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probablyasocialecologist · 25 days

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The core defining feature of capitalism is that it is fundamentally anti-democratic. Yes, many of us live in democratic political systems, where we get to elect candidates from time to time. But when it comes to the economic system, the system of production, not even the shallowest illusion of democracy is allowed to enter. Production is controlled by capital: large corporations, commercial banks, and the 1% who own the majority of investible assets… they are the ones who determine what to produce and how to use our collective labour and our planet’s resources. And for capital, the purpose of production is not to meet human needs or achieve social objectives. Rather, it is to maximize and accumulate profit. That is the overriding objective. So we get massive investment in producing things like fossil fuels, SUVs, fast fashion, industrial beef, cruise ships and weapons, because these things are highly profitable to capital. But we get chronic underinvestment in necessary things like renewable energy, public transit and regenerative agriculture, because these are much less profitable to capital or not profitable at all. This is a critically important point to grasp. In many cases renewables are cheaper than fossil fuels! But they have much lower profit margins, because they are less conducive to monopoly power. So investment keeps flowing to fossil fuels, even while the world burns. Relying on capital to deliver an energy transition is a dangerously bad strategy. The only way to deal with this crisis is with public planning. On the one hand, we need massive public investment in renewable energy, public transit and other decarbonization strategies. And this should not just be about derisking private capital – it should be about public production of public goods. To do this, simply issue the national currency to mobilize the productive forces for the necessary objectives, on the basis of need not on the basis of profit. Now, massive public investment like this could drive inflation if it bumps up against the limits of the national productive capacity. To avoid this problem you need to reduce private demands on the productive forces. First, cut the purchasing power of the rich; and second, introduce credit regulations on commercial banks to limit their investments in ecologically destructive sectors that we want to get rid of anyway: fossil fuels, SUVs, fast fashion, etc. What this does is it shifts labour and resources away from servicing the interests of capital accumulation and toward achieving socially and ecologically necessary objectives. This is a socialist ecological strategy, and it is the only thing that will save us. Solving the ecological crisis requires achieving democratic control over the means of production. We need to be clear about this fact and begin building now the political movements that are necessary to achieve such a transformation.

#jason hickel #climate change #degrowth #capitalism #planning

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zorlok-if · 2 years

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Sharing the the dark theme's mobile UI and what I consider to be one of the cooler features of my Goncharov game jam entry (now called Creating Goncharov).

Early on the game asks you to sign into your work computer. If you input a certain name, well... the game adjusts accordingly.

IDs/transcriptions in alt text and below pictures.

[image 1: A screenshot from Creating Goncharov of a passage designed to look like a computer sign-in screen. The name that's been entered is "Martin Scorsese". /end ID]

[image 2: A screenshot from Creating Goncharov of a passage designed to look like an email. The email is titled "New Assignment" and is being sent from "Boss" to "Martin Scorsese". The body of the email reads: "Good morning, Mr. Scorsese. I have a very exciting opportunity for you. Later today I'll be pitching a new film—specifically a Goncharov remake—to a group of investors and, of course, I've chosen you to put that pitch together. My meeting is at 11:00 so hopefully you've arrived at work early. If, for whatever reason, you don't think you're the right fit for this project, let me know asap. I can easily find someone else for the job, but we don't have any time to waste. We are all very excited to present you with this opportunity and look forward to seeing what you'll do with this project! Let me know your response as soon as you finish" /end ID]

[image 3: A screenshot from Creating Goncharov of a narrative passage. The passage reads "You stare at the computer screen for a long while. "Of course I've chosen you." Why of course? You are a prolific director and any project attached to your name is certain to wow investors, but there's one big problem. You haven't seen Goncharov. You haven't even heard of Goncharov before. Whatever, it doesn't matter. Your Martin Scorsese, you can make a masterpiece out of anything. You'll figure something out. Even if you don't have a good idea for the plot, you can always call up Rob and Al, see if you can get them onboard. No investor would turn down a film with Scorsese, De Niro, and Pacino attached to it. You reply to your boss." /end ID]

[image 4: A screenshot from Creating Goncharov of a passage designed to look like an email. The email is titled "RE: New Assignment" and is being sent from "Martin Scorsese" to "Boss". The body of the email reads: "Good morning to you as well. I'd like to thank you for thinking of me for this project. I can certainly fit it into my busy schedule. You mentioned that you had more details, I urge you to send those along so we can get this ball rolling as soon as possible. This movie won't make itself. Yours, Martin Scorsese" /end ID]

[image 5: A screenshot from Creating Goncharov of a passage designed to look like an email. The email is titled "RE: New Assignment" and is being sent from "Boss" to "Martin Scorsese". "Al B" has been CC'd. The body of the email reads: "Fantastic! And thank you for responding so promptly. The details are as follows: You need to craft a pitch for a 2023 adaptation of your 1973 classic, Goncharov. We aren't asking you to stray too far from the original. Goncharov is already a masterpiece and our audiences already adore it. This is meant to be a celebration more than anything in honor of the upcoming 50th anniversary. We are very excited to see what you will do given the opportunity to remake Goncharov with access to modern technology, new perspectives you've gained over the years, and (if this pitch goes well) a much bigger budget than you would have had at the start of your career." /end ID]

[image 6: The continuation of the last email described. The email continues: "Deepest apologies for only reaching out to you now, but I'll remind you that unfortunately we only have until 11:00. If possible, I'd also like to go over your ideas and thoughts before I present them to the potential investors, so the earlier you can get this pitch to me, the better. Anyways, go work your magic. Not that it'll be difficult; as Roger Ebert said, "Goncharov is the greatest mafia movie ever made." Whatever you do, I'm sure it will be fantastic." /end ID]

[image 7: A screenshot from Creating Goncharov of a narrative passage. The passage reads "Wait. That can't be right. You read the email again. No, you read that correctly. They definitely said that Goncharov was your movie. Is that... possible? Could you really have forgotten about one of your own films. I mean it was 1973, apparently. You aren't as young as you once were and maybe it's been so long that you've somehow... forgot? No, that can't be it. If you made a film that Roger Ebert called "the"—what was it? You check the email again. "The greatest mafia movie ever made," you would definitely remember that. Right? ...Right?" /end ID]

[image 8: A cycling choice from the game Creating Goncharov. It reads "Yeah, you know your own body of work. They must be mistaken somehow or there has to be some kind of miscommunication. You did not make Goncharov. You're 99.99% sure." /end ID]

[image 9: A cycling choice from the game Creating Goncharov. It reads "Maybe... maybe not. They're probably mistaken or there's some kind of miscommunication, but you're 80% sure that you did not make Goncharov." /end ID]

[image 10: A cycling choice from the game Creating Goncharov. It reads "No. You have no idea. That was fifty years ago, it's entirely possible that you made Goncharov and have no memory of it." /end ID]

#goncharov #unreality #cw unreality #martin scorsese #goncharov game jam #creating goncharov #long post

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grogumaximus · 1 month

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Max Verstappen at the 50th anniversary of Red Bull Racing's partner Mobil 1.

#max emilian verstappen<3 #trauma dumped a little #i think he was referring to his spa 2015 overtake as his favorite.. menace baby #max verstappen

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leonardcohenofficial · 2 years

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here’s the NYtimes interview with alan alda reflecting on the fiftieth anniversary of M*A*S*H (text below the cut)!!

By Saul Austerlitz Published Sept. 16, 2022 Updated Sept. 17, 2022, 1:10 p.m. ET

When we think of the default mode of much of contemporary television — mingling the tragic and the offhand, broad comedy and pinpoint sentiment — we are thinking of a precise mixture of styles, emotions and textures first alchemized by “M*A*S*H.”

Created by Larry Gelbart and Gene Reynolds, “M*A*S*H” aired on CBS from 1972 to 1983. (It is currently available to stream on Hulu.) Over the course of its 11-year run, it featured alcohol-fueled high jinks and other shenanigans alongside graphic surgical sequences and portrayals of grief, blending comedy and drama in a fashion rarely seen before on television. Set among the doctors and nurses of a Korean War mobile surgical unit, “M*A*S*H” made use of the mockumentary episode decades before “The Office” ever tried it, featured blood-drenched story lines long before “The Sopranos” and killed off beloved characters without warning well before “Game of Thrones.”

The “M*A*S*H” series finale, titled “Goodbye, Farewell, and Amen,” remains the most-watched non-Super Bowl program ever broadcast on American TV. The heart of the series was Alan Alda, who played the acerbic and devoted surgeon Hawkeye Pierce throughout the show’s more than 250 episodes and also wrote and directed dozens of them.

The actor revisited “M*A*S*H” in a video interview ahead of the show’s 50th anniversary, on Sept. 17. Alda, 86, who was diagnosed with Parkinson’s disease in 2015, discussed famous scenes, the series’s battles with CBS (“They didn’t even want us to show blood at the beginning”) and why he thinks the audience connected so deeply with “M*A*S*H.” These are edited excerpts from the conversation.

How have you been feeling?

Good, thank you. You mean with regard to Parkinson’s or the Covid or what?

All of the above, I suppose.

Parkinson’s I’m on top of. And I haven’t come down with Covid yet.

What does it mean to you to know that people are still interested in “M*A*S*H” 50 years later?

I got the script submitted to me when I was making a movie in the Utah State Prison. And it was the best script I had seen since I’d been in prison. I called my wife and I said: “This is a terrific script, but I don’t see how I can do it. Because we live in New Jersey, and it has to be shot in L.A. And who knows? It could run a whole year.” To go from that to 50 years later, it’s still getting, not only attention but it’s still getting an audience, is a surprise.

What kinds of conversations did you have with Larry Gelbart before the show began?

With “All in the Family,” I think the door was open to doing stories about things that really mattered. So when I got out of prison and went down to L.A. to talk to them, the night before we started rehearsing the pilot, I wanted us all to agree that we wouldn’t just have high jinks at the front. That it would take seriously what these people were going through. The wounded, the dead. You can’t just say it’s all a party. And we talked until about 1 in the morning at a coffee shop in Beverly Hills.

Do you feel there was a shift over the first season away from the booze-fueled humor of the early episodes?

Yeah, there was. Partly because people who were submitting story lines thought that that’s what was wanted. Larry Gelbart rewrote most of the shows the first season. Midway through the first season, there was a show called “Sometimes You Hear the Bullet,” and that was a real turning point. Because in that show, a friend of Hawkeye’s shows up among the wounded, and he dies on the operating table. That’s the moment where McLean Stevenson [as Lt. Col. Henry Blake] says: “There’s two rules in war: Young men die, and then Rule 2 is there’s nothing you can do about it.” Something like that. [The exact quote: “There are certain rules about a war. And rule No. 1 is young men die. And rule No. 2 is, doctors can’t change rule No. 1.”]

The network was furious about this. Some guy in charge of programming said, “What is this, a situation tragedy?” Soon after that, we were getting more popular. And the more popular you get, the less they complain.

Was CBS also concerned about the language used to tell these stories?

The most striking example to me was early in the series. Radar [Gary Burghoff] is explaining to somebody that he’s unfamiliar with something. And he said, “I’m a virgin at that, sir.” With no sexual context. It was just that he’d never done something before. And the CBS censor said: “You can’t say the word ‘virgin.’ That’s forbidden.” So the next week, Gelbart wrote a little scene that had nothing to do with anything. A patient is being carried through on a stretcher. And I say, “Where you from, son?” And he says, “The Virgin Islands, sir.”

Early in the show’s run, Gelbart and Reynolds went to South Korea and recorded 22 hours of interviews with doctors, nurses, pilots and orderlies there. How did those interviews make their way into story lines for the show?

We had reams of transcripts of those conversations. I would go through them looking for ideas for stories. And I could see that the other writers were doing the same thing, because there’d be circles around sentences and words. Sometimes one little phrase would spark the imagination of one of us, and that phrase could turn into a story.

Larry and Gene went to Korea at the end of the second season, and they got a lot of material for stories. But they had also found that we had, by paying attention to the lives that they lived, we had made up stories that were very similar to things that had actually happened.

People may not remember that you directed 32 episodes of “M*A*S*H” and wrote 19 episodes. How did you start getting interested in writing and directing?

At the end of the first season, I wrote a show called “The Longjohn Flap.” I borrowed the idea of “La Ronde,” but made it long johns instead because it was reflective of what their lives were like in the cold. I had been trying to learn writing since I was 8 years old. I wanted to be a writer before I wanted to be an actor.

Were there story lines that you thought “M*A*S*H” hadn’t quite tackled yet that you wanted to bring into the world of the show as a writer and director?

When I wrote, I tried to find out a little bit more about each of the characters. Who is Klinger [Jamie Farr] really? What was underneath — I almost said, what was underneath the dresses. [Laughs.] What was underneath the wearing of the dresses? Who was Margaret [Loretta Swit]?

I see on the internet that people assumed that because I was politically active, trying to get the Equal Rights Amendment passed, that in my writing I was trying to make political points, too. And I wasn’t. I really don’t like writing that passes as entertainment when it’s really propaganda. I want to hear a human story.

The unexpected death of Colonel Blake (McLean Stevenson) in the Season 3 finale, “Abyssinia, Henry,” remains one of the biggest surprises in television history. What was it like to shoot that sequence?

Gelbart showed me the scene. I think [it was] the morning of the shoot. I knew, but nobody else knew. He wanted to get everybody’s first-time reactions. And it really affected Gary Burghoff on camera. I think everybody was grateful for the shock.

It shocked the audience, too. I had a letter from a man who complained that he had to console his 10-year-old son who was sobbing. But it was one of the ways for the adults in the audience to realize that another aspect of war is that things happen that you don’t expect.

Was there ever a point when you got tired of fighting the Korean War on TV? The old joke is the show lasted almost four times as long as the actual war.

Around a year before we finally ended it, I felt we were getting toward the end of our ability to be fresh every week. I started suggesting that we do a final movie-length episode that really could end it. First of all, we were getting too old to play these people. And after you tell stories about a group of people 250 times, it’s hard not to repeat yourself or say things that sound like they’re supposed to be funny but aren’t really.

What did it mean to you to have Hawkeye leave Korea scarred by the death of a child in the final episode?

You just described exactly what I wanted to do with all the characters on the show. I was looking for stories, each in a different way, that showed how everybody left the war with a wound of some kind. Everybody had something taken from them. And Hawkeye was just one of them.

Earlier in your career, you had been on another great military comedy, “The Phil Silvers Show,” also known as “Sergeant Bilko.” What did you learn about acting from your pre-“M*A*S*H” TV work?

The first thing I learned on the “Bilko” show was you have to know your lines before you go in for the day’s work. I had come from the stage, where I would learn my lines during rehearsal. And the first thing they did is say, “OK, you’re up for your phone conversation,” where it’s a page of dialogue. It was an eye-opening experience. [Laughs.] I staggered through that.

Why do you think the audience connected so deeply with “M*A*S*H”?

Aside from really good writing and good acting and good directing, the element that really sinks in with an audience is that, as frivolous as some of the stories are, underneath it is an awareness that real people lived through these experiences, and that we tried to respect what they went through. I think that seeps into the unconscious of the audience.

They didn’t even want us to show blood at the beginning. In the pilot, the operating room was lit by a red light, so you couldn’t tell what was blood and what wasn’t. Which, once we got picked up, was ditched.

And giving us a feel for the circumstances that the real people had to go through, so that you could see that the crazy behavior wasn’t just to be funny. It was a way of separating yourself for a moment from the nastiness.

You can’t get as harsh as it really was.

Correction: Sept. 16, 2022 An earlier version of this article described in error the viewership statistics for the series finale of “M*A*S*H.” It was the most-watched non-Super Bowl program ever broadcast on American television, in terms of total audience, not the highest-rated non-Super Bowl program. A rating refers to the percentage of TV households that watch a program. The “M*A*S*H” finale remains the highest-rated program, of any kind, ever broadcast on American television.

#mash #alan alda #M*A*S*H #tv: mash #happy reading!

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redpencilcreations · 15 days

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The new wrap ! Celebrating Mobil 1 50th anniversary and one of the sponsors for the Hot Wheels Legends Tour 2024

#hot wheels #kustom #hot rod #Spotify

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kosmos2999 · 7 months

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Star Trek: The Animted Series 50th Anniversary Episode Review

Episode: The Infinite Vulcan

Season: 1

Episode: 7

Stardate:

Original airdate: October 20, 1973

Written by: Walter Koenig

Directed by: Hal Sutherland

Music by: Yvette Blais and Jeff Michaels

Executive producers: Lou Scheimer and Norm Prescott

Studio: Filmation Associates

Network: NBC

Series created by: Gene Roddenberry

Cast:

Captain James T. Kirk (voice by William Shatner)

Mr. Spock, Spock 2 (voice by Leonard Nimoy)

Dr. Leonard “Bones” McCoy (voice by DeForest Kelly)

Lt. Uhura, Computer Voice (voice by Nichelle Nichols)

Lt. Hikaru Sulu (voice by George Takei)

Eng. Montgomery Scott, Agmar, Dr. Stavos Keniclus 5 (voices by James Doohan)

Nurse Christine Chapel (voice by Majel Barrett)

Synopsis:

The Enterprise is engaged in an exploring mission. A newly discovered planet on the pheripheral portion of the galaxy. An away team composed of Captain Kirk, Doctor McCoy, Mister Spock and Lieutenant Sulu is assembled to being beamed down to this world full of natural beauty but full of mystery.

At the arrival, they have found a city apparently abandoned by its inhabitants. They get confusing signals on their scanners and the readings of a power source on a building in front of them. While his teammates explore the inside of the building, Sulu finds a mobile plant and gets hurt mortally by one of its thorns. Kirk, McCoy and Spock came to his rescue once they listen to his scream for help.

The doctor applies one of his antidotes, but it is useless aganist the plant's poison. Then, a group of plant-like beings suddenly appeared. Their leader, Agmar offers a cure for Sulu but McCoy refusses the help. Kirk accepts the help from the natives and just when they apply their antidote, Sulu recovers very fast.

Agmar, the Phylosian told to the crew that they had an earlier contact with humans. One that brought the an infectious bactery that killed a generation of their own, but he also helped them to survive. As they are entering thru a cave, a flock of dragon-like flying plant-lifeforms attack the Enterprise's crew and kidnap Spock.

The Phylosians got a system that makes phasers not working, then a giant human appeared and the natives made a bow to him. He identifies as Doctor Stavos Keniclus 5, the man who saved the natives from extintion. He told the team that he needs Spock for his plans and also told them to leave the planet.

Kirk orders to beam up the rest of the crew.

On the bridge, Kirk orders Lt. Uhura to investigate any data about Keniclus 5. Meanwhile, the doctor tries to find a way to defend themselves against the plant-lifeforms by using a recepie for a pesticide from his gran-grandfather's farm.

Uhura found a record of a scientist Keniciclus who left the Earth after loosing the Eugenic Wars. Kirk is surprised and trying to guess how he survived after more than 200 years.

Kirk, McCoy and Sulu return to the planet's surface but much prepeared to rescue Spock. The natives brought them to a underground compound where Spock is located.

Inside the cave compound, they encounter again with Keniciclus 5. He reveals himself as the fifth generation clone of the original Dr. Keniciclus. His plan is to imposing peace by strenght to the galaxy by invading every single planet they could. For that reason, he produced a Mr. Spock's clone, Spock 2.

As soon as they learned Keniciclus 5's plans for galactic conquest, a new wave of the dragon-like flying plant-lifeforms made an attack. This time, the team is ready to counter using McCoy's pesticide formula as a weapon.

After a successfully defeat of the flying creatures, Kirk triex to reason with Keniciclus 5 that he is unaware of the present time. That there is no need to continue wars from the past because the Federation had brought peace thru the galaxy. Then Kirk had a conversation with Spock 2 about the illogical action of imposing peace thru strenght. Some that goes against the Vulcan philosophy of infinite diversity in infinite combinations. Something that simbolize the elements of truth and beauty.

Spock 2 asserts Kirk's words and changes his mind. Meanwhile, the original Spock is dying in a chamber because of a memory drain performed by the mad scientist, Keniciclus 5. Spock 2 performs a Vulcan mind meld to help his original self to recover.

At the end, Keniciclus 5 was feeling useless after his plans failed miserably, Kirk and the original Spock convince him to use all of his knowledge and strength to help on the restoring of the Phylosian civilization with the help of Spock 2. All of them agree on that.

Fascinating Facts:

This episode was written by Walter Koenig. Due to budget restrictions, Koenig was not cast for playing the role of Lieutenant Chekov in The Animated series, but he made his collaboration by writing this episode.

The Koenig's main source for inspiration for writing the story was the fact that cloning was a very discussed subject in that time.

The mobile plant-lifeform who attackes Sulu has the name of Retlaw. It is Walter spelled backwards. The idea came from a story of a comic book series where the aliens spoke bakwards.

The first reference to the Vulcan philosophy of Infinite Diversity In Infinite Combinations (or IDIC) was made in the third season episode of The Original Series titled “Is There In Truth No Beauty?” At first, Leonard Nimoy refused the idea for a symbol because he thought Gene Roddenberry's idea for merchandising its pin.

#space opera #space western #filmation #star trek #70s sci fi #star trek: tas 50th anniversary #star trek: the animated series 50th anniversary

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rastronomicals · 20 days

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1:00 PM EDT May 7, 2024:

Promised Land Sound - "Stuck Inside Of Mobile With The Memphis Blues Again" From the compilation album Mojo presents Blonde on Blonde Revisited (May 2016)

Last song scrobbled from iTunes at Last.fm

Compilation given away by Mojo magazine with its July 2016 issue, in honor of the 50th anniversary of the Dylan classic

#Promised Land Sound #Mojo presents Blonde on Blonde Revisited #Stuck Inside Of Mobile With The Memphis Blues Again

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felipeandletizia · 6 months

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Felipe and Letizia retrospective: November 22nd

2004: BMW Painting Awards Ceremony at the Auditorio Nacional (1, 2)

2006: Audiences at la Zarzuela & Dinner celebrating the 125th anniversary of the Sabadell Bank

2007: Visited the Air Transport Wing 35

2012: Visited the Mobile Air Control Group (GRUMOCA)

2013: Audience at la Zarzuela; 5th Ibero-American Congress of Culture; Celebration of the 20th anniversary of activity of the Gamma Radiosurgery Unit of the Ruber International Hospital & Visited King Juan Carlos at the Quiron University Hospital

2016: Visited the Spanish Episcopal Conference on its 50th anniversary

2017: “Francisco Cerecedo Awards 2017” at the Ritz Hotel in Madrid.

2018: Inauguration of the X Congress of Legal and Social Academies of Ibero-America in Madrid; Official dinner of the 23rd Conference of Presidents of the Ultraperipheral Regions of the European Union & Celebration of the 10th anniversary of the “BBVA Integra Awards” (1, 2)

2021: Plenary meeting of the European Round Table For Industry (ERT); Seminar with Basque companies especially linked to sustainable development & Oversaw the oath of the new President of the Court of Auditors, Enriqueta Chicano Jávega

2022: Audience with Cindy Rose, President of Microsoft for Western Europe and Alberto Granados, President of Microsoft Ibérica

F&L Through the Years: 1089/??

#King Felipe #Queen Letizia #King Felipe of Spain #Queen Letizia of Spain #King Felipe VI #King Felipe VI of Spain #F&L Through the Years #November22

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kicksaddictny · 1 year

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PUMA x Rhuigi Capsule Collection

PUMA and designer Rhuigi Villaseñor are introducing part three of their capsule collection that toasts American classics and New York City. Uniting the past, present, and future, Rhuigi celebrates PUMA’s place in global culture with this new collection, which pays a special homage to the five boroughs.

A commemoration of the 50th anniversary of hip-hop culture with designs inspired by 1970s New York hip-hop and b-boying, drop three of the PUMA x Rhuigi capsule features break-ready designs across footwear and apparel.

The T7 Track Top and Track Pants are complemented by a selection of graphic T-shirts and a bucket hat, while the iconic Suede BBOY locks in the collection’s head-to-toe look. Created especially for the collaboration, a retro graphic used throughout nods to New York City and PUMA’s home of Herzogenaurach in Germany. The range is elevated with warm tones including brown, red, and soft pink for the collection’s Suede.

The campaign is fronted by NYC’s own W.A.F.F.L.E. dance crew, consisting of @taylah_gvng, @sean.mcfly, and @shoemanstro.

Retailing for $40-$185, the latest PUMA x Rhuigi capsule will be available Saturday, April 1 at PUMA.com, the PUMA mobile app, the PUMA NYC flagship store, and select retailers worldwide.

#puma #rhuigi #kicksaddict #clothing

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lcurham · 3 months

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ArtsACT Kambah Turns 50 - application for Arts Activities funding - Feb 2024, Louise Curham support material

Images: maximum ten images (note, several were uploaded with the application)

Video files: maximum three files, and not more than six minutes in total (none included in the application)

Here's a link to my CV.

Some projects from the past two years ...

curating the Antics Hair Microcinema in Canberra with screenings featuring interstate and international work

Canberra Art Biennial 2022 - short film performances

Kambah at Tuggeranong Arts Centre, Jan Feb 2023

Compost Film with B Turner and UK Fredericks at Belconnen Arts Centre in the University of Canberra group show

Images:

In the exhibition Kambah, I used pinhole photography and cyanotypes as a way to investigate the visual experience of Kambah. I photographed everyday scenes. The intention in using old media was to represent things we in Kambah see every day using a process that makes them look different, to encourage residents to think more about these places and what they mean to them.

The following two images were exhibited in 'Kambah' Jan/Feb 2023 at Tuggeranong Arts Centre. Both are produced using Harman direct positive paper in a homemade pinhole camera, built during the Covid pandemic lockdowns.

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This image is one of the cyanotypes:

Kangaroo grass (themeda sp.) and cockatoo feather

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The Kambah exhibition, an installation shot, left to right: Paul Collis poem (commissioned for the exhibition), pinhole camera on plinth, 7 enlargements of pinhole images of Kambah, sitting circle for conversations with visitors and community members, Bennet family 16mm home movie provided by the NFSA, pinhole originals (5x4 inch, clusters of 6-9 images), cyanotypes of plants of Kambah (5 x4 inch, cluster of 9 images).

Media related to the exhibition:

Brian Rope in the Canberra Times 10 Feb 2023

Living Arts Canberra blog, 28 Jan 2023, audio interview

ArtSound FM interview, ABC Canberra Sunday morning interview, Feb 2023.

Reflective article related to the exhibition, ABC Canberra Sunday morning 17 Dec 2023 related to this article.

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The purpose of this exhibition was to work towards the 50th anniversary of the suburb Kambah in 2024. It was also to develop entries for the Kambah Peoples Map, in development by me since 2020. The map uses a locative media tool developed by artists in Belgium and Spain. it allows a curated map primarily for use on a mobile phone while in a set location, here's a link to the work-in-progress map.

Here's a screenshot:

Kambah peoples map - screen shot of the digital map entry screen

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Other key work of mine

Since the early 2000s, a strand of my practice focuses on re-enacting 1970s media art in the artist/archivist collaboration with Lucas Ihlein under our nom de plume, Teaching and Learning Cinema (T:LC). In this image Lucas is setting up for Horror Film 1, a work by British artist Malcolm Le Grice from 1971. TLC carries out this re-enactment process as a way to learn about the work which we then document in instruction manuals, or 'user's manuals' as we call them.

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Using old media to produce works on paper:

Here's a still from the project from 2008 Waiting to Turn into Puzzles. This image formed part of a musical score prepared in collaboration with composer David Young.

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Here's an image from my 2015 solo exhibition at PhotoAccess in Canberra, A Film of One's Own [Archive Fever].

This is an AO sized work (larger than a metre) made from scanning an entire short 16mm handmade film:

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My film work using old media, 16mm and super 8, is known and used by Australia's experimental music community. The films must be performed live, so they have some presence in the experimental film community, but that is limited due to that requirement for liveness.

Here's an example:

And one more:

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dgf2099 · 2 months

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The Driver Suit Blog-Paint Scheme Grades-March 30, 2024

By David G. Firestone Ross Chastain #1 Worldwide Express Chevy Camaro-Same scheme as last year, same F grade. Austin Dillon #3 Get Bioethanol Chevy Camaro-I like the removal of the white, it cleans the scheme up very well. A Josh Berry #4 Overstock.com Ford Mustang-I like the look, the car has a nice design and color scheme. A Brad Keselowski #6 Castrol 125 Years Forward Ford Mustang-The stripe…

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signalsfrommars · 7 months

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#2023inheavymetalmusic #Compilations #EPs #HardRock #HeavyMetal #LiveAlbums #MarsAttacksPodcast #MarsAttacksRadio #Metal #Music #NewAlbums #NewReleases #Patreon #Patron'sPick #Reissues #Rock #September2023 #SignalsFromMars

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docrotten · 8 months

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GODZILLA VS. MEGALON (1973) – Episode 199 – Decades Of Horror 1970s

“Megalon! Megalon! Wake up, Megalon! Come on, rise up now, to the Earth’s surface! Destroy the Earth! Destroy our enemies! Rise up! Go on! MEGALON!” That’s quite the cheering section you have there, Megalon. Join your faithful Grue Crew – Bill Mulligan, Jeff Mohr, and guest hosts Dirk Rogers and Bryan Clark – as they go quadruple kaiju in Toho’s Godzilla vs. Megalon (1973).

Decades of Horror 1970s Episode 199 – Godzilla vs. Megalon (1973)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://youtube.com/gruesomemagazine

Decades of Horror 1970s is partnering with the WICKED HORROR TV CHANNEL (https://wickedhorrortv.com/) which now includes video episodes of the podcast and is available on Roku, AppleTV, Amazon FireTV, AndroidTV, and its online website across all OTT platforms, as well as mobile, tablet, and desktop.

An inventor creates a humanoid robot (Jet Jaguar) that is seized by the undersea nation of Seatopia & used as a guide for Megalon and Gigan to destroy the above-ground dwellers as vengeance for the nuclear tests that have devastated their society. In an attempt to stop them, a now independently thinking Jet Jaguar brings Godzilla into the fight.

Director: Jun Fukuda

Writing Credits: Jun Fukuda (screenplay; Shin’ichi Sekizawa (treatment)

Music by: Riichirô Manabe

Cinematography by: Yuzuru Aizawa

Editing by: Michiko Ikeda

Production Design by: Yoshifumi Honda

Special Effects by: Teruyoshi Nakano (director of special effects)

Selected Cast:

Katsuhiko Sasaki as Inventor Goro Ibuki

Hiroyuki Kawase as Rokuro ‘Roku-chan’ Ibuki

Yutaka Hayashi as Hiroshi Jinkawa

Robert Dunham as Emperor Antonio of Seatopia / Motorcycle assailant

Kôtarô Tomita as Lead Seatopian Agent

Ulf Ôtsuki as Seatopian Agent

Gentaro Nakajima as Truck Driver (credited as Gen Nakajima)

Sakyo Mikami as Truck Driver’s Assistant

Fumiyo Ikeda as Man from Unit 1

Kanta Mori as Japan Special Defense Forces Chief

Shinji Takagi as Gojira

Hideto Odachi as Megaro

Tsugutoshi Komada as Jetto Jagâ

Kenpachirô Satsuma as Gaigan (credited as Kengo Nakayama)

With Doc and Chad occupied elsewhere, Jeff and Bill welcome guest hosts Bryan Clark and Dirk Rogers to examine a last-minute replacement feature for episode 199. Trust us, you will not be disappointed as the Grue-Crew champions another Toho, 1970s, Kaiju entry, Godzilla vs. Megalon, for some silly yet still awesome man-in-suit action. Joining Godzilla and Megalon on screen are fellow giant monsters, Gigan and Jet Jaguar. Jeff finds himself surrounded by kaiju super-fans Bill, Bryan, and Dirk. This episode should not be missed! Enjoy!

At the time of this writing, Godzilla vs. Meagalon is available to stream from Tubi, Freevee, Pluto TV, MAX, the Criterion Channel, and multiple PPV sources. The film is also available on physical media as a Blu-ray in Godzilla, the Showa-Era Films, 1954–1975 (The Criterion Collection).

Gruesome Magazine’s Decades of Horror 1970s is part of the Decades of Horror two-week rotation with The Classic Era and the 1980s. In two weeks, the next episode will be the podcast’s landmark bicentennial (that’s 200th, folks)! In honor of that occasion, the 70s Grue-Crew will also be celebrating the 50th anniversary of what many call the greatest horror movie of all time: The Exorcist (1973). Join us to discuss the film in which one character says, “There seems to be an alien pubic hair in my gin.”

We want to hear from you – the coolest, grooviest fans: comment on the site or email the Decades of Horror 1970s podcast hosts at [email protected].

Check out this episode!

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felipeandletizia · 2 years

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Felipe and Letizia retrospective: November 22nd

2004: BMW Painting Awards Ceremony at the Auditorio Nacional (1, 2)

2006: Audiences at la Zarzuela & Dinner celebrating the 125th anniversary of the Sabadell Bank

2007: Visited the Air Transport Wing 35

2012: Visited the Mobile Air Control Group (GRUMOCA)

2016: Visited the Spanish Episcopal Conference on its 50th anniversary

2017: “Francisco Cerecedo Awards 2017” at the Ritz Hotel in Madrid.

F&L Through the Years: 873/??

#King Felipe #Queen Letizia #King Felipe of Spain #Queen Letizia of Spain #King Felipe VI #King Felipe VI of Spain #F&L Through the Years #November22

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kicksaddictny · 7 months

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Lotto Launches Limited-Edition Gold Soccer Boots for 50th Anniversary

Legendary Italian sportwear brand Lotto is celebrating its 50th anniversary this year. To honor the golden anniversary, Lotto is launching a limited-edition (50 pairs in the U.S.) version of their legendary soccer boots with special details.

Lotto Stadio OG Gold 50 Years honors Lotto’s 50th anniversary combining a unique blend of Italian craftmanship and premium materials, designed in Montebelluna, the heart of the Italian Sportsystems district.

Lotto Stadio OG Gold 50 Years – limited to 50 pairs in the U.S. (enter for a chance to purchase 10/30-11/2)

· Each pair is uniquely numbered (1 through 50) to make this drop even more special. The upper features premium gold k-leather with black glossy details, while the out-sole is in shiny mirror-effect gold with black studs, making it a masterpiece of Italian craftsmanship.

· Pays homage to the boots worn by some of the greatest champions in the history of soccer, including Andriy Shevchenko (Golden Ball 2004), Cafu (2 times World Champion, 1994 and 2002) and Carlo Ancelotti (winner of the Champions League as a player and coach). A true memorabilia item, paying tribute to the world's favorite sport and the impact Lotto has had on it.

· 10 markets around the world are launching this boot throughout 2023 in a limited-50 pair run in each with the U.S. reservation window open Monday, Oct. 30 at 10:30am ET to Thursday, Nov. 2 at 4:00pm ET on the DICK’S Mobile App for $300. See below details on how to enter the raffle for the chance to purchase one of the 50 pairs available in the U.S.:

o Download the DICK’S Mobile App, log-in or create a new account and visit the ‘Releases’ section

o Find the Lotto Stadio OG Gold 50 Years, select your size and enter your order information before selecting “enter draw” – during the entry window noted above. Winning entries will be notified on Nov. 3.

Be sure to keep an eye out on Lotto’s social media for additional 50th anniversary boot drops in the weeks ahead! Join the conversation on Instagram (@LottoSportUS) and Twitter (@LottoSport) using #50YearsOfLotto and #MadeInItaly.

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#lotto #kicksaddict #video #soccer #Youtube

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