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Read More | Issue 5 | Jan 08 | Glenlandia | Susan Collins
Issue 5 | Jan 08
Susan Collins Glenlandia
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Text and images Š 2007 artists, writers and Horsecross Arts Ltd
ISSN 1755-0866 | Online
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artspace Threshold artspace launched in September 2005 in Perth, UK. It is home to Scotland's only permanent collection of contemporary media art with 60 works acquired over 2 years. The artspace covers a number of project spaces available for artists' interventions including an entrance box for interactive soundscapes; a 'canvas' of 22 flat screens dominating the artspace for multi-channel video art installations; an interactive playground for art games and live internet art; a trail of sound boxes and sensors embedded in the floor and ceiling; an audio visual treat in the public toilets; copper-clad roof for light artists. All Threshold artspace locations are linked together by 'intelligent' software which allows artworks to be displayed through curated exhibitions and experienced 24 hours a day throughout the year.
Horsecross is an independent arts agency delivering cultural, conference and community activity in Perth Concert Hall and Perth Theatre. Located within the foyer of Perth Concert Hall Threshold artspace sits on the site of the original Horsecross, Perth's 17th century horse market. The name is synonymous with bustling activity in the heart of the city. The development of the £19.5m Perth Concert Hall and Threshold artspace was a Millennium project and is part of the area's economic development strategy to position Perth as one of Europe's most vibrant small cities by 2010. Horsecross aims to put this part of central Scotland firmly on the cultural map both nationally and internationally.
Glenlandia
Iliyana Nedkova
Landscape is not beyond words. It can be spoken of although it presents itself as sublime, external and marvellous.¹ Glenlandia is a fine example of a title encapsulating the concept, the evolution and the re-incarnations of an artist's project. It indicates an intimate relationship to Susan Collins' earlier project known as Fenlandia while marking a geographic shift from the Fens to the Glens. This is a location likely to be in Ireland or Scotland because of the Irish/ Scottish Gaelic overtones where a gleann (or a glen) is a valley, typically one that is long, deep, and often glacially U-shaped, or a waterway running through such a valley. Fenlandia was conceived as part of Silicon Fen – a curatorial umbrella for a series of new commissions and exhibitions across the Fens in the South of England. As an offshoot North of the border, Glenlandia brought an air of the Silicon Glen – the unfinished and failed project to turn Scotland into the Silicon Valley of the North. Metaphorically, the title of Collins' Glenlandia also plays with conceptual purity and clean forms as glan in Welsh is thought to mean clean and gleindid -– purity. As companion pieces Collins' works address the relationship between the natural and the manmade landscape – a diptych about our perception of technology, time and reality. As a coinage, the title of Glenlandia also occupies the factional juncture at which fact becomes fiction. If the naming after the Glens is deeply rooted into notions of Scottishness, -landia points to an outwardly, imaginary place. Collins' work thus harbours a split identity of a documentary set on the banks of Loch Faskally, and of a cinematic story with fictional narrative, which unfolds relentlessly from dawn to dusk. One could infer that Collins' title remains an ambiguous key and, probably precisely because of that, opens the way to both the contemporary art world and the arena of new media art.
Landscape I see countless landscapes, photograph barely 1 in a 100,000, and paint barely 1 in 100 of those that I photograph. I seek something quite specific.² When encountering Collins' Glenlandia either on screen or in print, one gets a strong impression of a landscape – one of the most enduring (and endearing) genres of art that deal with the depiction of natural scenery. From underground townscapes to clouds scenes; from seascapes to outer space landscapes; from soundscapes to countryside views -– the landscape genre has featured prominently in the artist's oeuvre. In various guises and often mediated through technology, the landscape has been a recurrent motif in Collins' earlier projects Fenlandia, The Spectrascope, Transporting Skies, Tate in Space, Classroom for the Future and more recently Underglow. The artist admits that the historic reference to the landscape tradition was very deliberate with regards to Glenlandia: 'I was seeking to compose the kind of view that a landscape painter (such as Millais) might have chosen.'³ To further reinforce this view of art history, the work's premiere presentation at the Threshold artspace was in a low-lit, quiet corner of the large open-plan artspace. Alluding to the classic display of oil paintings or prints, the work was presented on a wall-mounted, domestic-size flat LCD screen, complete with a customised, hand-made wooden frame blending in with the cherry tree veneer theme of the artspace. The allusion turns the screen into canvas, which was later superseded by print on paper – the traditional carrier of selected Glenlandia's imagery. To celebrate the yearlong accumulation of over 4000 archived images per year, four seasonal manifestations were selected. These included images 'harvested' on the following dates: 2 November 2005, 17:58pm, 31 December 2005, 23:02; 26 May 2006, 05:18am and 6 July 2006, 18:34pm. Glenlandia.The Four Seasons was born. Judging from its title, Collins' Four Seasons played with the symbiosis of visual arts and classical music at the Threshold artspace and Perth's concert hall.
Collins' seasonal prints assume a different status, more closely related to the history of printmaking, which Sean Cubitt exemplifies with James McNeill Whistler's Thames engravings. Likewise, these artist's prints, argues Cubitt, establish themselves as an autonomous body of work with 'a different aesthetic between observation of an extended moment in time and their spatialisation in a print.'⁴ The autonomous status of Glenlandia in print was confirmed by its inclusion in a series of gallery presentations as part of international group exhibitions.⁵ Collins' seasons follow certain printmaking conventions. They were printed, signed, titled and numbered on the back in pencil by the artist in a set of 4 limited editions digital inkjet prints on 13.5 x 18cm on A4 archival matte paper, each in an edition of 20. As if to round the trip to art history, a set of Glenlandia.The Four Seasons was framed, with each print 'floating' in a pale wooden frame. Collins' set was then exhibited permanently on site as part of Horsecross unique collection of contemporary art. From its inception, Glenlandia also favoured the presentation mode of a 'smart screensaver'. Downloadable from a dedicated project website http://www.susan-collins.net/glenlandia, Collins' 'datascape' was made available as a free, distributable artwork. Once downloaded and installed, the stand-alone Flash display software promised a full screen landscape bliss updated and refreshed in real time, contingent on network traffic and the number of simultaneous viewers. The reincarnation of Glenlandia as networked screensaver complemented the wall-based gallery presentation at Threshold artspace. It allowed artspace visitors to 'own' their own copy of Glenlandia and paved the way for the launch of the collectible limited edition. It also signaled the beginning of a programme of commissioning and showcasing artists' works utilising live Internet data transmission. Collins' work was soon to be followed by Olle Essvik's Sun Clock (2006) and Thomson and Craighead's Weather Gauge (2006) both specially modified for Perth and acquired for the Horsecross permanent collection. Back in the 1850s when landscape was first in vogue, painters, including Millais, used to scout the Lake District or the far reaches of Scotland for the best view worthy of their framing. Almost two and a half centuries later Collins followed in the footsteps of her Victorian counterparts traversing the Glens in search of her ideal kind of landscape. Her destination was Perthshire, known as the most scenic of rural Scotland. Instead of heavy load of measuring, photographic and paint equipment, for which her Victorian counterparts often needed assistants, Collins carried her precise measuring tool with ease – a digital camera. A couple of days on the road amassed a wealth of research photographs. Echoing Gerhard Richter's quest for 'something quite specific', Collins' work is also the outcome of countless landscapes seen and photographed for only one to emerge as Fen- or Glenlandia. Unlike Richter, Collins' quest continued beyond the point of the well-identified landscape location. She didn't settle on a single iteration of a perfectly framed view. Instead, the quest continued day in day out over the course of two years, accumulating an archive of hundreds of landscapes, all temporal 'clones' to the original inspirational image. The artist's choice of landscape was also prompted by the inaugural programme at the Threshold artspace. Collins was encouraged to draw inspiration from Perth's past and present, including its countryside. This was a recognition that the area was about to celebrate the opening of its own international venue for ambitious contemporary art projects.
If Glenlandia were the landscape genre par excellence, recording a scenic image as the artist (and by proxy, the camera) sees it, one would expect that the results be read as landscape. However, because of the time shift the image is often fuzzy and dream-like. It seems to dissolve before ones' eyes, utterly recognizable and unrecognizable at the same time. A good example would be when a full moon is captured passing through the night sky, where Glenlandia would result in a surprisingly outlandish imagery evoking a sense of planet and earth movement. It is this imagery that leans towards the tradition of constructing 'emotional' landscapes or 'mindscapes'. In her interview the artist elaborates on the representation of what is essentially mental or psychological scenes or an area of the imagination and the mind's eye. The fact that one sees almost an entire day within a single frame renders certain things visible, and others become abstracted. For instance, the fluctuations in the light:
The constant banding across the images show how frequently light changes throughout the day in a way that simply isn't perceptible ordinarily, and yet people or objects passing through instead of being captured in their entirety become quite abstract – represented by a captured pixel or two – whilst the permanent background of landscape itself endures, remains constant.⁶ Collins' mindscapes could also be read in relation to Gerhard Richter's landscape paintings, where landscape and abstraction are not opposed to each other. Despite the differing media and artistic practice, these categories emerge as related concepts in the artists' appropriation of reality. Collins often states her awareness that Fenlandia and Glenlandia 'lie somewhere between painting, photography and film'.⁷ One could also add printmaking, tapestry, webcam drama, surveillance show, performance for camera, computer games, software art and reality TV. The subtle references to a range of characteristic forms and techniques are perhaps indicative that the artist's work provides of a fine-tuned balance between contemporary art and new media art.
When we think about the way landscape is constructed, it is often in the shadow of painting. It is not especially remarkable in contemporary culture to find a digital artist alluding to painting, or a painter drawing on the characteristics of the film or video image. The modernist stigma that artist should use a medium 'purely', has long lost its force. However, without imposing an embargo on the comparisons between painting and other media, we need to be mindful of what Sven Lütticken describes as 'a cunning ideological ploy.'⁸ He argues that for large sections of the art world, painting remains the most privileged medium; that invoking the great history of painting is still an effective prestige (and price) enhancing strategy.
Drawing such parallels is useful especially when approaching Collins' works where the primacy of paintings is often coupled with awkwardness and ambivalence towards this powerful historical paradigm. Although Collins employs digital video, her use of a fixed viewpoint and stationary webcam could be seen as a return to painting. Yet despite the strong analogy between the process of creating and exhibiting oil paintings as discussed above and the artistic process of Glenlandia, there are fundamental distinctions which align Collins' work to other art forms. For instance, these are the art forms, which share the technologies of the projected image – from the cinema to the Internet. The basic ingredient of Collins' landscape compositions is the individual pixel. By definition, a pixel – usually a coloured dot or square – is the smallest discrete component of an image projected on a television screen, computer monitor, or similar display. By isolating the pixels the artist pushes them to the foreground as if to demystify the digital nature of the landscape image. The pixels become the focal moving point to hold people's attention – provided that the observers have a long attention span, perhaps 'the equivalent of the slow food movement but for the Internet'⁹. The pixel spotting while watching the live transmission of Glenlandia could be quite a task for the viewer. The pixels arrive at one per second rather than at the usual rate of tens of thousands. In theory, one could keep an eye for the arrival of the next pixel but chances are that it might be black on black or white on white. The accretion of the image leads to the deletion of the previous picture pixel by pixel, second by second. At this exceptionally slow rate it takes almost a day, or more precisely 21,33 hours or 76,800 seconds to complete one landscape or one image frame. Collins' pixel landscapes including Glenlandia, Fenlandia, Glastonbury Tor, The Spectrascope and their display as slow overlapping horizontal bands is governed by a customised software code, co-written by the artist in collaboration with fellow programmers Simon Schofield and Matthew Jarvis. The use of software concepts in contemporary art has triggered a considerable debate recently. Since the late 1990s 'software art' has been regarded by certain quarters as a genre worthy of critical speculation and merit or even akin to Conceptual art with its notations, algorithms and codes. Glenlandia, however, has employed software to enhance the reinventing of the landscape medium for the digital, pixelated age rather than to arbitrary ends which is often the critique levelled at software and data art. In the artist's own words:
The pixellation of the image was important to me, you can almost feel it being compressed and decompressed. There is honesty to it with the clunkiness of the technology at this particular stage of its development an intrinsic part of it. I am not sure if I would have made this work if the technology were at the stage where it was unseen or seamless.¹
Well articulated in their origin and intention Collins' datascapes represent a motivated choice. Glenlandia thus shies away from the prevailing trend of randomly mapping any data set onto another for data's sake when endless other choices are available. In his critical essay Cubitt even attributes 'angelic' properties to the pixels delineating Collins' work. The writer elaborates on the pixels-angels as messengers between irreconcilable realms, translating light from the natural landscape to the artificial realm of the computer monitor. 'The angel of technology', asserts Cubitt mediates its way between two antagonistic worlds and in so doing becomes a partner in the dialogue. On route, the pixels-angels pass through 'a zone of techne, where machines perceive, rather than human beings':
Angelic, the pixel announces only truth, but in languages that are not, or only residually, human. To this extent, Fenlandia and its more recent companion piece Glenlandia belong in a relatively recent landscape tradition for which the landscape is in some sense its own message.¹¹ Glenlandia's return to painting is accompanied not only by software 'datascaping' but also a deja vu of the early days of cinema. The artist has created a work of power from the most basic of cinematic elements – the single, unedited shot. Collins' continuous take follows the cyclical patterns of nature -– from dusk to dawn, from summer to winter – cross-referencing the early documentaries (arguably, the Lumieres' static films), time-lapse photography or accomplished artists' films suspended between the two. Ludlow Street (2007) by Wolfgang Staehle is one such example of the latter ---– a constantly evolving cinematic–photographic image that becomes a continuous record of every change in the street environment. Similarly to Glenlandia, Staele's projected image displays a live feed from a webcam, except that the cityscape is a non-interrupted view from the window of the artist's apartment in New York. Whereas Staele's point is the seamless recording of urban time and space, the target of Glenlandia's installation is not a recording but live translation. For instance, there is no record of a tree disappearing from the field of webcam vision during the live stream of Fenlandia.
The quintessential Scottish landscape – live 24/7
What are the aesthetic implications of the 'live' image, especially when a webcam is streaming over the Internet? Appropriating a readymade, such as a device available to average consumers, for artistic purposes is a commonplace innovative act. Much of contemporary art history could be explored through the prism of artistic subversion and 'misuse' of otherwise military, commercial or educational technology. Network webcams are often marketed as surveillance tools for home or office security. Increasingly, they are being employed by customers for more personal matters, such as monitoring children and pets. For contemporary artists, including Collins and Staehle, enabling people to 'watch 24/7' or 'watch live' may echo reality TV spectacle where viewers across the world sign up for numerous (Celebrity aka VIP) Big Brother programmes. However, both Collins and Staehle's webcams subverse the surveillance thrillers and psychodramas of the reality shows. Whereas such practices of people watching profess to show largely unmediated reality, the artists allude to them in order to demonstrate that there is no such thing as image without an element of fiction but are all based on choices. With its carefully staged composition and software intervention, Collins' cinematic tableau is thus an intriguing factional story about the how's and what's of surveillance. One of the aesthetic consequences is that the extraordinary becomes trivial and the minor – significant. Glenlandia's camera does not track the movements of the water, salmon, birds, insects, people, traffic, trees, logs, Moon or Sun. Instead it allows any animate or inanimate object to fleet in and out of the frame, from left to right, top to bottom, leaving no trace or just an abstract pixelated trail at best of times. This visual vigilance and stationary stoicism could relate Collins' webcam to the history of the artistic practice of performing direct to camera. Collins, however, doesn't cast herself or any actors to perform live in Glenlandia. It is the most fugitive of subjects – clouds and water, lightness and darkness – that don't cease to perform in Collins' scenario (except when Glenlandia webserver is down for annual maintenance). Collins' diptych Fenlandia and Glenlandia is anything but 'an unmediated, un-coded, non-symbolic transcription of external reality.'¹² It is this complex process of making rather than 'taking' photographs which finds its multiple exposures in Collins' big archive of landscapes. This is a carefully pre-meditated, pre-programmed process which questions photography's own status as a transparent documentary record of reality. The myth of factuality is exposed, as Calcutt argues, every time when our attention is drawn to the physicality, texture or digitality of the photograph as an object; to its inseparability from other systems of pictorial representation; to its 'unconscious optics.' Ambivalence is at the heart of the artist's critical investigation and desire to explain our relationship to landscapes. Collins remains ambiguous when, for instance, she would explore the ways in which popular 'postcard' images of the landscape influence the observer's eventual experience of it. If Fenlandia, by name and by nature, is about the technology, which is literally embedded in the flat horizons of a reclaimed landscape of canals, sluices, dykes and ditches, Glenlandia is even more ambiguous. Its ambivalence lies in the optical illusion of unspoilt natural landscape. At close inspection the idyllic loch-side view also appears to be cultivated and man-made. Loch Faskally was created behind the hydro dam at Pitlochry, which was built in 1947-50 as part of the North of Scotland Hydro-Electric Board's Tummel/Garry Power Scheme. The water level in the loch rises and falls according to need as it is drawn down to generate electricity and to facilitate the upstream migration of salmon, who bypass Pitlochry Dam via a fish ladder built into its structure.
But how does the shift in the 'iconic' Scottish landscape impact on our collective identity? A highly contested territory, Scottish landscape is often discussed vis a vis contemporary politics, literature and design as an 'endangered icon'; 'an ever-changing scenery' or in general terms as 'the always vanishing, damaged green world'. The barren hillsides of the Scottish lowlands and highlands were once covered by native woodland. Cleared or felled out of management over the years, they are now growing new species of 'intelligent trees' or wind turbines. Similarly, the loch side view captured in Glenlandia is thought by many people to be an attractive natural landscape, and is often photographed as such by passing tourists, it is in fact mostly man-made by the flooding of the river valley. The engagement with the Scottish landscape theme in Collins' work is unwittingly a rendezvous with a range of non-artistic concerns: ideological, political, ethical, commercial. For example, the flow of pixels (as a subset of the flow of energy originating at the hydro dam) depends upon both the laws of physics and the political organisation of power supplies. Equally, the human experience of the art, Sean Cubitt reminds us, depends upon the presence of the landscape at the remote location, and the complex of physical law and embedded ingenuity that comprises the technological apparatus. The power and the ethics derive from the lack of dependence on nature. In the case of Glenlandia and Fenlandia, the perception depends on the continuing functioning of the technological apparatus of dykes and dams, but is otherwise not dependent on the humans who, in this remove, observe the landscapes and leave no footprints.
If the landscape is 'an exhausted medium, no longer viable as a mode of artistic expression'¹³, will ecologism provide a new landscape paradigm for the contemporary art world? What are the historical precedents of the term 'ecological art', as advanced by some writers including Stephen Wilson and Barbara Matilsky? In the nineteenth century when landscape painting was coming of age, 'the painters' renderings had a major effect in stimulating biologists, geographers, and geologists to the study the wild lands of the Americas.' But, as Matilsky notes in Fragile Ecologies, the landscape paintings at that time communicated 'a sense of awesome spectacle, serenity, and solitude but few reflections of environmental dangers'.¹ Is Glenlandia a celebration of our safe and green environment? Perhaps, by choosing to focus its uncompromising webcam lens 24/7 for over 2 years on a hydroelectric station, Collins glorifies Scotland's major source of renewable energy? Could this be the artist revering at 'the power from the Glens' and opening a space for contemplation, rather than a fleeting moment of interaction or participation? Contemplate we do, on the historical amnesia at a time when the 'natural landscape' is seen by some opponents as if under threat from new green energy schemes such as wind farms. The opponents perhaps perceive these artificial lochs as less visually intrusive, although the dams that hold them back are still highly visible. David Hay goes on to remind us:
At the time of the Hydro scheme creation, the loss of the landscape was supported by most of the population as the project gave work to soldiers recently returned from the Second World War. Even the loss of valuable salmon fishing and access to spawning areas was accepted when the Fishery Laboratory was set up by the Hydro Board to mitigate the negative effects of the dam. In fact, only one new Hydro scheme has been allowed in the last 40 years.¹ ISSN 1755-0866 | Online
Looking past forward, Glenlandia invites us to pause and consider the future impact of green technologies on both aesthetics and politics. The rise and fall of the loch level in response to electricity demand, reflected in Glenlandia's images, is often described in emotive and metaphoric terms. It is likened to 'giant lungs absorbing and producing energy.' This perception echoes Sean Cubitt's view on 'techno-panic' that 'aesthetics might seem like an alternative to politics, but it might also be an alternative politics.' If there are formal analogies but hardly any contextual similarities between Glenlandia and the early landscape artists, it might be good to explore the practice of the land and earthwork artists of the 1960s as the precursors of 'ecological art'. Robert Smithson, Walter De Maria, Christo and Jeanne Claude, and Dennis Oppenheim all worked outside the galleries in the unbuilt environment, paving the way to art with an environmental regeneration agenda. Perhaps, Glenlandia is an invitation to reconsider the monumental yet ephemeral practices of those artists, and Robert Smithson in particular, whom Collins cites as very influential alongside Krzysztof Wodiczko. Smithson, 'arguably the most important artist to define the territory of land art and site-specificity' wrote in 1969: 'The old landscape of naturalism and realism is being replaced by the new landscape of abstraction and artifice'. Collins reconfirms Smithson's prophecy – contemporary artists have been reclaiming landscaped and natural environments as their medium of choice. In the process they have modified the way the observer perceives these territories revealing their hidden aesthetic and environmental values. Judging from contemporary ecological perspectives, as Wilson does, however, the work of Smithson's, et al was 'self-contradictory':
At the same time that it attempted to increase awareness and appreciation of these external settings, it was environmentally cavalier in its disregard of the physical and organic locales: the last was just more material for making art'¹ Viewed historically, contemporary artists including Collins, The Center for Land Use Interpretation, John Davies, Marine Hugonnier, Cornford & Cross and Christina McPhee, continue a long tradition of attention to the landscape that encompasses not only Robert Smithson's earthwork projects and Christo and Jeanne Claude's public art, but also Ansel Adams's photographs and the Hudson River School painters. The acclaimed art-science collective Center for Land Use Interpretation (CLUI) is probably the most exemplary of all mentioned above in demonstrating the political outlook of 'wilful neutrality' of this contemporary art practice. It could be argued that in her latest works Collins' 'land use' echoes the Center's mission statement:
The CLUI exists to stimulate discussion, thought, and general interest in the contemporary landscape. Neither an environmental group nor an industry affiliated organization, the work of the Center integrates the many approaches to land use - the many perspectives of the landscape - into a single vision that illustrates the common ground in 'land use' debates. At the very least, the Center attempts to emphasize the multiplicity of points of view regarding the utilization of terrestrial and geographic resources.
In an understated way, Collins' work thus shares many other artists' concern with what Wilson sums up as 'the environmental suicide' that seems to doom contemporary society. Unlike some artists, she doesn't resort to political actions but proposes the arts as the place to integrate science and art. If we are to apply Wilson's useful taxonomy of 'ecological art', Glenlandia is a project in which scientific research (computing and freshwater aquaculture research, in particular) is part of the art. Although Collins works in collaboration with computer scientists and marinologists, she doesn't undertake this research solely to understand the nature of and search for new solutions of environmental problems. Following Wilson's distinctions, Collins belongs to the group of artists who 'seek to heighten awareness of ecological concerns but are less certain about remedies.' In an interview about the impact of Glenlandia on the host scientific community in Pitlochry, David Hay agrees that Collins' work is 'a passive observer' by the virtue that it unveils 'more variety and complexity that people expect but makes no attempt to suggest solutions'. Hay speculates that 'by revealing the beauty of a manufactured landscape, it [Glenlandia] could even lessen environmental concerns about similar landscape modifications'. Beauty, however, is not an unquestionable notion in relation to Collins' pixel landscapes. As Hay observes, viewers tend to be perplexed by the explosion of blackness, which almost negates the landscape's picturesqueness or makes the webcam transmission appear as 'faulty' or 'not working properly'. For example, the predominantly black winter image from Glenlandia. The Four Seasons, has attracted mixed reactions – from glowing positive to less so. From an artistic and curatorial point of view, though, the set represents a balanced view of the way seasons and seconds flow in and out of Glenlandia. Spring's optimism is denoted by the wide-open vista flanked top and bottom by a fraction of night vision. Summer's serenity – by the almost invisible strip of short-lived nighttime in the middle. Autumn's foreboding feeling of shrinking daytime – by the way the forest's reds and browns are sandwiched in. The beauty of Glenlandia, as confirmed by curator Peter Ride who included the precursor of The Four Seasons in the group exhibition Timeless, is in the tension between the two different modes of display. Where the computer monitors fail to detect the complexity and subtlety of the landscape, the works on paper succeed. Where the monitor manages to record the varying seasons and day lengths in a slow moving but dynamic way, the paper falls short. The beauty is, therefore, in the complimentary co-existence of what appears to be two related yet different worlds of contemporary art and new media art. The question of the representation of time is another critical issue looming large in Collins' pixel landscapes. Time and time travel was something that the artist considered central in her work. Whether transmitting over a long distance and different time zones (for example, between Scotland and Australia, Scotland and Canada as part of Glenlandia) or between places only 350 miles apart (Cornwall and Sheffield as part of Transporting Skies) – subtleties and surprises were in store. As the artist recalls, the projected image in Cornwall descended into a painterly, pixelated, vibrant, red and black buzz in the late afternoons, perhaps due to the semi-darkness of the urban light pollution. While the image from Cornwall projected in the gallery in Sheffield was completely pitch black.
The concept of time also resurfaces when reflecting on the use of 'real-time' technologies in Collins' work. As some writers state, 'real-time computing underpins the whole apparatus of communication and data processing by which our contemporary culture operates'. Webcams are usually traded for their capacity to process and present data at almost immediate speed. 'Real time' also stands for the more general trend towards instantaneity in contemporary culture, involving increasing demand for instant feedback and response, one result of which is that technologies themselves are beginning to evolve ever faster. The increasing complexity and speed of contemporary technology, i.e. 'the acceleration of just about everything', is the cause of both euphoria and anxiety. In her oxymoronic use of 'real time' culture, Collins' Glenlandia is a tongue-in-cheek comment on our increasingly strained and fractured relationship with time. While exploring aspects of referentiality, repetition and nostalgia in digital landscapes and still lives, Cubitt focuses on Collins' work and the treatment of time. Cubitt's detailed analysis of Glenlandia explicates some of the characteristics of new media art such as variability and automation. For instance, Collins' installations, which last for years could continue indefinitely, without any chance of exactly the same light effects occurring twice, nor any possibility of completion. This accounts for the variability in her work. What the automation achieves, argues Cubitt, is not the end of the aura or the mysterious repetition and submission to cyclical times that logically and biologically precede the human. Automation brings the end of allegory or ideology 'a permission won to present the landscape under its own guise, with no need to rehearse its divine or secular meaning'. What is remarkable in Cubitt's analysis of Collins' work is that similar variability and temporality is also attributed to Monet's landscapes and Cézanne's still lives; while automation is traced back to pointillism – an erudite reminder that the new media art principles or characteristics are not intrinsic to new media per se. What distinguishes Collins' Glenlandia from Cézanne's apples still lives and any landscape photography, continues Cubitt, is her engagement with the landscape through the agency of the apparatus she has re-engineered to gather light one photon at a time. In Cubitt's words it is Collins' 'decision not to exercise freedom, nor even to be that individual through whom the world speaks, but to begin another dialogue, in which the green world tells its tale to a machine, and it is the machine that speaks.' In short, the webcam technology is used by the artist as if to remove individuality from human contemplation of landscape and time. The related notion of timelessness is also inscribed in Glenlandia as elaborated upon by Peter Ride in his curatorial introduction to Timeless. Time, Landscape and New Media. Ride's exhibition aimed to go beyond the frozen time of photography or the evolving time of cinema. Instead, the landscape works featured in Timeless, including Glenlandia, explored what Ride terms the re-purposability, un-fixity, immediacy and simulation of data. Collectively, he argues, they create a different sense of time and different context of synchronicity and a-synchronicity away from the traditional photographic methods. Although described as the prevailing exhibition themes, these are variations on the essential new media characteristics or principles as advanced by Lev Manovich. Timeless not only substantiates those principles but applies them to the selected artworks. Glenlandia chimes well with Ride's views on immediacy and simulation – in as far Collins' landscapes are both real and modified, they also play with time as a fiction, re-inventing it, stretching it.
The essay Glenlandia by Iliyana Nedkova is published on the occasion of the commissioning, production and acquisition of Susan Collins' work for Horsecross permanent collection of contemporary art and its public premiere at the inauguration of Threshold artspace in September 2005 initially showing at Threshold Stage Screen – a dedicated project space for showcasing artists' works which use the Internet environment and its functionality as their media of choice. Glenlandia. The Four Seasons was commissioned and produced for the first anniversary of the Threshold artspace in September 2006 and subsequently acquired for the Horsecross collection and exhibited as part of Collect + Support initiative encouraging the collection of contemporary art while supporting artists based across Perthshire. Glenlandia produced by Horsecross for Threshold artspace in partnership with Film and Video Umbrella, FRS (Fisheries Research Services) Freshwater Laboratory, Faskally, Slade Centre for Electronic Media at University College, London and ARC Projects. Supported by the Scottish Arts Council Lottery Fund, Arts Council England, Perth and Kinross Council and EventScotland.
artspace Notes
(1)	Cubitt, Sean, 2006. Creative Theory [DVD], Dundee: University of Dundee (2)
Gerhard Richter quoted in Bätschmann, Oskar and Dietmar, Elger, 2002. Gerhard Richter Landscapes. Hannover: Sprengel Museum and Ostfildern: Hatje Cantz
Zanni, Carlo, 2006. Conversation with Susan Collins. Magazine électronique du CIAC, No 25 Summer 2006 [Online] Available at: http://www.ciac.ca/	magazine/archives/no_25/entrevue.htm [accessed 22 April 2007]
Cubitt, Sean, 2006b. Digital Landscape and Nature Morte. [Online]. Available at: http://www.	mediacomm.unimelb.edu.au/aboutus/staff/sean/	seanwriting/index.html [accessed 2 February 2007]
Exhibitions included Timeless curated by Peter Ride for Toronto's York Quay Centre. Timeless was a turning point, a curatorial reassurance of the impact and significance of the initial prints predecessors of Glenlandia. The Four Seasons.
(6)	See Carlo Zanni 2006 as quoted above (7)	Ibid. (8)	Lütticken, Sven, 2002. The Films of De Rijke/ De Rooij. London: ICA, Institute of Contemporary Art (9)	Please see Carlo Zanni, 2006 as quoted above (10)	Ibid. (11)	Please see Sean Cubitt, 2006 as quoted above (12)	Calcutt, John, 2003. Multiple Exposures. In Festival Times 2003. The Archibald Campbell and Harley Award. Edinburgh: Stills (13)	Mitchell, W. J. T. ed., 2002. Landscape and Power. Chicago: The University of Chicago Press (14)	Matilsky, Barbara, 1992, Fragile Ecologies. New York: Rizzol (15)	Hay, David, 2007. Brief Interview about Glenlandia, [E-mail]. Sent 28 April 2007 16:27:54 BST (16)	Wilson, Stephen, 2002. Information Arts. Intersections of Art, Science and Technology.
Read More Journal for Critical Writing about Horsecross collection of contemporary art at Threshold artspace ISSN 1755-0866
Horsecross Arts


text:
<?php
/*
  @Controller: Fetchr Api Controller.
  @Author: Moath Mobarak.
  @Version: 1.0.0
*/
class ControllerModuleFetchrApi extends Controller
{

  private $error = array();

  public function index()
  {
    $this->load->model('fetchrapi/fetchr');
    //Install api congig table & added fetchr status.
    $install = $this->model_fetchrapi_fetchr->install();

    $this->load->language('module/fetchr_api');

    $this->document->setTitle($this->language->get('heading_title'));
    $this->getForm();

  }

  public function getForm()
  {
    $config_data = $this->model_fetchrapi_fetchr->getConfig();

    //Get title in form using fetchr language.
    $data['heading_title'] = $this->language->get('heading_title');
    $data['text_form'] = $this->language->get('text_config');

    $data['text_delivery'] = $this->language->get('text_delivery');
    $data['text_fulfildelivery'] = $this->language->get('text_fulfildelivery');
    $data['text_live'] = $this->language->get('text_live');
    $data['text_staging'] = $this->language->get('text_staging');
    $data['entry_username'] = $this->language->get('entry_username');
    $data['entry_password'] = $this->language->get('entry_password');
    $data['entry_servicetype'] = $this->language->get('entry_servicetype');
    $data['entry_accounttype'] = $this->language->get('entry_accounttype');

    $data['button_save'] = $this->language->get('button_save');
    $data['button_cancel'] = $this->language->get('button_cancel');
    $data['button_push'] = 'Push Order';

    //Show error msg.
    if (isset($this->session->data['api_error'])) {
      $data['api_error'] = $this->session->data['api_error'];

      unset($this->session->data['api_error']);
    } else {
      $data['api_error'] = '';
    }

    if (isset($this->error['warning'])) {
      $data['error_warning'] = $this->error['warning'];
    } else {
      $data['error_warning'] = '';
    }

    if (isset($this->error['username'])) {
      $data['error_username'] = $this->error['username'];
    } else {
      $data['error_username'] = '';
    }

    if (isset($this->error['password'])) {
      $data['error_password'] = $this->error['password'];
    } else {
      $data['error_password'] = '';
    }

    //Show breadcrumbs.
    $data['breadcrumbs'] = array();

    $data['breadcrumbs'][] = array(
      'text' => $this->language->get('text_home'),
      'href' => $this->url->link('common/dashboard', 'token=' . $this->session->data['token'], 'SSL')
    );

    $data['breadcrumbs'][] = array(
      'text' => $this->language->get('heading_title'),
      'href' => $this->url->link('module/fetchr_api', 'token=' . $this->session->data['token'], 'SSL')
    );

    //Push, Save & Cancel button.
    $data['push'] = $this->url->link('module/fetchr_api/orderList', 'token=' . $this->session->data['token'], 'SSL');

    $data['action'] = $this->url->link('module/fetchr_api/add', 'token=' . $this->session->data['token'], 'SSL');

    $data['cancel'] = $this->url->link('extension/module', 'token=' . $this->session->data['token'], 'SSL');

    //Fill data in form.
    foreach ($config_data as $key => $value) {
      if ($value['key_config'] == 'username') {
          $data['username'] = $value['value'];

      } else {
        $data['username'] = '';
      }

      if ($value['key_config'] == 'password') {
          $data['password'] = $value['value'];

      } else {
        $data['password'] = '';
      }

      if ($value['key_config'] == 'servicetype') {
          $data['servicetype'] = $value['value'];

      }
      if ($value['key_config'] == 'accounttype') {
          $data['accounttype'] = $value['value'];

      } else {
        $data['accounttype'] = '';
      }
    }

    $data['header'] = $this->load->controller('common/header');
    $data['column_left'] = $this->load->controller('common/column_left');
    $data['footer'] = $this->load->controller('common/footer');

    $this->response->setOutput($this->load->view('module/fetchr_api_form.tpl', $data));

  }

  public function add()
  {

    $this->load->language('module/fetchr_api');
    $this->document->setTitle($this->language->get('heading_title'));
    $this->load->model('fetchrapi/fetchr');

    if (($this->request->server['REQUEST_METHOD'] == 'POST') && $this->validateForm()) {

      $this->model_fetchrapi_fetchr->saveConfig($this->request->post);
      $this->session->data['success'] = $this->language->get('text_success');

      $this->response->redirect($this->url->link('extension/module', 'token=' . $this->session->data['token'], 'SSL'));

    }else{
      $this->getForm();
    }

  }

  public function orderList()
  {
    $datalist = [];
    $this->load->model('fetchrapi/fetchr');

    $config_data = $this->model_fetchrapi_fetchr->getConfig();
    foreach ($config_data as $key => $value) {

      if ($value['key_config'] == 'accounttype') {
        $accounttype = $value['value'];
      }
      if ($value['key_config'] == 'servicetype') {
        $servicetype = $value['value'];
      }
      if ($value['key_config'] == 'username') {
        $username = $value['value'];
      }
      if ($value['key_config'] == 'password') {
        $password = $value['value'];
      }

    }

    //Fetch orders based status 'Ready for Pick up'.
    $orders = $this->model_fetchrapi_fetchr->getOrders();

    if (!empty($orders)) {

      //Service type = 1 (Fulfilment+Delivery), Service type = 0 (Delivery).
      if ($servicetype == 1) {

        foreach($orders as $key => $order)
        {
          $item_list = [];

          $products = $this->model_fetchrapi_fetchr->getOrderProducts($order['order_id']);
          $store_info = $this->model_fetchrapi_fetchr->getSetting('config', $order['store_id']);
          $store_shiprate = $this->model_fetchrapi_fetchr->getSetting('cod', $order['store_id']);

          for($i=0;$i<=count($products)-1;$i++)
          {
            $item_list[] = array(
                'client_ref'    => $order['order_id'],
                'name'          => $products[$i]['name'],
                'sku'           => strtolower($products[$i]['sku']),
                'quantity'      => $products[$i]['quantity'],
                'merchant_details' => array(
                    'mobile'  => $store_info['config_telephone'],
                    'phone'   => $store_info['config_telephone'],
                    'name'    => $store_info['config_owner'],
                    'address'   => $store_info['config_address']
                    ),
                'COD'   =>  (!empty($store_shiprate['cod_total'])) ? $store_shiprate['cod_total']: '',
                'price' => $products[$i]['price'],
                'is_voucher' => 'No'
              );
          }

          $datalist[] = array(
            'order' => array(
                'items' => $item_list,
                'details' => array(
                  'status' => '',
                  'discount' => 0,
                  'grand_total' => $order['total'],
                  'payment_method' => $order['payment_code'],
                  'order_id' => $order['order_id'],
                  'customer_firstname' => $order['firstname'],
                  'customer_lastname' => $order['lastname'],
                  'customer_mobile' => $order['telephone'],
                  'customer_email' => $order['email'],
                  //'order_country' => 'AE',
                  'order_address' => $order['payment_address_1']
                )
              )
          );
          $this->send_Fulfilment_Delivery_ToErp($datalist, $order['order_id'], $username, $password);
          unset($datalist);
        }

        //If count order = 1 go view order else go order list.
        if (count($orders) == 1) {
          $this->response->redirect($this->url->link('sale/order/info', 'token=' . $this->session->data['token']. '&order_id=' . $orders[0]['order_id'], 'SSL'));
        }else{
          $this->response->redirect($this->url->link('sale/order', 'token=' . $this->session->data['token'], 'SSL'));
        }

      }else{

        foreach($orders as $key => $order)
        {
          $data[] = array(
              'order_reference'    => $order['order_id'],
              'name'    => $order['firstname'] . ' ' . $order['lastname'],
              'email'    => $order['email'],
              'phone_number'    => $order['telephone'],
              'address'    => $order['payment_address_1'],
              'city'   => $order['payment_city'],
              'payment_type'   => $order['payment_code'],
              'amount'   => $order['total'],
              'description'   => 'None',
              'comments'  =>  $order['comment']
          );
        }

        $datalist = array(
          'username' => $username,
          'password' => $password,
          'method' => 'create_orders',
          'pickup_location'=>'Dummy location for pickup 001',
          'data' => $data,
        );

        $this->send_Delivry_ToErp($datalist);

        //If count order = 1 go view order else go order list.
        if (count($orders) == 1) {
          $this->response->redirect($this->url->link('sale/order/info', 'token=' . $this->session->data['token']. '&order_id=' . $orders[0]['order_id'], 'SSL'));
        }else{
          $this->response->redirect($this->url->link('sale/order', 'token=' . $this->session->data['token'], 'SSL'));
        }
      }
    }else{
      $this->session->data['api_error'] = 'Warning: Not found orders push!';
      $this->response->redirect($this->url->link('module/fetchr_api/', 'token=' . $this->session->data['token'], 'SSL'));
    }

  }

  //Fulfilment+Delivery send To ERP.
  protected function send_Fulfilment_Delivery_ToErp($data, $orderId, $username, $password)
  {
    $response = null;
    try {

        $ERPdata = 'ERPdata='.json_encode($data);
        $ch = curl_init();
        $url = 'http://www.menavip.com/client/gapicurl/';
        curl_setopt($ch, CURLOPT_URL, $url);
        curl_setopt($ch, CURLOPT_POST, true);
        curl_setopt($ch, CURLOPT_POSTFIELDS, $ERPdata.'&erpuser='.$username.'&erppassword=' . $password .'&merchant_name=MENA360 API');
        curl_setopt($ch, CURLOPT_RETURNTRANSFER, true);
        $response = curl_exec($ch);
        curl_close($ch);
        // validate response
        $decoded_response = (array) json_decode($response);

        if(!is_array($decoded_response))
            return $response;

        if ($decoded_response['awb'] == 'SKU not found') {
          //Add error occurrd in error.log
          $this->log->write('Fetcher Shipping Error: ' . $decoded_response['awb']);
          //Show error msg for clint.
          $this->session->data['api_error'] = 'Error occurrd in <strong>Order ID: </strong>' . $orderId . ' <strong> Message: </strong>' . $decoded_response['awb'];
          $this->response->redirect($this->url->link('module/fetchr_api/', 'token=' . $this->session->data['token'], 'SSL'));
        }

        //IF Tracking num found Save in order and change status to 'Fetchr Shipping'.
        if (!empty($decoded_response["response"]->tracking_no) && $decoded_response['success']) {
          $save_track = $this->model_fetchrapi_fetchr->saveTrackingStatus($orderId, $decoded_response["response"]->tracking_no);

        }else{
          $this->session->data['api_error'] = $this->errorCode();
          $this->response->redirect($this->url->link('module/fetchr_api/', 'token=' . $this->session->data['token'], 'SSL'));
        }

    }catch (Exception $e) {
        echo (string) $e->getMessage();
    }

    return $response;

  }

  //Delivery send To ERP.
  protected function send_Delivry_ToErp($data)
  {
    $response = null;
    try {

      $ERPdata = 'args='.json_encode($data);
      $ch = curl_init();
      $url = 'http://www.menavip.com/client/api/';
      curl_setopt($ch, CURLOPT_URL, $url);
      curl_setopt($ch, CURLOPT_POST, true);
      curl_setopt($ch, CURLOPT_POSTFIELDS, $ERPdata);
      curl_setopt($ch, CURLOPT_RETURNTRANSFER, true);
      $response = curl_exec($ch);
      curl_close($ch);
      // validate response
      $decoded_response = json_decode($response, true);

      if(!is_array($decoded_response))
          return $response;

      //IF Tracking number found Save in order and change status to 'Fetchr Shipping'.
      foreach ($data['data'] as $key => $value) {
        if (!empty($decoded_response[$value['order_reference']]) && $decoded_response['status'] == 'success') {

            $save_track = $this->model_fetchrapi_fetchr->saveTrackingStatus($value['order_reference'], $decoded_response[$value['order_reference']]);

        }else{
          $this->session->data['api_error'] = $this->errorCode($decoded_response['error_code']);
          $this->response->redirect($this->url->link('module/fetchr_api/', 'token=' . $this->session->data['token'], 'SSL'));

        }
      }

    }catch (Exception $e) {
        echo (string) $e->getMessage();
    }

    return $response;
  }

  protected function validateForm()
  {
    if (!$this->user->hasPermission('modify', 'module/fetchr_api')) {
      $this->error['warning'] = $this->language->get('error_permission');
    }

    if ((utf8_strlen($this->request->post['username']) < 3) || (utf8_strlen($this->request->post['username']) > 20)) {
      $this->error['username'] = $this->language->get('error_username');
    }

    if ($this->request->post['password'] || (!isset($this->request->get['user_id']))) {
      if ((utf8_strlen($this->request->post['password']) < 4) || (utf8_strlen($this->request->post['password']) > 20)) {
        $this->error['password'] = $this->language->get('error_password');
      }
    }
    return !$this->error;
  }

  //Fuction handle error code return API and show error msg.
  public function errorCode($code = '')
  {
    $msg = '';
    switch ($code) {
      case 1001:
        $msg = 'Error: Order reference is missing in one of the posted orders.';
        break;
      case 1002:
        $msg = 'Error: Name is missing in one of the posted orders.';
        break;
      case 1003:
        $msg = 'Error: Email is missing in one of the posted orders.';
        break;
      case 1004:
        $msg = 'Error: Phone number is missing in one of the posted orders.';
        break;
      case 1005:
        $msg = 'Error: Address is missing in one of the posted orders.';
        break;
      case 1006:
        $msg = 'Error: City is missing in one of the posted orders.';
        break;
      case 1007:
        $msg = 'Error: Payment type is missing in one of the posted orders.';
        break;
      case 1008:
        $msg = 'Error: Amount is missing in one of the posted orders.';
        break;
      case 1009:
        $msg = 'Error: Description is missing in one of the posted orders.';
        break;
      case 1011:
        $msg = 'Error: Method name not found.';
        break;
      case 1012:
        $msg = 'Error: Client phone number of one of the posted orders does not belong to any of the previously provided clients.';
        break;
      case 1013:
        $msg = 'Error: The posted data contains non ascii characters.';
        break;
      case 1014:
        $msg = 'Error: Internal server error.';
        break;
      case 1015:
        $msg = 'Error: Invalid username or password.';
        break;

      default:
        $msg = 'Error: Access denied.';
        break;
    }
    $this->log->write('Fetcher Shipping Error: ' . $msg);
    return $msg;
  }

}

redpajama_set_name: RedPajamaGithub


text:
Culture Minister Miri Regev
Regev to submit culture bill- no loyalty, no funding
The bill entitled 'loyalty in culture', to be submitted on Wedensday, ensures that state funding is denied to state cultural institutions that, among others, attack or disgrace state symbols, incite to terrorism or deny Israel's existence as a Jewish and democratic state.
Moran Azulai|Published: 01.26.16 , 15:17
Culture Minister Miri Regev will submit a bill Wednesday to the Knesset's Education Committee entitled "loyalty in culture", Ynet learned Tuesday.
This amendment seeks to change the way her office supports cultural institutions, and to deny state funding to those who attack or disgrace the state flag or state symbols, incite to racism, violence or terrorism, mark Independence Day as a day of mourning or deny Israel's existence as a Jewish and democratic state.
Regev's relations with Israeli artists were sensitive from the start of her appointment. Harsh personal criticism was leveled at her, and later the storms surrounding her turned into a political affair in the controversy regarding the play "A Parallel Time", about Walid Daka, convicted of planning the murder of IDF soldier Moshe Tamam in 1984. At that time, Regev froze state funding for the al-Midan theater where the play was being performed.
Culture Minister Miri Regev (Photo Alex Kolomoisky)
This is the first time that a bill closely ties artistic content to the receipt of funding and support of artists from state cultural institutions. As part of what she calls "cultural justice", she will make changes to the criteria of the Support Committee at the Ministry of Culture and Sports.
"I will not be an ATM"
Article 3a of the budget law currently states that a cultural institution can be fined retroactively if it infringed on the laws of the State of Israel, but this is a long process at the discretion of the Finance Minister, so that in practice the Ministry of Culture is obliged to continue funding institutions in any event and does not set policy.
Beyond that, says Regev, it is necessary to transfer these powers to the Ministry of Culture due to the fact that the Finance Ministry does not interface with cultural institutions, and the same goes for the mechanism for supervising them. According to her, the mechanism currently is inadequate and the state is funding institutions without any supervision.
"It is the Ministry of Culture's responsibility to supervise cultural institutions, including what they offer, and make sure they are not breaking the country's laws," said Regev. "Cultural institutions are not above the law. They must work according to the laws of the State of Israel and we must make sure of this – and not keep our eyes closed. I will not be an ATM. I have a responsibility for public monies and this law would grant me the authority to exercise my responsibilities and to deny support for institutionalized violations of the law".

redpajama_set_name: RedPajamaCommonCrawl


ACTIVE PNG miner and explorer K92 Mining Inc. has appointed the highly experienced John Lewins as chief executive officer.
Mr Lewins is a Mineral Engineer with over 35 years of international leadership experience in the mining industry. He has held senior positions with companies operating in Africa, Australia, Asia, North America and the former Soviet Union.
He has successfully led the start-up of multiple mines from study through to full operational stage.
Prior to his appointment as K92 CEOr, Mr Lewins has been a director and chief operating officer of K92. In addition to this corporate leadership role to date, he has guided K92's production re-start, overseen all site operations and has led initiatives such as the publishing of the Kora Preliminary Economic Assessment ("PEA") and the development of the Irumafimpa Mine Plan.
His past industry leadership roles include 10 years with MIM Holdings during which time he built the Tom's Gully Mine (built to produce 50,000 ounces Au per annum), Tick Hill Mine (an open pit and underground mine with peak production 180,000 ounces Au per annum) and Nolan's Gold Mine (a 2 million tonne per annum open pit with production peaks reaching in excess of 120,000 Au ounces per annum) taking these projects from Feasibility Study through to operations. During his time with MIM, Mr. Lewins also led the build of McArthur River Lead Zinc Mine (which was built to process 1.2 million tonnes per annum and included an underground mine, plant and port facility). Mr. Lewins led the building of the Ararat Gold Plant (2millon tonne per annum operation with peak production of 50,000 ounces Au and 150,000 ounces Ag per annum) as Senior VP Projects and Operations and then President of First Dynasty Mines when it restarted the Zod Gold Mine in Armenia. With Armada Gold, Mr Lewins was responsible for the construction and operation of the Erdmin Copper SXEW operation in Mongolia as senior VP Projects and Operations.
Ian Stalker, the former K92 CEO, will remain very involved with K92 as a director and in a strategic planning role.
The company said that while Mr Lewins leads K92's ongoing ramp up of production at the Irumafimpa Mine and the exploration and expansion program, Mr Stalker will devote effort to strategic planning for the company.
"This is an exciting day for K92. With a successful production restart now completed and with K92 now looking to execute on expansion and exploration initiatives, it is a great time for this transition. John has led the re-start process and this is a natural evolution from his current role. As John leads the execution of the company's business plan, it will allow me to devote more focus to strategic planning initiatives while also working to raise the visibility of the company in the industry and amongst the investment public. With production moving along nicely and with exploration drilling to commence on what we believe are a series of world class targets, I very much look forward to this next phase," Mr Stalker said.
K92 recently announced that it continues to ramp up production at the Irumfimpa mine, is about to commence exploration drilling from underground set-ups to follow up on the recent Kora extension discovery hole, is preparing to mine and test a 2,000-tonne bulk sample from Kora, and continues regional exploration with work recently completed at the Pomasi project.


Introducing our signature Cotton Candy High Voltage Pre-roll. With a cotton candy flavor and fun colored kief, this pre-roll will electrify your lungs. Filled with 1.3 grams of Cali's finest OG and infused with premium live resin, our High Voltage Rolls are the pre-roll treat that burns slow and leaves your eyes low! Try one of our premium High Voltage Rolls today. Lab tested 37.9% THC.


Open qualifiers for The International 2018 will be like no TI before. Big names will play in every region, fighting through the uncertain and volatile single elimination format for a chance at regionals. Here's a look at some of the teams to watch.
China is the only region with an odd 7-team regional qualifier. Every other region adds up to eight. Still, having so many slots from opens to regionals doesn't mean that making it through will be easy. The event follows the same format it always has - a single elimination bracket with single-game series all the way through to the semifinal round.
It's still unclear whether the full bracket will be played out in cases where multiple teams advance from a single open qualifier, but that format is the one listed on FACEIT's registration page.
With hundreds of teams joining each region, a single misstep can threaten any team's chances of making TI. Thankfully there are still two open qualifiers per region, so even though there is no lower bracket there's still a second chance for everyone.
China may already have four teams through to the main event of TI8 but there's still a ton of talent left in the pool, most of whom have shuffled at some point since the roster lock. That means a crazy stacked open qualifier for us to enjoy! The likes of LFY, who even took some DPC points this season, will face against strong contenders like EHOME and KEEN.
There's even reports that a reborn Team DK exists, with BurNIng at the helm. We'll believe it when we see it, but can't resist getting more than a little bit excited at the possibility of seeing such a legendary squad return.
The Southeast Asian scene this season has mostly been overshadowed by either Mineski or, to a lesser extent, TNC. With Mineski through to Vancouver and TNC waiting patiently in regionals, we're excited to see how the talented teams toiling away in the shadows have shaped up. These three are just a sampling of the talent waiting to show us what they've got in this open qualifier.
Remember North America, the world's most competitive region? They like competition so much that they've all shuffled rosters to ensure even footing going into TI. Not even the titans of EG will bypass the open qualifier this year. It's going to be crazy, it's going to be hype. You're not going to want to miss it.
Europe was the region that managed to keep the most teams together from the roster lock this year, meaning there are an even four invites and four open qualifier slots. All three of these teams could make it through to regionals, but they're just a few stand-out names.
The European qualifier is loaded with recognizable faces. Will the likes of OG or Misery's new stack might not even make it to regionals. Even though the teams are big names, the recent shuffle means we have no way of knowing if they'll have stabilized in time.
Unfortunately for the CIS, only one squad from the many talented teams in opens and the two teams invited to regionals will make it to The International. Competition in the region is as fierce as ever, and former superstars can be found left and right in open qualifier teams. Take Team Spirit for instance - almost the entire lineup once competed together on stage at TI5, and now here they are.
With so many big names competing this week, we want to know - Which team will you be following most closely during the upcoming open qualifiers? Let us know in the comments!
SumaiL: "What am I going to do with a title? I take the money!"


text:
Original Contributions| August 01 1986
Transfer of Autoimmune Diabetes Mellitus with Splenocytes from Nonobese Diabetic (NOD) Mice
Linda S Wicker;
Linda S Wicker
Department of Cellular Immunology, Merck, Sharp and Dohme Research Laboratories
Rahway, New Jersey
Beverly J Miller;
Beverly J Miller
Yoko Mullen
Dental Research Institute, University of California at Los Angeles
Address reprint requests to Linda S. Wicker, PhD, Merck, Sharp and Dohme Research Laboratories, 80W-107, P.O. Box 2000, Rahway, NJ 07065.
Linda S Wicker, Beverly J Miller, Yoko Mullen; Transfer of Autoimmune Diabetes Mellitus with Splenocytes from Nonobese Diabetic (NOD) Mice. Diabetes 1 August 1986; 35 (8): 855–860. https://doi.org/10.2337/diab.35.8.855
The nonobese diabetic (NOD) mouse, a model of human type I diabetes, develops insulitis beginning at 4–6 wk of age. By 30 wk of age, 72% of females and 39% of males develop spontaneous diabetes, apparently because of an overwhelming autoimmune response to the insulin-producing β-cells within the islets. To identify the immune mechanism responsible for destruction of β-cells in the NOD mouse, we developed an adoptive transfer protocol that induces diabetes in NOD mice at an age when spontaneous diabetes is rarely observed.
Splenocytes from overtly diabetic NOD mice were unable to transfer diabetes to very young (≤6 wk) irradiated NOD mice but effectively transferred diabetes to irradiated NOD mice 6 wk of age. In such transfers, overt diabetes was induced within 12–22 days in >95% (79/82) of the recipients. Thus, transfer of splenocytes to young mice induces them to become diabetic at a higher frequency and at a younger age than their untreated littermates. Equally successful transfers with as few as 5 × 106 spleen cells have been performed in male and female NOD mice, even though males display a lower spontaneous incidence of diabetes than females. Splenocytes obtained from diabetic mice maintained on insulin for up to 2 mo also transferred diabetes.
Because NOD mice display increasing levels of insulitis with age, spleen cells obtained from nondiabetic NOD mice of different ages were tested for their ability to transfer diabetes. Spleen cells obtained from 7-wk-old nondiabetic donors were unable to transfer disease, suggesting that high numbers of effector cells are not yet present in the spleens of young NOD mice. In contrast, spleen cells obtained from most nondiabetic NOD mice >15 wk of age were able to transfer diabetes, indicating that the donor need not be overtly diabetic at the time of transfer.
Our study provides direct demonstration of the immunological nature of the diabetic disease process in the NOD mouse and provides a method to determine which cells are the effectors of β-cell destruction.


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Halfpenny token commemorating John Wilkinson, ironmaster. Obverse: Bust of the ironmaster in a tie-wig. Reverse: Port broadside view of a brig or a snow, possibly representing Wilkinson's oveseas trade. This particular example is a counterfeit.


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Pronunciation: ri-nig or ri-neg • Hear it!
Meaning: To fail to fulfill an obligation, such as the obligation to follow suit in card games like bridge, to go back on a promise.
Notes: Some dictionaries still list a transitive sense of this verb, "to renounce, deny". The Oxford English Dictionary lists this sense as now archaic, however, so we would advise avoiding it. The intransitive sense of today's word, given above, may be used semi-transitively with the preposition on: to renege on a promise. The semantic effect is transitivity, but only with on. The earlier spelling of today's word, renegue, is also obsolete now.
In Play: Anyone who fails to carry through on a promise, reneges: "Pierce Deere reneged on his $10 bet that I couldn't drink a bottle of champagne on New Year's Eve and get back home on my own." In fact, I succeeded despite the fact that some dern fool stepped on my fingers along the way. Failure to see any commitment through constitutes reneging: "Pat Agonia has already reneged on her New Year's resolution to avoid chocolate ice cream this year."


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text:
Трка на 3.000 метара са препрекама је дугопругашка атлетска дисциплина. Назива се још и "Стиплчез" () а име је добила по истоименој дисциплини у коњичком спорту. Трка се базира на савлађивању препрека у виду препона и водених препрека, а одржава се на атлетским такмичењима на отвореном. Од 1920. уврштена је у програм Олимпијских игара у мушкој конкуренцији, а тек од 2008. и у женској конкуренцији.

Правила
У сениорској конкуренцији дужина стазе је 3.000 метара, док се у јуниорској конкуренцији трчи на 2.000 метара (раније су и жене трчале на 2.000 метара). Сваки круг се састоји од укупно 5 препрека, 4 суве и једна водена препрека. Тако сваки учесник у трци мора укупно савладати 28 сувих и 7 водених препрека. Трчи се по 7 кругова од 400 метара, плус још 200 метара на старту трке током којих атлетичари не наилазе на препреке на стази. Водена препрека се обично налази иза унутрашње стазе, али може бити и иза спољашње стазе.

Према правилима ИААФ висина сваке препреке износи 91,4 цм за мушкарце и 74,2 цм за жене и за разлику од трка са препонама на краћим дужинама, у трци са препрекама оне су фиксиране за подлогу, а сваки атлетичар има право да стане на препреку па је на тај начин прескочи. Препреке су распоређене на правим деловима стазе на међусобној удаљености од по 100 метара, док се пета, водена препрека налази на другј кривини од старта (и представљља четврту препреку од старта трке по реду). Водена препрека се састоји од препреке иза које се налази базен испуњен водом. Дужина базена са водом је 3,66 м а његова дубина износи 70 цм непосредно иза препоне и смањује се постепено са удаљеношћу од исте. Тако атлетичари који имају веће скакачке способности имају могућност да што мање долазе у контакт са дубљим деловима воденог базена, а нису ретки случајеви да поједини атлетичари готово у целости прескоче водену површину.

Историјат трке

Ова тркачка дисциплина је настала на Британским острвима а такмичару су обично трчали од једног до другог градског торња (обично црквени торањ). Торњеви су тако служили као маркери који су означавали правац стазе јер се трчало кроз градске улице или природу. На стази су се обично налазиле бројне препреке у виду камених зидова или поточића које су такмичари морали да савладају.

Модерна трка са препрекама води порекло од трке кроз природу () од две миље и настала је на Оксфордском универзитету 1860. године. Већ 1865. правила трке су модификована и она је почела да се одржава на равној површини. Трка је била у програму модерних Олимпијских игара од њихових почетака, али са различитим дужинама. На 3.000 метара је почело да се трчи од 1920. године. Од Летњих олимпијских игара 1968. године овом дисциплином апсолутно доминирају кенијски атлетичари, који су на Играма 2004. успели чак да освоје све три медаље.

Прва женска трка са препрекама на великим такмичењима одржана је у оквиру Светског првенства у атлетици 2005. у Хелсинкију, а прво појављивање на Олимпијским играма десило се у Пекингу 2008. године.

Развој светских рекорда
Службени светски рекорд у трци на 3.000 метара са препрекама за мушкарце држи катарски атлетичар Саид Саиф Шахин (раније наступао за Кенију под именом Стивен Чероно) и износи 7:53,63 и постигнут је 3. септембра 2004. на атлетском митингу у Бриселу. Две године раније (16. август 2002.) је марокански атлетичар Брахим Булани претрчао стазу за 7:53,17 али тај рекорд није признат од стране Светске атлетске федерације јер је Булани почетком 2003. био позитиван на недозвољени стимуланс ЕПО.

Први такмичар који је стазу од 3.000 метара претрчао за мање од 8 минута био је Кенијац Мозес Киптануи 16. августа 1995. у Цириху (Швајцарска) са временом 7:59,18.

Власница светског рекорда у женској конкуренцији је Рускиња Гулнара Самитова-Галкина и он износи 8:58,81 а постављен је на Олимпијским играма у Пекингу 2008.

Мушки рекорди (ручно мерење)

Мушки рекорди (електронско мерење)

Женски рекорди (електронско мерење)

Топ 25 такмичара на 3.000 метара

Мушкарци
Закључно са 22. јулом 2011. године.

Жене
Закључно са 30. августом 2011. године.

Види још
 Освајачи олимпијских медаља у атлетици — 3.000 метара препреке за жене
 Освајачи олимпијских медаља у атлетици — 3.000 метара препреке за мушкарце

Референце

Спољашње везе

 Страница посвећена женском трчању са препрекама
 Списак рекорда трке 3.000 метара препреке за жене на службеној страници ИААФ-а
 Списак рекорда трке 3.000 метара препреке за мушкарце на службеној страници ИААФ-а]
 Светска атлетска федерација ИААФ

Атлетске дисциплине
Трка на 3.000 метара са препрекама

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