.
Radiant, raging 11 year old Ahed Tamimi is punching the empty space in front of her. A computer algorithm roughly cuts her out of the surroundings, struggling to contain her, with her enemies rubbed off the frame. Gradually, more fragments of the scene are revealed, and the context is made clearer. The processing of the 2012 video found on YouTube highlights the documented scene as an image, both of a fight for freedom and a media event.
Disturbdance from Guli Silberstein on Vimeo.
A young woman is blocking two armed soldiers from firing, probably rubber bullets, at protesters in a Palestinian village in the West Bank. The image, picked up from a TV news report found online, is digitally processed and slowed down, and the soundtrack is replaced with lyrical music. The scene is turned to a peculiar dance, almost romantic, highlighting the magical and rare human connection created in the heroic act, captured and transmitted by digital technology.
London-based artist, video editor and lecturer Guli Silberstein (b. 1969, Israel) researches the moving image by creating digital video experiences since 2001. Guli received a BA in Film from Tel-Aviv University in 1997, a MA in Media Studies in 2001 from The New School University, New York, USA, where he lived in 1997-2002, and since 2010, he is based and settled in London UK. His works are characterised by processing personal recordings, found footage, and mixes of both to create reflections regarding social-political issues and human perception. The videos have been shown and awarded in numerous festivals and art events worldwide, and a selection of it is included in Sedition Art's curated selection alongside Bill Viola, Yoko Ono, Rioji Ikeda, Tracey Emin and others.
www.guli-silberstein.com/
Anna Eyler : PAN/PAN
This week Revisiting features a single channel animation shown in the 2019 festival. The full video is below, and can also be seen on our IGTV. Check back every Thursday for new video!
Through computer-generated video, PAN/PAN (2018) probes the connections between exploration, wilderness, and technology in a contemporary context. Drawing on the visual vocabularies of landscape painting and NASA live-streams, PAN/PAN presents a series of relics from a distant future. Hovering between motion and stillness, virtual scenes are devoid of human presence, yet biomorphic apparatuses function as technological stand-ins for embodied experience. Their unexpected presence in the landscape calls into question colonial narratives of discovery embedded in early twentieth-century landscape painting. By conflating categories of artificial/natural and virtual/actual, PAN/PAN generates a playful yet uncanny vision of our technologized future.
PAN/PAN | FULL VIDEO (2018) from anna eyler on Vimeo.
As life moves more and more into virtual spaces, I am interested in the ways that digital technology influences our relationship to the natural world. Through a combination of sculpture and new media, I explore emerging forms of technological nature; that is, how technology mediates, augments, or simulates depictions of the natural world. I look to the materiality of the screen—as both portal and container—in an effort to probe this changing relationship. I focus on the porous boundary between virtual and actual space, looking to materialize the digital and dematerialize the physical. Drawing on the visual vocabularies of science fiction, nature documentaries, and online virtual worlds, my work speaks to the new ways that we experience nature in a contemporary context, examining the gains and losses therein.
The materiality of the digital is a core dimension of my practice, as I bring forms and materials from the physical world into virtual space and back again. Using 3D modelling software, I simulate and deconstruct objects from the natural world and embed them within virtual environments. Documented through looping videos, digital subjects are animated in unexpected ways that trouble their apparent material identities. At times, their forms are flexible and geometric, and at others, rigid and organic. In certain works, these virtual subjects are embedded in digital biospheres. In others, they are extracted from their "natural habitats" and forced to negotiate the void of digital space.
My recent work is centred on how we imagine and inhabit virtual spaces. I am interested in the ways that the global media industry—from cinema to video games—informs our online interactions, with particular attention to how real life power imbalances leak into virtual space, both in terms of design and use. At the same time, virtual spaces can operate as platforms for playful subversion and pointed resistance. Focusing on multiplayer online worlds and games, I examine virtual spaces as sites of emergence, where participant interactions exceed prescribed game dynamics and relationships. Although our visions of virtuality are deeply conditioned, I consider how online environments can function as spaces for radical imaginings of the future, both in-game and out.
Anna Eyler is a multidisciplinary artist based in Montréal, Québec. She holds a BA in Religious Studies and Art History from Carleton University (2010) and a BFA from the University of Ottawa (2015). She is currently an MFA candidate in Sculpture and Ceramics at Concordia University (2017-). Recent awards include the Joseph-Armand Bombardier Canada Graduate Scholarship (2017), the Desjardins Academic Scholarship (2018), and the Emerging Digital Artist Award (2018). Eyler has participated in residencies with Espace Projet (Montréal, 2015), Verticale (Laval, 2018), and the Bòlit: Centre d'Art Contemporani (Catalonia, 2019). Recent solo exhibitions with Nicolas Lapointe include beyond différance, and now at Ace Art Inc. (Winnipeg, 2016) and void loop () at the City Hall Art Gallery (Ottawa, 2018). Recent group exhibitions include Femmes Futuristes at Eastern Bloc (Montreal, 2019), the Currents New Media Festival (Santa Fe, 2019), and the Vector Festival (Toronto, 2019). Eyler currently holds the position of Coordinator for the Textiles and Materiality Research Cluster at Concordia University (Montréal, 2018-).
annaeyler.com
Alia Ali : Borderland
Alia Ali presented Borderland as an experimental documentary screening during the 2019 Currents New Media Festival. The video is shared on our IGTV as part of the Revisiting series, where each week we take a look back at previous single-channel and experimental documentaries shown in past festivals. Click here to watch.
Two things are for sure: as long as there is humanity, violence is certain and art will always be created from its sparks.
-Alia Ali
The term "borderland" is most commonly referred to as the crossroads where nations collide. It is a porous zone that diffuses outward from an artificially imposed human made punctuation called a border. Borders enact violence on the geography and identity of those living in borderlands. They are both imprints of power and scars of destruction. Borderlands, on the other hand, are the result of naturally occurring interactions among people and of nature trying to forge an existence in proximity to what is around them. In her photographic series, BORDERLAND, Alia Ali, re-examines these demarcated zones as territories of exploration drawing attention to them as transient physical spaces and a contemporary phenomenon from which the body of artwork is presented and the viewer is a participant.
Blossom Borderland Alia Ali 2017
Who is on the other side of the screen questions the very nature of belonging and interrogates the binary of home and exile. Is the subject the one who imposes the standards, the decision maker, the 'include'? Or the 'exclude'? In the human act of processing our surroundings, we unconsciously categorize. We separate good from evil; familiar from unfamiliar; threat from safety; alien from native… We, influenced by categorizations create these dichotomies ourselves. The theme of duality extends to questioning the moment in which the mysterious becomes apparent, freedom becomes restraint, and illusion becomes reality.
Seeing is an act of power, but so is being seen. When confronting the characters in the film, we are forced to confront the ways we include and exclude others in our daily lives. Is exclusion motivated by a primitive fear and search for security? A form of self-preservation? A metamorphosis of the outcast into villain?
What are the fabricated barriers in society that inhibit the incorporation of others? Or are the obstacles just that: ideas, intuitions, fear, discriminations and 'understandings'? The fabric, like borders, is narrow but long, defined physically and yet interpretative in identity- both have a capacity of exploration. Textiles are products of the earth, canvases through which culture manifests itself at the surface, and objects that become a part of us. Aren't borders as well? Or are they simply spaces of blankness?
Shibori I Borderland Alia Ali 2017
BORDERLAND was inspired by the aggressive push to block access, coupled with a strong nationalistic phenomenon taking precedence over providing security and refuge for those in greatest need. This discourse has already begun to build walls around the globe while simultaneously eroding communities built on diversity.
The characters in these snapshots are "undocumented" characters- their names are ambiguous and their exact location, a mystery. Collectively they weave together such as color, symbolism and texture eventually and simultaneously drawing on a sense of connection and alienation. Their existence questions what the human is and what lies outside and within it.
Parang II Borderland Alia Ali 2017
Fabric, ancient in its invention, is archival with the passage of time. The fabric, like the human beneath it, or the border it symbolizes within this body of work, is also vulnerable to the elements and to time. When all is said and done, borders shift and textiles disintegrate, but if well preserved and nurtured with culture, knowledge and grace they remain intact.
Borderlands, like textiles, are territories of exploration and zones in which we will be judged for our humanity.
BORDERLAND by Alia Ali from gulf photo plus on Vimeo.
Alia Ali is a Yemeni-Bosnian-US multi-media artist. Having traveled to sixty-seven countries, lived in seven and grown up among five languages, her most comfortable mode of communication is through image and multi-sensory mediums. Her extensive travels have led her to process the world through interactive experiences and the belief that the interpretation of verbal and written language has dis-served particular communities and presents more of a threat than a means of understanding.
Alia's aesthetic interests stem from people, place, and the processes which unite and divide us, all at once. Her work reflects on the politics and poetics of contested notions surrounding the topics of identity, physical borders, universality, mental/physical spaces of confinement, and the inherent dualism that exists in everything. Her work blurs the lines between what we claim to be objective and subjective, illusion and reality, truth and interpretation.
Alia's work has been featured in publications including the Financial Times, Le Monde, Elle, Vogue, Hyperallergic, and Harper's Bazaar Arabia. She has won numerous awards including the LensCulture Emerging Artists Award, the Allan Sekula Social Documentary Grant, the Magenta Foundation's Emerging Talent Award, and Gold in the Fine Art Category of the Tokyo International Foto Awards. She has exhibited internationally and has most recently exhibited in museums, fairs and festivals including PhotoLondon 2019 in the UK, 1:54 Contemporary African Art Fair in Morocco, Karlsruhe in Germany, the Lianzhou Photo Festival in China, the Stedelijk Museum Schiedam in the Netherlands, the Katzen Museum of Art in Washington DC, The Contemporary Art Center in New Orleans, and the Kuala Lumpur Photo Festival in Malaysia. Alia has presented lectures and workshops at Harvard University, the LACMA, the Middle East Institute, Gulf Photo Plus and the Arab American Museum.
Alia Ali lives and works in Los Angeles.
http://alia-ali.com/
Annette Isham : Among the Multitudes and Such Swiftly Subside
Revisiting #2 features two single-channel videos from the 2019 Festival made by Annette Isham, a video and performance artist who lives and works in Denver, Colorado.
Annette Isham was born in the Dominican Republic and grew up in Colorado. Her work questions identity and its relationship to geographical locations. The video acts as a link between alienation from the American western landscape and the forming of a new narrative. She uses drones to capture landscape and has recorded herself in various Venus garments to suggest a place where the feminine can move between dimensions.
…My work does deal heavily with the human relationship to landscape and it has connections to the sublime on many levels. Throughout my work, the functions of landscape and my body change depending on the project. In my most recent series, Among the Multitudes, I want to simulate the duality of something real and something made both in the environment and in the individual depicted, provoking thoughts of metaphysics. I am interested in the idea of dimensions congruently existing and want to suggest a world where doorways exist within the landscape, where one could be in between two places. I also want the landscape to be the habitat for an unearthly feminine form and represent a place where she visits often, coming and going whenever she wishes.
OtherPeoplesPixels Interviews Annette Isham
Among the Multitudes
Video / 5:42 / 2018
"My work researches identity, role-playing, and physical limitations. I explore these dynamics by experimenting with video, photography, installation, and by developing and acting out narratives. My work enjoys the absurd and often layers moments of fantasy and reality, creating worlds that play with time and space."
Annette Isham
Such Swiftly Subside
Annette Isham currently lives in Denver, Colorado. Isham received her B.A. in Studio Art at the University of Richmond and an M.F.A. from The American University in 2010. She was awarded a fellowship at the Hamiltonian Gallery in Washington, DC, where she has shown two solo exhibitions. Isham has exhibited nationally including Condition X at Westside Gallery in NYC and Man as Object, Reversing the Gaze at SOMArts in San Francisco. She has recently completed a residency at the Anderson Ranch Arts Center in Snowmass, CO and is teaching Time Based Media classes at Rocky Mountain College of Art and Design.
https://annettewashburneisham.com/
Read more of the interview with OtherPeoplesPixels at https://blog.otherpeoplespixels.com/otherpeoplespixels-interviews-annette-isham
Solastalgia by Robert Campbell & Babette Pendleton
This week the Currents Team is starting a new series of posts "Revisiting" that highlights past video artists!
Our first artist is Robert Campbell, who has shown single and multiple channel video in several of our past festivals. This video is a virtual representation of a four-channel video which was shown in 2017 and made in collaboration with choreographer and costume designer Babette Pendleton.
Solastalgia
Solastalgia, by Robert Campbell from Robert Campbell on Vimeo.
Solastalgia is an historical image-based research project being conducted by Ecco Tecchi, well known in the field of early 21st century elemental digital archaeology and reconstruction (AEDR). She has been working for five years at a site in the Civita di Bagnoregio archaeological sector (SACB) of central Italia in the region known at that time as Lazio.
The project is comprised of approximately one hour of recovered image data. Each reconstructed data segment is introduced by two identical identification tags on the outer panels, and a single frame of visual data interpolation in the center. The linear order corresponds to the data modification dates retrieved from two aluminum data discs unearthed at the site.
The originating group behind the image genesis is unknown. It is possible that the imagery might have had some sort of speculative documentary relevance in its day, but the reconstructed files reveal little if anything. Tecchi is fairly certain that the images are from disparate parts of the world: the metal, glass and cement buildings in one of the image data reconstructions, for instance, have been positively identified as belonging to the lost city of Seattle on what once was the west coast of North America. Most of the data reconstructions portray the architectural features of human civilization in and around the SACB (as noted in the archives of noted 20th-century architect Astra Zarina, a long-time inhabitant of Civita di Bagnoregio) before it was destroyed by a series of powerful earthquakes three centuries ago. Though not included here, Tecchi has also identified incomplete bits of written materials discovered at the site as connected to the originating group, repeatedly referencing topics such as markers, empire, the singularity, and solastalgia, a term describing forms of existential distress caused by environmental change, such as mining or climate change.
A note on sound: many of the reconstructions had damaged sound data embedded in them. Wherever possible, that data has been activated for the viewer to hear.
Ecco Tecchi's Solastalgia project has been curated for Currents by media artist Robert Campbell and choreographer/costume designer Babette DeLafayette Pendleton. Tecchi usually presents the reconstruction in a live context, acting as presenter and interpreter of the data.
Robert Campbell's body of work includes video art, digital media, multi-media performance, installation, and documentary film. Since 1984, his single-channel video art work has been exhibited at festivals and exhibitions in the U.S., Europe and Japan. For the past 20 years his new media, installation and digital print work has been featured regionally and nationally at the Frye Art Museum, Whatcom Museum, Kittredge Gallery, Henry Art Gallery, 911 Media Arts Center, COCA, Fuel Gallery, SOIL Gallery, Kirkland Art Center, Peeler Art Center, Commencement Art Gallery, MOV-iN Gallery, Santa Fe Center for Contemporary Art, Cheekwood Museum of Art, Museum of Northwest Art, University of Arizona Museum of Art, and included in the 2012 International Symposium on Electronic Art (ISEA) and eight of the past ten annual Currents Santa Fe International New Media Festivals. His video/dance/music collaborations have been featured at On the Boards, Bumbershoot, Cornish Playhouse, Port Angeles Fine Art Center, MOXSonic Missouri Experimental Sonic Arts Festival and Lincoln Center.
He has produced documentaries in the U.S., Italy, Ukraine, Cambodia, Zambia and South Africa, with excerpts of his work in Africa selected for the Journey to Planet Earth series on the PBS network. He was the 2016 Astra Zarina Fellow with The Civita Institute in central Italy; Artist-In-Residence at: Pilchuck Glass School (2006, '07); Centrum (2000, '05 and '09) in Washington State; and Burren College of Art in County Clare, Ireland (2000). He has taught courses in video art, documentary, animation, digital imaging, experimental cinema, video for dance, and video installation at Cornish College of the Arts since 1991.
In 2012 he founded the Institute of Emergent Technology + Intermedia (iET+I) at Cornish, which he currently co-directs with composer Jarrad Powell, Cornish Music faculty. Campbell received his BFA and MFA degrees from the School of Film and Video at California Institute of the Arts.
http://www.robertcampbellstudio.com/
Babette DeLafayette creates activated environments through her multidisciplinary work as an artist, curator, and producer. Babette utilizes her background as a choreographer and performance artist to build immersive body, sculpture, and multimedia based installations and performances.
Within highly collaborative environments, Babette works with others to combine elements of choreographed movement with endurance based tasks, sculpture, and video in haptic, embodied, and visually untamed performances and installations. Using surrealism as a way to subvert reality, roping together energetically authentic sources of pain, pleasure, and power while pursuing freedom through non-linear, psycho emotional releases that cultivate mystery and an unknown journey for the viewer, Babette builds physical collages that are emotional visual narratives filled with cacophonies of chaos, subtle disruptions, and empowering, thoughtful, risks.
Babette is the artistic director of Yellow Fish Durational Performance Art Festival, an experimental festival that presents, engages, and supports artists with a platform for durational and time-based performance art.
Her past curatorial work in Seattle includes building the Pendleton House, a creative collaborative entity that was a conduit for interdisciplinary artistic experiences to merge, and running a multipurpose art photography studio, New Tomorrow, which allowed for the integration of art, business, research, and communion.
Beginning in 2019, Babette stepped in as a producer and project manager for Sarah Cameron Sunde's, 36.5 | A Durational Performance with the Sea. 36.5 is a time-based art project, spanning seven years and six continents, that engages people directly on personal, local, and global scales about the crisis of sea-level rise. In 2019 the project will be produced in Brazil and Kenya.
Babette is currently based in Brooklyn, NY.
https://www.bdlp.company/
https://babettedelafayette.tumblr.com/
CurrentSoundscapes
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WELCOME NEW PARISHIONERS! New parishioners are always welcomed in our parish. If someone wants to register with our parish please contact Fathe Iura Godenciuc at (203) 865-0388 or our financial secretary Natalia Chermak.
VIGIL LIGHT: This week vigil light is given to God's glory and is offered by Stuart and Margaret Maybury in memory of Helen Brezicki.
ASLEEP IN THE LORD: Please remember +Peter Struck in your prayers. ETERNAL MEMORY!
Our next Pyrohy Project Saturday will be May 19. Please place an order, and come and help. We have great fun. Let others know about our delicious Pyrohy. Call your order in by Tusday: Larissa Swartwout (203) 248-9767; Anna Smigelski (860) 302-2176; Anya Rohmer-Hanson (475) 655-2141.
We have frozen pyrohy for sale while supplies last.
KOVBASA: The Knights of Columbus Parish Council will be making Fresh ¾ kovbasa and fried with 1 (one) pound of fresh cooked cabbage with a vegetable mix. A good meal for two people. The meals will cost $10.00. Please preorder to ensure that we make enough for everyone. Please call (203) 789-9554 only and leave a message with your order.
MOTHER'S DAY BREAKFAST: The parish Traditional Mother`s Day Breakfast will be held on May 13 after the 9:00 a.m. Divine Liturgy (note: only one (1) Divine Liturgy) in our church hall. All women of our parish are invited. The breakfast is hosted, sponsored and served by the Knights of Columbus parish council. We look forward to seeing you.
KNIGHTS OF COLUMBUS: The Knights of Columbus Blessed Metropolitan Andrey Sheptytsky Ukrainian Council will hold its next regular meeting on Monday, May 7, 2018 at 7:00 p.m. in the Church Hall. All men of parish are invited to attend to see what the Knights are all about and what they do and what you can do with them for your parish.
PANAKHYDA AT THE GRAVESITES: Father Iura will pray the Panakhyda Service at the gravesites will take place on Saturday, May 19 at 10:00 a.m. at All Saints Cemetery (North Haven) and on Sunday, May 20 at 1:00 p.m. at St. Lawrence Cemetery (West Haven). Please call the rectory to make appointments.


Placing a focus on instilling in our kids the positive pillars that mark a great leader, is a just and noble endeavor we, as parents embark upon each and every day. These lessons can be taught any where, any time and what better classroom is there than the one Mother Nature built from the ground up with her own two loving hands.
The Four Pillars of Leadership consist of Integrity, Respect, Determination and Confidence and our dear Mother Nature has got them all in spades. With a little observation, stillness and connection we can seek to show our children just how perfect they truly are.
Mother Nature is nothing, if not integrous. She is consistent and honest, although at times seemingly harsh, simply doing what needs to be done to maintain balance. She reflects her mirror of integrity back to us as we watch her conduct her symphony.
Integrity is deeply rooted in our every fiber, its core planted in the silence of our soul. It is connected to every word we speak, every action we take. Sitting with your babe by a stream, marvel as the leaves on the ridge of the mountain always change from green to yellow to gold and finally to brown and you will have learned that she is connected to you and you to her.
Click here to read my entire article at Amelia's amazing blog Tales of A Mountain Mama!
We certainly learn so much from Mother Nature and in turn it's great to be able to share it with our children along life adventures outdoors. Thanks for linking up and sharing with Country Kids.


John finished a thirty-seven-year career with the Postal Service in December of 2017. Prior to working for the Postal Service John Graduated from the University of New Hampshire with a degree in Physical Education and Kinesiology.
John Joined the staff at Wayne's World Elite Fitness Training upon his retirement. Wayne's World had been John's home away from home for the previous 4 years after having won the 2015 Summer biggest loser competition as the gym.
In March 2018 John received his Certified Personal Training Certificate from the National Academy of Sports Medicine. You can find John at the gym coaching bootcamps and providing personal training to clients of all ages and abilities.
When not at the gym you can find him refereeing High School soccer or umpiring High School softball. John lives in Lebanon with his wife Peggy and their golden retriever.


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The mission is focus on your success and the design and service principle is top grade with most reality, always keep improving. Our design team is powerful and helpful to your individual request. Our goal is your success. Knowing what you need is essential to our mission to successfully serve home and outdoor decoration. We offer high quality products in reasonable price and punctual delivery. We will keep you informed with new item through our website.


I wanted to address the forum as to not let speculation get to out of hand. I am actually amazed that anyone is concerned about me leaving Chicago Tattoo and the amount of support and well wishes i have received is very humbling. I want to thank everyone for reaching out. I spent ALOT of time at CTC ALOT! from the first time I walked in at 15 with Erik Gillespie and was promptly told to leave to the last 18years (almost half my life) I have been in awe of that place. In awe of the history, the stories, the people, the friends, the tattooing, the flash, the neighborhood. Everything was just amazing to me. I always wanted to be there. Always. I treated it as my own and most people didn't even think otherwise. I have met some of my dearest fiends through there and through tattooing and I owe a lot of gratitude to the institution that I believe I helped build and to the owner Dale Grande. Like all people my needs started to change, my family started to grow and my career really started to get in a great groove. It seemed like the hardwork I had put it was paying off but there where issues that needed to be addressed at the shop that couldn't be resolved. I've sat on this decision for quite some time actually over a couple years. I've done a lot of soul searching and confided in my closest colleagues and friends and especially my wife on what to do and I came to the decision to leave Chicago Tattoo. I wanted to move on still in love with tattooing still in awe of the history and still amazed at 18 years of amazing times some great some not so great. I have a lot of things in the works. Nothing to crazy or unexpected but I can say that I will continue to stay to true to tattooing and what got me to where I am without tattooing I couldn't say where I'd be.
Sorry I didn't get to meet you but I left the tee at the shop for you. If you can get a pic of you wearing the tee that would be money!
Hey Nick are you at the shop on Mondays?
Cool I will def drop you off one...so far I have booked Girl and the Goat and David Burke Steakhouse...I'll see you in Sept!
Hey Nick- I'm gonna be in Chicago in a couple of weeks and was gonna drop you off a t-shirt if you didn't already have one (Scott thought he gave you one but wasn't positive). Let me know!
So heres 3 tattoos by Ralph Johnstone done at what i figured was the 400 S State Street shop that he and Tatts worked until they changed the law to 21 in 1963 and everyone closed shop.. This guy said he was pretty young when he got tattooed by Johnstone but said he was always very nice to him despite the super scary guys that hung out there. He said Johnstone introduced him to some mob guys that used to hang out in the shop when he was there claiming that one of them was Capones brother.
its been a while since i posted but heres a few more old timers, the anchor and tiger where done on a guy named Chuck Renslow. Chuck was "partners" with Cliff Raven and actually introduced Cliff to Phil Sparrow. Chuck was learning how to tattoo from Phil in the late 50s and decided it wasnt for him, but thought Cliff should pursue it. The rest is history. The next two images where done in Milwaukee around 1965, this guy said that they where done by two different guys at the same shop. He said he was 15 when he got them and that the tattooers seemed ancient to him, so I am assuming they where done by Tatts Thomas and Amund Dietzel since they where working together at the time. this post has turned out to be pretty cool im stoked to see how many people have contributed..thanks for doing so i love seeing these old tattoos and how they have aged.
Has anyone ever thought maybe the reason Dann Higgs doesnt want anything to do with tattooing is the crazy Dan Higgs posts and sometimes creepy hero worship like the ones that happen here and everywhere else his name is mentioned. I mean ive never been tattooed by him nor met him, but i would think that its all pretty overwhelming.


text:
CBS livestream broadcast of Apollo 11 launch – this day in 1969
I was watching, like millions of others worldwide. Watch again and relive history right now.
Fifty years ago today, Apollo 11 began its voyage into American history. The Saturn V rocket carrying astronauts Neil Armstrong, Edwin "Buzz" Aldrin and Michael Collins launched from the Kennedy Space Center in Florida at 9:32 a.m. on July 16, 1969 — and just four days later, man first set foot on the moon. The moon mission was a milestone in human history. But it was also a groundbreaking moment in broadcast television, as CBS News anchor Walter Cronkite brought the frontier of space to living rooms across America.
Press the play button to connect to the livestream:
The event is being livestreamed in real time. The launch won't occur until 9:32 am ET today
Modern societies require minerals, and mining
NREL Energy Storage System Cost Benchmark
Yup – lived it back in the day ….
Reply to _Jim
I found this interesting by the guys/gals over at The Daily Wire too. They give more context, pictures of the projection screens in Central Park (NYC) where projection screens had been set up, etc.
"Apollo 11: What We Saw | Part 1 – We Choose to Go to the Moon"
From The Daily Wire:
"Apollo 11: What We Saw | Part 2 – The Clock is Running and We're Underway!"
Coach Springer
Thanks. Great context. Maybe especially the story of giving thanks told from the 2:50 to 8;22 mark in Part 2.
To be complete –
"Apollo 11: What We Saw | In The Beginning… – Part 3"
And –
"Apollo 11: What We Saw – Part 4 | Magnificent Desolation"
Michael S. Kelly LS, BSA Ret.
Same here. I was 15. In August of that year, my grandmother took my sister, my older cousin and me to Europe for a 30 country in 30 days tour. We were treated like gods everywhere we went (including France).
If you can, see the CNN documentary Apollo 11, which is playing at Air & Space Smithsonian. It's the best documentary I've ever seen, and one of the best films to boot.
Thomas Homer
While I certainly watched TV coverage in my youth, I recall the movie: "For All Mankind" from 1989 – it was the footage showing what those astronauts witnessed with no commentary that brought the experience to life for me.
"This movie documents the Apollo missions perhaps the most definitively of any movie under two hours. Al Reinert watched all the footage shot during the missions–over 6,000,000 feet of it, and picked out the best. Instead of being a newsy, fact-filled documentary, Reinart focuses on the human aspects of the space flights. The only voices heard in the film are the voices of the astronauts and mission control. Reinart uses the astronaunts' own words from interviews and mission footage. The score by Brian Eno underscores the strangeness, wonder, and beauty of the astronauts' experiences which they were privileged to have for a first time "for all mankind."
joe - the non climate scientist
July 16th is also the 74 aniversary of the Trinty test of the plutonium bomb south east of Socorro New Mexico in 1945.
Reply to joe - the non climate scientist
Is this a thread bomb?
I was 11 years old, it was a Saturday morning. My parents had allowed us boys to stay up until gone 11pm to watch this momentous event unfold. In the end, those silly lazy (SARC bigtime) chaps in Apollo 11 were taking far too long so my parents sent us to bed. I was awoken very early the next morning by my big brother with the words, "Alan, they've landed!" I lept out of bed, grabbed my dressing gown & ran downstairs with a slipper in each hand,& became rivetted to the black & white tv. It truly was awe inspiring, what a fantastic achievement by mankind, (& the West)! Upon reflection, Human beings, with all their faults, haven't done too badly despite what some might claim! Well done America! I do hope those few wierd people with small appendages can keep their mouths shut while we sane people celebrate this great day! AtB (PS, lets go back very soon!)
Reply to Alan the Brit
I was 13 years old in the summer of '69 … and certainly watched the moon landing live in the early afternoon (as I recall) and although it was the pinnacle of mankind's achievement … it couldn't hold a candle to that summer's discovery of my own manhood … with Linda. I was over the moon and saw stars that vacation on the Russian River. One small step … one giant leap.
I think that kind of momentous event remains with us all throughout our lives! 😉
Ahhhh the summer of '69. We traveled from the Bay Area to the Russian River riding in a caravan (as you Brits would say) pulled behind her mothers car. An illegal maneuver … which provided ample 'alone time'. I know … TMI … but the summer of '69 was arguably the best of my life. The era of 'Free Love' 'Haight Asbury' and the single greatest year of Rock Music … EVER! Oh yeah … and a bunch of really smart people landed us on the moon and returned to talk about it! What a year!
Bill Parsons
https://www.pbs.org/wgbh/americanexperience/films/chasing-moon/
This American Experience 3-part series is good also. A lot of stuff I didn't know.
CoRev
Yup! Lived and worked on it back in the day. I was surprised to find several who still believe it was all a fake (Dr Spencer's blog). I paraphrase a response after I challenged their claim: I don't know how they did it, but I'm sure you and the many others were not in on it…
Rightttt. No answers how they faked Apollo 1 and Apollo 13 accidents. Worse, these naysayers seem to be totally ignorant of any of the technologies, new and old, used in the processes.
Ric Werme
Reply to CoRev
I saw what happened at Roy's blog (mostly by just some twit who seems to have the same initials as me). That's why I laid down my stiff ground rules in my recent WUWT post. Seems to have worked pretty well.
I recall seeing a programme some years back now in which they seemed to fess-up the first few moments of footage, or at least some part of it, was footage from studio/warehous simulation due tothe specialist camera being accidentally pointed at the Sun or something like that! No idea of the truth on that score, anybody have a clue as to whether that was complete bovine content?
RicDre
"or at least some part of it, was footage from studio/warehous simulation due to the specialist camera being accidentally pointed at the Sun or something like that!"
If I remember correctly, that happened on Apollo 12 when Alan Bean accidentally pointed their TV camera at the sun which broke the camera. Some of The TV networks then resorted to "simulations" (I believe one used Jim Hensen puppets) to illustrate what was happening on the moon.
Walter Cronkite, shut up. Please, just shut up.
Somewhat to my surprise, https://apolloinrealtime.org/11/ wasn't overloaded at T minus 10 minutes!
Lancifer
I was an 11 year old watching this on our family's RCA color console TV in suburban Kansas City. It was exciting, but I had watched most of the earlier Apollo launches (as well as some of the Gemini launches) so it wasn't that big a deal.
What WAS a big deal was watching, 5 days later, the broadcast of the Lunar Modules perilous decent to the moon's surface and then, Neil Armstrong stepping down from the LEM and, in my opinion, accomplishing the most profound moment in human history. And I got to share it with him and with the millions of other humans watching from all around our little blue planet.
If you told that 11 year old kid that fifty years later we hadn't even sent a human to Mars he would have been deeply skeptical and very disappointed.
Reply to Lancifer
Speaking of 11YOs. This past week end I showed my grandson the Apollo 11 medallion I, and many others, got after the mission. His response? MEH. I guess this younger generation living with the space station and satellites, GPS and weather etc. as a normal background, it isn't exciting. 😉
Something different is unique to each generation, eh?
That's because someone at NASA decided there was a lot more money in scaring people than in giving them hope.
I was 5 when I watched this. I thought it was "neat" but didn't fully comprehend it at the time.
Alan McIntire
I was age 18 at the time. I had read plenty of science fiction, and in NONE of the stories did the first astronauts to land on the moon do it on live TV. I remember my younger brothers went outside to look at the moon during the event.
I noticed that Armstrong and Aldrin started out moving VERY slowly. As they became accustomed to the lunar gravity, they began bouncing around like bunny rabbits.
In my mind, the actual landing was rather anti-climactic. The high point for ME was during the Christmas Holiday in 1968, when Borman, Lovell, and Anders first ORBITED the moon, an object different than Earth.
Martin A
Reply to Alan McIntire
The high point for ME was during the Christmas Holiday in 1968, when Borman, Lovell, and Anders first ORBITED the moon, an object different than Earth.
Yes. And especially as it was only at the last moment that NASA decided that what had been planned as an Earth orbit test could be done as a Lunar orbit test. So suddenly we were watching color TV images of the Earth as seen from Lunar orbit.
One of the things that impressed me about Apollo 8 was that they were incommunicado with Houston (and everyone else in the world) when they fired the rocket to leave lunar orbit. I was plenty confident it would work, but I liked how Houston had calculated the times of recovery of radio contact for both successful firing and a failed firing.
The earlier time meant that they had accelerated past lunar escape velocity and should make it back to Earth.
Reply to Ric Werme
Ric I was working the receiving end of those radio and data messages. Few really understand and can relate to just how untried much of the technology and processes were back then. Much of the math was simple spherical trig and geometry, but finding that little vehicle in that vast space hadn't been done often and seldom at those distances.
Great times and memories.
Sky King
I was 19 at the time and had grown up among "right stuff" families , including Armstrong's in his X-15 days. I took for granted the technology then.
As an old man now I am so much in awe of what was accomplished. I can barely wrap my head around basic principles of orbital mechanics. So much technology, so many pieces all coming together. The project management of it all is a wonder of the world.
For those listening, who can possibly forget the Christmas 1968 broadcast:
We are now approaching lunar sunrise, and for all the people back on Earth, the crew of Apollo 8 has a message that we would like to send to you.
In the beginning God created the heaven and the earth.
And the earth was without form, and void; and darkness was upon the face of the deep. And the Spirit of God moved upon the face of the waters.
And God said, Let there be light: and there was light.
And God saw the light, that it was good: and God divided the light from the darkness.
James Lovell
And God called the light Day, and the darkness he called Night. And the evening and the morning were the first day.
And God said, Let there be a firmament in the midst of the waters, and let it divide the waters from the waters.
And God made the firmament, and divided the waters which were under the firmament from the waters which were above the firmament: and it was so.
And God called the firmament Heaven. And the evening and the morning were the second day.
And God said, Let the waters under the heaven be gathered together unto one place, and let the dry land appear: and it was so.
And God called the dry land Earth; and the gathering together of the waters called the Seas: and God saw that it was good.
And from the crew of Apollo 8, we close with good night, good luck, a Merry Christmas – and God bless all of you, all of you on the good Earth.
rah
I remember being stretched out on the living room floor watching it all. As a kid I started following the space program when I was about 7 years old when Glenn made his orbits. I hated it when I had to miss a launch due to school of some other activity. Hard to believe it's been 50 years!
When I was a 15 y/o kid and taking flying lessons I got to meet Neil Armstrong about a year after Apollo 11. Neil's brother, Dean Armstrong, was a neighbor that worked for GM and Neal came to visit.
A few years before that I also got to meet Paul Tibbets when he visited his niece and her husband, who worked for Tibbets Mechanical and lived across the street from us. (Tibbets was the aircraft commander of the B-29 Enola Gay, named after his mother, that dropped the atomic bomb on Hiroshima).
Armstrong hated it! The opposite of Buzz Aldrin, he had always shied away from publicity and interviews. He hated the notoriety of being the first man on the moon because it robbed him of his true love of flying the machines and hands problem solving in the realm of aeronautical Engineering. Never again would he be allowed to fly as a test pilot, let alone strap a rocket on his butt and take it for a ride. He became an Icon too valuable a PR asset in the leaner days after the Apollo missions to risk and so was relegated to a position at NASA with no test flying and for years after he returned from the moon spent much of his time fulfilling speaking requests for the PR department.
I hardly stopped watching all week. Truly remarkable moment
Lancfer
Reply to bill mckibben
It is good that even though we share very different views on the degree and implications of anthropogenic climate change, that we share a sense of wonder and accomplishment over the Apollo missions.
Maybe there's hope for you yet. 😉
Many of us saw it live on TV.
I was soon to be a teenager back in 1969, and I vividly remember watching every detail on our old black and white 25″ RCA TV that week. It was the best of times with that baby boomer bulge and probably one of the peaks of the best humanity had to offer and probably always will be. I still remember riding my bike at night that week while the moon was going from 1st quarter towards a full moon, and knowing there was a rocket up there going to the moon and that had finally landed and there were 3 men there, two of whom were on the moon at that very time I was looking up. I also remember wondering where we would be in 50 years and would our lot on the good Earth be any better by then. It is, and it isn't. But is most certainly better for the efforts that humanity have made for wanting to go to outer space and is the best hope for humanity going forward.
Joe -
I remember in first grade the first manned gemini flight (gemini 3) shown on the classroom TV.
Having grown up on the Jetsons, I thought we had already gone to Mars.
Paul S.
Remember when the image on the screen was upside down Neil Armstrong was coming out of the LEM?
Arbeegee
Ditto watched all the space flights no matter what the time. Collected Mercury 7 sticker memorabilia. So thought I was going to be an astronaut that I would type my letters asking NASA for info- typed them just in case it made a difference to my application file. 🙂 Inspired enough to get a pilot's licence. Cronkite was everything, so appreciate the CBS broadcast above. Actually met Gordo Cooper when he signed his book for me at Seattle's Museum of Flight at what must have been one of his last public appearances.
My daughters can tease me about living in the olden days before home computers and cell phones but when did their generation land on the moon? A thousand years from now, that is all that will be remembered about us.
Reply to Arbeegee
And they did it in a lunar module with a computing power inferior to that found in a modern washing machine.
Reply to rah
Rah, my wife reminded me that she bought me a new calculator a little later and it had FLOATING POINT arithmetic. The tracking computers, Univac 1230 and 1218, we were using didn't.
https://www.wsj.com/articles/lessons-from-a-trip-to-the-moon-11563137910
Interesting Andy Kessler article, "Lessons From a Trip to the Moon", which narrates the "1202" malfunction aboard Apollo 11 as they were attempting the moon landing. It's a good story, and Kessler goes on to tic off some of the accomplishments in "hard sciences" which followed and which may yet follow. If the link above doesn't work, please look for the article under its title in Google.
I watched it happening too, as a 16-year old. It's more impressive now than it was then, in my opinion, thanks to the innovations in media coverage which allow the many facets of each Apollo voyage, including the fatal and near-fatal glitches and multiple perspectives of people who were there. The 3-part American Experience series "Chasing the Moon" is doing a good job of weaving all the parts together.
Interesting trivia: "All six lunar landings happened during Richard Nixon's first term." (Kessler article)
TG McCoy
Reply to Bill Parsons
We did mighty things with just slide rules and simple (for today) computers.
Mighty things of this country are scorned and looked down on by the elites..
Sorry Mr.Obama, this wasn't and should never be about "Muslim Outreach. "
It is: "Per Ardua ad Astra."-with struggle, to the Stars..
Or to quote Alan Shepard: "Why don't you fellwos solve your little problems
-and light this candle!"
Yep, light the candle…
You see this, and then you can only be sad about what NASA has become. It is a shame they don't launch people into space anymore; they have to depend on the Russians, whom they were trying to beat in the space race, to do that. Also, apparently we don't have enough money because the government has to spend it on subsidies for unreliable "renewable" energy, to pay for people who pay no taxes nor try to speak English nor try to assimilate, to pay for more and more bureaucracies that we never needed, and oh such much more nonsense.
What is even sadder is I know those glory days at NASA will never return. The repubs are too spineless, save one. And they and the media and the dems are working quadruple overtime to torpedo the one who is not spineless. A politician's job is to get elected or re-elected; our needs and wants aren't even on their agenda. And what better way to get elected than to make people angry and distracted? By blaming DJT for everything, nobody will ask the inconvenient questions of "Why is my life not getting better under your 'rule'? What have you actually done to benefit me, the person you are supposed represent?" Politics has ruined NASA, and it is ruining the world.
Hocus Locus
https://arstechnica.com/science/2019/07/american-kids-would-much-rather-be-youtubers-than-astronauts/
On the eve of the Apollo 11 anniversary, LEGO asked The Harris Poll to survey a total of 3,000 children in the United States, China, and the United Kingdom about their attitudes toward and knowledge of space. The results reveal that, at least for Western countries, kids today are more interested in YouTube than spaceflight.
What do you want to be when you grow up? Pick up to three.
CHINA USA UK
56% Astronaut 30% Vlogger/YouTuber 29% Vlogger/YouTuber
52% Teacher 25% Teacher 26% Teacher
47% Musician 21% Athelete 23% Athelete
37% Athlete 18% Musician 19% Musician
18% Vlogger/YouTuber 11% Astronaut 11% Astronaut
(triple facepalm)
I was 10 they sent us home to watch it
I turned tv on watched a bit was bored n went yabbying;-)
I loved sci fi books captain we johns and similar but this?.. it didnt get me interested at all.
always puzzles me they did space station but for little enegry more a decent moon station could have been built many times over and fuel to return processed ON the moon for that and onwards to mars etc
they didnt know about the van allen belts had no shielding and stuff worked? and they didnt seem to have exposure /health issues?
ever the skeptic I wont truly believe until someone RElands and shows the area, pref from another nation.
re: "ever the skeptic I wont truly believe until someone RElands and shows the area, pref from another nation."
Pics – there are hi-res pics now of their tracks on the moon … have you seen them? I was at a website viewing them not a couple days ago … and this is aside from a few technically inclined folks who listened into the comms from the Command Module as well as the actual 'men on the moon' with their backpack VHF (297 MHz) radios …
"Lunar Eavesdropping: Two Men, a Radio, and Apollo 11"
https://www.vofoundation.org/blog/lunar-eavesdropping-two-men-a-radio-and-apollo-11-part-ii/
Excerpt: a unique accomplishment that is part of the Apollo 11 story but that is widely unknown: the work of Larry Baysinger, a man from my home town of Louisville, Kentucky, who independently detected signals from the Apollo 11 astronauts as they walked on the lunar surface. Last week's post introduced Baysinger and Glenn Rutherford, the reporter (and future editor of the Archdiocese of Louisville's newspaper) who recorded the project for posterity—both of whom I was fortunate enough to meet, four decades later.
And, four decades later, Baysinger still had the reel-to-reel tape recordings that he had made. He transferred the salvageable sections of the tape to digital format. You can listen to his recording and compare it to NASA's own recording here:
This webpage documents the efforts by a group to monitor the S-band transmissions of Apollo-17 via a 9-meter dish:
http://www.svengrahn.pp.se/trackind/Apollo17/APOLLO17.htm
Microwave signals from the Moon with a 9 meter parabolic dish
After a few days' rest we started preparations for microwave monitoring of Apollo communications. My radio astronomy friends had mounted a 9 meter dish on its mount on 28 November 1972 – while I looked on. The antenna was placed at the old radio observatory of the University of Florida near a little lake, Bivens Arm, outside Gainesville. The servo-mount was a piece of space history in its own right. It was used at Cape Canaveral in the beginning of the sixties to steer a command antenna for the first communications satellite Telstar!
The attempts to tune Apollo 17 was the first test of the 9 meter dish after its installation at Bivens Arm. The aluminum dish is Air Force surplus equipment. In the focus of the dish a feed antenna is placed to "illuminate" the surface of the parabola. The feed was a 30 cm by 10 cm cylinder and was only sensitive to left hand circular polarized radio waves. Its SWR (standing-wave ratio) was 1.2 over a 200 MHz range around 2300 MHz (S-band).
The signal from the feed was supplied to a tunnel diode pre-amp for S-band. This unit, the most critical item of the whole receiving system, had a 3 dB noise figure and enough gain to overcome the cable loss of the inch-thick coax cable that brought the signal from the dish to the listening post in a shed 25 meters away. In this shed the rest of the equipment was located.
Tombstone Gabby
How much things have changed.
I was working on the island of Borneo – TV – whats that? My wife was in Singapore. At that time, Singapore didn't have access to satellite feeds. Film was flown out from England a couple of days later.
Today I can take a movie clip of – well, right now – a thunder storm, attach it to an email and send it to virtually anyone in the world within seconds. We've come a long way technically. Socially, there still some work to be done…..
The ultimate 'talk' on the Apollo Guidance Computer (AGC) including a review of the instruction set/op codes et al and the software routines written for the various mission 'segments':
"34C3 – The Ultimate Apollo Guidance Computer Talk"


This letter, dated June 27, 1845 and addressed to Keoni Ana, is a nice example of every day official government correspondence. In Kekūanāoʻa's letter, he respectfully requests to be excused from the Legislature because he has jury trials that day at the Fort. A transcription of this letter is provided below.
Available in Foreign Office and Executive Chronological File, 1790 – 1849 1845 June 25-30.