#director hirst

[saltyground]

Midnight Oil - "Armistice Day" live 1982

#this song has been in my head today because last night i had a dream where i was walking with my family and i #started singing a PERFECT rendition of it. knew every word by heart. #and my mom was like girl be quiet #😭 #anyway. #also in my dream i figured out that jim moginie had 5 children. i was like wow that guy must like to #you get the point #why cant i just have nice dreams like the one i had where i was watching rob hirst swimming in the ocean :)))) #so. back to armistice day .... #love love love this concert!!!! #the lighting director really said lets do bi flag colors #they are so beautiful #pete's arm hair is glowing #martin and rob are so sweaty #jim is just perfectly calm as pete runs around throwing shit #ahhhhhah i almost thought i was losing interest in them this week HA turns out the pain meds have finally worn off and I AM IN LOVEEEE #midnight oil #peter garrett #rob hirst #jim moginie #martin rotsey #wait is giffo even here? oops #my gifs

[swissmissficrecs]

A-Z Classic Johnlock Recs

This really just scratches the surface but I had so much fun making this, maybe I'll do another one. These are all fics I consider fandom classics. I limited myself to one fic per author and tried to include a mix of genres.

A gainst the Rest of the World by SilentAuror (151K, E, Post-Reichenbach)

B e Here Now by Todesfuge (94K, M, post-Reichenbach)

C ooperative Principle by bendingsignpost (56K, E, Uni profs AU)

D eflowered - Director's Cut by Lorelei_Lee (328K, E, Mafia BDSM AU)

E lectric Pink Hand Grenade by BeautifulFiction (67K, E, Sickfic/Casefic)

F ill Our Mouths With Cinnamon Now by lbmisscharlie (114K, E, Parentlock)

G host Stories by SwissMiss (22K, M, Domestic)

H itting the Water at Sixty Miles an Hour by what_alchemy (30K, E, Fake relationship)

I n deed accomplish our designs by greywash (95K, E, Post-Reichenbach)

J ust a Kiss by emmagrant01 (19K, E, 5 Times)

K intsukuroi by sussexbound (91K, E, S4 Fixit)

L eft by lifeonmars (45K, M, Magical realism)

M aintenance and Repair by patternofdefiance (106K, E, Sci Fi AU)

N ature and Nurture by earlgreytea68 (203K, M, Parentlock/Clonelock)

O ur Enthusiasms Which Cannot Always Be Explained by withoutawish (32K, M, Casefic/Romance)

P erformance in a Leading Role by Mad_Lori (156K, E, Actors AU)

Q uintessential by thisprettywren (49K, E, Senseverse AU)

R iptide Lover by jinglebell (114K, E, Merlock AU)

S chool for Scandal by orphan_account (222K, E, Boarding school AU)

T hirst by bittergreens (122K, E, Post-pool casefic/Romance)

U nwind by illwick (752K, E, BDSM series)

V essel by Rhuia (15K, E, Sickfic/Casefic)

W atson's Folly by Diana Williams/dkwilliams (299K, M, Regency AU)

X mas: Goodness Gives Extras by mydwinter (39K, E, Romance/Casefic)

Y ou Give Me Fever by michi_thekiller (16K, E, 1950's Greaserlock AU)

Z ombies: Coins on My Eyes by indybaggins (35K, M, Sickfic)

#rec list #best

[yellow-yarrow]

director's commentary for this post (lmao) because I like yapping

the reason why I choose these artworks is not just because they looked good, I thought it was interesting how they treat colors, light and rot

Damien Hirst's Black Sun is made of many dead flies, people have said that this artwork smells gross up close. Its theme is obviously death and disgust (like most of his works), he has also said the flies represent people, and quotes Hobbes saying that people's life without a government is bad and tragic (which I HEAVILY disagree with)

Hirst sells his works for millions of dollars, it's highly commercialized, some have accused him of money laundering and such. Insert the Wompty-Dompty Dom Centre thought:

Problem It's Wednesday evening and something heinously exciting is under way. People have gathered beneath the billowing roof of an oddly shaped trophy building, sipping wine and exchanging opinions. 29-year-old wunder-twins Guy and Keith Joost are the stars of the show, with their bomber jackets and white sneakers -- head curators of this art exhibition. It's the wompty-dom-di-dommiest event of the year and all the cool kids have RSVP’d. Where are you, if you are not there? Solution You're at home, stupid cop, not with the art crowd. You hate them, everyone hates them, even they hate themselves. It's nauseating -- an industry built on sprezzatura and sparkling wine. And, let’s be honest, tax evasion schemes. The Wompty Dompty Dom Centre is the heart of this unholy symbiosis of esthetics and tax optimization, and now that you've internalized it – you can have a piece too!

personally, for me, it invokes disgust both on an aesthetic level (dead flies) and in a conceptual level (rich guy using death to make millions). Tieing this into black being the color of money in Elysium, and the end of the world.

Malevich's Black square is a painting without an object, it doesn't represent the material world, it is independent of it. but at the same time, black is the density of matter in the white empty space.

He said this about this art: "[Black Square is meant to evoke] the experience of pure non-objectivity in the white emptiness of a liberated nothing." "It is from zero, in zero, that the true movement of being begins." (x) ‘In the year 1913, trying desperately to free art from the dead weight of the real world, I took refuge in the form of the square.’ (x)

Important context for this work (like many other black paintings) is that it was made around the time of the world wars, and the russian revolution. Black paintings express the trauma of the world wars, and in this case the revolutionary approach to art too.

quoting from the article I linked:

Malevich had been collaborating with the musician Mikhail Matyushin and the poet Aleksei Kruchenykh on a manifesto which called for the rejection of rational thought. They wanted to overturn the established systems and hierarchies of Western society. Together with poet Velimier Khlebnikov they staged Victory over the Sun, where the characters aimed to abolish reason by capturing the sun and destroying time. The libretto used Kruchenykh’s zaum – a new language of sounds that had no meaning. This sparked something in Malevich.

Similar things apply to White on white. The Moma website describes it better than I would:

[Malevich] "wanted White on White to create a sense of floating and transcendence. White, Malevich believed, was the color of infinity and signified a realm of higher feeling, a utopian world of pure form that was attainable only through nonobjective art. Indeed, he named his theory of art Suprematism to signify “the supremacy of pure feeling or perception in the pictorial arts”; and pure perception, he wrote, demanded that a picture’s forms “have nothing in common with nature.” In 1918, soon after the Russian Revolution, the connotations of this sense of liberation were not only aesthetic but also social and political. Malevich expressed his exhilaration in a manifesto one year later: “I have overcome the lining of the colored sky. . . . Swim in the white free abyss, infinity is before you.”

These molding fruits made out of gemstones by Kathleen Ryan make me think of Damien Hirst's bedazzled Skull artwork, decadence, kitsch, death. The gemstones make the mold feel like it has value, importance, like it's almost sacred. The pale as a "sacred and terrible smell"

Rothko's paintings heavily empathize colors, paintings like these invite us to really experience those colors and be moved by them.

From the Disco Elysium artbook:

Eyes are direct, unmediated input to the brain. You like or dislike something before you have a chance to reason about it. It affects you emotionally without offering you a chance to throw up intellectual defenses first. Witnessing death and good art are materially equivalent experiences: they are visual information transmitted straight to the centers of emotion by way of the eye. This might explain why a person could tear up in the presence of a Rothko painting. If you’re a sensitive enough instrument, seeing his Orange, Red, Yellow in real life feels intense. It doesn’t work on a computer screen though, you’re just staring at some bright pixels imitating the appearance of the painting the same way seeing a dead person is different from seeing a picture of a dead person.

El Lissitzky was also an important figure in russian avant-garde, like Malevich. Well. I put this one in here cause it looked nice and because of the theme of light and the lack of (it's a gelatin silver photograph).

maybe this adds something to the discussion of the symbolism of colors and light in Elysium

#long post / #I love art history and talking about art so much #what do i tag this #its going into my #de meta #tag

[justforbooks]

Brian Griffin, who has died aged 75, was one of the most original and influential British photographers of his generation. His images of Kate Bush, Donald Sutherland, Iggy Pop and Damien Hirst, and his album covers for Echo and the Bunnymen and Depeche Mode, are some of the most famous pictures of the 1980s.

For the cover of Depeche Mode’s 1982 LP, A Broken Frame, Griffin transposed Soviet social realism to a cornfield off the M11 in East Anglia, and the result was named by Life magazine as one of the greatest images of the decade. His virtuosity saw him declared photographer of the decade by the Guardian in 1989.

His work, which has been exhibited globally, is in the permanent collections of the National Portrait Gallery, the V&A, the Arts Council and the Birmingham Museum and Art Gallery.

Griffin’s success capturing the glossy worlds of money and hairspray was rooted in something darker. He was forged in the Black Country, the industrial heartland of the West Midlands, and the influence of the factories, and the harsh light from the furnaces, suffused his early photography. He had a relentless work ethic and would do anything to succeed in a world far removed from that of his upbringing.

He was born in Birmingham, the only child of Edith (nee Moore) and James Griffin, who were both factory workers. The family lived in a two-up, two-down in Lye, where every street had a factory. Young Brian felt that “the whole world appeared to be partly made of metal. Everything you touched seemed to be iron and steel.” After passing the 11-plus exam he went to Halesowen technical school, then went to work at the age of 16.

In 1965 he was making conveyors for readymix concrete plants when the factory foreman suggested he join Hagley camera club, where he picked up a camera for the first time. He then got a job at British Steel and was working as a nuclear pipework engineering estimator in 1969 when everything changed. Devastated by the end of a love affair, he decided to leave his old life behind.

Griffin’s only means of escape was photography, so he put some of his camera club images into a Boots photo album and applied to art colleges. He was accepted into Manchester Art School at the age of 21, where he studied with Martin Parr and Daniel Meadows.

In the college library he devoured books on art, and after graduating and moving to London, he spent weeks at the National Film theatre immersing himself in German and French cinema. Inspired, he began to look for work.

In 1972 he went to see the art director of Management Today magazine. Griffin’s talent was plain to see, and he was immediately put to work. He shot a shadowy monochromatic image of rush hour on London Bridge from the back of a cab, calling it his Metropolis image, after Fritz Lang’s expressionist masterpiece. Prior to this, Griffin had doubted his ability, but now he knew that he could make it as a photographer, he unleashed his artistry.

Through his images for the magazine, Griffin introduced surrealism to the boardroom. His industrial background meant that he clicked with the businessmen who were his subjects, and the captains of industry played ball. He wittily subverted the corporate power of the men he photographed by introducing discordant juxtapositions, building tension. He wound intrigue throughout his work, stopping the viewer in their tracks, making them take time over his images, and his work began to be recognised.

Ambitious, he wanted to expand his repertoire and earn more money. He understood that the style he had honed in the business world would translate into the pop sphere, where post-punk bands were eschewing bondage trousers in favour of being suited and booted. He went to Stiff Records and photographed Elvis Costello and the Attractions and Ian Dury and the Blockheads.

Recognition followed and commissions flooded in. He worked for Esquire, Rolling Stone, the Face, Time Out, the Sunday Times and the Observer, in advertising for British Airways, BMW and Levi Jeans, and photographed Brian May in a series for Sony Walkman in 1980.

That year he moved to Rotherhithe, a working-class area of south London on the banks of the Thames. He loved the place, recognised its people and was to stay there all his life. He set up a studio from where he continued to push the boundaries of the conventional. Using his background in engineering, allied to his innate creativity, he built lighting machines and used knicker elastic and ping-pong balls to create startling special effects in an analogue age.

Some experiments led to happy accidents: his highly regarded 1984 image of Siouxsie Sioux, intended as a double exposure, was in fact a triple: “It was wrong, but so right,” he said.

In the days before social media, aside from magazines, the main showcase for a photographer’s work was on walls, be they in galleries or town centres. Griffin’s first solo London exhibition was at Contrast Gallery in 1981, and the posters of his work for bands such as Spandau Ballet and Ultravox were plastered across the land. His family finally saw his work and were proud: they had always wanted more for Brian than factory life.

As well as portraiture, he produced numerous documentary projects. In 1986 he photographed construction workers at the Broadgate development in the City of London. At the time he was still reeling from the death of his father from lung cancer, due to a life inhaling cast-iron dust. The project allowed Griffin to pay homage to his father and to all working people: he monumentalised the men “like knights lying in state in a cathedral with their swords”.

In 1989 he left still photography to make television commercials, music videos and short films, but returned a decade later. In 2003 he produced a project to aid Birmingham’s bid to become the European City of Culture. He worked promoting the 2012 London Olympics and in 2015 his photo-essay, Himmelstrasse, movingly documented the railway tracks in Poland that transported people to Nazi death camps. He continued to work up until the end of his life, with new projects still in the pipeline.

He had more than 20 monographs published in his lifetime and won numerous awards. In 2013 the Royal Photographic Society awarded him their Centenary Medal, and the following year he received an honorary doctorate from Birmingham City University for his lifetime contribution to his home city.

Griffin’s 1980 marriage to the photographer Frances Newman ended in divorce. Their daughter, Layla, died in 2020; he is survived by their son, Danz, and three grandchildren.

🔔Brian James Griffin, photographer, born 13 April 1948; died 27 January 2024

Daily inspiration. Discover more photos at Just for Books…?

#just for books #brian griffin #in memoriam

[take2intotheshower]

Endless List of Why I Ship Jane & Kurt - Part 4 (by @kate-dammit-run)

(re-posting to preserve this list, which was originally created and posted by @kate-dammit-run, whose account was deactivated in 2023)

151. Because they’re on the same page 152. Because even Matthew Weitz knows they’re in love 153. Because normal ain’t so bad (if it means taking a quiet stroll together) 154. Because she just wants to make sure he’s fine 155. Because the best thing (and the worst) was her penetrating his walls and getting inside them. 156. Because he is honest and loyal 157. Because she trusts him with her life 158. Because he was never forced to work with her 159. Because it doesn’t matter that Shepherd’s the reason they’re there 160. Because all of this led him to her and her to him 161. Because this is something he would never want to undo 162. Because he wants to cook his famous Thai curry for her (and her brother) 163. Because she only likes to him to protect him 164. Because when something is off between them, the whole office feels it 165. Because he knows she is not the same person she was before 166. Because he has forgiven the things she has done before 167. Because even when he is hurting as a result of something she did, she remains the one person he can open up to 168. Because she is the only one he tells his deepest secrets to 169. Because he can cry around her 170. Because he never canceled dinner 171. Because he wishes he could just flip a switch and get over the hurt 172. Because she wishes she could go back and change the past 173. And so does he. 174. Because no matter what she will always be the only one he trusts. 175. Because he is sorry he made her lie to Roman. 176. Because they flirt while disarming a bomb. 177. Because “don’t die” is the new “I love you”. 178. Because he refuses to accept that she is responsible for anything that Sandstorm are doing. 179. Because he was willing to take a bullet for her. 180. Because he’d never let her be the one who takes out her brother. 181. Because they are not their families. 182. Because he knows her heart and knows who she is. 183. Because when he says “I am not leaving my people” what he really means is “I am not leaving Jane”. 184. Because hand on knee. 185. And hand on heart. 186. And holding hands just before he leaves. 187. And because he just wants to keep her safe. 188. And because he fluffed her pillow. 189. Because after everything that has happened she is still the only one he trusts. 190. Because she is worried about him. 191. Because when Director Hirst tells her she is free to go to wherever it is she would like to go, Jane thinks of Kurt. 192. Because running through SIOC and hugging fiercely in front of everyone. 193. Because if there is something he wants to say to her, he shouldn’t put it off. 194. Because they are both allowed to be happy. 195. Because he will drive the ambulance full of nukes away as long as she remains somewhere safe. 196. Because she won’t let him go alone. 197. Because he won’t let her be the one to shoot her own brother. 198. Because he wants her to stay here with him. 199. Because “I love you, Jane, I love you.” 200. Because this is where she wants to be. 201. Because “I love you, too, Kurt”. 202. Because she still has longing in her eyes.

#Blindspot #reasons to ship Jeller #originally created by kate-dammit-run

[littlemuoi]

Duke of Edinburgh praises mental health charity for work with veterans on visit to Telford by Dominic Robertson (November 9th 2023)

ARCHIVE LINK

Prince Edward attended two engagements in Telford on Wednesday afternoon – first a visit to the Army Reserve Centre, before joining a tea party at Dawley Town Hall.

Both events were military-themed, with the Duke meeting cadets at the reserve centre, before meeting agencies and groups which support veterans, gathered together by Telford & Wrekin Council at the town hall, where they also marked the building's 150th birthday.

Joined by the Lord Lieutenant of Shropshire, Anna Turner, the Duke talked at length with young people, veterans, and representatives of charities which support them.

The relaxed and light-hearted Duke shared his sense of humour during his visit, joking on arrival into a packed but silent town hall that he had "killed the party".

Unveiling a plaque to mark the hall's anniversary The Duke was introduced by the leader of Telford & Wrekin Council, Councillor Shaun Davies, who shared the history of the hall – and how when it was not allowed to serve alcohol, locals set up a pub nearby.

Prince Edward, Duke of Edinburgh visits the Army Reserve Centre, Telford. Cadet Lance Corporal Dylan Fugatt is presented with his certificate. LAST COPYRIGHT NATIONAL WORLD PLC TIM THURSFIELD 08/11/23.

Addressing the guests the Duke said: "First of all it was really good to meet you all and thank you for your collective service you have done for this country, it is very, very much appreciated. And thank you to Mind and everyone else who organises these get-togethers for you.

"I am told this is not your typical day for getting together so I apologise if I have completely and totally confused your entire week.

"Anyway I have been asked to unveil this particular plaque, I am guessing a few of you can probably remember when the building opened - forgive me, you remember when the pub opened!"

The Duke of Edinburgh on his visit to Telford's Army Resource Centre.

To a background of laughter the Duke promised to try and make the unveiling "as slick as possible," adding: "I want you to know this has taken years of practice."

During his visit he met representatives from Telford Mind, a mental health charity that supports veterans, and the people who use its services.

The Duke of Edinburgh watches Staff Corporal Declan Poole trying a flight simulator.

He also took time to sit and chat with other groups such as Models for Heroes, and the All Sports Coaches Coaching Academy.

The academy trains veterans to coach youngsters at sports, and provide mental health support, as well as a range of other skills.

The Duke meets representatives from the All sports Coaches Coaching Academy.

The organisation's operation's director, Stuart Cook, who served for five years with the Welsh Guards, was joined by coach Johnny Bradley, who is currently serving with the Royal Irish Regiment, the group's founder Jim Prescott, and chairman Clive Barnard.

Mr Cook, 35, from Telford, said the Duke had been interested in what sports they provided.

He said: "He was having a chat, asking about what sports we like, what we do. Me and Johnny do boxing and he said Johnny has longer arms, 'does that mean he should beat me?'"

The Duke of Edinburgh presents a Long Service Good Conduct award to Sergeant Joel Edwards.

Mr Bradley, 33, explained how the group could make a difference, saying: "I know first-hand how sports can help towards better mental health. I have been through what I have been through myself so to be part of what Jim has put together has really helped me, so now hopefully I can help others."

Telford Mind provides a Monday Club where veterans can chat and support each other, and the Duke talked to a number of people who attend the sessions.

Mind trustee, Trevor Hirst, who served with the Royal Electrical and Mechanical Engineers (REME), said the Duke had been "funny", "very friendly", and "easy to chat to".

He said: "He asked who I served with and he said he should have recognised from my tie because his wife is a patron of the REME charity."

Cadets giving a gun-run demonstration.

Tom Kane, 65, from Telford, attends the Telford sessions. He came along to the tea party with his dog Harley.

Mr Kane, who spent 30 years in the RAF, said the Duke had asked about Harley.

He said: "He asked what he does for me and I said he tells me when someone is at the door, tells me when the phone rings, and tells me when the missus wants me."

The Duke chatted with the group Models for Heroes – an organisation which allows veterans and people in the services to meet up and build models together.

Gary Morris, who runs the Telford group, was joined by two RAF servicemen who run the RAF Cosford group, Chris King and George Hickish, and other members.

They explained that the Duke had talked about the original Lightning aircraft, saying that when he was at school they would take off and everyone would have to stop talking because the planes were so loud.

Louise Heap, CEO of Telford Mind, said the Duke had asked about what services they provide and how they work, with service manager Jen Caldicott adding: "He just thanked us for the great work we do."

The Duke unveils a plaque marking 150 years of Dawley Town Hall.

Speaking at the conclusion of the visit Councillor Davies said: "It was a real privilege to host the Duke of Edinburgh and to show him first-hand the vital work we do to support the armed services and veterans, it is something we take very seriously.

"He was very personable and able to share not only a story but a joke or two as well.

"And I think everyone who met him at both sites really appreciated his time and effort to come and see us."

The Duke talks with members of the Models for Heroes groups.

The Duke had earlier attended the Army Reserve Centre – the base of D-Squadron, The Royal Yeomanry.

Local cadets also train at the base twice a week.

During his tour the Duke was given a gun-run demonstration from the Army cadets before they provided a live first aid demonstration.

The Duke then presented an award to 15-year-old Lance Corporal Dylan Fugatt from Ellesmere.

The youngster, who was joined by his mum Sharon for the presentation, was being recognised for using first aid skills learned with the cadets to come to the aid of an elderly man who had fallen over in Ellesmere.

Speaking after the presentation Lance Corporal Fugatt said: "It was a bit of a shock at first. I don't think it has sunk in properly yet."

The Duke of Edinburgh was given a first aid demonstration.

He added that the Duke had been "great" and "just like any normal person".

His mother added: "I am so proud. I am very, very proud of how Dylan handled the situation back when it happened but to be recognised in this way, I am more proud for him after his efforts in training, I could not be more proud."

The group were joined by the Duke for a photo at the end of his Dawley Town Hall visit.

The Duke was also shown laser shooting, had a go at tying knots with Navy Cadets, and then saw young Air Cadets trying their hand at flight simulators and virtual reality kit, before presenting a Long Service Good Conduct award to Sergeant Joel Edwards.

#brf #‘should have recognised the tie because his wife is the patron of REME’ #I didn’t expect this much anecdote from a local engagement coverage 🥲 #oh sweet ed who is so proud of his soph #royal anecdote #ed #prince edward #duke of edinburgh #royal otp

[narvaldetierra]

Blindspot thoughts 3x08 - Hirst Edition

So at this point, I have to say that I love Hirst's character development. I mean, she was introduced at the end of season 2, when everything was chaos. But far from being that new boss who thinks that knows best, she listened to the team, she followed Patterson's ideas and plans, she gave Jane the possibility to choose what she wanted to do, and she let them be. Thus, she gained the team's trust and appreciation as well as the viewers.

Two years later, she's still working there, Reade is the new assistant director and they welcome the team again to resolve the new tattoos.

Then we start to notice a strange look here, a comment there, she begins to look suspicious and then Tasha and Patty start to investigate her. At this point, we all think "okay, maybe she wasn't that clear" but the new tattoos are there to expose those things from all the team, and none of them are completely clear. We never imagined what she was capable of until we learned that she was the one who killed Stuart. Now we know it wasn't just a little corruption thing like accepting bribes.

But in this episode, we see her doing frantic last-ditch efforts to avoid being captured. She incriminates Patterson, and with her, everyone that tries to help her. She rushes and pushes Rich too hard for him to give Patterson up, which is curious that he was tempted by the offer until Hirts mentions Boston, then it was personal for him. As the old saying states, for the mouth dies the fish, (I'm not sure that is the right translation, but I couldn't find a better one) and because she was talking too much about how dangerous Patterson was, they had no other choice to evacuate when the bomb threat reach. From here we can only see how desperate she is for all of this to end and as she was so sure to win, got confident and lost it all.

A really nice character development.

Also, here we confirm that she was working for Crawford, who abandoned her as fast as he could, showing us a little bit of that character too.

#blindspot rewatch 2022 #blindspot thoughts #blindspot 3x08 #blindspot #I'll probably post another thoughts later this week

[oraclesofnorway]

Microsoft Mesh from jeff han on Vimeo.

Microsoft Mesh enables presence and shared experiences from anywhere – on any device – through mixed reality applications. 

Mesh allows for connections with new depth and dimension. As digital intelligence comes to the real world, we’re now able to see, share, and collaborate on content that persists. This common understanding ignites ideas, sparks creativity, and forms powerful bonds.

Client: Microsoft

Creative Directors: David Wolf, John Nguyen Concept Artist: Dave Carleson ____________________________________________________________________________

LIVE ACTION Production Company: Sanctuary Founder/Executive Producer: Preston Lee Director: Mindcastle Director of Photography: Pat Scola Live Action Producer: Noah Thomason Production Designer: Melisa Myers Stylist: Ashley Chako

____________________________________________________________________________ VFX VFX Studio: a52 VFX Supervisor: Jesse Monsour, Urs Furrer Art Director / CG Supervisor: Kirk Shintani Flame Artists: Richard Hirst, Andrew McKenna, Matt Sousa, Steven Wolf, John Valle, Michael Vaglienty, Enid Dalkoff 3D Artists: Dustin Mellum, Ariana Ziae Mohseni, Aemilia Widodo, Weiyo Sha, Bryan Cox, Josh Dyer, Jose Limon, Jade Smrz, Joe Paniagua, Mike Di Nocco, Derek Friesenborg, Joseph Chiechi, Mike Bettinardi, Christoffer Bjerre, Haram Jung, Lusine Arakelyan Design Art Director: Jeff Han Designer: Carlo Sa, Christoffer Bjerre Online Editor: John Valle Sr Producer: Niki Love Goodwin Production Coordinator: Sara Dotson Head of Production: Stacy Kessler-Aungst Head of CG Production: Michael Steinmann Executive Producers: Patrick Nugent & Kim Christensen Managing Director: Jennifer Sofio Hall ____________________________________________________________________________ COLOR Color Studio: Primary Colorist: Daniel De Vue Color Assistant: Corey Martinez Color Producer: Jenny Bright Executive Producer: Thatcher Peterson _________________________________________________________________________ EDITORIAL Editorial Company: Rock Paper Scissors Editor: Ted Guard Assistant Editor: Michael Shugarman Producer: Sasha Grubor Executive Producer: Shada Shariatzadeh Head of Production: Dre Krichevsky Managing Director: Eve Kornblum ____________________________________________________________________________ SOUND Music Company: Future Perfect Partner: Maxwell Gosling Composer / Partner: John Connolly Producer: Nathalie Córdoba

[nothingtolosebutweight]

Alex wanted Ivar to experience true/heartfelt love? Is Heahmund a joke to you???????? Hahahaha if i were you i probably would've blurted out how much Ivar and Heahmund made the strongest romance throughout the show🤣

🤣🤣 Oh believe me, I had this comment on the tip of my tongue two times but decided I won't do it. First of course when I ask him..but he loved Freydis (and his Bishop xd) right?? and the second time was during the Meet & Greet. He said again that if anyone would have deserved a lovestory, it would have been Ivar - not like Bjorn who went through so many wives that he can't even remember the amount of them :D So he pushed his wish for love to Hirst and then he got Freydis - and I was about to say...but he had Heahmund before 🤣🤣🤣 but I hold back. I also saw my friend trying to tell me telepathically: Pls don't do it..don't do it 🤣🤣🤣

I had planned to ask him a question for Sunday about this topic and I was still thinking about how I could phrase it without sounding too creepy or pushing the shipping topic too much in his face. I won't do that, but I somehow wanted to know how the thought process was while shooting scenes between Ivar and Heahmund (especially the "I'm the one, Ivar'" scene. If it was supposed to be that....ya know XD They must have talked about how the setting should be and yeah, I would love to get more details about the arrangements with the director, with Hirst, or simply between JRM and him. I think he wouldn't be too creeped out if the question is well packaged and goes more into the background that led to decisions about how certain scenes were portrayed. He himself said Lagertha stole Ivar's lover..so one day...I will ask this!!

Unfortunately, the organization fucked up about announcing guests were leaving earlier and Alex left right after the M&G (3hours before the end of the event) and we wanted to get another selfie/autograph after that - in case there would be a question we want to dig deeper in or also, we wanted to keep the best for the last moment - but we got robbed of our happy moment thanks to bad organization 😐

#answered

[pop-sesivo]

Visiones de Rosanna

Por Gonzalo Jiménez | Fotografía: Efrén Hernández

Hay periodistas que imponen su impronta en la fuente que cubren al punto que resultan indistinguibles el uno de la otra. Rosanna Di Turi González (1969-2022) es de esa clase. Aportó profesionalismo, celo periodístico y elegancia en la escritura a la fuente gastronómica, como reportera, directora, autora de libros y creadora de páginas Web. En una época dominada por las habilidades para promoverse en redes sociales, Rosanna Di Turi era una figura auténtica, con hondas raíces. Nunca había temor de que se secara la savia del espíritu que había en sus ideas.

Tenaz, de humor afilado, gran sentido común, discreta, naturalmente elegante, nerviosa y calmada al mismo tiempo, dotada de una capacidad de trabajo y voluntad indoblegable, nada había en Rosanna Di Turi que pudiera corromperse. Había algo prerrafaelista en su apariencia, como dibujada por Burne-Jones o John William Waterhouse, pero que en realidad solo alcanzaba a ser un destello de su encanto, pues nada relucía más en ella que su ética y generosidad.

Siendo estudiante, trabajó en una feria del libro de Monte Ávila Editores, en 1989. Pero su primer trabajo en una redacción fue en la revista Exceso, en enero de 1990, con Ben Amí Fihman como director, Ewald Scharfenberg como jefe de redacción y Hugo Prieto como redactor destacado. Rosanna se encargó del área de archivo e investigación, así como de la producción de las portadas y especiales fotográficos, las que en aquel año resultaron ser más ambiciosas y elaboradas. Pero pronto se encontró escribiendo semblanzas y reportajes, con una solvencia digna de una veterana. Y, si bien se graduó en la mención Publicidad de la carrera de Comunicación Social en 1991, su natural don para escribir la inclinó hacia el periodismo de revistas y semanarios.

Sus dotes periodísticas maduraron en el semanario Domingo Hoy, entre 1992 y 1995, en el que acometió por igual reportajes, entrevistas, crónicas, y hasta la revisión de los textos de los colaboradores estrella (como Juan Nuño, Manuel Caballero y Jesús Sanoja Hernández, entre muchos otros), pues llegaban vía fax y era necesario certificar que la transcripción era correcta. Muchos considerábamos esencial recibir su opinión sobre un texto recién escrito, pues Rosanna daba siempre en el clavo con sus observaciones y consejos. Domingo Hoy fue un semanario ambicioso, con una plantilla de lujo: Sergio Dahbar, Hugo Prieto, Karmele Leizaola, Carmen Riera, Leopoldo Tablante, Boris Muñoz, Martha Fuentes-Bautista, Guillermo de Yavorsky y Betsaida Bonilla, entre otros.

Al concluir esta etapa, Rosanna marchó a Londres, en un momento en el que el Reino Unido volvía a ser el epicentro de la vanguardia, aupado por el arribo de Tony Blair a 10 Downing Street. En el Londres de Alexander McQueen, Damien Hirst, Sophie Dahl, los hermanos Gallagher, Shallow Grave y la revista The Face, Rosanna hizo de todo un poco y llegó a ganarse la vida cocinando para jóvenes estudiantes.

Rosanna regresó a Venezuela en 1998, en una época en la que los controles de cambio de Caldera II no inspiraban la mayor confianza en la economía del país. Pero ella asumió su vuelta a Venezuela con un entusiasmo y una entrega que dejaría huella en el periodismo gastronómico venezolano.

En 1998 ingresó como redactora del semanario Buen Vivir de El Nacional y en 1999 pasó a ser una de las redactoras fundadoras de la revista dominical Todo en Domingo, de la que llegaría a ser también una memorable directora. Fue más de una década en El Nacional, en la que por su propia iniciativa fue abriéndole paso a la gastronomía en el contenido de Todo en Domingo.

Un dato importante: en Rosanna la gastronomía venezolana no solo era una fuente, era un amor e interés genuino por los sabores del país y la cultura culinaria de la gente. Más allá de ser la responsable de la sección de recetas y la columna de información breve (que le llevaba el pulso a las novedades más interesantes del sector), Rosanna abordó en reportajes el trabajo de productos emblemáticos, como el cacao y el ron, explicaba las tendencias del inquieto mundo de los chefs y restaurantes, y reconstruyó la historia de platillos clásicos venezolanos, como la hallaca. Siempre con una prosa elegante, de frases breves y certeras, con un ritmo que nunca decaía y que siempre reivindicaba el testimonio del entrevistado y el dato inesperado. Leer a Rosanna Di Turi era una experiencia grata, reveladora, honesta.

Rosanna fue una aliada desinteresada de las iniciativas gastronómicas venezolanas. Siempre estaba dispuesta a divulgar los emprendimientos de calidad. Revisar los textos de Rosanna durante esos 15 años en Todo en Domingo es un trabajo de arqueología, un registro histórico de lo que comíamos los venezolanos en los inicios del siglo XXI, una labor periodística seria y coherente. Es una obra monumental que debería ser preservada para las futuras generaciones.

Son pocos los periodistas que logran sacar tiempo a su vertiginosa rutina para escribir libros con contenido original. Rosanna Di Turi es de ellas. En paralelo a su trabajo en Todo en Domingo (y al de ser madre del gran Diego), Rosanna publicó tres obras: ABC del Vino, El legado de Don Armando (2013) y Ron de Venezuela (2015). De ellos, El legado de Don Armando es único, pues es un exhaustivo retrato de Armando Scannone (1922-2021) y del rigor con el que se elaboraban algunos de los platillos estrellas de su popular recetario Mi Cocina: A la manera de Caracas. La maravilla del libro de Rosanna es que no solo honra el trabajo de Scannone sino que lo convierte en un registro periodístico de la memoria culinaria del venezolano.

Este celo por la información de primera mano, obtenida en el sitio, junto con la estructura y ritmo que cautiva al lector, todo empaquetado en una prosa concisa y elegante, son el sello de marca del periodismo hecho por Rosanna Di Turi. Además, como editora y gerente editorial, creaba un ambiente laboral grato, colaborativo, en la que las horas de entrega a imprenta se cumplían sin falta ni dramatismo. Buscaba la excelencia y era muy exigente con los colaboradores de Todo en Domingo, esperando de ellos la entrega del mejor texto posible. Su ocasional mal humor (que podía llegar a desplegarse en alguna rara ocasión) nunca infringía el respeto al otro ni el sentido común. Por ello todos los que coincidimos con Rosanna en un proyecto nos sentimos afortunados de haber trabajado a su lado.

Ya independiente, alejada de un medio tradicional y en unas condiciones adversas para cualquier emprendimiento, Rosanna lanzó Gastronomía en Venezuela, página Web que reivindica la excelencia en materia gastronómica en Venezuela. Los ingredientes esenciales, las propuestas de los chefs, las iniciativas de los emprendedores: los temas recurrentes de Gastronomía en Venezuela. Una labor que compaginó con la creación, al lado de Magaly Rodríguez y Franciest Poller, de una librería digital llamada Sabores de acá, para vender libros gastronómicos.

He allí un gran legado. Pero que apenas resume el periplo profesional de Rosanna Di Turi. Una periodista que todo lo hizo con calidad, que aportó excelencia a cada texto, a cada revista, a cada situación en la vida. Pero la razón por la que muchos lloramos hoy su partida es por el extraordinario ser humano que conocimos, que enfrentó su enfermedad de cara a los lectores y que siempre, en medio de los miedos y dolores que enfrentaba, no dejaba de compartir los cielos azules de Caracas, de agradecer, de entusiasmarse, de ejercer la fe.

Para mí es muy duro imaginar la vida sin Rosanna. Hicimos juntos la tesis de la universidad; ambos pusimos el pie en una redacción el mismo día de enero de 1990; crecimos y nos dimos apoyo como periodistas en Exceso, Domingo Hoy, Buen Vivir y Todo en Domingo. Recuerdo, como si fuese hoy, la primera vez que vi a Rosanna, en un aula de la Ucab a finales de octubre de 1989; recuerdo cómo el atardecer iluminaba el salón y recuerdo a Rosanna, con su serenidad imperturbable.

Rosanna y yo empezamos a trabajar como periodistas el mismo día. Pienso ahora en que su fallecimiento coincide con mi actual visión crepuscular del oficio, con mi desafección del periodismo, con mis problemas para escribir. Es como si también hubiese muerto una parte de la identidad que construí en las últimas tres décadas.

Treinta y dos años de amistad. Y aunque pasó por mi vida a intervalos en los últimos tres lustros y con menos frecuencia de lo que hubiera deseado, su presencia me acompaña con la luminosidad de los cielos de Caracas y con la prosa breve y agradecida de una plegaria.

Va mi cariño a su muy querida familia: su gran hijo Diego, su mamá Begoña, su papá Ángelo y las admiradas Anabel y Katherine.

#Rosanna Di Turi #gastronomía #Venezuela #Periodismo #Armando Scannone

[deadlinecom]

[lutoogyan]

The UK Regulatory Framework – where are we now? – TechToday

Laura Friedl-Hirst, principal consultant and managing director of LFH Regulatory, analyses the latest news and speculation on the UK Regulatory Framework. It feels like a lifetime ago since the UK’s referendum on European Union (EU) membership in June 2016, with the UK exiting the bloc in January 2020.    The UK MDR 2002 (SI 2002 No 618, as amended) has been an integral requirement within the UK.…

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[lottesiu]

Animals are not art supply

Will you claim killing is a form of art? This article argues that animals is not art supply and they should never be killed for making art. This article examines the art of Damien Hirst as an example. Damien Hirst, a British artist known for his controversial works, has been criticized for his use of animals in his art. He killed estimated 913,450 creatures , according to Artnet. Many animal protest groups, e.g. PETA, RSPCA. 100% Animalisti( the Italian animal rights group) had raise their concerns and complaint towards Hirst.

In 1990, Hirst entered the public attention by his work “A Thousand Years”, first exhibited at the warehouse exhibition ‘Gambler’, in 1990. Showing a real decaying cow’s head under ac fly-killer. At that time “Killing animals has nothing to do with art, it just shows the arrogance of people who literally will stop at nothing for their own interests,” a PETA representative said in response to the work. This installation made him 

A Hundred Years. 1990 in The Kunstmuseum Wolfsburg 

 Another Hirst’s most famous pieces created in 1991, The Physical Impossibility of Death in the Mind of Someone Living .He paid a fisherman to caught a 14-foot tiger shark in Australia, then put it in a glass of 5% formaldehyde solution. However, the shark was preserved poorly at the beginning. It began to decayed and the liquid in the glass became grey and muddy. When a collector brought the work, Hirst offer to replace the shark, captured and killed).

The Physical Impossibility of Death in the Mind of Someone Living , 1991

Within one million creatures killed throughout Damien Hirst’s career, mostly are Butterflies. He used real butterfly wing to make a stained glass. Trapped 9000 butterflies in a gallery room in United Kingdom as an art installation.

In 2008, he used real wings to create stained-glass again, named The Rose window. And Hirst said. “I love how it’s turned out; I wanted to create an optimistic kaleidoscope of hope and light and butterflies and I think the result speaks for itself.” Why would he think killing thousands of creature can represent hope and light? Hirst has also used other animals in his works, including cows, sheep and fishes and most of them are capture from the nature environment.

The Rose Window, 2008

What Damien Hirst doing is just showing the world that animals are nothing more that objects to be used for human purposes. With the Natural History series, Hirst said that he, ‘just wanted to do a zoo that worked ... because I hate the zoo, and I just thought it would be great to do a zoo of dead animals, instead of having living animals pacing about in misery ... I never thought of [the works] ... as violent. I always thought of them as sad. There is a kind of tragedy with all those pieces.’ (Quoted in Damien Hirst, pp.122 and 134.) Note 1. However, if Damien Hirst hated the zoo, 

why would he took all those animals away from their home in nature and used them for making art ? He made himself the United Kingdom's richest living artist, with his wealth estimated at US$384 million in the 2020 Sunday Times Rich List by abusing the animals.

Although some people in the art industry had high comment on Damien Hirst. 

"Damien's work always grapples with really essential themes, sort of art and science, life and death, fear and beauty, religion. And he's thinking about these sort of bigger picture ideas, and they're really all really beautifully incorporated in this body of work," says Millicent Wilner, Director of Gagosian Gallery. Many artist also explore the topic of life and dead without abusing animals. For example, Marina Abramović, a Serbian conceptual and performance artist, also explores the topic of death in her art. However, her approach is quite different from that of Damien Hirst. Abramović's work often involves herself and endurance, rather than the use of dead animals. In 1974, her work” Rhythm 0”,  Abramović performed with 72 objects, allowing the audience to decide what to do on her. 

One of her most notable work, “The Artist in Present”. (2009, MoMA).During the art performance, Abramović sat in a chair for over 700 hours, while visitor were invited to take turns sitting opposite her. Both art performance explores the themes of time, life, and the human connection. Abramović’s used her own body as a medium which need great courage.In comparison with Damien Hirst, all he did was paid for someone to capture the animals, then killed them in the name of art. 

Rhythm 0, in Naples in 1974.

In conclusion, Damien Hirst is only an example of abusing animals for art. Sadly, he is not alone. More research and discuss about Animal rights should be conduct. When more people aware of it and join the protest against abuse animal in art. We all have to think if artist expression are more important than a life. 

Note 1 :Manchester , E. (2009) 'away from the flock', Damien Hirst, 1994, Tate. Available at: https://www.tate.org.uk/art/artworks/hirst-away-from-the-flock-ar00499 (Accessed: January 25, 2023). 

[gannonflew22]

Virtual Sketchbook

#1

Damien Hirst 1992 The Physical Impossibility of Death in the Mind of Someone Living.  Tiger shark, glass, steel, 5% formaldehyde solution; 213 cm × 518 cm (213 in × 213 in).

1. The artist, Damien Hirst, is a leading member of the Young British Artist.

2. The artwork was funded by Charles Saatchi, who offered to pay for whatever Hirst wanted to create.  

3. The shark cost 6,000 pounds and the whole project cost around 50,000 pounds. 

4. Hirst wanted a shark "big enough to eat you," a fisherman was hired to catch it off Hervey Bay in Queensland, Australia.

5. This artwork is considered an iconic piece of the 1990s in Britian and is a symbol of Britart worldwide. 

At first glance the artwork is daunting and scary as you are looking at a shark with their mouth wide open. After reading about this artwork, my opinion on it has changed. I now know that the piece depicts a life and death scenario. The shark is suspended and still, making the mood feel cold, dark, and depressing. 

#2

A work of art in my life is a recent one. My mom collected a bunch of photos and merged them onto a purple background. The purple is the color of the organization I was a part of, and the photos are me participating with the organization. This was a big part of my life so far, and my mom wanted to frame to remind me of when I was in it. This gift is close to me and even it only took photos and a purple background, it means a lot more to me.

#3

I am 19 years old and a male. I was born in California, raised in Missouri, and now live in Florida. I am of white ethnicity comprising of German, Irish, Scottish, English, French, and Welsch. I am a musician and am a part of Symphony Orchestra, Jazz band, jazz combo, Jazz Presidential Combo, and Percussion Ensemble. I work at Sarasota High School as the Percussion Director. I think I am one of the luckiest people on the planet.

#4

I am a music major, so music has been a major part of my life and interest me every day. The art that is #2 is also #4 because it represents what I love to do and who I get to do it with.

[jaynedolluk]

Watched some good art documentaries recently. First was Sensationalists (I think it was a 3 part series + should still be up on BBC i-player) that was all about the Young British Artists (like Damian Hirst + Tracey Emin) + how they rose to fame and how the big money got involved in modern art. Really interesting + I especially enjoyed the little bits on Leigh Bowery.

Also saw a documentary called TRAMPS! which looked at London in the late 70s/80s especially the New Romantics but more from the art/fashion side of things than the music side. Loads of original footage plus interviews w/people such as John Maybury, Princess Julia, Phillip Salon, + Judy Blame etc. I loved it + afterwards the director did a short Q + A and said the initial cut was 12 hours long so there’s loads more footage - would love to see a DVD with some bonus footage.

Saw The Andy Warhol Diaries on Netflix which had extracts from his diaries alongside archive footage + interviews (both from now + back then). It was a good indepth look at his life + work.

And finally saw The Black Italian Renaissance on Sky Arts which looked at black representation throughout art in the Renaissance period and how this reflected the culture/society at the time. I love stuff like this that takes an in depth look at a part of history that’s not widely discussed + turns up so much stuff.

#sensationalists #tracey emin #damian hirst #leigh bowery #TRAMPS! #princess julia #philip salon #judy blame #the andy warhol diaries #andy warhol #the black italian renaissance

[mpmcorner]

How did Tom Edwards die? Yorkshire player's cause of death revealed

How did Tom Edwards die? yokshire rugby player cause of death How Tom Edwards Died ,Yorkshire player's cause of death revealed

How did Tom Edwards die?

Tom Edwards, captain of Selby Rugby Union's first XV, passed away unexpectedly on Thursday morning (November 17). Tom, a member of the club who attended Reid School in Drax, was adored by all ages. Early on Thursday morning, Selby RUFC's first team captain Tom Edwards passed away (November 17). Selby RUFC described the 29-year-old as a beloved member of the club among all age groups in an emotional tribute. "Selby RUFC is deeply saddened to inform you of the sudden passing of First XV Captain Tom Edwards," the club's president, D J Skelton, said. Tom, who was 29 years old, went suddenly early on Thursday. Within the club, Tom was well-liked and well-liked by members of all ages. Sadly, we will miss him.

Who is Tom Edwards?

Selby is a family-run rugby club and having the Tom and Edwards family as members made the club very rich. Tom Edwards captained Selby Rugby Union's first XV. Tom, a member of the club who attended Reid School in Drax, was adored by all ages. "He was a terrific comrade and a brilliant rugby player, and he will be sorely missed. Tom played over 150 games for our first XV and served as captain multiple times after passing through Wetherby's juvenile division. Tom achieved consecutive promotions from Yorkshire 4 to Yorkshire 2, winning the Yorkshire Silver Trophy with Wetherby in 2015. He was a key member of the all-conquering team of 2014–15. We'll never forget Tom's catchphrase, "Let's start getting fizzy now boys," before every game.

"Tough, brave, caring and considerate"

Tom was described in four words by Brian Pearson Tom, Selby's director of rugby, as "tough, brave, caring and considerate". Club chairman Doug Skelton said everyone at Selby RUFC adored Tom as a well-liked young man who always had time for others. As Selby club captain, he is equally at ease interacting with some of the senior members as he rounds up the new, younger players and encourages them as they make their 1st XV debuts. He was a strong team member and leader. Tom Edwards plays for Wetherby RUFC (Image: Wetherby RUFC)

Tom's father's statement

Tom's father said Tom's loss left a huge void in their hearts. Doug said Tom and his fiancée's families are in the thoughts and prayers of everyone at Selby RUFC during this difficult time. "Tom was a warrior and a gentleman and a friend to all. We will all miss him. As you will appreciate, this is a time of great sadness for the families of Tom and his fiancee Katie, and we are sure your thoughts and prayers are with them. Families are also asked to respect their privacy during this difficult time.

Matches postponed

All senior club matches scheduled for Saturday 19 November have been postponed out of respect following the devastating news. As a mark of respect, the club said all senior adult fixtures scheduled to be played on Saturday (November 19) had been cancelled. Tom Edwards at Wetherby RUFC (Image: Wetherby RUFC) Tom Wetherby was a member of RUFC before Selby signed with RUFC. Jonathan Hirst, chairman of Wetherby RUFC, said: "Tom was very popular and well-loved at Wetherby. He was a brilliant rugby player, a wonderful team-mate and will be sorely missed. Tom came up through the juniors at Wetherby before going on to play over 150 games for our first XV, captaining the team on several occasions. Tom captained the team in 2014/15 He was a key figure in the side that won it all that year, and achieved promotion back from Yorkshire 4th to Yorkshire 2nd, winning the Yorkshire Silver Cup with Wetherby in 2015. Tom's favorite catchphrase before every game will never be forgotten: "Let's get cracking now!"

Cause of death Tom Edwards

Tom Edwards' cause of death has not yet been released. No information was available on Tom Edwards' cause of death. MPMCORNER is trying to reach family and relatives for comment on the incident. No response yet. We will update the page once we get enough information. More information about Tom Edwards' cause of death will be added soon. Also read:How did Patrick Torrey die? Beck’s basketball player’s cause of death revealed Read the full article

#CauseofdeathTomEdward #Explained #HowdidTomEdwardsdie #TomEdwarddie #TomEdwarddied #TomEdwards #TomEdwardscauseofdeath #TomEdwardsdie #TomEdwardsdied #WhathappenedtoTomEdwards