#mark irvine antiques
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Researchers Race to Protect Centuries-Previous Carvings on Australian Boab Timber
After two years of fieldwork, a bunch of researchers and First Nations Australians have introduced the invention of centuries-old carvings on 12 boab bushes in Australia’s Tanami Desert.
Carvings on boabs have been first reported within the mid-Nineteenth century, however they weren’t investigated totally till a century later. The carvings depict snake figures believed by the workforce to be the King Brown Snake, a personality in Indigenous oral traditions, amongst geometric patterns and different representations of animals. The workforce’s analysis describing the carvings is revealed this week within the journal Antiquity.
The boab (or bottle) tree (Adansonia gregorii) could reside over 1,000 years, primarily based on the courting of the carefully associated baobab bushes in South Africa. They’ve very thick, usually squat trunks that give them their nickname.
Not like many bushes, the boab’s smooth internal trunk doesn’t report seasonal progress rings, making it tough to exactly date them. As a substitute of regular dendrochronological strategies, getting a exact age for these bushes requires radiocarbon courting.
Regardless of how lengthy a number of the carvings—and the bushes on which they have been carved—have endured, tinheritor existence is fragile. “Not like most Australian bushes, the internal wooden of boabs is smooth and fibrous and when the bushes die, they simply collapse,” mentioned Sue O’Connor, an archaeologist on the Australian Nationwide College, in an Australian Nationwide College launch.
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“Sadly, after lasting centuries if not millennia, this unbelievable paintings, which is equally as vital because the rock artwork Indigenous Australians are well-known for, is now in peril of being misplaced,” O’Connor added.
The pith, seeds, and roots of the tree are eaten, and components of the tree have medicinal makes use of amongst First Nations Australians. The bark is comparatively clean, leaving the not too long ago catalogued carvings clear to the bare eye.
The workforce desires so far the Australian boabs instantly, to get a way of the potential age of the carvings. Solely 12 boabs have been recognized with carvings within the latest fieldwork, however earlier analysis recognized 22 boabs with Indigenous carvings.
Older boabs usually have hole trunks, which might make them extra liable to collapse; in keeping with Brittanica, the latest deaths of a number of the largest baobabs (a carefully associated species) have been linked to the consequences of local weather change.
“We’re in a race in opposition to time to doc this invaluable cultural heritage,” mentioned Brenda Garstone, a Conventional Proprietor who collaborated with the analysis workforce, within the college launch.
Apart from the snake dendroglyphs, the workforce discovered carvings of emu tracks, kangaroo tracks, a lizard-like determine, and geometric markings. They additionally discovered First Nations stone artifacts round a number of the bigger boabs.
Aerial imagery indicated tons of extra boabs within the surrounding space of the Tanami, and the workforce intends to verify these boabs for carvings as properly.
Extra: Of Course the Oldest Identified Rock Portray in Australia Is of a Kangaroo
Originally published at Irvine News HQ
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The Lost Treasures
By Mir Hekmatullah Sadat
From the October - December 1997 issue of Afghan Magazine | Lemar - Aftaab
[caption: Kabul Museum with no roof. Photo September 2002, photo by Farhad Azad]
At the climax of the Afghan civil war of the 1990s, it was unknown what had happened to the Kabul Museum. Mir Hekmatullah Sadat wrote about the topic.
It was the chivalry of courageous Afghans led by Shah Amanullah Ghazi (r. 1919-1929) that made Afghanistan the first Muslim nation to be liberated from the tentacles of colonialism. It was this great individual who built the foundations of the Afghan National Museum at Dar-Al-Aman (Rowland, 1976). The National Museum once covered 50,000 years of history and holds one of the worlds most significant multicultural antique collections: Persian, Indian, Chinese, Central Asian, Greco-Roman, Arab and more.
The book Ancient Art from Afghanistan makes this remark about the museum: "An institution unique in the world in being composed entirely of objects acquired, not by purchase, but by excavations in the native soil" (Rowland, 1976, p.15).
[caption: The Bost Room, Kabul Museum. This was from the Ghaznavids era, 10th Century, Helmand, looted and burned during the 1990s civil war. Photo September 2002, photo by Farhad Azad]
Rowland (1971) explains, "the Kabul collections begin with the work of the French archaeological mission in 1922...The Italian mission at Ghazni continuing the work begun by the French in 1948, has added a precious collection of objects reflecting the splendors of the great Islamic civilization of the Ghaznavids" (x-xi).
German and Russian expeditions also took part in the excavation of priceless artifacts for the Kabul Museum. The Begram collection discovered in 1939, dating from the 1st century, comprised of 1,800 lacquers, bronzes, ivories, statutes and glassware items from Ancient Rome, Greece, India, China, Egypt, and Central Asia. Begram was the site of Kapisa, the summer capital of Kanisha, King of the Kushans. Rashid (1995b) cites Nancy Dupree (Vice-Chairperson of the Society for the Preservation of Afghanistan’s Cultural Heritage) referring to the Begram collection as "The most spectacular archaeological find of the 20th century" (p.51).
According to Rashid (1995a), another excavation was the Bactrian gold discovered in 1978. A Russian expedition made the Bactrian discovery. Dupree (1996) suggests that the 21,000 gold objects dating from 100 BC to 100 AD discovered in 1978 at Tilla Teppe, northern Afghanistan were displayed in 1991 to Western Diplomats in Kabul. Rashid (1995a) adds, "The gold was then packed into crates and moved for safety to a vault in the Presidential Palace in central Kabul" (p.61).
However, today the first Afghan National Museum is just crumbled walls and mere rubble. Magnificent palaces and mansions have been destroyed; historical monuments have been shelled. Afghanistan has lost its past to war, and its future is merely ruins and devastation. Every item of state treasure has been smashed, sold, or stolen. Its people and foreign powers have so systematically raped few countries.
The warring parties in Kabul saw those treasures in the museum as ready cash, to be blasted out of their vaults and hauled away to buyers across the world. According to Rashid (1995b), "A trail of looted artifacts stretching from middlemen and antique dealers in Kabul, Peshawar, and Islamabad to provide art collectors in Tokyo, Islamabad, Jidda, Kuwait, London, and Geneva exists" (p.51).
Rashid (1995a) firmly believes that the looters knew precisely what to take, what to break and to find the arts as if they had a sketched map. Each new victor would come to the museum doors to collect their spoils.
Dupree (1996) estimates, "about 70% of the museum's collections are now missing"(p.42). It is a saddening occasion for a nation, one that was so victorious against many foreign hands, to fall to the knees of international art dealers. In the process, more unreplaceable and precious antiquities and monuments are lost along the way.
The collection can never be reassembled, or even located. Clara Grissmann (American art historian) suggests: "If new artifacts are dug up, they will be disconnected from the past because the record here has gone" (Rashid, 1995a, p. 62).
This loss destroys significant periods in not only Afghanistan’s cultural heritage but also others it has come in contact with. Pottery from prehistory was bundled into bags like cheap china; ivory statues of Indian courtesans from the 2nd century AD stuffed into the pockets of gunmen and carted off to Pakistan to be sold for a song, eventually turning up on the worlds antique art markets for huge sums.
Global organizations are unsuccessful in trying to recover the looted artifacts, such a piece held by Nasurullah Babur (Pakistani official) who bought an object from the Begram collection for $100,000 (Rashid, 1995a).
In 1995, the historic pistol of Wazir Akbar Khan that was used to kill Gen. McNaughton at Bala-Hissar marking the end of the 1st Anglo-Afghan War was discovered in the hands of another Pakistan official (Arif, 1996). In November of 1996, other artifacts like Babur Shah's (founder of the Mogul dynasty) and Ahmad Shah Baba's (founder of the Afghan Nation) swords were looted and sold to high ranking foreign officials.
During September of 1997, the Pakistani newspaper NNI wrote about former Prime Minister Benazir Bhutto being linked to looted art treasures from Afghanistan: Wajid Shamsul Hassan is accused of having given customs clearance to eight crates flown by PIA, without charge from Karachi to London in April last year. The contents are said to have included swords and antique guns.
According to an article in the French paper Le Monde, Benazir said to be a keen collector of antiquities, visited Peshawar last year, accompanied by an academic advisor, to authenticate relics from Afghanistan artifact amassed by Zardari (Bhutto's husband) left the country. According to a journalist who visited a close friend of Zardari found at his house several pieces, including guns and other weapons, that he thought might have come from[Afghanistan].
Not only antiquities, but contemporary arts such as Afghan music, films, photographs, and great Islamic literature were also among the destroyed. Also, ancient graves are being dug up for the jewels they contain. Loyd (1997) points out that the gravediggers go further to even selling the bones of Afghans for money obtained in Pakistan (p.30).
A civilization that once flourished from the land of the Afghans is presently not noticeable, and the future looks even grimmer. We might have won lots of wars, but we are losing the battle to preserve Afghanistan. The country has disintegrated socially, economically, and regionally but arguably as disastrous has been the destruction of its heritage. This unique heritage was due to Afghanistan’s position at the crossroads of commerce and conquest for thousands of years yielding to a culture that has transformed into a legendary myth and fantasy.
When will we speak out and say enough is enough? It is now our time to address our nation and the world. We must reassure our brothers and sisters in Afghanistan, that we will not let them become mere myth or legend. We must struggle to keep Afghanistan alive in every shape and form.
To do that, we need to get rid ourselves of the chips on our shoulder. If we, in the West, away from the bloodshed and misery in Afghanistan cannot come together for our nation; then we should not blame our people back home for perpetually fighting a stalemate war. We must set a model for our people we must unite for our people back home.
Afghan educators, elders, and students from all side of the political and social spectrum must get active in efforts to bring together the largest immigrant population of the world. Otherwise, we will succumb the same fate as the people and treasure back home.
References
Arif, G. (1996, November). "Endless Tragedy." TASSWIR(dari text), p. 13.
Dupree, N. (1996, March/April). "Museum under Siege." ARCHAEOLOGY, p.42-51.
Loyd, A. (1997, January 12). "A Market in Human Remains." THE NEW YORK TIMES MAGAZINE, p.30.
Rashid, A. (1995a, September 21). "Crime of the Century." FAR EASTERN ECONOMIC REVIEW, p. 60-62.
Rashid, A. (1995b, December). "Plundered Afghan Treasures." WORLD PRESS REVIEW, p. 51.
Rowland, B. (1971). "Art in Afghanistan." London: Penguin Press.
Rowland, B. (1976). "Ancient Art from Afghanistan." New York: Amo Press.
Staff Writer. (1996, November 11). "Afghanistan: Artifacts Plundered." LOS ANGELES TIMES, A6.
Staff Writer. (1997, September). "Trial may link Bhutto to stolen Afghan treasure." NNI (Pakistan).
About Mir Hekmatullah Sadat
Mir Hekmatullah Sadat has a BA from the University of California, Irvine and an MA the California State University, Fullerton, and a Ph.D. at Claremont Graduate University.
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Image courtesy of the Hammer Museum.
PLAN ForYourArt: May 17–23
Thursday, May 17
Westwood Openings and Events
READINGS: Poetry: Jennifer Moxley, Hammer Museum (Westwood), 7:30pm.
DMA M.F.A. FINAL EXHIBITION, UCLA (Westwood), 5pm.
Century City Openings and Events
Iris Nights: The Restless Genius of Garry Winogrand: A Conversation with Geoff Dyer and Sasha Waters Freyer, Annenberg Space for Photography (Century City), 7pm.
West Hollywood Openings and Events
ART DE RUE, 5Art Gallery (West Hollywood), 6–9pm.
Alain Laboile: Quotidian and Deborah Anderson: Women of the White Buffalo, Leica Gallery (West Hollywood), 6–9pm.
Openings and Events on West Adams
Americus: The Past Speaks To The Present, William Grant Still Arts Center (West Adams).
Hollywood Openings and Events
LAND IS MOVING SALE, LAND (Hollywood), 2–8pm. Performance, 8pm.
Pippa Garner: Autonomy n' Stuff (Garnerhea), Redling Fine Art (Hollywood), 6–8pm.
Downtown Openings and Events
MOCA Music: THE MARIAS, Jarina De Marco, Sister Mantos, and Chulita Vinyl Club, The Geffen Contemporary at MOCA (Downtown), 6:30–9:30pm.
Screening and Panel: Far Out Black, California African American Museum (Downtown), 7–9pm.
Between a rock and a hard place, werkartz (Downtown), 7–10pm.
The Broad and X-TRA present Lynne Tillman + Kerry Tribe in Conversation, The first in a series of talks addressing the legacy of Joseph Beuys, The Broad (Downtown), 7:30pm. $15.
Nataki Garrett & Andrea LeBlanc: The Carolyn Bryant Project, REDCAT (Downtown), 8:30pm.
Chinatown Openings and Events
SUSAN SIMPSON: MACHINE FOR LIVING, Automata (Chinatown).
Openings and Events in Leimert Park
In Conversation: Taisha Paggett & Ashley Hunt, Art + Practice (Leimert Park), 7pm.
Openings and Events in Pasadena
Dibner Lecture - The Search for Perfection in an Imperfect World, The Huntington (San Marino), 7:30pm.
Openings and Events Beyond Los Angeles
AAMD Art Museum Day, Laguna Art Museum (Laguna Beach), 11am–9pm.
Book Signing with Michael Imperioli and Colin Gardner, Santa Barbara Museum of Art (Santa Barbara), 5:30–7pm.
Arts for Inclusion: BEST BUDDIES 5TH ANNUAL ART EXHIBITION, Museum of Latin American Art (Long Beach), 6–8:30pm.
Third Thursday Studio | Digital Sculpture, Museum of Contemporary Art Santa Barbara (Santa Barbara), 6pm.
Andy Coolquitt: …i need a hole in my head, Museum of Contemporary Art Santa Barbara (Santa Barbara), 6–8pm.
Factory Line with the Coachella Valley Art Scene, Palm Springs Art Museum (Palm Springs), 6:30–8pm.
Film Night: Dr. Strangelove, Laguna Art Museum (Laguna Beach), 7pm.
Friday, May 18
Openings and Events in Westwood
INSIGHT WACD SENIOR PROJECTS FESTIVAL 2018, UCLA (Westwood), 8pm. Continues May 19.
Miracle Mile Openings and Events
Film: Free Screening: American Animals, LACMA (Miracle Mile), 7:30pm.
Openings and Events in Hollywood
Kimiyo Mishima: Paintings and Shomei Tomatsu: Plastics, Nonaka-Hill (Hollywood), 7–9pm.
Openings and Events in Los Feliz
Odd Nights, Autry Museum of the American West (Los Feliz), 6–11pm.
Downtown Openings and Events
Movie Nights at the Museum: William Kunstler: Disturbing The Universe, Los Angeles Poverty Department (Downtown), 7pm.
THE PEOPLE’S HOME | Winston Street 1974, THESE DAYS (Downtown), 7–10pm.
Cal State LA Community Impact Media Documentaries Premiere, Hauser & Wirth (Downtown), 7:30pm.
Openings and Events in Chinatown
Susan Simpson: A Machine for Living, Automata (Chinatown), 8pm. $15–20.
Openings and Events in MacArthur Park
Lawrence Jordan's Three Ring Circus, Bob Baker Marionette Theater (MacArthur Park), 8pm.
Openings and Events Beyond Los Angeles
Rehearsal: The Bevy, Museum of Contemporary Art Santa Barbara (Santa Barbara), 7pm. $175.
Nour Mobarak & Bana Haffar: YOU ARE THE AUDIENCE, POTTS (Alhambra), 9pm.
Saturday, May 19
Openings and Events in the Pacific Palisades
Drawing from Antiquity: Birds, Getty Villa (Pacific Palisades), 11am–12:30pm.
Plato in America: Edward Hopper, Mark Rothko, Mike Kelley, Getty Villa (Pacific Palisades), 2pm.
Openings and Events in West L.A.
Joanne Greenbaum: Things We Said Today, Otis College of Art and Design (West L.A.), 4–6pm.
Openings and Events in Westwood
URBAN HUMANITIES ALUMNI SYMPOSIUM, UCLA (Westwood), 12pm.
Openings and Events in Venice
Frame Rate: We Eat Art Live Podcast Taping, Beyond Baroque Literary Arts Center (Venice), 1–2:30pm.
Chasing Ansel Adams, Arcane Space (Venice), 2–6pm.
La pérdida / perdido, DXIX (Venice), 3–6pm.
Openings and Events in Santa Monica
Pico Block Party: Empowering Youth Voices!, 18th Street Arts Center (Santa Monica), 3–6pm.
Openings and Events in Brentwood
Off the 405: Allah-Las, Getty Center (Brentwood), 6pm.
Openings and Events in Culver City
Sister Corita Kent's "International Signal Code Alphabet" Book Launch and Discussion, Arcana: Books on the Arts (Culver City), 4–6pm.
Michael Dopp: Shining Desert and Tragedy Plus Time, Roberts Projects (Culver City), 6–8pm.
Jamison Carter: Hallelujah Anyway, Klowden Mann (Culver City), 6–8pm.
Openings and Events in Beverly Hills
Beverly Hills Art Show, Beverly Gardens (Beverly Hills). Continues May 20.
Miracle Mile Openings and Events
Talk: Exhibition Tour: A Universal History of Infamy—Those of This America, LACMA (Miracle Mile), 1:30pm.
Carole Garland: Streaming Color, Tom Wheeler - Painted Light in Western Landscapes, Isabelle Hope Grahm - My Color Garden, TAG Gallery (Miracle Mile), 5–8pm.
CAMERON PLATTER: Teen Non_Fiction, 1301PE (Miracle Mile), 6–8pm.
Families: Teen Night: Middle School, LACMA (Miracle Mile), 7:30pm.
Openings and Events in Mid-City
Carla Issue 12 Launch Party, Karma International (Mid-City), 6–9pm.
Openings and Events in Koreatown
Yarn Bomb Gabba Arts District!, Gabba Gallery (Koreatown), 10am–5pm.
Middle Voice walkthrough, Visitor Welcome Center (Koreatown), 2–4pm.
Openings and Events in MacArthur Park
Express Yourself/ William Grant Still Birthday Celebration, William Grant Still Arts Center (West Adams).
Openings and Events in Atwater Village
Metafork, Thank You For Coming (Atwater Village), 11am–3pm.
Openings and Events in Frogtown
Plant Communication & Radical Communion: Spring Flower Essence Making, Women’s Center for Creative Work (Frogtown), 11am–1:30pm. $20–25.
Openings and Events in West Hollywood
In the Name of the Place by the GALA Committee, West Hollywood Public Library (West Hollywood), 3–5pm.
Nathaniel Mary Quinn: Soundtrack, M+B (West Hollywood), 6–8pm.
Openings and Events in Hollywood
Fay Ray in conversation, Shulamit Nazarian (Hollywood), 4pm.
Marilyn Minter, Regen Projects (Hollywood), 6–8pm.
Julie Curtiss: Altered States, Various Small Fires (Hollywood), 6–8pm.
Double Vision, Steve Turner (Hollywood), 6–8pm.
Patrick Braden Woody: Cloth Mother, Wire Mother, there-there (Hollywood), 7–9pm.
Openings and Events in MacArthur Park
Bailey Scieszka: Soul Dolphin, Park View (MacArthur Park), 6–8pm.
Downtown Openings and Events
Bug Fair, Natural History Museum (Downtown), 9:30am–5pm. Continues May 20.
Artist Talk: Matthew Day Jackson in Conversation with Hamza Walker, Hauser & Wirth (Downtown), 2pm.
ARTIST WALKTHROUGH with Folkert de Jong and Nathan Redwood, DENK Gallery (Downtown), 2–3pm.
Bounty, Grice Bench (Downtown), 6–9pm.
Undisrememberable Curios, PØST (Downtown), 7–10pm.
Soft Bytes Feminist Animation Festival, Tiger Strikes Asteroid Los Angeles (Downtown), 7:30pm.
Anne Guro: Rule of a High Priest Vol. I, JACE (Downtown), 8–11pm.
Openings and Events in Lincoln Heights
Workshop: The Dancing Spine: Freedom, Power & Pain Relief with the Alexander Technique with Sharon Jakubecy Klehm, Pieter (Lincoln Heights), 1–3pm.
Openings and Events in Glendale
ONE-DAY NEON ART IMMERSIVE WITH DAVID SVENSON, Museum of Neon Art (Glendale), 10am–4pm.
Openings and Events in Pasadena
Taste of Art: English Tea Time, The Huntington (San Marino), 9am.
Out of the Woods: Celebrating Trees in Public Gardens, The Huntington (San Marino).
SkillShare: Veterans & Immigrants Oral History Recording, Side Street Projects (Pasadena), 1–4pm.
Openings and Events Beyond Los Angeles
Art+Feminism Wikipedia Edit-a-thon, Museum of Contemporary Art San Diego (San Diego), 11am–7pm.
MFA Thesis Exhibitions, Part II, CTSA Gallery (Irvine), 2–5pm.
Mona Kuhn: Selected Works, Porch Gallery (Ojai), 5–7pm.
2018 Old Bags & Baubles Luncheon, Long Beach Museum of Art (Long Beach).
Sunday, May 20
Openings and Events in Venice
Venice Art Walk, Google (Venice), 12–6pm.
Openings and Events in Santa Monica
8th Annual Beyond Baroque Awards Dinner, The Church in Ocean Park (Santa Monica), 6–9:30pm.
Openings and Events in Mar Vista
George Stoll: Spirograph Drawings (1995–2017), c.nichols project (Mar Vista), 5–8pm.
Openings and Events in Westwood
2018 K.A.M.P., Hammer Museum (Westwood), 10am–2pm. $100–150.
Openings and Events in Culver City
Promote-Tolerate-Ban: Art and Culture of Cold War Hungary and Socialist Flower Power: Soviet Hippie Culture, Wende Museum (Culver City), 12–5pm.
Miracle Mile Openings and Events
Talk: Gallery Course: European Art, 1750–1850—Neoclassicism and the Barbizon School, LACMA (Miracle Mile), 8:30am.
Mark Grotjahn: 50 Kitchens and Decoding Mimbres Painting: Ancient Ceramics of the American Southwest, LACMA (Miracle Mile), 10am–7pm.
Seeing Stars: A Bamboo Sculpture Workshop with Akio Hizume, Craft and Folk Art Museum (Miracle Mile), 1–3pm. $40–50.
Downtown Openings and Events
On The Wall! Street Art Youth Workshop, 356 Mission (Downtown), 1–4pm.
Place It Workshop with James Rojas, California African American Museum (Downtown), 1–3pm.
Listening Session #2 with Noah Copelin, MOCA Grand Avenue (Downtown), 3pm.
The World Is My Home, THE SPACE by ADVOCARTSY (Downtown), 4–7pm.
Openings and Events in Frogtown
Feminist Manifesto Writing Workshop, Women’s Center for Creative Work (Frogtown), 2–6pm. $12–15.
Openings and Events in Echo Park
Luca Francesconi: Eternal Digestion, 67 Steps (Echo Park), 7–9pm.
Openings and Events in MacArthur Park
The Circus, Bob Baker Marionette Theater (MacArthur Park), 5:30pm.
Openings and Events in Lincoln Heights
Orgasmic Yoga: Dr. Victoria Reuveni, Pieter (Lincoln Heights), 6–10pm. $30–40.
Openings and Events in Highland Park
Miller Robinson: Of this body; of this earth, Southwest Museum (Highland Park), 1–3pm.
Openings and Events in Pasadena
In Conversation with Susan Whitfield and Peter Sellars, The Huntington (San Marino), 2pm.
Openings and Events Beyond Los Angeles
Nam June Paik: TV Clock, Santa Barbara Museum of Art (Santa Barbara).
Artist talk: Scott Froschauer: Echo Enigma closing, Ark Gallery and Studios (Altadena), 3–5pm.
Rehearsal: The Harvest, Museum of Contemporary Art Santa Barbara (Santa Barbara), 6pm.
Monday, May 21
Openings and Events in Santa Monica
A Conversation with L.A. Artists Njideka Akunyili Crosby and Charles Gaines, Santa Monica College Performing Arts Center (Santa Monica), 6:30pm. $35.
Openings and Events in Westwood
BRETT STEELE, UCLA (Westwood), 6:30pm.
Openings and Events in Pasadena
Carnegie Astronomy Lecture - Astronomical Alchemy: The Origin of the Elements, The Huntington (San Marino), 7pm.
Openings and Events Beyond Los Angeles
Families: On-Site: North Hollywood—Comic-inspired Art Series, North Hollywood Amelia Earhart Regional Library (North Hollywood), 2pm.
High Desert Test Kitchen: may ingredient: cholla, Copper Mountain Mesa Community Center (Joshua Tree), 7pm
Tuesday, May 22
Openings and Events in Westwood
INA CONRADI + MARK CHAVEZ: MEDIA ART NEXUS NTU SINGAPORE, UCLA (Westwood), 6pm.
CONVERSATIONS: The Sex Ed with Liz Goldwyn, Nina Hartley, and Dita Von Teese, Hammer Museum (Westwood), 7:30pm.
Openings and Events in Brentwood
In Focus: Expressions, Getty Center (Brentwood), 10am–5:30pm.
Miracle Mile Openings and Events
Film: The Magician, LACMA (Miracle Mile), 1pm.
Downtown Openings and Events
Youth Now, California African American Museum (Downtown), 12–3pm.
Wednesday, May 23
Openings and Events in Westwood
FOWLER OUT LOUD: JOHNNIE YAJ, Fowler Museum (Westwood), 6pm.
Openings and Events in Brentwood
India and the World: A History in Nine Stories, Getty Center (Brentwood), 7pm.
Openings and Events in Mid-City
Back to the 80s, The Loft at Liz’s (Mid-City), 7–9pm.
Openings and Events Downtown
wasteLAnd premieres Wolfgang v. Schweinitz’s Cantata, or You are the star in God’s eye, REDCAT (Downtown), 8:30pm. $10–20.
Openings and Events in Pasadena
Curator Tour: Radiant Beauty, The Huntington (San Marino), 5pm.
Crotty Lecture - Remembering the Reformation, The Huntington (San Marino), 7:30pm.
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potty train a dog | puppy obedience training
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potty train a dog | puppy obedience training
Promoting Your Cat’s Health Manage Your Autoship How To Train A Puppy – The Essential Steps
Confinement areas can be created with exercise pens that surround a bed or attach to a crate, and they can also be created by setting up gates that can turn a bathroom or hallway into a makeshift confinement area.
How to Potty Train a Puppy: Consistency is the Key trick training Seresto Responsible Pet Ownership for Kids
Jason Rantz RSPCA warns pet owners to keep dogs cool in heat Food as a treat to train is recommended by many trainers. But the treat should be very small. A tiny piece of a treat, such as a small piece of hot dog or chicken is sufficient. The smaller the better. A pup will work hard for a small reward.
Yesterday Second Trimester Bathing Services Toggle navigation The Kennel Club Cooking 101 During the training process, it’s also a good idea to avoid making any renovations or changes in your home, as changes can be confusing for your pet.
Last, but not least, clean up anywhere he has soiled inside, first with soap and water, then with an enzymatic cleaner such as Nature’s Miracle which breaks down the protein in the urine or feces, eliminating the scent which would attract the dog to return to the same place he has gone before. If you need to get a black light to find out where he has gone, do so. The light will illuminate spots where your dog has eliminated so you can see what you need to clean up.
Housebreaking a Puppy – 12 Tips for German Shepherd Puppy Potty Training It might surprise you to hear this, but living with a dog is not all fun and games. No matter how »
You allow this free time because you are of course working toward a time when they will always be free and trusted unsupervised. To get there they need the experience, to get used to being free in your home and begin seeing it as a place they need to keep clean.
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As an overview, as you move through the various puppy training stages, think of the most important behaviors your young puppy needs to acclimate to for you both to be happy and healthy.
There’s been an uptick in antiquities smuggling in recent years, fueled by ISIS and anonymous internet sales. It’s possible that antiquities dogs could help crack down on the trade. At the very least, they seem like they might be able to sniff out any antiquities based on cats.
Copyright 2017 Red Cat Media Ltd. REALTREE Be Dog-Friendly Subscribe (Mobile) A crate should not be too big, but large enough for the puppy to stand, stretch and turn around. Dog Trainers in Orange County. Dog Trainers in Aliso Viejo. Dog Trainers in Anaheim. . Dog Trainers in Costa Mesa. . Dog Trainers in Dana Point. . Dog Trainers in Garden Grove. Dog Trainers in Huntington Beach. Dog Trainers in Irvine. Dog Trainers in Laguna Beach. Dog Trainers in Laguna Hills. Dog Trainers in Lake Forest. Dog Trainers in Mission Viejo. Dog Trainers in Newport Beach. . Dog Trainers in Rancho Santa Margarita. Dog Trainers in San Clemente. Dog Trainers in San Juan Capistrano. Dog trainers denver, dog trainers houston, dog trainers raleigh, dog trainers augusta, Dog Trainers Ashville NC, dog trainers miami, dog trainers Billings MT, dog trainers cody WY, dog trainers lexington KY, Dog training Bahamas. Dog trainers in Chicago, dog trainers in vancouver bc, Dog Trainers In Portland Oregon, Dog Trainers In Humboldt County, Dog Trainers In New Orleans,
May 2, 2017 I have only raised one bichon from puppyhood and he was extremely easy to housebreak using positive training methods. I now have a female bichon (11 months) from the same breeder and am perplexed by her behavior. She rings a bell to go out to poop about 80% of the time. Almost 20% of the remaining opportunities, I can read her signals and prompt her to ring the bell with the word “outside”. I just cannot figure out her behavior around urination. I restrict her water intake to 1 cup daily (she weighs 10 pounds), offered in 1/4 cup intervals. Since we brought her home at age 4 months, I have been using the clicker to mark “pee pee” –not too quickly because she’s highly distractible, but not quite at the end either.
– Click once (in-out.) If you want to express special enthusiasm, increase the number of treats, not the number of clicks.
360.746.1411 To start training your dog to “settle,” leash her up and take a seat. Step on the leash so your dog has only enough room to sit, stand, and turn around, but not stray from your side. Then, wait. Your dog may be excited at first, and try to jump up on your lap or run around the room. Let her figure out that she can’t go anywhere. Once she settles down on her own, say “yes!” and give her a treat.
Children’s Vaccines Repeat this a few times as often as you can for a few days. Boring? Maybe, depends how interesting your garden is and how you feel about spending this much time at your puppy’s bathroom spot. But after a few reps of this your puppy will associate just how pleased you are when they wee outside and things should improve from there.
Hurricane Tracker biOrb Noise refuge: The crate provides a safe space for your dog to relax, as well as a place to retreat during anxiety-inducing times like holidays, parties, thunderstorms, rampaging kids, and a host of other potentially stressful events that happen in our homes on a regular basis.
While raising a puppy can be very challenging and sometimes frustrating, Confident Canine Puppy Training provides excellent early socialization and shows you how to reduce stress and anxiety levels for all family members, both human and canine. I’ll help you get through this very important developmental stage of your dog’s life by showing you how to teach your puppy basic manners, how to manage your puppy’s environment to allow him/her to successfully learn appropriate behavior, and how to carefully socialize your puppy so as to avoid unnecessary fears. We’ll also cover how to take care of your puppy’s physical needs, and so much more! Basically, I’ll teach you how to raise the perfect canine addition to your family.
Gallery of Graduates 6. Potty outings should be mission-driven. if your dog tends to fiddle and frolic prior to pottying, restrict your dog’s access to play until the deed is done. Fiddling and frolicking can then become part of the reward.
Before attempting this one, make sure your dog is an expert at the “Sit” command. Electronic training[edit]
Puppy Level 1 (SPCA) How to prevent and resolve common puppy issues like nipping, inappropriate chewing, excessive barking, and jumping up.
Neva stuck $8.70 Teach him to come when called. Come Jasper! Good boy! Teaching him to come is the command to be mastered first and foremost. And since he’ll be coming to you, your alpha status will be reinforced. Get on his level and tell him to come using his name. When he does, make a big deal using positive reinforcement. Then try it when he’s busy with something interesting. You’ll really see the benefits of perfecting this command early as he gets older.
Clicker training will help your puppy respond to your words. Dog Care Education City / State Holiday Movie Quiz: Calling All Movie Buffs!
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19 Things You Should Know About Fine Art Print Gallery Uk | fine art print gallery uk
19 Things You Should Know About Fine Art Print Gallery Uk | fine art print gallery uk – fine art print gallery uk
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Best Day Trips around Orange County CA
Coming up with an all-embracing list containing some of the best day trips around Orange County CA is really difficult since there are simply way too many places that are great in their own way. Here are some of Orange County’s hidden gems and must-visit places.
BEST DAY TRIPS AROUND ORANGE COUNTY CA – THE BEACH
Since there are numerous beautiful beaches around the region, let’s focus first on some of the beach spots of the region –
Laguna Beach
With almost seven miles of stunning coastline, the first thing that catches the visitor’s eyes upon arriving in Laguna Beach is the 1930’s beach attendant tower that looks over the sand and water-related events at the main beach. For people who aren’t that interested in getting a sunbath, there are countless public art galleries, as well as the Laguna Art Exhibition hall.
When visiting the beach, tourists must make sure that they visit the Treasure Island Park in Laguna Beach, one of the most stunning parks in Orange County. Considered to be one of the top picks out of all the Orange County tourist attractions, the park has a paved pathway which runs laterally towards the top of the hill, offering astonishing sights of the Pacific Ocean and the seashore underneath. Going to see Treasure Island Park is almost like going inside a pretty picture postcard.
Salt Creek Beach
Situated under the celebrated Ritz Carlton Hotel in South Orange County, Salt Creek Beach and has been a beloved spot for surfers since the 60s. Nowadays the surfers are joined by guests from the close by 5-star resorts of the Ritz Carlton and Saint Regis. This place is so posh, even the best realtor in Orange County CA will have difficulty in finding a market-price property, however, the diversity in terms of tourists who visit Salt Creek Beach, gives the place a really homely feeling.
Newport Dunes Resort
The Newport Dunes Resort is the place located right opposite of the multi-billion-dollar beach-front houses that mark the unique coastline of Orange County’s Pacific Shore Highway, the Dunes is a fantastic place to stay, especially for families.
San Clemente Beach Trail
The San Clemente Beach Trail treads along the shorelines of North Beach up to the Calafia Beach – a spot famous for its cool cafes and restaurants. This spot is also ideal for hiking, jogging, cycling and for dog owners to take their dogs on a run along the beautiful coast. For early risers, this beach trail could be one of the best day trips around Orange County CA.
Crystal Cove State Park
Crystal Cove State Park boasts one of the most gorgeous beaches in South California. Attracting tourists to have some of the best day trips around Orange County CA, Crystal Cove State Park has around three miles of unspoiled beach in addition to 2000 acres of park-space, making it ideal for picnics. The key point of entrance is the Crystal Cove Historic District – a place famous for its beach cottages that date back to 1920.
Other Attractions in Orange County
Apart from beach attractions, Orange County CA also has a lot of cultural spots to offer, one of them being –
The City of Orange 1920s (Old Town District)
The City of Orange was built in the 1920s in the Old Town District. Rich with heritage and history, this place is now deemed by tourists as one of the ideal destinations for a languid weekend day trip. The Old Town Orange offers one of the finest examples of a joyful landscape in Orange County CA, being home to some of the best antique stores, sidewalk restaurants, and stunning fountains.
About Gerry Goodman Real Estate Services
Since its inauguration, Gerry Goodman Real Estate Services has positively supported home buyers and sellers in the dream tourist place Orange County CA fulfilling their real estate needs. Widely regarded and respected as the best in the trade for over 25 years, Gerry Goodman is presently operating in Orange County CA, in the cities Anaheim, Anaheim Hills, Yorba Linda, Newport Beach, Dana Point, Laguna Beach, Huntington Beach, Irvine, Tustin, and Aliso Viejo.
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Cradle of the Restoration Craft
Where will we find the next generation of automotive restorers? It’s easy to picture an eager young apprentice learning at the knee of a grizzled old panel-beater, and indeed that does still happen. But an increasing number of these future artisans come from a small liberal arts college on the windswept Kansas plain—and many of them are eagerly snapped up by some of the country’s finest restoration shops.
Industry pundits may bemoan the apparent lack of interest in cars among young people, but a quick drive through the McPherson College parking lot proves car culture is alive and well. And we’re not just talking about tuner cars and modern metal—you’ll find students driving classic Mopars, Model Ts, International Harvester pickups, and everything in between.
McPherson students show an unexpected enthusiasm for brass-era cars like this 1917 Willys-Knight. The holistic education they receive is essential in restoring such classics.
Among the jobs we saw in progress at this school an hour north of Wichita: a 1906 Cadillac engine on the rebuild bench, a 1917 Willys-Knight with a sleeve-valve engine being readied for the road, and a 1953 Mercedes-Benz 300S Cabriolet in the early stages of a restoration that will eventually take it to Pebble Beach. Our spring visit coincided with the presentation of senior projects, which included a 1969 Corvette chassis meticulously restored to National Corvette Restorers Society standards, right down to the factory-correct paint overspray on the bell housing. One student lectured on the legacy of the Duesenberg brothers while others recounted their experience hand-building new panels for a collision-damaged Camaro.
“I like to expose them to the work in the chronological way it was done from the beginning.”
The auto restoration program at McPherson began in 1976 when local businessman Gaines “Smokey” Billue donated his 125-car collection to the school in the hopes it could raise the next generation of automotive restorers. Initially established as a two-year program, McPherson has used grants and donations from Mercedes to expand the program to four years (in 2003) and from the likes of Jay Leno to fund scholarships. Today, McPherson says it offers the only bachelor’s degree in automotive restoration, with concentrations in restoration technology, management, communications, history, and design.
“After this program, you have the knowledge to take a car from basket case to fully restored,” senior William Strickler says. “You can do every step of that process.”
What separates McPherson’s auto restoration curriculum from a tech school? The inclusion of a full raft of liberal arts courses is a major component, but what really stands out is the enthusiasm and respect shown for automotive history. The program concentrates on cars built before 1970, and a surprising number of students have developed a passion for cars as far back as the brass era.
“If they’re interested in tuners, which is not that un-common here, they end up gaining an appreciation for the Model T and the Model A,” says Garrick Green, who teaches woodwork. “Not that they’re technically wonderful cars, but they’re technically significant. They mark significant points in automotive history where something has changed.”
History is a fundamental element regardless of the task at hand. “Whether you’re taking drivetrain or engine rebuilding, they’re going to teach you history,” Davis Bint, a third-year student, says. “If you’re coming to school for classic cars, you should understand the emphasis of what history does for them.”
Technical schools tend to concentrate on modern repair methods; McPherson, however, teaches the techniques needed to work on older vehicles. Students in the basic engine rebuilding course overhaul a small-block Chevrolet V-8. “You can learn all the fundamentals on that engine,” Curt Goodwin, an engine professor, says. In the advanced class, they move on to the Model A engine, which Goodwin calls “the small-block Chevy of the past.” McPherson also offers a class on Babbitt bearings, which are used on antique engines and are poured as molten metal directly into the block.
“I didn’t expect the depth we go into,” Bint says. “We cover important steps and important names—guys in the 1800s patenting things that are still used on cars.” Bint, like many of the students we spoke with, sees the positive influence this can have on his career. “You can speak fluently to someone at Pebble Beach who has a one-off Duesenberg,” he says. “You understand the car and know the history. It does a lot more for you in the car world than, ‘Oh, that’s a pretty Duesenberg.’”
McPherson delves not only into the history of the automobile but also the history of the processes used to build it. Woodworking students start off by hand-building a mallet from blocks of wood. Basic machining classes use World War II-surplus South Bend lathes from Boeing’s Wichita factory; sheetmetal students form 3-D teardrops from flat metal.
“I like to expose them to the work in the chronological way it was done from the beginning,” sheetmetal professor Ed Barr says. “Before power hammers, [metal workers] were creating crown panels on flat, clean pieces of steel, banging the metal into shot bags or stumps. So our first shaping exercise is in that mode.
“The work we’re doing here is very, very specialized,” he continues. “We’re using techniques that are completely archaic, like lead solder. It takes a lot more understanding of what is happening in the metal and how to control that metal. It’s good to know these techniques because sometimes people will insist that cars are restored using the original methods.”
Those antiquated techniques aren’t just used for antiquated restorations, though. “We practice a particular skill, like cutting dovetails,” Green says. “Is it all about the dovetails? No, it’s about accurate marking, layout, doing precise work with a good, sharp chisel. Those are the kind of things that are transferable to any project.”
Michael Dudley, who teaches the interior trim class, also stresses the importance of history. “The evolution of materials and trim is a big topic,” he says, “because students need to be able to look at a car and say, ‘This [material] wasn’t used then. That’s too early.’”
Although many of the students who come to McPherson’s Auto Restoration program are lifelong gearheads, most are inexperienced in some aspects of auto restoration, and a few have no car experience.
“One student had a master’s degree in music,” Goodwin says. “He knew zero about cars when he started, but he was like a sponge. He was one of my better students—he just soaked it up. That’s the kind of kids we get here. They’re really hungry. They ask good questions. They’re curious. If they’re willing to learn, we’ll spend the time.”
Barr also appreciates students who come in with a clean slate. “They don’t have any bad habits coming in,” he says, “and they are bright-eyed and eager to learn.”
Nearly all of the instructors have master’s degrees, and all but one are alumni of the program. “All of the professors are wonderful,” third-year student Paige Milem says. “They go above and beyond their duties. Curt, the engine professor, has come up here a couple of weekends and stayed past 10 p.m. helping me get my engine together. They are incredible people. And the students here are just the same.”
“You’re not going to find a community of young people that are as universally interested in cars as you’ll find here.”
Although the program aims to give them a broad base of skills, students often find themselves specializing in areas they initially had no interest in.
“I had no experience with upholstery,” Strickler says. “I came into the Intro to Trim class and learned everything. I’m in advanced trim this semester, and I did an entire interior for my 1970 F-350 Crew Cab. I did what a 1970 King Ranch would have looked like, with a dark tobacco vinyl for the bolsters and a tight-woven tan and dark brown cloth for the centers.”
Using hand tools, students at McPherson College learn period-correct methods of restoration and repair.
For some students, forays into a new topic are the pathways to a career. Senior Tim Kortevin served an internship at the Mercedes-Benz Classic Center in Irvine, California, and has since been offered a job after graduation.
“I never had any experience [with interior trim] in the past,” he says. “I came in here with mechanical experience and figured I might want to build engines. I had no idea that I would want to do upholstery.” As part of his internship, Kortevin restored a large portion of the interior of a Gullwing, including both front seats. This year, his interior—along with the rest of the car—will go to Pebble Beach.
The Mercedes-Benz Center has hired several McPherson graduates, as have the Petersen Automotive Museum in Los Angeles and Paul Russell and Company, a Massachusetts restoration house with a long list of The Quail, Pebble Beach, and Amelia Island winners to its name. Chris Hammond, a restoration technician who specializes in electrical systems for Paul Russell, graduated from McPherson in 2003.
“I’m humbled by these students every day. They’re smart, and they’re going to do great things.”
“There’s an aspect of dedication to what they are doing,” Hammond says of young McPherson grads. “They tend to be dedicated, they work the hours they need to, they take direction well, and they are good team players. That’s important on a big project, which needs a lot of collaboration.”
McPherson students also graduate with a well-rounded education. “A lot of the restoration shops we’re talking to, they like that our students are broadly educated,” Green says. “We can’t provide a 20-year veteran, but we can provide someone who understands the implications of automobiles in our society and has a good worth ethic.”
Alex Heikamp, a graduating senior who aspires to own a Jaguar restoration shop, worked on the NCRS restoration of the 1969 Corvette chassis as his senior project. “When I came here, I didn’t really know anything about cars,” he says. “I rebuilt a few engines with my friends, but I’d never really dug deep into the theory. The school has really helped open my eyes.”
“I came here to expand my horizons,” adds Chris Hughes, Heikamp’s partner on the Corvette. “What coming here has taught me is a wide array, from interior to paint and metalwork and engines, everything about every aspect of a restoration. You’re not going to find a community of young people that are as universally interested in cars as you’ll find here.”
Goodwin, the engine professor, agrees. “I’m humbled by these students every day,” he says. “They’re smart, and they’re going to do great things.”
In many cases, they already have.
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Cradle of the Restoration Craft
Where will we find the next generation of automotive restorers? It’s easy to picture an eager young apprentice learning at the knee of a grizzled old panel-beater, and indeed that does still happen. But an increasing number of these future artisans come from a small liberal arts college on the windswept Kansas plain—and many of them are eagerly snapped up by some of the country’s finest restoration shops.
Industry pundits may bemoan the apparent lack of interest in cars among young people, but a quick drive through the McPherson College parking lot proves car culture is alive and well. And we’re not just talking about tuner cars and modern metal—you’ll find students driving classic Mopars, Model Ts, International Harvester pickups, and everything in between.
McPherson students show an unexpected enthusiasm for brass-era cars like this 1917 Willys-Knight. The holistic education they receive is essential in restoring such classics.
Among the jobs we saw in progress at this school an hour north of Wichita: a 1906 Cadillac engine on the rebuild bench, a 1917 Willys-Knight with a sleeve-valve engine being readied for the road, and a 1953 Mercedes-Benz 300S Cabriolet in the early stages of a restoration that will eventually take it to Pebble Beach. Our spring visit coincided with the presentation of senior projects, which included a 1969 Corvette chassis meticulously restored to National Corvette Restorers Society standards, right down to the factory-correct paint overspray on the bell housing. One student lectured on the legacy of the Duesenberg brothers while others recounted their experience hand-building new panels for a collision-damaged Camaro.
“I like to expose them to the work in the chronological way it was done from the beginning.”
The auto restoration program at McPherson began in 1976 when local businessman Gaines “Smokey” Billue donated his 125-car collection to the school in the hopes it could raise the next generation of automotive restorers. Initially established as a two-year program, McPherson has used grants and donations from Mercedes to expand the program to four years (in 2003) and from the likes of Jay Leno to fund scholarships. Today, McPherson says it offers the only bachelor’s degree in automotive restoration, with concentrations in restoration technology, management, communications, history, and design.
“After this program, you have the knowledge to take a car from basket case to fully restored,” senior William Strickler says. “You can do every step of that process.”
What separates McPherson’s auto restoration curriculum from a tech school? The inclusion of a full raft of liberal arts courses is a major component, but what really stands out is the enthusiasm and respect shown for automotive history. The program concentrates on cars built before 1970, and a surprising number of students have developed a passion for cars as far back as the brass era.
“If they’re interested in tuners, which is not that un-common here, they end up gaining an appreciation for the Model T and the Model A,” says Garrick Green, who teaches woodwork. “Not that they’re technically wonderful cars, but they’re technically significant. They mark significant points in automotive history where something has changed.”
History is a fundamental element regardless of the task at hand. “Whether you’re taking drivetrain or engine rebuilding, they’re going to teach you history,” Davis Bint, a third-year student, says. “If you’re coming to school for classic cars, you should understand the emphasis of what history does for them.”
Technical schools tend to concentrate on modern repair methods; McPherson, however, teaches the techniques needed to work on older vehicles. Students in the basic engine rebuilding course overhaul a small-block Chevrolet V-8. “You can learn all the fundamentals on that engine,” Curt Goodwin, an engine professor, says. In the advanced class, they move on to the Model A engine, which Goodwin calls “the small-block Chevy of the past.” McPherson also offers a class on Babbitt bearings, which are used on antique engines and are poured as molten metal directly into the block.
“I didn’t expect the depth we go into,” Bint says. “We cover important steps and important names—guys in the 1800s patenting things that are still used on cars.” Bint, like many of the students we spoke with, sees the positive influence this can have on his career. “You can speak fluently to someone at Pebble Beach who has a one-off Duesenberg,” he says. “You understand the car and know the history. It does a lot more for you in the car world than, ‘Oh, that’s a pretty Duesenberg.’”
McPherson delves not only into the history of the automobile but also the history of the processes used to build it. Woodworking students start off by hand-building a mallet from blocks of wood. Basic machining classes use World War II-surplus South Bend lathes from Boeing’s Wichita factory; sheetmetal students form 3-D teardrops from flat metal.
“I like to expose them to the work in the chronological way it was done from the beginning,” sheetmetal professor Ed Barr says. “Before power hammers, [metal workers] were creating crown panels on flat, clean pieces of steel, banging the metal into shot bags or stumps. So our first shaping exercise is in that mode.
“The work we’re doing here is very, very specialized,” he continues. “We’re using techniques that are completely archaic, like lead solder. It takes a lot more understanding of what is happening in the metal and how to control that metal. It’s good to know these techniques because sometimes people will insist that cars are restored using the original methods.”
Those antiquated techniques aren’t just used for antiquated restorations, though. “We practice a particular skill, like cutting dovetails,” Green says. “Is it all about the dovetails? No, it’s about accurate marking, layout, doing precise work with a good, sharp chisel. Those are the kind of things that are transferable to any project.”
Michael Dudley, who teaches the interior trim class, also stresses the importance of history. “The evolution of materials and trim is a big topic,” he says, “because students need to be able to look at a car and say, ‘This [material] wasn’t used then. That’s too early.’”
Although many of the students who come to McPherson’s Auto Restoration program are lifelong gearheads, most are inexperienced in some aspects of auto restoration, and a few have no car experience.
“One student had a master’s degree in music,” Goodwin says. “He knew zero about cars when he started, but he was like a sponge. He was one of my better students—he just soaked it up. That’s the kind of kids we get here. They’re really hungry. They ask good questions. They’re curious. If they’re willing to learn, we’ll spend the time.”
Barr also appreciates students who come in with a clean slate. “They don’t have any bad habits coming in,” he says, “and they are bright-eyed and eager to learn.”
Nearly all of the instructors have master’s degrees, and all but one are alumni of the program. “All of the professors are wonderful,” third-year student Paige Milem says. “They go above and beyond their duties. Curt, the engine professor, has come up here a couple of weekends and stayed past 10 p.m. helping me get my engine together. They are incredible people. And the students here are just the same.”
“You’re not going to find a community of young people that are as universally interested in cars as you’ll find here.”
Although the program aims to give them a broad base of skills, students often find themselves specializing in areas they initially had no interest in.
“I had no experience with upholstery,” Strickler says. “I came into the Intro to Trim class and learned everything. I’m in advanced trim this semester, and I did an entire interior for my 1970 F-350 Crew Cab. I did what a 1970 King Ranch would have looked like, with a dark tobacco vinyl for the bolsters and a tight-woven tan and dark brown cloth for the centers.”
Using hand tools, students at McPherson College learn period-correct methods of restoration and repair.
For some students, forays into a new topic are the pathways to a career. Senior Tim Kortevin served an internship at the Mercedes-Benz Classic Center in Irvine, California, and has since been offered a job after graduation.
“I never had any experience [with interior trim] in the past,” he says. “I came in here with mechanical experience and figured I might want to build engines. I had no idea that I would want to do upholstery.” As part of his internship, Kortevin restored a large portion of the interior of a Gullwing, including both front seats. This year, his interior—along with the rest of the car—will go to Pebble Beach.
The Mercedes-Benz Center has hired several McPherson graduates, as have the Petersen Automotive Museum in Los Angeles and Paul Russell and Company, a Massachusetts restoration house with a long list of The Quail, Pebble Beach, and Amelia Island winners to its name. Chris Hammond, a restoration technician who specializes in electrical systems for Paul Russell, graduated from McPherson in 2003.
“I’m humbled by these students every day. They’re smart, and they’re going to do great things.”
“There’s an aspect of dedication to what they are doing,” Hammond says of young McPherson grads. “They tend to be dedicated, they work the hours they need to, they take direction well, and they are good team players. That’s important on a big project, which needs a lot of collaboration.”
McPherson students also graduate with a well-rounded education. “A lot of the restoration shops we’re talking to, they like that our students are broadly educated,” Green says. “We can’t provide a 20-year veteran, but we can provide someone who understands the implications of automobiles in our society and has a good worth ethic.”
Alex Heikamp, a graduating senior who aspires to own a Jaguar restoration shop, worked on the NCRS restoration of the 1969 Corvette chassis as his senior project. “When I came here, I didn’t really know anything about cars,” he says. “I rebuilt a few engines with my friends, but I’d never really dug deep into the theory. The school has really helped open my eyes.”
“I came here to expand my horizons,” adds Chris Hughes, Heikamp’s partner on the Corvette. “What coming here has taught me is a wide array, from interior to paint and metalwork and engines, everything about every aspect of a restoration. You’re not going to find a community of young people that are as universally interested in cars as you’ll find here.”
Goodwin, the engine professor, agrees. “I’m humbled by these students every day,” he says. “They’re smart, and they’re going to do great things.”
In many cases, they already have.
The post Cradle of the Restoration Craft appeared first on Automobile Magazine.
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Cradle of the Restoration Craft
Where will we find the next generation of automotive restorers? It’s easy to picture an eager young apprentice learning at the knee of a grizzled old panel-beater, and indeed that does still happen. But an increasing number of these future artisans come from a small liberal arts college on the windswept Kansas plain—and many of them are eagerly snapped up by some of the country’s finest restoration shops.
Industry pundits may bemoan the apparent lack of interest in cars among young people, but a quick drive through the McPherson College parking lot proves car culture is alive and well. And we’re not just talking about tuner cars and modern metal—you’ll find students driving classic Mopars, Model Ts, International Harvester pickups, and everything in between.
McPherson students show an unexpected enthusiasm for brass-era cars like this 1917 Willys-Knight. The holistic education they receive is essential in restoring such classics.
Among the jobs we saw in progress at this school an hour north of Wichita: a 1906 Cadillac engine on the rebuild bench, a 1917 Willys-Knight with a sleeve-valve engine being readied for the road, and a 1953 Mercedes-Benz 300S Cabriolet in the early stages of a restoration that will eventually take it to Pebble Beach. Our spring visit coincided with the presentation of senior projects, which included a 1969 Corvette chassis meticulously restored to National Corvette Restorers Society standards, right down to the factory-correct paint overspray on the bell housing. One student lectured on the legacy of the Duesenberg brothers while others recounted their experience hand-building new panels for a collision-damaged Camaro.
“I like to expose them to the work in the chronological way it was done from the beginning.”
The auto restoration program at McPherson began in 1976 when local businessman Gaines “Smokey” Billue donated his 125-car collection to the school in the hopes it could raise the next generation of automotive restorers. Initially established as a two-year program, McPherson has used grants and donations from Mercedes to expand the program to four years (in 2003) and from the likes of Jay Leno to fund scholarships. Today, McPherson says it offers the only bachelor’s degree in automotive restoration, with concentrations in restoration technology, management, communications, history, and design.
“After this program, you have the knowledge to take a car from basket case to fully restored,” senior William Strickler says. “You can do every step of that process.”
What separates McPherson’s auto restoration curriculum from a tech school? The inclusion of a full raft of liberal arts courses is a major component, but what really stands out is the enthusiasm and respect shown for automotive history. The program concentrates on cars built before 1970, and a surprising number of students have developed a passion for cars as far back as the brass era.
“If they’re interested in tuners, which is not that un-common here, they end up gaining an appreciation for the Model T and the Model A,” says Garrick Green, who teaches woodwork. “Not that they’re technically wonderful cars, but they’re technically significant. They mark significant points in automotive history where something has changed.”
History is a fundamental element regardless of the task at hand. “Whether you’re taking drivetrain or engine rebuilding, they’re going to teach you history,” Davis Bint, a third-year student, says. “If you’re coming to school for classic cars, you should understand the emphasis of what history does for them.”
Technical schools tend to concentrate on modern repair methods; McPherson, however, teaches the techniques needed to work on older vehicles. Students in the basic engine rebuilding course overhaul a small-block Chevrolet V-8. “You can learn all the fundamentals on that engine,” Curt Goodwin, an engine professor, says. In the advanced class, they move on to the Model A engine, which Goodwin calls “the small-block Chevy of the past.” McPherson also offers a class on Babbitt bearings, which are used on antique engines and are poured as molten metal directly into the block.
“I didn’t expect the depth we go into,” Bint says. “We cover important steps and important names—guys in the 1800s patenting things that are still used on cars.” Bint, like many of the students we spoke with, sees the positive influence this can have on his career. “You can speak fluently to someone at Pebble Beach who has a one-off Duesenberg,” he says. “You understand the car and know the history. It does a lot more for you in the car world than, ‘Oh, that’s a pretty Duesenberg.’”
McPherson delves not only into the history of the automobile but also the history of the processes used to build it. Woodworking students start off by hand-building a mallet from blocks of wood. Basic machining classes use World War II-surplus South Bend lathes from Boeing’s Wichita factory; sheetmetal students form 3-D teardrops from flat metal.
“I like to expose them to the work in the chronological way it was done from the beginning,” sheetmetal professor Ed Barr says. “Before power hammers, [metal workers] were creating crown panels on flat, clean pieces of steel, banging the metal into shot bags or stumps. So our first shaping exercise is in that mode.
“The work we’re doing here is very, very specialized,” he continues. “We’re using techniques that are completely archaic, like lead solder. It takes a lot more understanding of what is happening in the metal and how to control that metal. It’s good to know these techniques because sometimes people will insist that cars are restored using the original methods.”
Those antiquated techniques aren’t just used for antiquated restorations, though. “We practice a particular skill, like cutting dovetails,” Green says. “Is it all about the dovetails? No, it’s about accurate marking, layout, doing precise work with a good, sharp chisel. Those are the kind of things that are transferable to any project.”
Michael Dudley, who teaches the interior trim class, also stresses the importance of history. “The evolution of materials and trim is a big topic,” he says, “because students need to be able to look at a car and say, ‘This [material] wasn’t used then. That’s too early.’”
Although many of the students who come to McPherson’s Auto Restoration program are lifelong gearheads, most are inexperienced in some aspects of auto restoration, and a few have no car experience.
“One student had a master’s degree in music,” Goodwin says. “He knew zero about cars when he started, but he was like a sponge. He was one of my better students—he just soaked it up. That’s the kind of kids we get here. They’re really hungry. They ask good questions. They’re curious. If they’re willing to learn, we’ll spend the time.”
Barr also appreciates students who come in with a clean slate. “They don’t have any bad habits coming in,” he says, “and they are bright-eyed and eager to learn.”
Nearly all of the instructors have master’s degrees, and all but one are alumni of the program. “All of the professors are wonderful,” third-year student Paige Milem says. “They go above and beyond their duties. Curt, the engine professor, has come up here a couple of weekends and stayed past 10 p.m. helping me get my engine together. They are incredible people. And the students here are just the same.”
“You’re not going to find a community of young people that are as universally interested in cars as you’ll find here.”
Although the program aims to give them a broad base of skills, students often find themselves specializing in areas they initially had no interest in.
“I had no experience with upholstery,” Strickler says. “I came into the Intro to Trim class and learned everything. I’m in advanced trim this semester, and I did an entire interior for my 1970 F-350 Crew Cab. I did what a 1970 King Ranch would have looked like, with a dark tobacco vinyl for the bolsters and a tight-woven tan and dark brown cloth for the centers.”
Using hand tools, students at McPherson College learn period-correct methods of restoration and repair.
For some students, forays into a new topic are the pathways to a career. Senior Tim Kortevin served an internship at the Mercedes-Benz Classic Center in Irvine, California, and has since been offered a job after graduation.
“I never had any experience [with interior trim] in the past,” he says. “I came in here with mechanical experience and figured I might want to build engines. I had no idea that I would want to do upholstery.” As part of his internship, Kortevin restored a large portion of the interior of a Gullwing, including both front seats. This year, his interior—along with the rest of the car—will go to Pebble Beach.
The Mercedes-Benz Center has hired several McPherson graduates, as have the Petersen Automotive Museum in Los Angeles and Paul Russell and Company, a Massachusetts restoration house with a long list of The Quail, Pebble Beach, and Amelia Island winners to its name. Chris Hammond, a restoration technician who specializes in electrical systems for Paul Russell, graduated from McPherson in 2003.
“I’m humbled by these students every day. They’re smart, and they’re going to do great things.”
“There’s an aspect of dedication to what they are doing,” Hammond says of young McPherson grads. “They tend to be dedicated, they work the hours they need to, they take direction well, and they are good team players. That’s important on a big project, which needs a lot of collaboration.”
McPherson students also graduate with a well-rounded education. “A lot of the restoration shops we’re talking to, they like that our students are broadly educated,” Green says. “We can’t provide a 20-year veteran, but we can provide someone who understands the implications of automobiles in our society and has a good worth ethic.”
Alex Heikamp, a graduating senior who aspires to own a Jaguar restoration shop, worked on the NCRS restoration of the 1969 Corvette chassis as his senior project. “When I came here, I didn’t really know anything about cars,” he says. “I rebuilt a few engines with my friends, but I’d never really dug deep into the theory. The school has really helped open my eyes.”
“I came here to expand my horizons,” adds Chris Hughes, Heikamp’s partner on the Corvette. “What coming here has taught me is a wide array, from interior to paint and metalwork and engines, everything about every aspect of a restoration. You’re not going to find a community of young people that are as universally interested in cars as you’ll find here.”
Goodwin, the engine professor, agrees. “I’m humbled by these students every day,” he says. “They’re smart, and they’re going to do great things.”
In many cases, they already have.
The post Cradle of the Restoration Craft appeared first on Automobile Magazine.
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EVENT: Series of events: Warburg and Luther (London, 13-16 Dec 17)
Warburg Institute, Woburn Square, London WC1H 0AB, December 13 – 16, 2017
Deadline: Dec 11, 2017
Warburg and Luther – Word | Image in Times of Crisis – 1517, 1917, 2017
The events include:
A keynote lecture entitled ‘Luther’s Words are Everywhere’: Protestantism and Politics, 1517-2017′ by Jane O. Newman (California at Irvine) on 13 December at 17.30
Register at: https://www.sas.ac.uk/events/event/13838
A roundtable discussion with James Curran (Goldsmiths), Jo Fox (Durham), Jost Philipp Klenner (Berlin), Jane O. Newman and Petra Roettig (Hamburger Kunsthalle) on 14 December at 18.15
Register at: https://www.sas.ac.uk/events/event/13839
An open day on 16 December from 14.00 to 16.00, when the Warburg Institute’s Library and Archive will display and offer introductions to materials that relate to Warburg’s Reformation study. Pre-registration not required for the Open Day.
Attendance is free of charge. Please register in advance for the lecture and roundtable discussion using the links given above.
The events are supported by the Embassy of the Federal Republic of Germany, London, and the University of London Coffin Trust
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Hyperallergic: Why We Need to Start Seeing the Classical World in Color
Large polychrome tauroctony relief of Mithras killing a bull, originally from the mithraeum of S. Stefano Rotonodo (end of 3rd century CE), now at the Baths of Diocletian Museum, Rome (photo by Carole Raddato/Flickr, CC BY-SA 2.0)
Modern technology has revealed an irrefutable, if unpopular, truth: many of the statues, reliefs, and sarcophagi created in the ancient Western world were in fact painted. Marble was a precious material for Greco-Roman artisans, but it was considered a canvas, not the finished product for sculpture. It was carefully selected and then often painted in gold, red, green, black, white, and brown, among other colors.
A number of fantastic museum shows throughout Europe and the US in recent years have addressed the issue of ancient polychromy. The Gods in Color exhibit travelled the world between 2003–15, after its initial display at the Glyptothek in Munich. (Many of the photos in this essay come from that exhibit, including the famed Caligula bust and the Alexander Sarcophagus.) Digital humanists and archaeologists have played a large part in making those shows possible. In particular, the archaeologist Vinzenz Brinkmann, whose research informed Gods in Color, has done important work, applying various technologies and ultraviolet light to antique statues in order to analyze the minute vestiges of paint on them and then recreate polychrome versions.
The Archer from the western pediment of the Temple of Aphaia on Aigina, reconstruction, color variant A from the Gods of Color exhibit (photo by Marsyas/Wikimedia, CC BY-SA 2.5)
Acceptance of polychromy by the public is another matter. A friend peering up at early-20th-century polychrome terra cottas of mythological figures at the Philadelphia Museum of Art once remarked to me: “There is no way the Greeks were that gauche.” How did color become gauche? Where does this aesthetic disgust come from? To many, the pristine whiteness of marble statues is the expectation and thus the classical ideal. But the equation of white marble with beauty is not an inherent truth of the universe. Where this standard came from and how it continues to influence white supremacist ideas today are often ignored.
Most museums and art history textbooks contain a predominantly neon white display of skin tone when it comes to classical statues and sarcophagi. This has an impact on the way we view the antique world. The assemblage of neon whiteness serves to create a false idea of homogeneity — everyone was very white! — across the Mediterranean region. The Romans, in fact, did not define people as “white”; where, then, did this notion of race come from?
A painted Romano-Egyptian mummy mask of a man (late 2nd century CE), plaster, paint, glass, now at the Rhode Island School of Design (photo by the author for Hyperallergic)
In early modern Europe, taxonomies were all the rage. What would later be termed the “scientific revolution” was marked by a desire to categorize, label, and rank everything from plants to minerals. It was only a matter of time before humans were similarly subjected to such manmade systems of classification. At the same time, artists began to engage with mathematics and anatomy and to use classical sculpture as a means of addressing the question of replicable beauty through proportions.
One of the most influential art historians of the era was Johann Joachim Winckelmann. He produced two volumes recounting the history of ancient art, Geschichte der Kunst des Alterthums (1764), which were widely read and came to form a foundation for the modern field of art history. These books celebrate the whiteness of classical statuary and cast the Apollo of the Belvedere — a Roman marble copy of a Hellenistic bronze original — as the quintessence of beauty. Historian Nell Irvin Painter writes in her book The History of White People (2010) that Winckelmann was a Eurocentrist who depreciated people of other nationalities, like the Chinese or the Kalmyk.
The Apollo Belvedere, now at the Vatican Museums, was viewed in the 18th century as the model of beauty. Artists became fascinated with the statue after its discovery in the late 15th century, including Albrecht Dürer. (photo by Marie-Lan Nguyen/Wikimedia)
“Color in sculpture came to mean barbarism, for they assumed that the lofty ancient Greeks were too sophisticated to color their art,” Painter writes. The ties between barbarism and color, civility and whiteness would endure. Not to mention Winckelmann’s pronounced preference for sculptures of gleaming white men over women. Regardless of his own sexual identity — which may have been expressed in this preference — Winckelmann’s gender bias would go on to have an impact on white male supremacists who saw themselves as upholding an ideal.
Winckelmann wasn’t the only man obsessed with the Apollo Belvedere. The Dutch anatomist Pieter Camper believed that he could find the formula for perfect beauty through facial angles and used the statue as a standard to be attained. He began to measure human and animal facial features, particularly the lines running from the nose to the ear and the forehead to the jawbone. Those ratios were later used by others to create the racist “cephalic index,” which categorized humans based on the width and length of their facial features. The Nazis drew on the index to support notions of Aryan superiority in Germany during the Third Reich.
Page from Pieter Camper, The Works of the late Professor Camper, on The Connexion [sic] between the Science of Anatomy and The Arts of Drawing, Painting, Statuary &c. &c. (London: Charles Dilly, 1794) (image via the Metropolitan Museum of Art)
Camper’s successors perpetuated and reshaped many of his ideas to be even more biased towards newly constructed races. As classicist Christopher B. Krebs wrote in A Most Dangerous Book, his work on the Third Reich’s manipulation of the classical author Tacitus, “Throughout the nineteenth century, scientists would scour far and wide mismeasuring human anatomy. The more data that was compiled, the less significant the result became. Where science failed, prejudice stepped in and observation yielded to opinion.” This prejudice was seen particularly in the diagramming of beauty within anatomical textbooks of the 19th and early 20th centuries. The son of a famous botanist, Mathias Marie Duval developed numerous anatomical models that were broadly used in medical schools and perpetuated ideas of whiteness that never existed in the ancient world. They were derived from examples of classical sculpture, particularly (you guessed it) the Apollo Belvedere.
Duval’s diagram of the facial angle of an antique head, based on Camper’s work with the Apollo Belvedere; fig. 63 in Matthias Duval’s Artistic Anatomy: Completely Revised, with Additional Original Illustrations. Edited and Amplified by A. Melville Paterson, M.D. (1919) (screenshot via Internet Archive)
Too often today, we fail to acknowledge and confront the incredible amount of racism that has shaped the ideas of scholars we cite in the field of ancient history. For example, I recently, came across Tenney Frank’s disturbing article “Race Mixture in the Roman Empire” while looking through an edited volume. First published in The American Historical Review in July 1916, the article sees Frank attempting to count extant inscriptions (mostly epitaphs) in order to gauge whether “race mixing” contributed to the decline of the Roman empire. It was then reprinted without comment in Greek historian Donald Kagan’s 1962 collection of articles on the fall of Rome.
I am not suggesting that Kagan is a racist (far from it), but, at the least, he should have contextualized Frank’s essay in his introduction to the volume and highlighted it as an example of the virulent racism built into the foundation of the Classics field. As Denise Eileen McCoskey points out in her excellent book Race: Antiquity and Its Legacy, Frank’s argument is not only untrue, it is dangerous. It provides further ammunition for white supremacists today, including groups like Identity Europa, who use classical statuary as a symbol of white male superiority. It also continues to buttress the false construction of Western civilization as white by politicians like Steve King.
Seattle has never looked better. #FashTheCity http://pic.twitter.com/UA3DjDKKnq
— IDENTITY EVROPA (@IdentityEvropa) November 4, 2016
How can we address the problem of the lily white antiquity that persists in the public imagination? What can classicists learn from the debate over whiteness and ancient sculpture?
First, we must consider why we are such a homogenous field. According to the Society for Classical Studies, the leading association for Classics in the United States, in 2014, just 9% of all undergraduate Classics majors were minorities. This number decreases the higher into academia you go. Just 2% of tenured full-time Classics faculty were minorities, according to the study.
Do we make it easy for people of color who want to study the ancient world? Do they see themselves in the ancient landscape that we present to them? The dearth of people of color in modern media depicting the ancient world is a pivotal issue here. Movies and video games, in particular, perpetuate the notion that the classical world was white. This is an issue when 70% of my students tell me that games such as Ryse: Son of Rome (which uses white statues to decorate the city of Rome and white Roman soldiers as lead characters), as well as films like Gladiator (which has a man from New Zealand playing the Spaniard Maximus) and the 300 (which has xenophobic depictions of Persians) led them to take my courses.
youtube
If we want to see more diversity in Classics, we have to work harder as public historians to change the narrative — by talking to filmmakers, writing mainstream articles, annotating our academic writing and making it open access, and doing more outreach that emphasizes the vast palette of skin tones in the ancient Mediterranean. I’m not suggesting that we go, with a bucket in hand, and attempt to repaint every white marble statue across the country. However, I believe that tactics such as better museum signage, the presentation of 3D reconstructions alongside originals, and the use of computerized light projections can help produce a contextual framework for understanding classical sculpture as it truly was. It may have taken just one classical statue to influence the false construction of race, but it will take many of us to tear it down. We have the power to return color to the ancient world, but it has to start with us.
Painted terra cotta cinerary urn (150–100 BCE), originally from Chiusi, now at the British Museum (photo by the author for Hyperallergic)
Detail of painted terra cotta cinerary urn (150–100 BCE), originally from Chiusi, now at the British Museum (photo by the author for Hyperallergic)
The post Why We Need to Start Seeing the Classical World in Color appeared first on Hyperallergic.
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When beauty is in the eye of an AI Beholder
New Post has been published on https://workreveal.biz/when-beauty-is-in-the-eye-of-an-ai-beholder/
When beauty is in the eye of an AI Beholder
What’s beauty past someone else defining it?
For so long as humanity’s obsession with the period has existed, we’ve equally recognised about its subjective nature, AI-based robots, In the end, “beauty is in the attention of the beholder” is merely a cliché that posits that absolute subjectivity of beauty.
Japan’s beauty beholder robot
However what if the viewer can take away subjectivity—what if the beholder wasn’t someone, But a set of rules? Using system getting to know to outline beauty should, theoretically, make beauty pageants and rankings like People’s annual Maximum beautiful within the International listing greater goal and much less prone to human blunders. Of route, teaching a set of rules to do something may also involve some bias from whoever does the programming, However that hasn’t stopped this computerised approach from defining equally individual such things as listening alternatives or information price (we see you, Facebook et al.).
“We don’t need a human opinion,” says biotechnologist Dr Alex Zhavoronkov, one of the founders in the back of a pageant-keeping, beauty-quantifying initiative called beauty.AI. “At the cease of the day, there are lots of disagreements. We’re searching for ways to evaluate splendour, and a few methods can be greater relevant or much less relevant to human belief. But the whole reason of splendor.AI is to remove individual opinion, to go beyond it.”
beauty.AI became merely one of the state-of-the-art tries to have generation objectively evaluate beauty. However as a web competition that crowdsourced headshots and allowed bot-pushed algorithms to decide ratings, perhaps it represents the fever factor of this exercise. If so, the initiative’s final results made one aspect definitively clear: artificial intelligence will by no means decide a standard face of splendour. Even these days, it handiest highlights how precisely slender one’s definition of brilliance can be.
Before Hot Or No longer: A quick history of quantifying beauty
Lengthy Earlier than anybody knew what an algorithm became; humanity has tried to quantify and measure beauty. Leonardo da Vinci’s pen-and-ink drawing of the Vitruvian Man, whose head became one-8th of its frame, turned into primarily based on Roman architect Vitruvius’ writing at issue from his treatise, De Architectura. Plato believed that splendour resided in components that harmoniously match into the entire. St. Augustine found that the extra geometrically equal something changed into, the greater lovely it turned into. The theories went on and on.
And for as long as Humans have made these landmark statements on beauty, they’ve additionally found out apparent cultural bias about their standards of beauty. Northern Renaissance painter Albrecht Dürer used his own arms, acknowledged for being longer than common, to assemble a canon of the human frame. Or, for a current example, morning show True Day DC anchors Expertise Martin and Maureen Umeh went viral last yr for giving the side eye to a 2014 beauty surgical treatment have a look at pointing out that Kate Middleton had the “Maximum desirable face.” Clearly, the examine was based totally on a take a look at group of “ordinary-appearing white women aged 18 to twenty-five years.”
within the beyond few many years, students have at least come to accept that established beauty is a complex, perhaps impossible aspect. one of the greater popular works furthering that concept comes from writer Naomi Wolf and her 1991 bestselling book, The splendor Fable. “beauty is a currency system like the gold wellknown,” she wrote. “Like any economy, it is decided by means of politics, and inside the contemporary age in the West it is the final, fine notion system that maintains male dominance intact.” Wolf believed that beauty is a creation of capitalism intended to preserve the reputation quo in the ever-expanding West—basically arguing that current, greater various supermodels like Naomi Campbell and Tyra Banks nonetheless needed to suit into a inflexible definition of splendor that involves such things as “tall,” “skinny,” and “youthful.”
AI based robot
these cultural headaches haven’t stopped modern-day researchers from looking to tech for a better solution, however. Living proof: College of California, Irvine researchers Natalie A. Popenko and Dr. Brian J. Wong. (Wong, a plastic health practitioner and professor, become one of the professionals in the back of that controversial, Kate Middleton-face look at.) In their Most famous paper—2008’s “Evolving attractive Faces The use of Morphing technology and a Genetic algorithm: A brand new method to Figuring out Ideal Facial Aesthetics”—the duo hired virtual morphing software to “evolve” and “breed” more attractive faces over time based totally on information accumulated from varied, human resources such as Fb surveys, plastic surgeons, student take a look at contributors, and specialists from an eyebrow cosmetics organization desired by using Kylie Jenner. inside the Most primary feel, their work tried to deploy predictive computing in a similar way to how scientists generate climate models… except they were hoping to peer whether a mean advanced over the years into an ideal face.
In the end, Wong and Popenko determined that an “common” face didn’t make for a stunning face. In truth, nasal width, eyebrow arch height, and lip fullness correlated appreciably with the study’s scores of beauty. In other words, Jenner turned into onto some thing together with her Kylie Lip Package (designed to give you complete, pouty lips) and heavily arched eyebrows (added to you with the aid of Anastasia Brows). It seems splendor, as a minimum the type that makes you want to store at Sephora, isn’t decided through evolution—it’s decided through movie star idols.
As this type of research has continued, companies have sought to get in on the premise of technologically-defined beauty. The challenge-subsidized Naked three-D Health Tracker is a $400 smart mirror (available for pre-order) that scans your frame in 3-D and makes use of a heat map to tell you where you’re growing muscle or gaining fat, and it claims effects inside 2.5 percent accuracy. It comes with a mirror that “seems” at you—a literal “reflect, mirror, on the Wall” scenario—and encourages you to stand the statistics: Are you certainly dropping weight? This scale claims it won’t permit you to cheat.
Or, launched ultimate April, an app referred to as Map My splendor claims to apply facial region reputation algorithms to objectively assess splendor. Customers upload selfies, and the app spits out how and wherein to position on make-up. Thus far in its short existence, the app has tested specifically useful for advanced techniques like contouring, the antique school technique made viral by means of Instagram and the Kardashians. (Contouring requires a strong know-how of your personal facial shape so as to control appearance Using mild and shading.)
“The use of this active appearance model and applying it to selfies we’ve in no way visible Earlier than, we will extract a handful of parameters which additionally—among others—describe implicitly facial beauty,” says Dr. Kristina Scherbaum, the computer scientist at the back of the app. What the ones parameters are, but, remains a secret. Map My beauty has commercial enterprise aspirations past aiding at-domestic makeup artists. The crew has previously worked with global splendor retailer Sephora, and now Map My splendor has its very own team of professional makeup artists. these professionals act as a focus group for labeling and categorizing the database, and Map My beauty says its judgment criteria is proprietary.
This indicates an app may spit out the solutions, But a team of people is again behind the scenes making choices (with various degrees of subjectivity and objectivity). So from DaVinci to Wong and Popenko to this, that plain human detail In the end permeates consequences no matter what number of layers of technology are added.
splendor has no person preferred or definition.
It changed into the crucial message of the stories featured On the Inquirer examine-Along on Saturday to mark the birthday party of worldwide girls’s Month.
GMA 7 stars Bianca Umali and Ayra Mariano and Sophia college’s essential Ann Abacan examine testimonies celebrating the beauty of ladies to some 60 children from Laura Vicuña Basis, Virlanie Basis and Dagdag Dunong Foundation who attended the session On the Inquirer fundamental office in Makati Metropolis.
mechanical beauty
Abacan kicked off the session with the tale “Anita the Duckling Diva,” written by means of actress Anne Curtis. The e book narrates how a young girl duckling overcame her shyness with the help of her loved ones.
Umali, an Inquirer read-Alongside ambassador on account that 2015, read “Si Tanya ang Uwak na Gusto Pumuti” by using German Gervacio, which tells the tale of a female crow, which learns to love herself and realizes what it truely takes to acquire her dreams.
“I’m hoping the children learn the value of being happy with what they have. They shouldn’t experience jealous of what others have and locate contentment inside the presents God gave them,” Umali said.
She meditated on the war of the young crow to be comfortable with her color.
“Being assured is what makes a female empowered,” Umali stated. “in case you
are assured, you may conquer something. It doesn’t remember what you can’t do. It’s about you and the way you accept as true with your self.”
Mariano capped the session by using analyzing Grace Chong’s “Bakit Hindi Naka-Lipstick si Nanay?” it is about a lady, who learns to understand her mom’s bizarre job as a tricycle motive force.
“It’s extraordinary whilst you speak with youngsters. if you ask some thing, they actually solution. And their solutions are very sincere, very uncooked,” she stated.
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Cradle of the Restoration Craft
Where will we find the next generation of automotive restorers? It’s easy to picture an eager young apprentice learning at the knee of a grizzled old panel-beater, and indeed that does still happen. But an increasing number of these future artisans come from a small liberal arts college on the windswept Kansas plain—and many of them are eagerly snapped up by some of the country’s finest restoration shops.
Industry pundits may bemoan the apparent lack of interest in cars among young people, but a quick drive through the McPherson College parking lot proves car culture is alive and well. And we’re not just talking about tuner cars and modern metal—you’ll find students driving classic Mopars, Model Ts, International Harvester pickups, and everything in between.
McPherson students show an unexpected enthusiasm for brass-era cars like this 1917 Willys-Knight. The holistic education they receive is essential in restoring such classics.
Among the jobs we saw in progress at this school an hour north of Wichita: a 1906 Cadillac engine on the rebuild bench, a 1917 Willys-Knight with a sleeve-valve engine being readied for the road, and a 1953 Mercedes-Benz 300S Cabriolet in the early stages of a restoration that will eventually take it to Pebble Beach. Our spring visit coincided with the presentation of senior projects, which included a 1969 Corvette chassis meticulously restored to National Corvette Restorers Society standards, right down to the factory-correct paint overspray on the bell housing. One student lectured on the legacy of the Duesenberg brothers while others recounted their experience hand-building new panels for a collision-damaged Camaro.
“I like to expose them to the work in the chronological way it was done from the beginning.”
The auto restoration program at McPherson began in 1976 when local businessman Gaines “Smokey” Billue donated his 125-car collection to the school in the hopes it could raise the next generation of automotive restorers. Initially established as a two-year program, McPherson has used grants and donations from Mercedes to expand the program to four years (in 2003) and from the likes of Jay Leno to fund scholarships. Today, McPherson says it offers the only bachelor’s degree in automotive restoration, with concentrations in restoration technology, management, communications, history, and design.
“After this program, you have the knowledge to take a car from basket case to fully restored,” senior William Strickler says. “You can do every step of that process.”
What separates McPherson’s auto restoration curriculum from a tech school? The inclusion of a full raft of liberal arts courses is a major component, but what really stands out is the enthusiasm and respect shown for automotive history. The program concentrates on cars built before 1970, and a surprising number of students have developed a passion for cars as far back as the brass era.
“If they’re interested in tuners, which is not that un-common here, they end up gaining an appreciation for the Model T and the Model A,” says Garrick Green, who teaches woodwork. “Not that they’re technically wonderful cars, but they’re technically significant. They mark significant points in automotive history where something has changed.”
History is a fundamental element regardless of the task at hand. “Whether you’re taking drivetrain or engine rebuilding, they’re going to teach you history,” Davis Bint, a third-year student, says. “If you’re coming to school for classic cars, you should understand the emphasis of what history does for them.”
Technical schools tend to concentrate on modern repair methods; McPherson, however, teaches the techniques needed to work on older vehicles. Students in the basic engine rebuilding course overhaul a small-block Chevrolet V-8. “You can learn all the fundamentals on that engine,” Curt Goodwin, an engine professor, says. In the advanced class, they move on to the Model A engine, which Goodwin calls “the small-block Chevy of the past.” McPherson also offers a class on Babbitt bearings, which are used on antique engines and are poured as molten metal directly into the block.
“I didn’t expect the depth we go into,” Bint says. “We cover important steps and important names—guys in the 1800s patenting things that are still used on cars.” Bint, like many of the students we spoke with, sees the positive influence this can have on his career. “You can speak fluently to someone at Pebble Beach who has a one-off Duesenberg,” he says. “You understand the car and know the history. It does a lot more for you in the car world than, ‘Oh, that’s a pretty Duesenberg.’”
McPherson delves not only into the history of the automobile but also the history of the processes used to build it. Woodworking students start off by hand-building a mallet from blocks of wood. Basic machining classes use World War II-surplus South Bend lathes from Boeing’s Wichita factory; sheetmetal students form 3-D teardrops from flat metal.
“I like to expose them to the work in the chronological way it was done from the beginning,” sheetmetal professor Ed Barr says. “Before power hammers, [metal workers] were creating crown panels on flat, clean pieces of steel, banging the metal into shot bags or stumps. So our first shaping exercise is in that mode.
“The work we’re doing here is very, very specialized,” he continues. “We’re using techniques that are completely archaic, like lead solder. It takes a lot more understanding of what is happening in the metal and how to control that metal. It’s good to know these techniques because sometimes people will insist that cars are restored using the original methods.”
Those antiquated techniques aren’t just used for antiquated restorations, though. “We practice a particular skill, like cutting dovetails,” Green says. “Is it all about the dovetails? No, it’s about accurate marking, layout, doing precise work with a good, sharp chisel. Those are the kind of things that are transferable to any project.”
Michael Dudley, who teaches the interior trim class, also stresses the importance of history. “The evolution of materials and trim is a big topic,” he says, “because students need to be able to look at a car and say, ‘This [material] wasn’t used then. That’s too early.’”
Although many of the students who come to McPherson’s Auto Restoration program are lifelong gearheads, most are inexperienced in some aspects of auto restoration, and a few have no car experience.
“One student had a master’s degree in music,” Goodwin says. “He knew zero about cars when he started, but he was like a sponge. He was one of my better students—he just soaked it up. That’s the kind of kids we get here. They’re really hungry. They ask good questions. They’re curious. If they’re willing to learn, we’ll spend the time.”
Barr also appreciates students who come in with a clean slate. “They don’t have any bad habits coming in,” he says, “and they are bright-eyed and eager to learn.”
Nearly all of the instructors have master’s degrees, and all but one are alumni of the program. “All of the professors are wonderful,” third-year student Paige Milem says. “They go above and beyond their duties. Curt, the engine professor, has come up here a couple of weekends and stayed past 10 p.m. helping me get my engine together. They are incredible people. And the students here are just the same.”
“You’re not going to find a community of young people that are as universally interested in cars as you’ll find here.”
Although the program aims to give them a broad base of skills, students often find themselves specializing in areas they initially had no interest in.
“I had no experience with upholstery,” Strickler says. “I came into the Intro to Trim class and learned everything. I’m in advanced trim this semester, and I did an entire interior for my 1970 F-350 Crew Cab. I did what a 1970 King Ranch would have looked like, with a dark tobacco vinyl for the bolsters and a tight-woven tan and dark brown cloth for the centers.”
Using hand tools, students at McPherson College learn period-correct methods of restoration and repair.
For some students, forays into a new topic are the pathways to a career. Senior Tim Kortevin served an internship at the Mercedes-Benz Classic Center in Irvine, California, and has since been offered a job after graduation.
“I never had any experience [with interior trim] in the past,” he says. “I came in here with mechanical experience and figured I might want to build engines. I had no idea that I would want to do upholstery.” As part of his internship, Kortevin restored a large portion of the interior of a Gullwing, including both front seats. This year, his interior—along with the rest of the car—will go to Pebble Beach.
The Mercedes-Benz Center has hired several McPherson graduates, as have the Petersen Automotive Museum in Los Angeles and Paul Russell and Company, a Massachusetts restoration house with a long list of The Quail, Pebble Beach, and Amelia Island winners to its name. Chris Hammond, a restoration technician who specializes in electrical systems for Paul Russell, graduated from McPherson in 2003.
“I’m humbled by these students every day. They’re smart, and they’re going to do great things.”
“There’s an aspect of dedication to what they are doing,” Hammond says of young McPherson grads. “They tend to be dedicated, they work the hours they need to, they take direction well, and they are good team players. That’s important on a big project, which needs a lot of collaboration.”
McPherson students also graduate with a well-rounded education. “A lot of the restoration shops we’re talking to, they like that our students are broadly educated,” Green says. “We can’t provide a 20-year veteran, but we can provide someone who understands the implications of automobiles in our society and has a good worth ethic.”
Alex Heikamp, a graduating senior who aspires to own a Jaguar restoration shop, worked on the NCRS restoration of the 1969 Corvette chassis as his senior project. “When I came here, I didn’t really know anything about cars,” he says. “I rebuilt a few engines with my friends, but I’d never really dug deep into the theory. The school has really helped open my eyes.”
“I came here to expand my horizons,” adds Chris Hughes, Heikamp’s partner on the Corvette. “What coming here has taught me is a wide array, from interior to paint and metalwork and engines, everything about every aspect of a restoration. You’re not going to find a community of young people that are as universally interested in cars as you’ll find here.”
Goodwin, the engine professor, agrees. “I’m humbled by these students every day,” he says. “They’re smart, and they’re going to do great things.”
In many cases, they already have.
The post Cradle of the Restoration Craft appeared first on Automobile Magazine.
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Cradle of the Restoration Craft
Where will we find the next generation of automotive restorers? It’s easy to picture an eager young apprentice learning at the knee of a grizzled old panel-beater, and indeed that does still happen. But an increasing number of these future artisans come from a small liberal arts college on the windswept Kansas plain—and many of them are eagerly snapped up by some of the country’s finest restoration shops.
Industry pundits may bemoan the apparent lack of interest in cars among young people, but a quick drive through the McPherson College parking lot proves car culture is alive and well. And we’re not just talking about tuner cars and modern metal—you’ll find students driving classic Mopars, Model Ts, International Harvester pickups, and everything in between.
McPherson students show an unexpected enthusiasm for brass-era cars like this 1917 Willys-Knight. The holistic education they receive is essential in restoring such classics.
Among the jobs we saw in progress at this school an hour north of Wichita: a 1906 Cadillac engine on the rebuild bench, a 1917 Willys-Knight with a sleeve-valve engine being readied for the road, and a 1953 Mercedes-Benz 300S Cabriolet in the early stages of a restoration that will eventually take it to Pebble Beach. Our spring visit coincided with the presentation of senior projects, which included a 1969 Corvette chassis meticulously restored to National Corvette Restorers Society standards, right down to the factory-correct paint overspray on the bell housing. One student lectured on the legacy of the Duesenberg brothers while others recounted their experience hand-building new panels for a collision-damaged Camaro.
“I like to expose them to the work in the chronological way it was done from the beginning.”
The auto restoration program at McPherson began in 1976 when local businessman Gaines “Smokey” Billue donated his 125-car collection to the school in the hopes it could raise the next generation of automotive restorers. Initially established as a two-year program, McPherson has used grants and donations from Mercedes to expand the program to four years (in 2003) and from the likes of Jay Leno to fund scholarships. Today, McPherson says it offers the only bachelor’s degree in automotive restoration, with concentrations in restoration technology, management, communications, history, and design.
“After this program, you have the knowledge to take a car from basket case to fully restored,” senior William Strickler says. “You can do every step of that process.”
What separates McPherson’s auto restoration curriculum from a tech school? The inclusion of a full raft of liberal arts courses is a major component, but what really stands out is the enthusiasm and respect shown for automotive history. The program concentrates on cars built before 1970, and a surprising number of students have developed a passion for cars as far back as the brass era.
“If they’re interested in tuners, which is not that un-common here, they end up gaining an appreciation for the Model T and the Model A,” says Garrick Green, who teaches woodwork. “Not that they’re technically wonderful cars, but they’re technically significant. They mark significant points in automotive history where something has changed.”
History is a fundamental element regardless of the task at hand. “Whether you’re taking drivetrain or engine rebuilding, they’re going to teach you history,” Davis Bint, a third-year student, says. “If you’re coming to school for classic cars, you should understand the emphasis of what history does for them.”
Technical schools tend to concentrate on modern repair methods; McPherson, however, teaches the techniques needed to work on older vehicles. Students in the basic engine rebuilding course overhaul a small-block Chevrolet V-8. “You can learn all the fundamentals on that engine,” Curt Goodwin, an engine professor, says. In the advanced class, they move on to the Model A engine, which Goodwin calls “the small-block Chevy of the past.” McPherson also offers a class on Babbitt bearings, which are used on antique engines and are poured as molten metal directly into the block.
“I didn’t expect the depth we go into,” Bint says. “We cover important steps and important names—guys in the 1800s patenting things that are still used on cars.” Bint, like many of the students we spoke with, sees the positive influence this can have on his career. “You can speak fluently to someone at Pebble Beach who has a one-off Duesenberg,” he says. “You understand the car and know the history. It does a lot more for you in the car world than, ‘Oh, that’s a pretty Duesenberg.’”
McPherson delves not only into the history of the automobile but also the history of the processes used to build it. Woodworking students start off by hand-building a mallet from blocks of wood. Basic machining classes use World War II-surplus South Bend lathes from Boeing’s Wichita factory; sheetmetal students form 3-D teardrops from flat metal.
“I like to expose them to the work in the chronological way it was done from the beginning,” sheetmetal professor Ed Barr says. “Before power hammers, [metal workers] were creating crown panels on flat, clean pieces of steel, banging the metal into shot bags or stumps. So our first shaping exercise is in that mode.
“The work we’re doing here is very, very specialized,” he continues. “We’re using techniques that are completely archaic, like lead solder. It takes a lot more understanding of what is happening in the metal and how to control that metal. It’s good to know these techniques because sometimes people will insist that cars are restored using the original methods.”
Those antiquated techniques aren’t just used for antiquated restorations, though. “We practice a particular skill, like cutting dovetails,” Green says. “Is it all about the dovetails? No, it’s about accurate marking, layout, doing precise work with a good, sharp chisel. Those are the kind of things that are transferable to any project.”
Michael Dudley, who teaches the interior trim class, also stresses the importance of history. “The evolution of materials and trim is a big topic,” he says, “because students need to be able to look at a car and say, ‘This [material] wasn’t used then. That’s too early.’”
Although many of the students who come to McPherson’s Auto Restoration program are lifelong gearheads, most are inexperienced in some aspects of auto restoration, and a few have no car experience.
“One student had a master’s degree in music,” Goodwin says. “He knew zero about cars when he started, but he was like a sponge. He was one of my better students—he just soaked it up. That’s the kind of kids we get here. They’re really hungry. They ask good questions. They’re curious. If they’re willing to learn, we’ll spend the time.”
Barr also appreciates students who come in with a clean slate. “They don’t have any bad habits coming in,” he says, “and they are bright-eyed and eager to learn.”
Nearly all of the instructors have master’s degrees, and all but one are alumni of the program. “All of the professors are wonderful,” third-year student Paige Milem says. “They go above and beyond their duties. Curt, the engine professor, has come up here a couple of weekends and stayed past 10 p.m. helping me get my engine together. They are incredible people. And the students here are just the same.”
“You’re not going to find a community of young people that are as universally interested in cars as you’ll find here.”
Although the program aims to give them a broad base of skills, students often find themselves specializing in areas they initially had no interest in.
“I had no experience with upholstery,” Strickler says. “I came into the Intro to Trim class and learned everything. I’m in advanced trim this semester, and I did an entire interior for my 1970 F-350 Crew Cab. I did what a 1970 King Ranch would have looked like, with a dark tobacco vinyl for the bolsters and a tight-woven tan and dark brown cloth for the centers.”
Using hand tools, students at McPherson College learn period-correct methods of restoration and repair.
For some students, forays into a new topic are the pathways to a career. Senior Tim Kortevin served an internship at the Mercedes-Benz Classic Center in Irvine, California, and has since been offered a job after graduation.
“I never had any experience [with interior trim] in the past,” he says. “I came in here with mechanical experience and figured I might want to build engines. I had no idea that I would want to do upholstery.” As part of his internship, Kortevin restored a large portion of the interior of a Gullwing, including both front seats. This year, his interior—along with the rest of the car—will go to Pebble Beach.
The Mercedes-Benz Center has hired several McPherson graduates, as have the Petersen Automotive Museum in Los Angeles and Paul Russell and Company, a Massachusetts restoration house with a long list of The Quail, Pebble Beach, and Amelia Island winners to its name. Chris Hammond, a restoration technician who specializes in electrical systems for Paul Russell, graduated from McPherson in 2003.
“I’m humbled by these students every day. They’re smart, and they’re going to do great things.”
“There’s an aspect of dedication to what they are doing,” Hammond says of young McPherson grads. “They tend to be dedicated, they work the hours they need to, they take direction well, and they are good team players. That’s important on a big project, which needs a lot of collaboration.”
McPherson students also graduate with a well-rounded education. “A lot of the restoration shops we’re talking to, they like that our students are broadly educated,” Green says. “We can’t provide a 20-year veteran, but we can provide someone who understands the implications of automobiles in our society and has a good worth ethic.”
Alex Heikamp, a graduating senior who aspires to own a Jaguar restoration shop, worked on the NCRS restoration of the 1969 Corvette chassis as his senior project. “When I came here, I didn’t really know anything about cars,” he says. “I rebuilt a few engines with my friends, but I’d never really dug deep into the theory. The school has really helped open my eyes.”
“I came here to expand my horizons,” adds Chris Hughes, Heikamp’s partner on the Corvette. “What coming here has taught me is a wide array, from interior to paint and metalwork and engines, everything about every aspect of a restoration. You’re not going to find a community of young people that are as universally interested in cars as you’ll find here.”
Goodwin, the engine professor, agrees. “I’m humbled by these students every day,” he says. “They’re smart, and they’re going to do great things.”
In many cases, they already have.
The post Cradle of the Restoration Craft appeared first on Automobile Magazine.
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