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Ohio/Penn DX Bulletin No. 1429

SB DX @ WW < KB8NW $OPDX.1429

Ohio/Penn DX Bulletin No. 1429

The Ohio/Penn DX PacketCluster

DX Bulletin No. 1429

BID: $OPDX.1429

September 2, 2019

Editor Tedd Mirgliotta, KB8NW

Provided by BARF80.ORG (Cleveland, Ohio)

Written/Send from Strongsville, Ohio

Thanks to the Northern Ohio Amateur Radio Society, Northern Ohio DX

Association, Ohio/Penn PacketCluster Network, the AB5K’s AR Cluster

Networks, NJ1Q & W1AW, NG3K & ADXO, W3UR & The Daily DX, WB6RSE, K8GI,

K8YSE, KT8D, W8GEX & 60m DX News, DL1SBF, DL7UXG & The DX News Letter,

DxCoffee.com, DD0VR, DXNews.com, DX-World.Net, F5NQL, F6AJA & Les Nou-

velles DX, GU4YOX, I1JQJ/IK1ADH & 425 DX News, OZ6OM & 50 MHz DX News,

RN3RQ, Sixitalia Weekly and VA3RJ & ICPO for the following DX information.

DXCC COUNTRY/ENTITY REPORT: According to the AR-Cluster Network for the

week of Sunday, 25th/August, through Sunday, 1st/September there were 207

countries active. Countries available: 3A, 3B8, 3B9, 3D2, 3W, 4J, 4L, 4O,

4S, 4X, 5A, 5B, 5H, 5R, 5T, 5W, 6W, 6Y, 7X, 8P, 8Q, 8R, 9A, 9G, 9H, 9J,

9K, 9L, 9M2, 9M6, 9N, 9Q, 9V, 9Y, A2, A3, A4, A6, A7, A9, AP, BV, BY, C3,

C6, C9, CE, CE0Z, CE9, CM, CN, CP, CT, CT3, CU, CX, CY9, D2, D4, DL, DU,

E5/s, E7, EA, EA6, EA8, EA9, EI, EK, EP, ER, ES, ET, EU, EX, EY, EZ, F,

FG, FK, FM, FO, FR, FY, G, GD, GI, GJ, GM, GU, GW, H4, HA, HB, HB0, HC,

HH, HI, HK, HL, HP, HS, HZ, I, IS, J2, J6, J7, JA, JT, JW, JX, JY, K, KG4,

KH0, KH2, KH6, KH8, KL, KP2, KP4, LA, LU, LX, LY, LZ, OA, OD, OE, OH, OH0,

OJ0, OK, OM, ON, OX, OY, OZ, P2, P4, PA, PJ2, PJ4, PY, PZ, S0, S5, S7, S9,

SM, SP, ST, SU, SV, SV5, SV9, T7, TA, TF, TG, TI, TK, TR, TT, UA, UA2,

UA9, UK, UN, UR, V3, V4, V5, V7, V8, VE, VK, VP2E, VP2M, VP8, VP9, VR, VU,

XE, XU, XZ, YB, YJ, YK, YL, YN, YO, YS, YU, YV, Z2, Z3, Z6, ZA, ZB, ZD7,

ZD8, ZF, ZL, ZP, ZS

* PLEASE NOTE: The report “could” contain “Pirate/SLIM” operations or

more likely a “BUSTED CALLSIGN”. As always, you never know – “Work

First Worry Later”.

4U1UN UNITED NATIONS NEWS. On August 24th, the following was posted on

the United Nations Amateur Radio Club’s (4U1UN) FaceBook page: “We are

receiving a lot of messages regarding the lack of 4U1UN (United Nation

Amateur Radio Club) activity on the bands. We will try to clear some

things about the current Club’s activities.” Read the complete post at:

https://www.facebook.com/United-Nations-Amateur-Radio-Club-4U1UN-169357566427247/timeline

8Q7, MALDIVES. Roly, ZL1BQD, will be active as 8Q7XR from Maldives (AS-013)

between November 10th and December 30th. Activity will be on 80-10 meters

using CW, SSB and FT8. QSL via his home callsign. ADDED NOTE: Beware that

this is a re-issued callsign. Mark, M0DXR, used this callsign in 2008.

9M16, WEST MALAYSIA (Special Event). Members of the Kelab Radio Amateur

Jalan Klang Lama, the 9MDXC and MARTS will be activating the special

event callsign 9M16KING from Kuala Lumpur between now and September 30th.

Activity is to celebrate the 16th Yang di-Pertuan Agong (16th constitu-

tional monarch and head of state of Malaysia). Activity will be on 80-10

meters using CW, SSB and various Digital modes. QSL via the operators’

instructions.

9U, BURUNDI (Reminder). Francesco, IV3TMM, will once again be active as

9U3TMM from Bujumbura (WW Loc. KI46QP) between now and September 17th.

Activity will be on 60-6 meters using SSB, RTTY and FT8. QSL via IV3TMM,

by the A.R.I. Italian Bureau, ClubLog or LoTW.

A2, BOTSWANA (Update). The A21EME Team have updated their info on their

activity from Botswana (KG25wk) between October 20-29th. Operators now

mentioned are Dan/HB9CRQ, Chris/PA2CHR, Lins/PA3CMC, Andrew/ZS6AVH, John/

ZS6JON, Paul/ZS6NK and Bernie/ZS4TX. Activity will be on the following

dates and bands:

October 20-25th — 6m, 2m, and 70cm EME. Modes JT65 and CW.

October 20-29th — 23, 13, 9, 6 and 3cm. Modes JT65 and CW.

Also mentioned is activity on the QO100 satellite. For more details,

see QRZ.com.

QSL for 6m, 2m, 70cm and QO100 Sat. QSOs via PA3CMC, direct or by the

Bureau. NO IRCs.

QSL for 23cm and up QSOs via HB9Q.

CQ NEWS (Eddie DeYoung, AE7AA, Named CQ Magazine Awards Editor). A press

release, dated August 29th, from Richard Moseson (W2VU), Editor of CQ

Amateur Radio, reports the following: Eddie De Young, AE7AA, of Clearwater,

Florida, has been named Awards Editor of CQ Amateur Radio magazine, Editor

Rich Moseson, W2VU, announced today. His first Awards column appears in

the September 2019 issue. De Young succeeds Ted Melinosky, K1BV, who was

both Awards Editor and USA-Counties Award Custodian for more than 20 years.

CQ previously announced the appointment of Brian Bird, NX0X, as the new

USA-CA custodian.

De Young has been licensed since 1954 and has, over the years, held more

than two dozen call signs from 11 different countries. He spent 38 years

in the Pacific, Asia and Antarctica, including many in Australia. While

there, he served as Awards Manager for the Wireless Institute of Australia,

where he helped modernize the program and developed software to improve

award processing. He has also been on nearly a dozen DXpeditions.

Since returning to the United States, Eddie has worked summers for the

National Park Service as a park ranger at Hawaii Volcanoes National Park

and at Glacier National Park in Montana. On the ham bands, he is active

via remote stations and with limited operation from his new apartment,

with 100 watts and a homemade fractal square loop on his balcony. Eddie

enjoys operating primarily CW and digital modes.

De Young says he plans to offer hints in his column on earning CQ awards

of all kinds, inform newbies how to get started on their award hunting

quests and share how much fun and educational award-chasing can be. Eddie

also says he plans to include occasional competitions, award nostalgia

and ideas from readers.

CQ Editor Rich Moseson said, “Eddie brings a world of experience from

all over the world to this position. As an avid award chaser as well as

someone who has ‘been the DX,’ he understands both sides of the award-

hunting equation and is uniquely qualified to help CQ’s readers achieve

the greatest possible success in their own award-hunting efforts. Plus,

as former awards manager for a national association, he understands the

administrative side of award programs as well. I look forward to working

with Eddie.”

D4, CAPE VERDE. David, CT1EKU, is once again active as D44CH from Sal

Island (AF-086) until September 5th. Activity will be on various HF

bands using SSB and the Digital modes (FT8). QSL via LoTW, ClubLog and

eQSL.

DXCC’S MOST WANTED (ClubLog). The ��DXCC Most Wanted” entities list has

been updated on ClubLog as of August 30th. The list contains 340 entities.

The following are the top 10 entities:

1. P5 DPRK (North Korea) 6. BV9P Pratas Island

2. 3Y/B Bouvet Island 7. KH7K Kure Island

3. FT5/W Crozet Island 8. KH3 Johnston Island

4. BS7H Scarborough Reef 9. FT5/X Kerguelen Island

5. CE0X San Felix Islands 10. 3Y/P Peter 1 Island

No changes this month. The complete “DXCC Most Wanted” entities list

is available at: https://secure.clublog.org/mostwanted.php

E6, NIUE. Andrew, OZ5E, will be active as E6AN from Lakepa, Niue Island

(OC-040) between September 7-10th. On QRZ.com it states, “This is a

“research” activation to prepare for a DCA-expedition (Danish Contest

Academy) later in the sunspot cycle, so there will not be that much

activity and it will be a holiday operation.” This operation is actually

being called an “Antenna Experimental Tourist Style expedition.” It also

states on QRZ.com to not shout too loud at him as “Andrew is not up to

speed as an operator (yet).” Activity will be on 40/20/15 meters, maybe

160/80/17m and 10m if it is open. Modes will be mainly FT8 and SSB – maybe

some CW. QSL via OZ5E direct or LoTW. For more details, see:

http://www.oz5e.dk

EA6, BALEARIC ISLANDS. Alessandro, IU2IBU, will be active as EA6/IU2IBU

from Punta Prime, Minorca Island, between September 7-13th. Activity

will be holiday style on 80-10 meters using SSB with 100 watts into an

End-Fed Half Wave antenna. QSL via his home callsign, by the Bureau,

direct or LoTW.

EX, KYRGYZSTAN (Reminder/Update). Operators Leszek/SP6CIK, Jarek/SP6OJK,

Janusz/SP9FIH, Roman/SP9FOW, Jerzy/SP9TCE and Jozef/SP9HVW will be active

as EX0QP (not EX6QP) from the south shore of Issyk-kul Lake between Sep-

tember 2-15th. Activity will be on 160-10 meters, especially the 30/17/12m

bands, using an Inverted L, phased verticals, and Spiderbeams. Operating

modes will be CW, SSB, RTTY and FT8 (F/H mode). Suggested frequencies are:

CW – 1832, 3532, 7032, 10122, 14032, 18082, 21032, 24912 and 28032 kHz

SSB – 3605, 7100, 14195, 18140, 21195, 24940 and 28420 kHz

RTTY – 1845, 3569, 7045, 10145, 14095, 18095, 21095, 24920 and 28095 kHz

FT8 – 1845*, 3569, 7045, 10145, 14095, 18095, 21095, 24920 and 28095 kHz

* listening for JA on 1908

QSL via SP6OJK or ClubLog’s OQRS.

GJ, JERSEY. Bob, GU4YOX, will be active in this year’s CQWW DX CW Contest

(November 23-24th) as GJ4YOX. Boat and lodging are booked, and Bob is

looking forward to his first CQWW CW operation from GJ-land. Bob will be

a Single-Op/Single-Band (20m)/High-Power/Unassisted entry in the contest.

QSLs will be available by Bureau, direct and LoTW. Bob will arrive on Wed-

nesday evening (November 20th) and return to Guernsey on Monday (November

25th), so there could be some pre/post contest QSOs.

IOTA NEWS…………..

AS-159. By the time you read this, operators Bulent/TA0TA, Nazim/TA2MN,

Adem/TA6CQ and Taskin/TA6N will be active as TC0Z from the

Kefken Island Lighthouse until September 4th. Activity will

be on 160-10 meters using SSB and the Digital modes (FT8 was

mentioned). All logs will be uploaded to LoTW, ClubLog and

QRZ.com after the DXpedition.

AS-206. (Reminder) Operators Take/JI3DST and Masa/JR8YLY will be active

as JI3DST/0 and JR8YLY/0 from Sado Island between September

6-11th. Activity will be on 80-6 meters using CW, SSB, RTTY

and FT8. QSL via their home callsigns.

EU-034. Ari, OH3KAV, is now active as ES0KA from Saaremaa Island

(WW Loc. KO08) until September 5th. Activity will be on 80-10

meters using mainly using FT8 and CW, and possibly also on 60m.

QSL via OH3KAV, by the Bureau or direct. All QSOs will be

uploaded to LoTW and ClubLog.

EU-058. Thierry, F6CUK, will be active as F6CUK/p from Sainte-Marguerite

Island (DIFM ME-020 FFF-1450 DFCF 06-063) between October 5-6th.

Activity will be on 40/20 meters using CW and SSB. QSL via his

home callsign, direct, by the Bureau, LoTW or ClubLog’s OQRS.

OC-237. Look for 7I1TI to be active from Tunda Island, Java Costal

Islands, Indonesia, between September 6-8th. Activity will

be on HF bands. QSL via HA3JB. NO OTHER DETAILS WERE PROVIDED.

PLEASE NOTE: Since the Webmasters of the new <www.iota-world.org> have

decided NOT to post or dedicate a Web page to announce upcoming IOTA

operations, PLEASE send your IOTA operations information to the OPDX,

and we will post it here in an upcoming bulletin……

JT, MONGOLIA. Operators Sergey/UA0SE, Leonid/UA0SU, Serge/UA0SC, Mark/

UA0SRQ and Anton/RA0SMS will be active as JT7A from the Khövsgöl Nuur

National Park, Mongolia, between September 5-9th. Activity will be on

various HF bands using CW, SSB, FT8 and FT4. QSL via RA0SMS or ClubLog’s

OQRS.

KH6, HAWAII. Ben, DL8UI, will be active as KH6/DL8UI from O’ahu Island

(OC-019) between September 13-15th. Activity will include the Worked All

Europe DX SSB Contest (WAE), September 14-15th. QSL via his home callsign,

direct or by the DARX Bureau.

NCDXF NEWS. Now available online is the 2019 Summer Northern California

DX Foundation (NCDXF) Newsletter (11 pages) for download at:

http://www.ncdxf.org/pages/newsletter.html

Interesting DXpeditions to read about are:

* Kanton Island – T31EU QRV from a scrap heap by Ronald Stuy, PA3EWP

* Shif Island (AS-189) – EP6RRC by Vasily V. Pinchuk, R7AL

OPDX MAILING LIST (Just A Reminder). The “new” OPDX Mailing List is back up

and running! Details on how to subscribe/unsubscribe are at the bottom of

this bulletin. PLEASE pass the word around…. Thanks and 73 de Tedd KB8NW

OY, FAROE ISLANDS. Operators Ray/DL1ZBO, Peter/DL5FF and Volkmar/DL2VU

will be active as OY/DL1ZBO, OY/DL5FF and OY/DL2VU, respectively, between

September 2-12th. Activity will be on CW, SSB and the Digital modes. They

will also be in the Russian WW RTTY Contest (September 7th). QSL via their

home callsigns.

P2, PAPUA NEW GUINEA. Puiu, YO5BIM, is currently and once again active as

P29VIM from Port Moresby, until September 22nd. Activity will be on 160-6

meters (including 60m) using mainly CW, JT9 and FT8, with an Icom IC-706

MK2G. QSL via his home callsign.

PACIFIC TOUR HAS STARTED. Heli, DD0VR, (along with XYL Bigi, DE3BWR) who

was active as C6A/DD0VR from the Bahamas during January and February this

year, informed OPDX on Saturday morning that they were in Singapore, and

they should be starting their Pacific Tour that night by the time you

read this. Their tentative schedule is as follows:

Fiji — Signing as 3D2VR between September 2-9th

Samoa — Signing as 5W0VR between September 9-16th

Tonga — Signing as A35JY between September 16-21st

Activity will be on various HF bands (80-6m). QSL via his home callsign,

direct or by the Bureau. LAST MINUTE UPDATE: Message from Heli late Saturday

indicated they had problems with customs (radio equipment) in Nadi because

they were closed on Sunday. They hope to get the equipment on Monday and

start building antennas.

PROPAGATION FORECAST/REPORT (September 2-8th)…….

Sep/02nd HN Sep/05th AN Sep/07th AN

Sep/03rd AN Sep/06th AN Sep/08th AN

Sep/04th AN

SOLAR REFERENCE KEYS/INDEXES AND GEOMAGNETIC REFERENCE

——————————————————

NORMALITY GEOMAG K Values Alpha

—————– —— ——– ——

AN – Above Normal Quiet K=0-1 0-7

HN – High Normal Unsettled K=2 8-15

LN – Low Normal Active K=3 16-29

BN – Below Normal Minor Storm K=4 30-49

DIS – Disturbed Major Storm K=5 50-99

VRY DIS – Very Disturbed Severe Storm K=6-9 100-400

Meanwhile, check out the following Web sites for propagation:

* VOACAP predication Web page at: http://www.voacap.com/hf

and http://www.voacap.com/prediction.html

* DX.QSL.NET Propagation page: https://dx.qsl.net/propagation

* A daily HF radio wave propagation forecast can be found at:

https://www.facebook.com/thomasfranklingiellaw4hm

* SolarHam Web page: http://www.solarham.net

* Radio Propagation/Space Weather/Sunspot Cycle Information at:

http://sunspotwatch.com

* Monthly propagation charts between four USA regions and twelve

overseas locations are at: http://arrl.org/propagation

* Information and tutorials on propagation are at: http://k9la.us

* Graphic propagation tool by DR2W: http://www.dr2w.de/dx-propagation

* Point to point propagation at: http://www.predtest.uk/p2p.html

* Realtime propagation at: http://www.predtest.uk

* Also on Twitter: https://twitter.com/@GiellaW4hm

QSL INFO AND NEWS……………….

QSL-INFO from DB0SDX by Lothar, DL1SBF (www.qslinfo.eu)(September 1st)

————————————————————————-

3Z0R via SP9SX HB0/DJ1AA/M via DJ1AA SI3A via SM3LIV & (L)

4U500M via UA3DX HF80WIELUN via SP7KED SP4WOJTEK via SQ4AVD

5B4ALX via IZ4AMS & (L) IF9/IT9PPG via IT9PPG SP60DXC via SP7DQR

5H3DX via NK8O (d) IQ3GO via IV3AZV SP75WA via SP5WA

DL70AFUG via DM4EAX & (L) IQ9DE via IW9CTJ (d) SV5/DJ5MN via DJ5MN

EI0NMMI via EI6AL LX75V via LX1JH TM10SRY via F5KCC

EO28U via UR8US LZ304AE via LZ1KCP TM5MFL via F6KJX

ET3AA via N2OO & (L) MM2N via MM0GPZ & (L) YQ8T via YO8KGA

G1A via M0NKR & (L) OE3XMA via OE1DIA YR2019SIMPO via YO3KAA

GB100HAL via G0KUC OZ/DK1DU via DK1DU (d) YU73BFG via YU8A

HA01FF via (HA-B) S92HP via CT1ENW & (L) ZW5ARCCO via PY6TV (d)

(e) eQSL only (d) direct only (B) Bureau only (*-B) DX’s- Bureau

(O) OQRS only (C) ClubLog only (L) LoTW only (N) No QSL needed

(I) No IRC (P) PayPal (NB) No Bureau

LOGS ONLINE AT CLUBLOG.ORG THIS WEEK……

https://secure.clublog.org/logsearch/5K0K

https://secure.clublog.org/logsearch/9U3TMM

https://secure.clublog.org/logsearch/MS0INT

QSLS RECEIVED VIA LoTW: 8R1K, 9G2HO, A45XR, C6AGU, CX6VM , E6AC, FO/AI5P,

GB19RB, KH8C, MU0FAL, PJ9X, S92HP, TO5M and VE4GV

QSLS RECEIVED VIA MAIL: 1A0C, FH/UA4WHX, HK1NA (SA-082), JG7PSJ/7

(AS-206) and V31DL

QSLS RECEIVED VIA THE BUREAU: 7S2W, OH8X, and TM0CLNS

— We would like to see more QSL Bureaus (such as AS/US/SA/AF.. etc)

to send in their info….

SPECIAL EVENT (Highway to a DX Party!). The Citrus Belt Amateur Radio

Club of San Bernardino <w6jbt.org>, California, is once again hosting

(probably one of the most fun special event activities) the 20th annual

“Route 66 On The Air” special event between September 7-15th. The purpose

of this event is to offer amateur radio operators a fun way to “Relive

the Ride” of their own memories of Route 66, and to celebrate the highway’s

93rd anniversary. The U.S. Highway 66 established in 1926, was the first

major improved highway to link the west coast with the nation’s heartland.

Through stories, songs, and TV shows, the highway came to symbolize the

spirit of the freedom of the open road, inspiring many to see America.

Look for the following 20 stations (two are rovers) operating in or around

the major cities along the old “Route 66” from Santa Monica, California,

to Chicago, Illinois:

Stations City Clubs/Individuals

——– ——————– ————————-

W6A Santa Monica, CA Westside Amateur Radio Club

W6B Los Angeles, CA Westside Amateur Radio Club

W6C San Bernardino, CA Citrus Belt Amateur Radio Club

W6D Victorville, CA Victor Valley Amateur Radio Club

W6E Barstow, CA Barstow Amateur Radio Club

W6F Kingman, AZ K2 Amateur Radio Society

W6G Flagstaff, AZ Northern Arizona DX Association

W6H Albuquerque, NM Albuquerque DX Association

W6I Amarillo, TX Panhandle Amateur Radio Club

W6K Oklahoma City, OK W6K Oklahoma City

W6L Tulsa, OK Tulsa Amateur Radio Club

W6M Riverton, KS

W6N Joplin, MO Joplin Amateur Radio Club

W6O Lebanon, MO Lebanon Amateur Radio Club

W6P St. Louis, MO St. Louis Amateur Radio Club

W6Q Chicago, IL Six Meter Club of Chicago

W6R Springfield, MO Southwest Missouri Amateur RC

W6U Wilmington, IL Wilmington Area Amateur Radio Club

ROVER STATIONS

—————-

W6S ROVER 1 Northern Arizona DX Association

W6T ROVER 2 Northern Arizona DX Association

Special event stations are expected to be found in the vicinity of the

following frequencies. (Look for digital modes in the standard band segments

for such mode) All frequencies +/- QRM:

CW – 3533, 7033, 10110, 14033, 18080, 21033, 24900, 28033 and 50033 kHz

SSB – 3866, 7266, 14266, 18164, 21366, 24966, 28466 and 50166 kHz

Digi – 3573, 7074, 10136, 14074, 18100, 21074, 24915 and 28074 kHz

R66 MOBILE Operations – Any amateurs operating while actually driving

along Route 66 during the special event period are encouraged to

take part in “Route 66 On The Air”, by using the designation

“mobile 66” for SSB or “/m66” for CW after their callsigns. All

other amateur radio operators are welcome to contact these mobile

operators. NOTE: ONLY W6S AND W6T ARE ONLY THE OFFICIAL EVENT

ROVER/MOBILE STATIONS AND WILL BE ENDORSED ON THE EVENT CERTIFICATE.

REPEATERS – Some of the participating clubs will also be operating this

event from their local VHF/UHF repeaters. Check the ARRL repeater

guide for possible repeater frequencies, if you’re in the local

area.

Each participating club will issue their own QSL card commemorating

this event. QSL information is available on the Web at:

http://w6jbt.org/?page_id=27

For more details about the event and the certificate that is available,

please visit the “Route 66 OTA Site” at: http://w6jbt.org

http://w6jbt.org/?page_id=23

T8, PALAU (Reminder). Nobuaki, JA0JHQ, will once again be active as T88PB

from the VIP-Guest Hotel in Koror City, Palau, between September 6-9th.

Activity will be on 160-6 meters using CW and 6m FT8. His equipment is

an IC-7300 w/TL933 amp (about 500w) into a 3 element Yagi and DP antennas.

QSL via LoTW (preferred) or direct to his home callsign. For more details

and updates, see his Web page at: http://pandasan.jimdo.com

TK, CORSICA. Arnoud, PE2USA, will be active as TK/PE2USA from two different

locations in Corsica during the month of September. Between September 2-9th,

he will be in WW. Loc. JN42ON (close to Ravin de Stipidi), and between

September 9-14th, he will be in WW. Loc. JN41KR (north of Punta Vaccaja).

No other details were provided. QSL will be confirm via eQSL.

TT8, CHAD. Jean Louis, ZS6AAG, is now active as TT8JLH from N’Djamena.

He is there working for the Médecins Sans Frontières [MSF](Doctors With-

out Borders), and the length of his stay is unknown. Activity has been

on 20 meters SSB. QSL via his home callsign and eQSL.

V2, ANTIGUA (Reminder). Bud, AA3B, will once again be active as V26K from

Antigua (NA-100) between September 8-20th. Activity will be sporadic

because he is doing maintenance on the station but will be primarily CW

on various HF bands. QSL via LoTW or via AA3B, direct or by the Bureau.

An OQRS will be available via ClubLog.

V3, BELIZE. Vernon, NN5E, will be active as V31CC between October 5-12th.

Activity will probably be on 80-10 meters using CW, SSB, RTTY and FT8.

QSL via his home callsign, direct, by the Bureau or LoTW.

V4, ST. KITTS AND NEVIS. Felipe, NP4Z, will once again be active as V43Z

from Saint Kitts Island (NA-104) during the CQ WW DX SSB Contest (October

26-27th) as a Single-Op/All-Band entry. QSL via N4AO.

ZK3A TOKELAU ISLANDS DXPEDITION NEWS (Update). The following was reported

on August 29th, on the ZK3A Web page (https://tokelau2019.com) and Twitter

(https://twitter.com/ZK3A_2019) [edited]: The ZK3A team will be on all 3

of the Islands in Tokelau (Fakaofo, Nukunonu & Atafu).

* The Amateur Radio Club in Tokelau will have callsigns for each of these

islands, ZK3RF, ZK3RN & ZK3RA.

* Each club stations utilize electricity from the islands solar panels.

* The ZK3A team will be donating to all 3 islands the following.

TS-590S, Dipole for 40m & 20m, A3S and a 800w Linear Amplifier.

* In addition the team has shipped 3 x 6 KVA generators to be used

during our activation. At the end of our time on the island, we

will be donating these generators to each of the Tokelau Islands.

* Total donation from our team is around $ 8,000 USD.

ADDED NOTES: The ZK3A Tokelau Island DXpedition is conducting a survey

on what bands and modes are needed for this operation. Give them your

input at: https://www.surveymonkey.com/r/ZK3A

Also, it has been reported: A free of charge certificate issued in

electronic format will be available for working ZK3A on 3 different

bands regardless of mode, or on 3 different modes regardless of band

send your application to: uz1rr at ukr.net

***********************************************************************

TO BE ADDED TO THE OPDX MAILING LIST — Click or send requests to:

Subscribe: (mailto:[email protected]?subject=subscribe)

Unsubscribe: (mailto:[email protected]?subject=unsubscribe)

Just a reminder, you can still obtain the OPDX Bulletins via the

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blackkudos · 6 years ago

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Isaac Hayes

Isaac Lee Hayes, Jr. (August 20, 1942 – August 10, 2008) was an American soul singer, songwriter, actor, producer, and voice artist. Hayes was one of the creative forces behind the southern soul music label Stax Records, where he served both as an in-house songwriter and as a session musician and record producer, teaming with his partner David Porter during the mid-1960s. Hayes and Porter, along with Bill Withers, the Sherman Brothers, Steve Cropper, and John Fogerty were inducted into the Songwriters Hall of Fame in 2005 in recognition of writing scores of notable songs for themselves, the duo Sam & Dave, Carla Thomas, and others. Hayes is also a 2002 inductee into the Rock and Roll Hall of Fame.

The hit song "Soul Man", written by Hayes and Porter and first performed by Sam & Dave, has been recognized as one of the most influential songs of the past 50 years by the Grammy Hall of Fame. It was also honored by The Rock and Roll Hall of Fame, by Rolling Stone magazine, and by the Recording Industry Association of America (RIAA) as one of the Songs of the Century. During the late 1960s, Hayes also began a career as a recording artist. He had several successful soul albums such as Hot Buttered Soul (1969) and Black Moses (1971). In addition to his work in popular music, he worked as a composer of musical scores for motion pictures.

He was well known for his musical score for the film Shaft (1971). For the "Theme fromShaft", he was awarded the Academy Award for Best Original Song in 1972. He became the third African-American, after Sidney Poitier and Hattie McDaniel, to win an Academy Award in any competitive field covered by Academy of Motion Picture Arts and Sciences. He also won two Grammy Awards for that same year. Later, he was given his third Grammy for his music album Black Moses.

In recognition of his humanitarian work there Hayes was crowned honorary king of the Ada, Ghana region in 1992. He acted in motion pictures and television, such as in the movies Truck Turner and I'm Gonna Git You Sucka, and as Gandolf "Gandy" Fitch in the TV series The Rockford Files (1974–1980). From 1997 to 2006, he voiced the character Chef on the animated TV series South Park. His influences were Percy Mayfield, Big Joe Turner, James Brown, Jerry Butler, Sam Cooke, Fats Domino, Marvin Gaye, Otis Redding, and psychedelic soul groups like The Chambers Brothers and Sly and the Family Stone.

On August 5, 2003, Hayes was honored as a BMI Icon at the 2003 BMI Urban Awards for his enduring influence on generations of music makers. Throughout his songwriting career, Hayes received five BMI R&B Awards, two BMI Pop Awards, two BMI Urban Awards and six Million-Air citations. As of 2008, his songs generated more than 12 million performances. He also voiced the character of Chef in South Park for 10 seasons.

Life

Early life

Isaac Hayes, Jr. was born in Covington, Tennessee, in Tipton County. He was the second child of Eula (née Wade) and Isaac Hayes, Sr.

After his mother died young and his father abandoned his family, Isaac, Jr., was raised by his maternal grandparents, Mr. and Mrs. Willie Wade, Sr. The child of a sharecropper family, he grew up working on farms in Shelby County, Tennessee, and in Tipton County. At age five Hayes began singing at his local church; he taught himself to play the piano, the Hammond organ, the flute, and the saxophone.

Hayes dropped out of high school, but his former teachers at Manassas High School in Memphis encouraged him to complete his diploma, which he did at age 21. After graduating from high school, Hayes was offered several music scholarships from colleges and universities. He turned down all of them to provide for his immediate family, working at a meat-packing plant in Memphis by day and playing nightclubs and juke joints several evenings a week in Memphis and nearby northern Mississippi.

Hayes's first professional gigs, in the late 1950s, were as a singer at Curry's Club in North Memphis, backed by Ben Branch's houseband.

Career

Stax Records and

Shaft

Hayes began his recording career in the early 1960s, as a session player for various acts of the Memphis-based Stax Records. He later wrote a string of hit songs with songwriting partner David Porter, including "You Don't Know Like I Know", "Soul Man", "When Something Is Wrong with My Baby" and "Hold On, I'm Comin'" for Sam & Dave. Hayes, Porter and Stax studio band Booker T. & the M.G.'s were also the producers for Sam & Dave, Carla Thomas and other Stax artists during the mid-1960s. Hayes-Porter contributed to the Stax sound made famous during this period, and Sam & Dave credited Hayes for helping develop both their sound and style. In 1968, Hayes released his debut album, Presenting Isaac Hayes, a jazzy, largely improvised effort that was commercially unsuccessful.

His next album was Hot Buttered Soul, which was released in 1969 after Stax had gone through a major upheaval. The label had lost its largest star, Otis Redding, in a plane crash in December 1967. Stax lost all of its back catalog to Atlantic Records in May 1968. As a result, Stax executive vice president Al Bell called for 27 new albums to be completed in mid-1969; Hot Buttered Soul, was the most successful of these releases. This album is noted for Hayes's image (shaved head, gold jewelry, sunglasses, etc.) and his distinct sound (extended orchestral songs relying heavily on organs, horns and guitars, deep bass vocals, etc.). Also on the album, Hayes reinterpreted "Walk On By" (which had been made famous by Dionne Warwick) into a 12-minute exploration. "By the Time I Get to Phoenix" starts with an eight-minute-long monologue before breaking into song, and the lone original number, the funky "Hyperbolicsyllabicsesquedalymistic" runs nearly ten minutes, a significant break from the standard three-minute soul/pop songs.

"Walk On By" would be the first of many times Hayes would take a Burt Bacharach standard, generally made famous as three-minute pop songs by Dionne Warwick or Dusty Springfield, and transform it into a soulful, lengthy and almost gospel number.

In 1970, Hayes released two albums, The Isaac Hayes Movement and To Be Continued. The former stuck to the four-song template of his previous album. Jerry Butler's "I Stand Accused" begins with a trademark spoken word monologue, and Bacharach's "I Just Don't Know What to Do with Myself" is re-worked. The latter spawned the classic "The Look of Love", another Bacharach song transformed into an 11-minute epic of lush orchestral rhythm (mid-way it breaks into a rhythm guitar jam for a couple of minutes before suddenly resuming the slow love song). An edited three-minute version was issued as a single. The album also featured the instrumental "Ike's Mood," which segued into his own version of "You've Lost That Loving Feeling". Hayes released a Christmas single, "The Mistletoe and Me" (with "Winter Snow" as a B-side).

In early 1971, Hayes composed music for the soundtrack of the blaxploitation film Shaft. (in the movie, he also appeared in a cameo role as the bartender of No Name Bar). The title theme, with its wah-wah guitar and multi-layered symphonic arrangement, would become a worldwide hit single, and spent two weeks at number one in the Billboard Hot 100 in November. The remainder of the album was mostly instrumentals covering big beat jazz, bluesy funk, and hard Stax-styled soul. The other two vocal songs, the social commentary "Soulsville" and the 19-minute jam "Do Your Thing," would be edited down to hit singles. Hayes won an Academy Award for Best Original Song for the "Theme from Shaft", and was nominated for Best Original Dramatic Score for the film's score.

Later in the year, Hayes released a double album, Black Moses, that expanded on his earlier sounds and featured The Jackson 5's song "Never Can Say Goodbye". Another single, "I Can't Help It", was not featured on the album.

In 1972, Hayes would record the theme tune for the television series The Men and enjoy a hit single (with "Type Thang" as a B-side). He released several other non-album singles during the year, such as "Feel Like Making Love", "If Loving You Is Wrong (I Don't Want to Be Right)" and "Rolling Down a Mountainside". Atlantic would re-release Hayes's debut album this year with the new title In The Beginning.

Hayes was back in 1973 with an acclaimed live double album, Live At Sahara Tahoe, and followed it up with the album Joy, with the eerie beat of the 15-minute title track. He moved away from cover songs with this album. An edited "Joy" would be a hit single.

In 1974, Hayes was featured in the blaxploitation films Three Tough Guys and Truck Turner, and he recorded soundtracks for both.Tough Guys was almost devoid of vocals and Truck Turner yielded a single with the title theme. The soundtrack score was eventually used by filmmaker Quentin Tarantino in the Kill Bill film series and has been used for over 30 years as the opening score of Brazilian radio show Jornal de Esportes on the Jovem Pan station.

Unlike most African-American musicians of the period, Hayes did not sport an Afro and instead chose to shave his head bald.

HBS (Hot Buttered Soul Records) and bankruptcy

By 1974, Stax Records was having serious financial problems, stemming from problems with overextension and limited record sales and distribution. Hayes himself was deep in debt to Union Planters Bank, which administered loans for the Stax label and many of its other key employees. In September of that year, Hayes sued Stax for $5.3 million. As Stax was in deep debt and could not pay, the label made an arrangement with Hayes and Union Planters: Stax released Hayes from his recording and production contracts, and Union Planters would collect all of Hayes's income and apply it towards his debts. Hayes formed his own label, Hot Buttered Soul, which released its product through ABC Records.

His new album, 1975's Chocolate Chip saw Hayes embrace the disco sound with the title track and lead single. "I Can't Turn Around" would prove a popular song as time went on. This would be Hayes's last album to chart top 40 for many years. Later in the year, the all instrumental Disco Connection album fully embraced disco.

In 1976, the album cover of Juicy Fruit featured Hayes in a pool with naked women, and spawned the title track single and the classic "Storm Is Over". Later the same year the Groove-A-Thon album featured the singles "Rock Me Easy Baby" and the title track. However, while all these albums were regarded as solid efforts, Hayes was no longer selling large numbers. He and his wife were forced into bankruptcy in 1976, as they owed over $6 million. By the end of the bankruptcy proceedings in 1977, Hayes had lost his home, much of his personal property, and the rights to all future royalties earned from the music he had written, performed, and produced.

Basketball team ownership

On July 17, 1974, Hayes, along with Mike Storen, Avron Fogelman and Kemmons Wilson took over ownership of the American Basketball Association team the Memphis Tams. The prior owner was Charles O. Finley, the owner of the Oakland A's baseball team. Hayes's group renamed the team the Memphis Sounds. Despite a 66% increase in home attendance, hiring well regarded coach Joe Mullaney and, unlike in the prior three seasons, making the 1975 ABA Playoffs (losing to the eventual champion Kentucky Colonels in the Eastern Division semifinals), the team's financial problems continued. The group was given a deadline of June 1, 1975, to sell 4,000 season tickets, obtain new investors and arrange a more favorable lease for the team at the Mid-South Coliseum. The group did not come through and the ABA took over the team, selling it to a group in Maryland that renamed the team the Baltimore Hustlers and then the Baltimore Claws before the club finally folded during preseason play for the 1975-1976 season.

Polydor and hiatus, film work, and the Duke of New York

In 1977, Hayes was back with a new deal with Polydor Records, a live album of duets with Dionne Warwick did moderately well, and his comeback studio album New Horizon sold better and enjoyed a hit single "Out The Ghetto", and also featured the popular "It's Heaven To Me".

1978's For the Sake of Love saw Hayes record a sequel to "Theme from Shaft" ("Shaft II"), but was most famous for the single "Zeke The Freak", a song that would have a shelf life of decades and be a major part of the House movement in the UK. The same year, Fantasy Records, which had bought out Stax Records, released an album of Hayes's non-album singles and archived recordings as a "new" album, Hotbed, in 1978.

In 1979, Hayes returned to the Top 40 with Don't Let Go and its disco-styled title track that became a hit single (U.S. #18), and also featured the classic "A Few More Kisses To Go". Later in the year he added vocals and worked on Millie Jackson's album Royal Rappin's, and a song he co-wrote, "Deja Vu", became a hit for Dionne Warwick and won her a Grammy for best female R&B vocal.

Neither 1980s And Once Again or 1981's Lifetime Thing produced notable songs or big sales, and Hayes chose to take a break from music to pursue acting.

In the 1970s, Hayes was featured in the films Shaft (1971) and Truck Turner (1974); he also had a recurring role in the TV series The Rockford Files as an old cellmate of Rockford's, Gandolph Fitch (who always referred to Rockford as "Rockfish" much to his annoyance), including one episode alongside duet-partner Dionne Warwick. In the 1980s and 1990s, he appeared in numerous films, notably Escape from New York (1981), I'm Gonna Git You Sucka (1988), Prime Target (1991), and Robin Hood: Men in Tights (1993), as well as in episodes of The A-Team and Miami Vice. He also attempted a musical comeback, embracing the style of drum machines and synth for 1986s U-Turn and 1988s Love Attack, though neither proved successful. In 1991 he was featured in a duet with fellow soul singer Barry White on White's ballad "Dark and Lovely (You Over There)".

Return to fame and stardom

In 1995, Hayes appeared as a Las Vegas minister impersonating Himself in the comedy series The Fresh Prince of Bel-Air.

Hayes launched a comeback on the Virgin label in May 1995 with Branded, an album of new material that earned impressive sales figures as well as positive reviews from critics who proclaimed it a return to form. A companion album released around the same time,Raw and Refined, featured a collection of previously unreleased instrumentals, both old and new.

In a rather unexpected career move shortly thereafter, Hayes charged back into the public consciousness as a founding star of Comedy Central's controversial — and wildly successful — animated TV series, South Park. Hayes provided the voice for the character of "Chef", the amorous elementary-school lunchroom cook, from the show's debut on August 13, 1997 (one week shy of his 55th birthday), through the end of its ninth season in 2006. The role of Chef drew on Hayes's talents both as an actor and as a singer, thanks to the character's penchant for making conversational points in the form of crudely suggestive soul songs. An album of songs from the series appeared in 1998 with the title Chef Aid: The South Park Album reflecting Chef's popularity with the show's fans, and the Chef song "Chocolate Salty Balls" became a number-one U.K. hit. However, when South Park leaped to the big screen the following year with the smash animated musical South Park: Bigger, Longer & Uncut, Hayes/Chef was the only major character who did not perform a showcase song in the film; his lone musical contribution was "Good Love," a track on the soundtrack album which originally appeared on Black Moses in 1971 and is not heard in the movie

In 2000, he appeared on the soundtrack of the French movie The Magnet on the song "Is It Really Home" written and composed by rapper Akhenaton (IAM) and composer Bruno Coulais.

In 2002, Hayes was inducted into the Rock and Roll Hall of Fame. After he played a set at the Glastonbury Festival, the same year a documentary highlighting Isaac's career and his impact on many of the Memphis artists in the 1960s onwards was produced, "Only The Strong Survive".

In 2004, Hayes appeared in a recurring minor role as the Jaffa Tolok on the television series Stargate SG-1. The following year, he appeared in the critically acclaimed independent film Hustle & Flow. He also had a brief recurring role in UPN's Girlfriends as Eugene Childs (father of Toni).

South Park

During the late 1990s, Hayes gained new popularity as the voice of Chef on the Comedy Central animated television series South Park. Chef was a soul-singing cafeteria worker for South Park Elementary. A song from the series performed by Chef, "Chocolate Salty Balls (P.S. I Love You)", received international radio airplay in 1999. It reached number one on the UK singles chart and also on the Irish singles chart. The track also appeared on the album Chef Aid: The South Park Album in 1998.

Scientology episode

In the South Park episode "Trapped in the Closet", a satire of Scientology which aired on November 16, 2005, Hayes did not appear in his role as Chef. While appearing on the Opie and Anthony radio show about a month after the episode aired, Hayes was asked, "What did you think about when Matt and Trey did that episode on Scientology?", he replied, "One thing about Matt and Trey, they lampoon everybody, and if you take that serious, I'll sell you the Brooklyn Bridge for two dollars. That's what they do."

In an interview for The A.V. Club on January 4, 2006, Hayes was again asked about the episode. He said that he told the creators, Matt Stone and Trey Parker, "Guys, you have it all wrong. We're not like that. I know that’s your thing, but get your information correct, because somebody might believe that shit, you know?" He then told them to take a couple of Scientology courses to understand what they do. In the interview, Hayes defended South Park's style of controversial humor, noting that he was not pleased with the show's treatment of Scientology, but conceding that he "understands what Matt and Trey are doing."

Departure from

South Park

On March 13, 2006, a statement was issued in Hayes's name, indicating that he was asking to be released from his contract with Comedy Central, citing recent episodes which satirized religious beliefs as being intolerant. "There is a place in this world for satire, but there is a time when satire ends and intolerance and bigotry towards religious beliefs of others begins," he was quoted in the press statement. However, the statement did not directly mention Scientology. A response from Matt Stone said that Hayes' complaints stemmed from the show's criticism of Scientology and that he "has no problem – and he's cashed plenty of checks – with our show making fun of Christians, Muslims, Mormons or Jews." Stone adds, "[We] never heard a peep out of Isaac in any way until we did Scientology. He wants a different standard for religions other than his own, and to me, that is where intolerance and bigotry begin." Stone and Parker agreed to release Hayes from his contract by his request.

On March 20, 2006, Roger Friedman of Fox News reported having been told that the March 13 statement was made in Hayes's name, but not by Hayes himself. He wrote: "Isaac Hayes did not quit South Park. My sources say that someone quit it for him. ... Friends in Memphis tell me that Hayes did not issue any statements on his own about South Park. They are mystified." Hayes then had a stroke.

In a 2007 interview, Hayes said he had quit because "they [Parker and Stone] didn’t pay me enough... They weren’t that nice."

The South Park season 10 premiere (aired March 22, 2006) featured "The Return of Chef", a thinly veiled telling of the affair from Parker and Stone's point of view. Using sound clips from past episodes, it depicts Chef as having been brainwashed and urges viewers (via Kyle talking to the town) to "remember Chef as the jolly old guy who always broke into song" and not to blame Chef for his defection, but rather, as Kyle states, "be mad at that fruity little club for scrambling his brains." In the episode, the cult that brainwashed Chef is named the "Super Adventure Club" and is depicted as a group of child molesters who travel the world to have sex with prepubescent children from exotic places. In the end, Chef is unable to break free from his brainwashing and dies an extremely gruesome death, falling off a cliff, being mutilated by wild animals and shot several times. At the end of the episode he is shown as being resurrected as a cyborg in the style of the resurrection of Darth Vader at the end of Star Wars: Episode III – Revenge of the Sith.

After

South Park

Hayes' income was sharply reduced as a result of leaving South Park. There followed announcements that he would be touring and performing. A reporter present at a January 2007 show in New York City, who had known Hayes fairly well, reported that "Isaac was plunked down at a keyboard, where he pretended to front his band. He spoke-sang, and his words were halting. He was not the Isaac Hayes of the past."

In April 2008, while a guest on The Adam Carolla Show, Hayes stumbled in his responses to questions—possibly as a result of health issues. A caller questioned whether Hayes was under the influence of a substance, and Carolla and co-host Teresa Strasser asked Hayes if he had ever used marijuana. After some confusion on what was being asked, Hayes replied that he had only ever tried it once. During the interview the radio hosts made light of Hayes's awkward answers, and replayed Hayes comments as sound drops—often simulating conversation with his co-hosts. Hayes stated during this interview that he was no longer on good terms with Trey Parker and Matt Stone.

During the spring of 2008, Hayes shot scenes for a comedy about soul musicians inspired by the history of Stax Records entitled Soul Men, in which he appears as himself in a supporting role. His voice can be heard in the film in a voice-over role as Samuel L. Jackson, Bernie Mac (who died the day before Hayes), and Sharon Leal's characters are traveling through Memphis, Tennessee. His first actual appearance in the film is when he is shown in the audience clapping his hands as The Real Deal does a rendition of Hayes's 1971 hit song "Do Your Thing." His next appearance consists of him entering The Real Deal's dressing room to wish them luck on their performance and shaking hands with Louis Hinds (played by Jackson) and Floyd Henderson (played by Mac). During this scene, Hayes also helps Hinds reunite with his long-lost daughter Cleo (played by Leal). His final appearance in the film consists of him introducing The Real Deal to the audience. The film was released on November 7, 2008.

Two months after his death, the South Park episode "The China Probrem" was dedicated to him.

Personal life

Family

Hayes had 12 children, 14 grandchildren, and three great-grandchildren.

Hayes's first marriage was to Dancy Hayes in 1960, ended in divorce.

Hayes's second marriage was to Emily Ruth Watson on November 24, 1965. This marriage ended in divorce in 1972. Children from this marriage included Vincent Eric Hayes, Melanie Mia Hayes, and Nicole A. Hayes (McGee).

He married bank teller Mignon Harley on April 18, 1973, and they divorced in 1986; they had two children. Hayes and his wife were eventually forced into bankruptcy, owing over $6 million. Over the years, Isaac Hayes was able to recover financially.

His fourth wife, Adjowa, gave birth to a son named Nana Kwadjo Hayes on April 10, 2006. He also had one son who is his namesake, Isaac Hayes III, known as rap producer Ike Dirty. Hayes's eldest daughter is named Jackie, also named co-executor of his estate and other children to follow Veronica, Felicia, Melanie, Nikki, Lili, Darius, and Vincent and he also had a daughter named Heather Hayes.

Scientology activism

Hayes took his first Scientology course in 1993, later contributing endorsement blurbs for many Scientology books over the ensuing years. In 1996, Hayes began hosting The Isaac Hayes and Friends Radio Show on WRKS in New York City. While there, Hayes became a client of young vegan raw food chef Elijah Joy and his company Organic Soul, Inc. Hayes also appears in the Scientology film Orientation.

In 1998, Hayes and fellow Scientologist entertainers Anne Archer, Chick Corea and Haywood Nelson attended the 30th anniversary ofFreedom Magazine, the Church of Scientology's investigative news journal, at the National Press Club in Washington DC, to honor eleven activists.

In 2001, Hayes and Doug E. Fresh, another Scientologist musician, recorded a Scientology-inspired album called The Joy Of Creating – The Golden Era Musicians And Friends Play L. Ron Hubbard.

Charitable work

The Isaac Hayes Foundation was founded in 1999 by Hayes.

In February 2006, Hayes appeared in a Youth for Human Rights International music video called "United". YHRI is a human rights group founded by the Church of Scientology.

Hayes was also involved in other human rights related groups such as the One Campaign. Isaac Hayes was crowned a chief in Ghana for his humanitarian work and economic efforts on the country’s behalf.

Stroke and death

On March 20, 2006, Roger Friedman of Fox News reported that Hayes had suffered a minor stroke in January. Hayes's spokeswoman, Amy Harnell, denied this, but on October 26, 2006, Hayes himself confirmed that he had suffered a stroke.

Hayes was found unresponsive in his home located just east of Memphis on August 10, 2008, ten days before his 66th birthday, as reported by the Shelby County, Tennessee Sheriff's Department. A Shelby County Sheriff's deputy and an ambulance from Rural Metro responded to his home after three family members found him unresponsive on the floor next to a still-operating treadmill. Hayes was taken to Baptist Memorial Hospital in Memphis, where he was pronounced dead at 2:08 p.m. The cause of death was not immediately clear, though the area medical examiners later listed a recurrence of stroke as the cause of death. He was buried at Memorial Park Cemetery.

Legacy

The Tennessee General Assembly enacted legislation in 2010 to honor Hayes by naming a section of Interstate 40 the "Isaac Hayes Memorial Highway". The name was applied to the stretch of highway in Shelby County from Sam Cooper Boulevard in Memphis east to the Fayette County line. The naming was made official at a ceremony held on Hayes's birth anniversary in August 2010.

Awards and nominations

Discography

Presenting Isaac Hayes (1968)

Hot Buttered Soul (1969)

The Isaac Hayes Movement (1970)

...To Be Continued (1970)

Black Moses (1971)

Joy (1973)

Chocolate Chip (1975)

Disco Connection (1975)

Groove-A-Thon (1976)

Juicy Fruit (Disco Freak) (1976)

New Horizon (1977)

For the Sake of Love (1978)

Don't Let Go (1979)

And Once Again (1980)

Lifetime Thing (1981)

U-Turn (1986)

Love Attack (1988)

Raw & Refined (1995)

Branded (1995)

http://wikipedia.thetimetube.com/?q=Isaac+Hayes&lang=en

#Isaac Hayes

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bixbobbynet · 6 years ago

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181115 | Santa’s Elves [AU]

HB: Every year without fail, Hanbin takes his daughter, Yooae, to the shopping mall downtown a week before Christmas. A key feature to the festivities include sitting on Santa’s lap and making a wish. Yooae always seems to ask for easy gifts to fulfill, so he’s more than happy to do let her develop a list. Besides that, the mall includes something of a classroom art activity for the children. His daughter had always been too young to partake in it, however is eligible this year. Folks around town call it ‘Santa’s Workshop’ as it has allowed the kids to pretend like they’re Santa’s elves, and make a range of fun and colorful crafts. “Can I? Can I really?” Yooae asks excitedly; practically bouncing out of her shoes. “Of course, sweetheart. We can make gingerbread houses, and Christmas tree ornaments, and anything else you want to do.” The black-haired male wonders if he can leave momentarily to buy some last-minute presents. Unfortunately, it’s yet another year where the two of them only have each other, but if he can see his little girl smile then nothing else really matters.

BB: "c'mon, dad - how long does your hair have to take, are you trying to meet someone at a /kids/ workshop?" Haru rolls her eyes as she thunders down the hall, dinosaur backpack swinging behind her with every step as she pulls herself into her boots and jacket. Jiwon, ever so amused at the incredibly sassy nature of the girl - something she's definitely picked it up from her mother, - grabs his car keys and lets her hop into the vehicle before he locks the door with one last look at his perfectly coiffed strands. "Just looking good for you," he answers here with a laugh, reaching over to ruffle the 8-year old's hair as she buckles herself in, and he pulls carefully out of the driveway. The mall is bustling with far too many last-minute shoppers, all sweaty shoulders and squeaky sneakers on tile when the two of them attempt to push through the crowd in the direction of Santa's workshop. "what do you want to do first, Haru-ya? Should we look for something for Donghyuk samchun?"

HB: Having decided to stick around through the introductory section of the children’s workshop, he’s acutely aware of the people that are looking at him. No part of this situation—just a father and his daughter—seem to make sense to them in a place filled with mothers and their children about to do arts and crafts. Yooae fidgets in her seat as her legs sway back and forth. The 7-year-old has always been a bit hyperactive, but Hanbin has never once faulted her for it. If anything, he’s always found endearing; even if she accidentally kicks him sometimes. In the meantime, the mandatory instructions are over and done with, and the families are free to begin on their projects. In their particular group, they’ve forgone the coloring pages in favor of the gingerbread house-making. Yooae immediately begins to instruct him on what to do as her very own personal assistant. His job includes pouring ready-made icing into an applicator, and laying out all the pieces of the house while his little boss picks out the decorations.

BB: the instructor's introduction has already started by the time he hurries in with his daughter, in the back of his mind blaming the incredibly filled parking spots in the lot out front, fighting to thread through lanes of traffic and honking cars in the early winter's breeze. haphazardly he shoves Haru to one of the empty stations at the corner of the room, just next to another little girl who looks to be a around her age - part of him hopes the workshop will take a substantial enough amount of time so that he can do some shopping of his own. "--parents, if you could please take your places, we can begin with setting up the basic structure of the gingerbread house, and softening the icing for Santa's helpers here," the program coordinator drones on as Jiwon peeks over at Haru and watches at where she's already taking everything out of their packaging, arranging the candy by size and colour. "hey slow down, let me help with that," he complains before grasping hold of the icing tube, working gentle fingers down the plastic encasing. chuckling softly, he turns to the parent situated beside him with a grin, ready to make a joke when he notices just how.. attractive his neighbour is. "heh, looks like they barely need our help now, huh?"

HB: Hanbin fixes his posture as he holds one side of the construction in place on the white, rectangular base. Getting the icing into the bag feels so much more tedious in comparison, and Yooae insists on doing that part anyway. He’s watching his little girl carefully empty out the bowl and start work on connecting each side of the building. It’s here that he hears an unfamiliar voice speak on his right-hand side, so he turns with an automatic smile—partly because he’s already been smiling, and partly because the statement rings true. “And here I thought I had a couple more months to go.” He responds playfully. The brunet looks over at the stranger’s daughter, and is even more pleased to learn how similar their situations are. “She looks pretty clever. I bet she’s pretty smart, isn’t she?” He asks joyously, knowing full well the look of a proud father. “Hold this wall, too, daddy.” His own cuts his train of thought to revert his attention back to the project at hand; doing as requested of him within a moment’s notice. “There’s no crumbles for the road to the house..” She says with a frown. He quickly looks for a substitute among their limited stash of decorations and candy. He soon picks up a couple options with his free hand. “We can crush the lollipop or.. skittles.” Yooae seems to light up at the idea, then grabs the candies straight out of his grasp. “Anything else, sweetheart?” She doesn’t answer very clearly; presumably unsure herself.

BB: the voice that's emitted from the young father isn't quite what he expects, but it's velvety, subtle; he finds himself a little in awe before he snaps out of his reverie and flashes a sheepish grin. "more like a couple years... they really grow up so fast. how old is yours? she's beautiful." Jiwon's soft gaze follows down to where the little girl is fussing with the walls, an earnest comment out of the plethora of badly-behaved kids he's encountered before. She's quiet, but determined - not unlike his own daughter who's more keen on working away than socializing. the two males trail off briefly to tend to - or, supervise - their own projects in various stages of completion; Haru is already trying to stack the roof and handed him a package of sprinkles to rip open when his neighbour speaks, drawing his attention to the warm, twinkling gaze and high cheekbones once again. "she's very sharp. gets it from her mother," he chuckles in mock-exasperation, "Witty, but stubborn." As if proving his point he gestures to the girl, who in turn whips back to frown at him with a pout. "That definitely comes from you," she huffs, then ignoring the pair in favour of concentrating on her house. they work in silence for a little while longer, Haru quietly instructing Jiwon to hold pieces for her as they dried - hence his current squatted position trying to keep the green Christmas tree in place. "-- don't use the lollipop, that's for the door," both parents blink at the girl when she breaks the silence to point at the candies in Yooae's grasp. "here - use my extra cookies," pudgy fingers push a package of crumbled chocolate chip cookies in her direction as Jiwon looks on with a proud grin. "that's very sweet of you, Haru-ya. What do you want to use for yours?"

HB: Delighted to talk about her own, he answers right away. “She’s seven. A month away from eight, in fact.” He softly brushes Yooae’s hair as he speaks. “What about yours?” It’s truly not everyday that he gets to talk to another father, especially with the kind of sigma he’s surrounded by.

He watches the way Yooae reacts to the act of kindness. Although she voices her thanks the other girl and accepts the cookies right away, she feels conflicted somehow; as if her plans are all stupid and this other girl’s a complete genius. Then, because she’s always been more influenced by Hanbin than his counterpart, Yooae hurries up to finish the basis of the gingerbread house since finishing the task always comes first.

As soon as the house is built, the decoration is done fully by the kid herself. It seems like the best time to leave temporarily to do some last-minute shopping, but then again, he’s not that comfortable leaving his 7-year-old daughter in the middle of a mall—least of all when Yooae hasn’t gotten a phone yet.

Hanbin settles for the idea that they’ll be shopping with one another once all the events are over and done with. In addition to that, he’d somehow been convinced that they would need to have ice cream afterwards. In the meantime, Yooae’s been chatting away one-sidedly at all her decoration choices—and by some means created candy people to represent ‘father and daughter’ living in this semi-edible abode.

BB: Jiwon watches fondly as the little girl stirs under her father's gentle hand, shifting slightly although she doesn't deviate from her concentration. "Wow, she's a big girl, huh?" He snaps out of his reverie with a smile and meets the other male's own, nostalgia laced in his tone. "Almost nine, now... it's been so long I don't know what I'd do without her." In so many years of raising Haru alone, he only found comfort in her companionship and the ups and downs they both went through together -- he feels guilty for how difficult it's been for her growing up without a mother but she knows that he's doing his best. And no one understands him better than she does.

The rest of the room is filled with the various sounds of whining children, the clattering of candies and wrappers, and the faint jingle of Christmas tunes just drowning out the cries of frustrated parents. It might be the happiest time of the year, but kids being off from school always means extra chaos. He's summoned yet again to tear the individual packaging off the colourful gumdrops when Haru starts to build the "bushes", intermittently feeding him the candies that look too squished or came out crumbled. Jiwon's just satisfied watching her triumph over the small project, her cheeks puffed in determination - and the squeal she emits when he distracts her with a wet chocolatey peck to the cheek. "Daddy stop, you're gross," comes the mutter, despite the tight clutch in his sleeve that remains with the fingers of her free hand.

He glances over to the warm sight of the other parent and the lively conversation happening with his daughter, at which he merely chuckles and peeks over in a bout of curiosity. "So have you two gotten all your Christmas shopping done yet?"

HB: Hanbin’s dark locks fell over his eyes as he watched his daughter in such animated actions. “I know what you mean.” Soft-spoken, yet visibly reminiscent of a period long passed. “She’ll always be my little girl, though. No matter what.” He chuckled just to keep it light-hearted and friendly.

Yooae eventually completed her build, however didn’t fail to catch any so-called ‘flaws’ that she had encountered while she gave it a good, thorough inspection. Hanbin could reassure her to hell and heaven, and back again, but it seemed like that just would not stick. “You made such a beautiful gingerbread house, sweetie. I’m so proud of you.” He pulled the little girl closer for a small squeeze before she started whining and pushing off of him in embarrassment.

“Thank you..” She muttered after a short while.

The two of them made quick work of their hands, and tidied up their station. There was nothing in particular to throw away, though, as Yooae was somewhat efficient in her construction. In the meantime, he heard the other father speak out once more. He couldn’t tell if the man was trying to be polite or was genuinely invested into their broken conversation. Either way, he enjoyed the company of the other. “Oh, i’m afraid not.” He wiped the table in loose motions. “We’ll be going around for some last-minute shopping once we’re done here.” Hanbin pulled his sweater’s sleeve back to reveal his watch. “It’s almost lunch, so maybe that should be taken care of first.” He faced the other once more with a soft smile. “If you have some time, would you care to join us?”

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juniperpublishers-ttsr · 5 years ago

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Intellectual Irrigation Management in Mining Frozen Farming in Azerbaijan - Juniper Publishers

Journal of Trends in Technical and Scientific Research

Abstract

This article examines the current state of soil and water resources, farmland t.ch.i Azerbaijan Republic, the problem of progressive water and wind soil degradation, the need for the organization of agriculture, taking into account the introduction of automated control systems for irrigation using water saving technology and hardware equipment in it, the study of the characteristics and analysis of experience implementing measures to stabilize ecological and drainage system of agriculture in conditions of insufficient moisture areas in the country, as well as basic aspects of development of environmental reclamation approach balanced, rational use of a particular system of crop rotation and crop taking into account the requirements of economic development and environmental management.

Keywords: Irrigation; Technology; Degradation; Automated management of low-intensity zones; Agriculture

Abbreviations: CC: Communications Controller; TP: Transform Point; HB: Humidity BETA; DB: Data Base

Introduction

The main directions of economic and social development of the Republic is the characteristic intensify agricultural production. A powerful tool for the intensification of agricultural production in the face of his specialization is irrigation. In areas of insufficient moistening (especially typical for mountainous areas) irrigation is one of the decisive factors of the cultivation of high and stable yields of agricultural crops.

The purpose of the study

For this purpose, requires the development of new technical solutions and the introduction of automated systems of low irrigation of crops eligible for Ecology and environment Wednesday to improve their environmental condition of irrigated lands, reduce water consumption per unit products and increase the productivity of those or other crops on irrigated field.

Research methods and moves the discussion

Irrigated soil in Azerbaijan covers 1.45 thousand hectares. It is believed that factors directly affecting the fascination with crop yields and productivity in this area per hectare of arable land and agricultural land at minimal cost, labor and funds also apply automation application.

Automated irrigation increases the effectiveness of all factors intensifying: Chemistry, integrated mechanization, intensive technology upgrade, etc. It allows you to create a large zone of guaranteed crop production.

Objects of study

The object of the study is to explore and create the correct methods for regulating water use and supply of plants by means of irrigation in regardless of weather conditions. To this end, we have developed and introduced into production design systems of automated management systems for irrigation of low- Micro-tailings of self-oscillating action action, successfully passing the resource tested test on vydelochnyh soils under Orchard, Lip-Hachmasskoj area on the foothills of the Mountain above level at an altitude of 600 metres sea with sloping terrain 0.02. (see the concept of impulse systems rain avtokolebatelnogo actions with automated controls.

Construction and functional description of the CMO AY so for operational control of the weather conditions in the region needed to meet the challenges of planning and operational irrigation management crop fields at the local gidrometeopunkte are set measurement sensors with probes for telemetric measurement taking the readings the main parameters:

a. Wind speed-V analog signal (Titus) with period recording of parameter values in the cycle of 30minutes.

b. Air temperature-tv, analog signal (Titus) with period recording of parameter values in the cycle 30min. in) humidity-Wb, analog signal (Titus) with period recording of parameter values in the cycle of 30 minutes.

c. The reading parameter values in the telemetricheskom code is done smart object controller (to) established in paragraph transformer via a radio channel which communicates with sensors-converters.

Ko otschitannye telemetry signals codes undergo preliminary processing, homogenization and written to main memory, which stores prior to their taking the readings the Communications Controller (CC) that is installed in the premises of the operational control technology process (ASMO)-operator. For monitoring and control of electricity supply facilities and power consumption accounting to ASMO Transform Point (TP) (see structural concept of APCS for irrigation) installed transmitters:

a. Voltage measuring input) in TP-U (analog signal (Titus);

b. Measurement load consumers-I U (analog signal (Titus);

c. Electricity metering)-Wh (discrete signal integrated- TII;

d. Control switch settings (enable-disable consumers)- SS (discrete signal position SHH).

Report parameter values in the telemetricheskom code is performed by intelligent object controller (KO) of local wire and after their initial processing and averaging is written into RAM. For monitoring and control technological process of abstraction, clarifiers (wastewater treatment plant) and pumping stations (devices increase the water pressure in the pipes) installed transmitters listed in structurally-functional schema:

a. Water turbidity in the ponds-m (analog signal loop to read Titus, 30min);

b. Water level in chambers-ponds-n (analog signal TITUS, read in a loop 30min) in water pressure-r installed on discharge pumps, modular and distribution reservoirs (analog signal TITUS, read in a loop 30 min);

Load dimensions electric motors-I (analog signal TITUS, read in a loop 30min);

a. Provisions of valves-PZ (discrete signal SHH, readable in cycle 1);

b. Power switches) Regulations-VP (discrete signal SHH, readable in cycle 1);

c. Alarms-AU (discrete signal TCA, readable in cycle 1 with priority);

Water metering pumps and supplied in the distribution pipeline-Q (integrated signal TII, processed in the cycle of 1:00).

Soil monitoring and process control of irrigation is carried out according to the specific fields of irrigation based on measurements of the agro physical and technological parameter sensors-converters: and soil moisture) VLP-(analog signal TITUS with a 30min cycle);

a. Evaporation from soil surfaces-Exec (analog signal TITUS with a 30min cycle); soil temperature) t°-(analog signal TITUS with a 30min cycle);

b. Water consumption irrigation on distribution pipeline plot-Q-(integrated signal with a 30min cycle);

c. Inclusion of the GKS-discrete signal readable in a cycle of 30s;

d. Position switching valves-(discrete signal read-SHH 30c).

Report telemetricheskom signal code is performed by intelligent object field radio communications controller and after their initial processing and averaging processor is written into RAM.

Enter operational data into the computer and the formation of a database (ODB)

Recorded in the memory controller objects (to) data are programmatically by radio and wire Communications Controller (CC) connected to your computer Tower (PD) (see circuit diagram system intensity of irrigation and automated controls), according to the specified rules and written in his memory in the structure of the telemetry files (see information provision).

Computer exchange programs plays the data from RAM to the COP, trans code them and writes into the database from which displays them in real time on the display mnemoshemah, and after linearized and averaging the data on their codes programmatically are recorded in the cumulative base structure which provides information, and this generates a data bank complex tasks ASMO [1].

Information flows of the Automated System of low- level (ASMO)

Before writing to the Bank data stream measurement data analyzed by specified algorithms and when the results of the analysis, with deviations from the values specified in the rules of the installations is operational control (OBU) process. Operating base control programmatically at the specified in the rules of the cycle is counted by the management module on technology directions and if there are deviations in the data records for this activity generates a control signal to the appropriate the executive body.

Organization of the collection and transmission of data on the Internet channels

Conditions for organization of data exchange

Data Interchange on the work of the system of irrigation is carried out via the Internet

To do this, you must connect through a computer modem to the telephone network and earn the right to Internet access through an Internet service provider. This requirement applies to each Subscriber. If these conditions are met, the computer ' The Center can communicate with computers on the sections of the irrigation districts of Azerbaijan and other States is the site irrigation system, where visitors will see: the latest system state data, interactive pages, created by PHP technology, rapid exchange of data and messages in real time.

Using Skype 3 users can talk on the phone and when using cameras to see each other, and when streaming video programs-view the status of the site. When measurements of parameters, it is necessary to take into account the dispersion of available measured values. The value of the parameter, which can be taken for the actual probability of 0.8, is determined by the number of repetitions of measurements is defined by the formula.

Where,

n = 0.8

(Tr)-number of retries, the measurements meet the probability 0.8;

m-0.8 (tr)-measurement accuracy (mm)

SB-standard error of measurement %

b (HB) W (HB)-moisture reserves, mm

When humidity b (HB) in the control layer (h) (a), m.

The source (start) Measurement of soil moisture and the calculation of the initial moisture reserves in the soil W0

General description of the task: Original moisture reserves W0 soil in the active layer defined by the formula:

Where,

h (a) is an active soil layer, m (it is assumed that the active layer of the soil is divided into layers of 0.20m -0.30)

γ is the average density of soil layer, t/m3 entry in program code-gamma_sr.

βτ-soil moisture at field station in% to mass of dry soil in the program code recording the moment-(Veta_tau). For automated definition starting soil moisture reserves come from the fact that the value (Veta_tau) is defined βτ measure humidity, it is installed on a stretch of fields on n0, 8 (tr) measurements (write in code, n_0 8 ex).

The measured values are automatically written to the parameter file DataPar.dbf data bank on N_code element parameter belongs (see. (c) special section ' Dataware » ) [2]. To specify the conditions for the calculation of the value of the conditionally required variables are written in the job (see. ZADANIE_3 information).

Defining the value of starting (the original) soil moisture deficit is determined programmatically moisture reserves and necessary rules. Results of solution of the problem is written to the output document DOC_3 and plotted on the graph.

Description of the algorithm in accordance with the task of determining soil moisture and moisture reserves on a plot of field irrigation (see information provision 'ZADAN1E_3). Searching for values from the database (from the section information management): -parameter values automatically read from a file DataPar.dbf on N_code element parameter belongs; -the value of the N_code element is read from the file ELEM. Dbf on key: SL_SYST + SSYST + SL_MODYLE + SL_GROUP + SL_VID + SL_ TYPE.

Formation of a look up key for N_code (see instructions to the operator) and select SL_SYST.dbf) from a file system to which the parameter element.

b) from file SL_SSYST.dbf to select subsystem.in) from a file + SL_MODYLE.-module dbf.

g) from the file SL_GROUP.dbf-the group to which an item belongs measured parameter.

d) from the file SL_V1D.dbf-element kind of measured parameter.

(e)) of the file item type TYPE.dbf SL_ measured parameter.

f) NAME is the NAME of the element is entered from the keyboard;

If the elements identified by coupling multiple (see. ZADANIE_3, write

4), then each of them is assigned a position number.

The item number is appended to the name through the separator [_]-(NAME_1 >). For formed coupling is TLS_X. dbfN_ code.

From DataPar.dbf to N_code + Zdate and <PARAM> parameter name in ZADAN1E_3 (+) programmatically is its ZNACH value for each field.

i. The obtained values of parameters-moisture content at the specified date, or BETA_tau stocks of moisture on the specified date W (tau) for each section of a field are written to the output DOC. 3 see layouts output documents ' Supply of moisture on irrigation fields » After identifying the BETA_tau moisture or soil moisture reserve W (tau) is defined or moisture deficit soil moisture reserve [2-4].

ii. Determination of moisture deficit soil moisture reserves and to stretch the field and if the software is determined by ZADANIE_3) humidity and BETA_tau of DataPar.dbf found its importance, relatively humidity moisture deficit lowest water consumption BETA_ (HB) is: [5-7].

Where,

BETA_ (HB)- from SF_Plot.dbf and ConSoil.dbf; BETA_tau- from the 4.2.3.

Moisture deficit values are automatically written to the output DOC dokumnt. 3

b) If for ZADANIE_3 is determined by the supply of moisture in soil W (tau) and of DataPar.dbf found its value, reserve moisture deficit moisture while the smallest capacity dW (HB) is equal to:

Where is

W (HB)-from SF _ Plot . dbf and

ConSoil.dbf; W_tau-from the 4.2.3

After identifying data for each of the specified sites field is determined; and average value) BETA_AV humidity and soil moisture reserves generally W_AV on the field:

Where is

n is the number of balanced plots involved per- from ZADANIE _3, 4 entry;

(BETA _ tau )i -soil moisture is relatively dry soil from 4.2.1 for each plot.

b) if defined (W_tau), the average soil moisture reserve the entire field

g) the average value stock deficit soil moisture fields:

Calculated values in clause 4.2.3 a),),),) are automatically written to the string < averaging field..... >.

d) Defined e in items 4.5 and 6 DOC. 3 bar chart displays the parameter values 'supply of moisture on the field irrigation»

e) after seeing the DOC. 3 prompted < Will solve the problem for other fields on this date >. <Дa>, <HeT>. When you type <Дa> < message, type the name of the field and economy in ZADANIE_3 > ZADANIE and displayed for data entry.

4.2.4 If the database parameter value specified in ZADANIE_3, it displays an < Value specified in the ZADANIE parameters in the database are missing. Will measure these parameters?. <Дa>, <HeT>. If <Дa> then go to

4.2.1. If <HeT>, then the solution of the problem of consummated and exit the menu.

4.2.5 before starting measurements determines the number of dimensions at each site provides the probability computed value not less than 0.8 at minimum cost of labour on measuring n_0, 8Ex:

Where, is

SIG_B-set the value of the standard error in percent; Beta (HB)-from ZADANIE_3;-W (HB)-supply of moisture in the soil, in mm when Humidity BETA(HB) of the SF_Plot.dbf;-h is the depth of the soil layer (mm), which should be dimension.

4.2.6 Perform n_0, 8Ex measurements specified ZADANIE_3 parameter, row 2 on each site and write to DataPar.dbf to N_ code, Zdate, Ztime.

4.2.7. Calculate the mean value of the measurements of (make a selection from DataPar.dbf to N_code + Zdate.

Average soil moisture reserve W_AV is equal to:

Where,

W _ 0.8 Ex -the value of the stock of moisture each dimension selected in item 4.2.6 (If measured soil moisture BETA_0, 8Ex, the average humidity BETA_AVas well:

Where is

BETA_0, 8 Ex-the value soil moisture for each measurement computed values to assign:

a) W_AV: = W (tau);?

b) VETA_AV: = BETA_tau and write to output DOC. 3 as in 4.2.1 and 4.2.2 as; 4.2.3.

4.2.8 Filled DOC. 3 is written to the folder that you want to send through the channels of the Internet. Programme codes are shown in a separate annex.

Conclusion

The study identified possible operational solving complex problems of an operational definition of soil- conservation settings.

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mikemortgage · 6 years ago

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Farmers Edge Adds In-Cab Intelligence to Precision Digital Platform

App-Based Tool Delivers Universal Connectivity, In the Cab and Remotely, to Provide Decision Support and Simplified Record-Keeping for Accurate Profit Analysis

WINNIPEG, Manitoba & AMES, Iowa — Farmers Edge™ today released an app-based in-field intelligence tool that provides a seamless digital experience from the office to the cab. Digitally linking growers, dealers, retailers, trusted advisors, and other key stakeholders, the In-Cab Tool provides full visibility of every field activity while simplifying record-keeping, improving workflow, and reducing the risk of critical data losses. Integrated with existing exclusive features of the FarmCommand™ platform, including: on-farm weather conditions and forecasts, daily satellite imagery, predictive modeling, and automated crop health change detection, the In-Cab Tool provides an additional layer of fundamental decision-support enabling new levels of efficiency and profitability on the farm.

Farmers Edge adds In-Cab Tool to FarmCommand Platform providing in-field intelligence to manage the farm from anywhere on a tablet, computer, or mobile device.

Building on recent strategic collaborations with leading agricultural companies, including CNHi, Global Ag Risk Solutions, PartnerRe, HBS, Raven, Lindsay Corporation, Richardson Pioneer, and NuFarm, Farmers Edge designed the In-Cab Tool to provide the highest level of compatibility and flexibility available. The tool features wireless, mixed-fleet connectivity with any modern machine and can be used to plan jobs, view live data streaming and mapping, adjust field operations, manage maintenance schedules, track supplies, and share information making it the most advanced mobile platform of its kind. Powered by the company’s newly enhanced, brand-agnostic telematics device – Gen. 2 CanPlug™ – all data is collected, transferred, and processed automatically, ensuring critical records are maintained for accurate reporting.

“The combination of live interactivity and automated reporting improves the ability for growers, retailers, and other stakeholders to identify and address factors that may be impacting a farm’s revenue or productivity, said Ron Osborne, Chief Strategy and Product Officer of Farmers Edge. “Whether it’s more intelligently dispatching sprayers, reducing operator idling, monitoring custom applications to ensure accuracy, or understanding which machine performs best for each job, the FarmCommand In-Cab Tool delivers unmatched transparency and flexibility to unlock the value of data.”

How it Works The In-Cab Tool connects to the Farmers Edge Gen. 2 CanPlug via Bluetooth, and wirelessly streams real-time planting, spraying, harvest, fertilizer applications, and field maintenance job data along with equipment performance diagnostics to any tablet, computer, or mobile device. It syncs automatically to the cloud to keep all data in one place. With both a manager and an operator view, the tool enables greater control over field operations through remote monitoring, scheduling, and management.

Manager View—Farm managers using the tool can connect multiple machines within a field to one view, and easily toggle between all machines. A quick tap on any machine within a job displays the operator view for access to detailed job values. The tool provides a simple way to view all active jobs on the farm, access job information, keep organized records, and gain a true understanding of profits.

Operator View—Farm operators connect directly from a mobile device or tablet to a live equipment view. With one tap, they can adjust plans on the go, view live applications or yields, and easily share critical data with managers and trusted advisors.

Future Releases Farmers Edge also revealed future In-Cab Tool enhancements, including:

Real-Time Harvest Management— Further enhancing automated grain inventory management, an integrated scale will eliminate all manual harvest data entry ensuring records are accurate and kept up to date.

Integrated Market Data—Stay informed on market activity throughout the day with insight into the most popular agricultural commodities, including corn, soybeans, canola, and wheat to help growers get the most value from their harvest.

Real-Time Kinematics (RTK)—Dealers and farmers will benefit from CanPlug powered RTK. Farmers Edge is working with its partner and dealer networks of base stations to transmit signals that correct positioning errors caused by the Earth’s atmosphere.

A/B Line Sharing—To deliver higher levels of real-time connectivity, this feature will enable sharing lines across multiple pieces of equipment and implements.

Exclusive Features at a Glance Integrated with FarmCommand, the In-Cab Tool complements a suite of existing, unique digital decision support tools, including:

Hyper-Local Weather Data—FarmCommand connects to on-farm weather stations to provide current conditions, forecasts, radar, and other field-centric weather data. This hyper-local information supports scheduling and feeds into predictive models to provide accurate nitrogen recommendations, pest and disease prediction, and crop growth staging.

Real-Time Supply Management—Manage seed, chemical, and fertilizer right from the field to keep track of supplies and costs. Pre-set supplies for quick job set up or enter new ones on the go.

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Daily Imagery and Unique Map Layers—Access a collection of high-quality map layers to get a complete story of the fields. Monitor crop health progression and identify issues early with daily satellite imagery or view a series of equipment maps to verify applications and measure performance. Maps can be layered or compared side-by-side to review the season and discover new patterns.

Automated Crop Health Detection—Crop Health Change Maps and Notifications automatically scan imagery and trigger alerts when a change in the field has occurred. This one-of-a-kind tool pinpoints potential problems including pests, disease, nutrient deficiencies, inclement weather, missed applications, equipment malfunction, drainage issues, and more, enhancing the value of daily imagery by helping growers prioritize scouting activities, identify problems more easily, and react to crop stress before yield is impacted. Integrated GPS makes it easy to navigate to areas of the field that are showing variability or issues to record observations, capture images, and share information.

Availability

The In-Cab Tool is available now on iTunes (iOS 1.35.9) and on Google Play (Android 1.35.9)

To learn more about the FarmCommand In-Cab Tool, please visit: https://www.FarmersEdge.ca/InCabTool

About Farmers Edge Farmers Edge is a global leader in decision agriculture servicing over 24 million paid product acres worldwide with precision digital solutions. Integrating field-centric data, easy-to-use software, state-of-the-art processing technology, predictive modeling, and advanced agronomic analytics, Farmers Edge provides growers with scalable solutions to produce more with less. Using innovative digital agronomic tools, Farmers Edge solutions focus on the sustainable production of high-yielding, high-quality crops and are designed to optimize inputs, minimize environmental impact, and protect the economic viability of the farm. From seed selection to yield data analytics, Farmers Edge transforms big data into timely and accurate insights to support informed decision making. For more information about Farmers Edge, visit FarmersEdge.ca or FarmersEdgeUSA.com.

Contacts

Media Contacts: Farmers Edge Jill Reed Sift Communications for Farmers Edge [email protected] Ph: +1-415-722-2433

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342stateandnyc · 5 years ago

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midtown

But really I’m thinking of 45th and 46th Streets between 6th and 7th. Thought of meeting Nick at the Red Flame Diner four five years ago. He was in his health care consulting job and waiting to take the MCATs and go to med school. And we were in a diner—diners! Maybe my first time in a New York diner, I can’t remember, certainly the first time in a midtown diner. (It might not even be on 45th or 46th but that’s where my mind’s map has it.) I thought of Nick because I was thinking of Janina and how we had texted when they got engaged and I’d said I might go out to Chicago in the summertime but so much for that, COViD.

And while we’re on midtown and those particular streets: there’s the Steinway piano store I walk past all the time to get to work. And Xi’an Famous Foods, waiting in the lunch line cramped along the way between Kitchen A and Kitchen B. So much for cramped lunch lines now.

The time Dawen and I went to the Raines Law Room around there and he knew the bartender and there, for once apparently, wasn’t a wait. He showed me photos he took in the desert out west at some point. The bar inside the Algonquin Hotel which I’d also been two once or twice, with Michelle I think, but I can’t quit remember. And another bar with a lot of blue light that Alicia and I bailed to because the Algonquin Hotel had closed their bar for renovation and that popular bar that starts with a V had a private event going on. The other time I tried to go to that V bar but it was busy again and we bailed to the sports bar next door. The time I walked from work to the Barnes & Noble on 5th Ave and 40-something to buy my first LSAT prep books. The one other time I went there to study and bought a really hot bowl of soup.

The time Andrew Toni Bridget and I walked to the flower shop in that public square just north of Bryant Park — still in that 45th-46th area — and bought our corn plants and spider plants and peace lilies for work. That was in August last summer. They’re still alive, almost. So much for office plants and humans being there to water them regularly.

And I can’t get into work now because then we’re really going to be here a while. BXL, Heartland Brewery, HB Burger, rinse and repeat. We could never really tell the difference between the two latter ones. Working in Times Square is a thing I’m glad I did. I wanted to say that I’m glad to never do it again but I don’t know — it’s Times Square! How do you give up working in that hustle and bustle, where just down on 42nd between 7th and 8th you walk that stretch and can still sort of feel the seediness leftover from the 90s even though that Times Square is long gone? Maybe it’s the marquee lights of the McDonald’s—oh, that time Michelle and I decided to go to the Applebee’s there and order too many drinks off an iPad at the table, and then went into the McDonald’s at 1am or something to order food to go back home—or the extra layer of gray and grime on the sidewalk, or how wide the sidewalks are, or that there are TWO movie theaters right across the street from each other so you always get the feeling that they’re extra vacant, and the random smattering of a SEPHORA but also a Sbarro’s and the subway stations, too. Or probably more that when you make it to the 8th Avenue end of the street, it’s Port Authority and on the other corner by the M42 bus stop and a subway stairs you get a lot of the zonked out hanging around and think they probably ruled way more than just that territory back in the day.

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claritarichartri · 7 years ago

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Buy it on Amazon - http://ift.tt/2nup0kG - Plugable USB 3.0 Sharing Switch for One-Button Swapping of USB Device/Hub Between Two Computers (A/B Switch) Review -- Click the link to buy now or to read the 1076 4 & 5 Star Reviews.Subscribe to our Channel: https://www.youtube.com/channel/UC92ZVcn5t9UmjaDER21wkZQ?sub_confirmation=1 Like us on Facebook for videos, pictures, coupons, prizes and more - http://ift.tt/2wCDdi2 Plugable USB 3.0 Sharing Switch for One-Button Swapping of USB Device/Hub Between Two Computers (A/B Switch) Review I have been using one of these to switch a non-networked printer between two computers for a couple years. When I moved into a new studio, I decided to build two Digital Audio Workstations (DAWs) and share all the USB inputs (e.g., keyboards, controllers, software dongles, etc). I decided that the most elegant solution would be to connect all the USB devices to a hub, and use this switch to route the USB inputs to either DAW. This is a very inexpensive solution to what could have been a very ... Reviewer : Moss Parker Works great with a powered USB hub pairing with it like this one: Sabrent 4-Port USB 3.0 Hub with Individual Power Switches and LEDs included 5V/2.5A power adapter (HB-UMP3) With these two little gadgets I have hooked up a "poor man's KVM" without the "V" (because I had Video on both boxes already). I had two computers, each with their own monitor pairs, and I just wanted to save desktop space by getting rid of one set of keyboard and mouse. This little device helped me d... Reviewer : virtuadept Click http://ift.tt/2nup0kG to buy now on Amazon or to read more reviews. Attach a USB docking station or powered USB hub that is connected to keyboard, mouse, and USB graphics adapter for an all-USB KVM solution Switch works with any USB-enabled computer without drivers - attached devices may require drivers as usual. LED indicator lights show which connected computer has control of the attached devices SPECIAL NOTE: Not recommended for switching mass storage devices such as hard drives, flash drives, camera memory cards, etc. USB 3.0 Super Speed transfers are highly sensitive to cable length. For best results, we *highly recommend* using the provided 3ft/1m cables to connect the USB switch to your computers and to keep the USB cable which connects your peripheral to the USB switch under 6ft/1.8m. We love our Plugable products and hope you will too. All of our products are backed with a 1-year limited parts and labor warranty and Seattle-based email support. Seriously, I have no idea why I didn't think of buying this product sooner. I have a work laptop/docking station and my personal laptop on my desk (sadly my laptop doesn't fit into my work docking station), and I was tired of unplugging and plugging in my keyboard between the two when I wanted to jump back and forth. Yes, I find I can type much faster on a normal keyboard than on a laptop. No joke, 2 years I have been doing this (sad isn't it?). Then I finally searched Amazon and bought the ... Reviewer : Eric Muller Click http://ift.tt/2nup0kG to buy now on Amazon or to read more reviews. ***Let Us Know What You Think… Comment Below!!*** Watch my other review Videos – https://www.youtube.com/channel/UC92ZVcn5t9UmjaDER21wkZQ See other products on http://ift.tt/2xhK4Ru Subscribe to our Channel: https://www.youtube.com/channel/UC92ZVcn5t9UmjaDER21wkZQ?sub_confirmation=1 Like us on Facebook for videos, pictures, coupons, prizes and more - http://ift.tt/2wCDdi2 #Plugable Technologies, #Plugable USB 3.0 Sharing Switch for One-Button Swapping of USB Device/Hub Between Two Computers (A/B Switch) This is a review video for : B00JX3Q28Y Manufacture : Plugable Technologies Thanks for watching! http://ift.tt/2xhK4Ru Related Videos in Channel

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artsychica2012 · 7 years ago

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(via Production Designer Hannah Beachler On ‘Black Panther,’ Her Job + Advice For Black Creatives [Interview])

The wonderful Danielle Scruggs gets some choice time with production designer extraordinaire, Hannah Beachler, as they talk about Marvel’s Black Panther, the importance of her job and offers advice to fellow creatives for @Okayplayer.

The past three years for production designer Hannah Beachler have been charmed after having worked on critically acclaimed movies such as Creed, Fruitvale Station, the Academy Award-winning Moonlight and Ryan Coogler’s forthcoming, wildly anticipated adaptation of Black Panther.

(Not to mention she was responsible for the set designs of eight out of the 11 videos for Beyoncé’s LEMONADE.)

Make no mistake: Beachler’s story is not one of overnight success. She has been grinding in a field that has been none too friendly to women—let alone black women—for the past 15 years. But now Beachler is a highly sought after artist whose precise attention to detail and work that requires knowledge and execution of a blend of disciplines (urban planning, architecture, construction and painting just to name a few) have brought various worlds to life that say as much about any given character as the dialogue does.

Think of the kitchen where black women of various ages, shapes and shades prepare a meal in a kitchen filled with natural light in the prologue to the “Freedom” video from LEMONADE; the Philly bar drenched in red light where Bianca (Tessa Thompson) and Adonis (Michael B. Jordan) have a flirty reparteé in Creed; the half-painted white and pink walls in the apartment of Juan (Mahershala Ali) and Theresa (Janelle Monae) and the crown on the dashboard of Black’s (Trevante Rhodes) car in Moonlight.

All of those details were brought to life by one person—Hannah Beachler. Additionally, her job also requires breaking down the script, working closely with the director, managing the set decorator, costume designer, prop master, and construction workers and even long-haul road trips from time to time. She is so sought after that we are ecstatic to exclusively announce that Hannah Beachler has signed on to work with Nicolas Winding Refn’s new series, Too Old To Die Young for Amazon Studios.

As busy and in-demand as Beachler is, she was kind enough to grant @Okayplayer an interview, which has has been edited and condensed for clarity.

Okayplayer: Black Panther is the third film you’ve worked on with Ryan Coogler. What’s your working relationship with him like? And have you two developed a shorthand since you’ve been working together for a while now?

Hannah Beachler: Yeah, we certainly have. I mean, Ryan [Coogler] is a really important filmmaker to me. I think his voice and his vision is an important one. He’s like my brother. I mean, it’s cool, you know? The best I could say is he’s family. So, we stick around each other, we tease each other, we hang out, you know? His wonderful wife, Zinzi, and I hang out together as well, so it just has developed into a close situation. That’s something that we did after Fruitvale Station. He turned that crew into a family and we are all still in touch to this day. I mean, we all still watch each other’s careers, work together occasionally, talk to each other, check in with each other. That’s something I think that Ryan has done on all his past projects with people.

OKP: What are your personal expectations for Black Panther? Not just in terms of box office, although I’m sure if my conversations that I’ve been seeing are any indication, it’s going to just blow everything out the water. I guess just as far as, cultural impact.

HB: Absolutely. I mean look, my expectations don’t really ever have to do with the box office for anything that I do. I think the biggest expectation I have, and hopefully I’ve done it successfully, is basically giving the world a perspective they haven’t seen of African / black folks’ world. That there is a history beyond slavery that we don’t know, and that history is really rich and diverse on its own, you know? So those are some of the things [I enjoy], and my expectations [are] that people will have fun because I love fun movies, I love to go have fun, but the type of filmmaker that Ryan [Coogler] is… there is something greater there, there is a substance. He fills the cup and presents it to you in a way that is an enjoyable experience or an experience that’s some sort of visceral experience. Whether it’s Fruitvale, where he’s giving this humanity to Oscar Grant or if it’s Creed, and he’s talking about the old generation passing on what they know to a new generation, or issues here, which I can’t do much about. But in Black Panther you know there’s going to be something that really binds it all together and makes it a full and complete experience.

OKP: I wanted to get into the process of what production design entails because I know it’s kind of a way of telling the story of the characters through the objects that surround them, but I was just really curious as to, how does that process start? In terms of talking to the director, talking to the cinematographer, how does that come together?

HB: I mean the first step in any of it for me always is sitting down with the script and connecting. I’ve got to be able to connect to the script, and then you know the filmmakers as well. With that, I will pretty much do a deck or a lookbook, and depending on the film and how big the presentation is, obviously. That sort of is like, what fell out of my head as I read the script, and then the notes that I took, and this is what I saw. My first reaction, my first initial reaction to that. That’s something I share with the director, and we sit down and we talk about that. I think if he or she, they, feel that my instincts are correct or that there’s something there. Like he can connect with what I’m doing, or she can connect with what I’m doing, then we move forward.

Then after that it’s just about digging in, and yes I work with the cinematographer. I work with the costume designer to make sure that the canvas that we’re painting as a group, uses the right tools and the right brushes and so on and so forth in that metaphor, that’s going to actually paint the picture of this film. Because each film is different so, often times you’re working with different crew of people. It’s always necessary to sit down and sort of know what their work has been … I’ve worked with the great Ruth Carter on Black Panther, and Rachel Morrison, who is a director of photography. It was really important for all of us to sit down together and talk about what I’m doing, what Ruth’s doing, what Rachel’s doing, how does that mix together to become one aesthetic that not just compliments… but that they compliment each other as we go on.

Once that’s complete, then I start conceptualizing, and that’s always different. Depending again on a film, say, Black Panther, everything was from the ground up. It was really building an entire civilization, and then on top of that the bigger world of the film. So, you’re taking that one step at a time, because if you took it all together it would feel very overwhelming. Ryan was in Africa writing for a little while. He would send me these pictures of just the people. It would be somebody’s feet on the ground with the bells around their ankles. It would be a man in his African shirt or a mask. He just starts sending me these images, sort of saying this is sort of what he’s feeling and seeing; and then I would take those images and be like, ‘This is how he feels.’ This is sort of the essence with all, and Ryan specifically, and why he’s one of my favorite directors to work with.

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veolaesposito1-blog · 7 years ago

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6 Tricks to Make You Discover ways to Win In Madden NFL 17 Cellular Game

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weekend-seoul · 7 years ago

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에이포트레이트

Aportrait

박아람

Rahm Parc

2017. 10. 14 ~ 11. 12

Opening Reception: Saturday, 10. 14, 4 - 6 PM

이 그림은 나 자신에서 시작한다. 그 과정에서 거울이나 렌즈 등을 통해 나 자신을 비추어보는 일은 없었다. 대신 나는 나의 생년월일, 키, 몸무게, 발, 심박수, 호흡수, 체온을 측정하였다. 그리고 그로써 얻은 '수numbers'를, 회화의 차원에서 조작 가능 하도록 '획brushstroke'의 길이로 다시 규격화하고, 각각에 특정 너비의 붓을 대응시켰다. 따라서 그리기는, 마치 방의 공간을 가늠하려 사물을 이리저리 움직여 보고 배치하듯 획을 다루면서, 수치를 계산하고 그만큼의 획을 긋는 일의 반복이었다. 나는 이를, 회화를 '출력기'로서 재배치하는 전작에서 나아가, '가동 획 회화Movable Stroke Painting'라 부르기로 했다.

This painting departs from myself. Instead of reflecting myself in a mirror or lenses, I used my date of birth, height, weight, foot size, heart rate and body temperature. Those ‘numbers’ are then modularized as the length of 'brushstrokes' and the corresponding size of brushes, so they can be applied in the dimension of painting. Therefore, the act of painting became a repetition of calculating numbers and making the same amount of strokes and operating brushstrokes as if moving and placing objects around the room to estimate the space. Taking another step by reconfiguring paintings as a ‘printer’, I decided to name this work ‘Movable Stroke Painting’.

A Matter of Awareness

기획: 박혜린, 이나정

Curated by: Hae Lin Park, NaJeong Lee

참여 작가: 고경호, 김겨울, 왕선정, 우한나x조응철, 최이다

Artists: Kyungho Ko, Winter Gyeoul Kim, Seonjeong Wang,

Hannah WooxEungchul Cho, iida Choi

2017. 10. 14 ~ 12. 24

Opening Reception: Saturday, 10. 14, 4 - 6 PM

“마땅히 있어야 할 것이 빠져서 없거나 모자람”

결여는 근본적으로 욕망과 연결되어 있고, 이는 곧 반대로 모든 욕망은 결여로부터 생겨난다. 우리의 일상적인 대화에서 마땅히 있어야 할 것들의 부재에 따른 아쉬움과 그것을 갈망하는 목소리는 어디를 향해 있을까?

이번 전시에서는 동시대를 살아갈 때 마땅히 있어야 함에도 부재한 두 가지 요소를 인지하고, 이에 대해 고찰해본다. 첫째로는 사회 안에서 각 주체가 맺어가는 관계를, 둘째로는 내면의 흐름을 직관적으로 짚어가는 여정을 통해 관객들이 작품에 빗대어 자신의 삶을 성찰해 볼 수 있는 다양한 트리거(trigger)를 제시한다.

<Reveal>에는 고경호, 왕선정, 우한나x조응철 작가의 회화, 설치, 사운드 작품을 선보인다. <Trace>에는 김겨울, 최이다 작가의 회화, 비디오 작품이 전시된다. 그리고 전시와 관객을 이어주는 매개체로 <Share> 프로젝트를 진행한다. “Lack or absence of something needed”

Absence is fundamentally connected to desire as desire arouses from absence. In our daily life, in what ways do we notice, and fulfill the absence of essential elements?

This exhibition cognizes two elements that should be fundamentally satisfied, but have been missing in our life. Audience is triggered to introspect their life through relationships between entities in society, and the journey of tracing the inner flow.

<Reveal> presents Kyungho Koh, Seonjeong Wang, and Hannah WooxEungchul Cho’s painting, installation, and sound works. <Trace> features Winter Gyeoul Kim, and iida Choi’s painting and video works. A Project space <Share> is presented as a mediator between audience and the exhibition.

2017 Weekend Program

12/17 ~ 1/22 이환희 Fanhee Lee (b. 1990)

fanheelee.com

이환희는 현재 서울에서 거주하며 작업하고 있다.

Fanhee Lee lives and works in Seoul, Korea.

All of the works on his first solo exhibition at Weekend got their titles after completion. The works themselves couldn't thank him enough for their perfect marriage to the titles. curated by Jeongyoon Choi

2/4 ~ 3/5 조나 킹 Jonah King (b. 1985)

jonahking.info/

조나 킹의 비디오 설치 작품은 디지털 기술이 자연과 인간의 심리관계에 어떤 영향을 끼치는지를 탐구한다. 그는 허구와 사실적 이야기들을 지역 사회공동체나 배우들과 스튜디오에서 촬영한 영상들로 엮어낸다. 유토피아나 종말론적 꿈과 같은 사변적인 내러티브를 환기함으로써 작가는 최근 크게 디지털화 되고 있는 인간 생태계의 의미에 대해 질문을 던진다. 조나 킹은 2012년에 더블린의 National College of Art & Design을 수석으로 졸업하였고, 2016년에는 Columbia University에서 석사학위를 취득했다.

Jonah King’s video installations explore how digital technology is changing our psychological relationship to land. King weaves fictional and true accounts through constellations of moving images generated in the studio, with actors, or in collaboration with community groups. By invoking speculative narratives of envisioned utopias and apocalyptic dreams, he questions what it means to be human in an ecology increasingly infused with the digital. Jonah King received his BFA from the National College of Art & Design, Dublin in 2012 (valedictorian) and his MFA from Columbia University in 2016.

organized by Jenny Cho and NaJeong Lee

3/18 ~ 4/16 이희준 Heejoon Lee (b. 1988)

이희준은 서울을 기반으로 활동하며 도시 건축의 이미지와 인테리어 환경 속에서 조형적 요소들을 수집하고 재구성하여 평면적 환경을 만드는 작업을 한다. 2013년부터 그가 거주했던 홍대 일대의 건축물을 그리기 시작했고, 2014년 스코틀랜드의 글라스고 예술대학에서 석사과정을 마치고 귀국 후 공릉동 작은 공간에서 노토일렛을 운영하며 4번의 전시를 열었다. 2015년에는 중랑구 망우동 작업실에서 <Interior Nor Exterior> 회화 연작을 시작하여 현재에 이르게 되었다. 아이슬란드 아큐레이리, 영국 글라스고, 런던, 에딘버러 및 독일 베를린 등지에서 다수의 기획전시에 참여했으며 2014년 런던 사치 갤러리가 주관한 New Sensation 2014 수상 후보로 선정된 바 있다. 2016년 서울에 위치한 기고자에서 첫 개인전을 가졌다.

Heejoon Lee is a visual artist based in Seoul, South Korea. The conceptual range of his painting includes architectural structure and trendy interior objects of our time. Heejoon received his BFA in Painting and Sculpture at Hong-Ik University in 2012 and his MFA at Glassgow School of Art in 2014. His recent group exhibitions include; I DROGUM at the Art Museum of Akurey, Akurey, Iceland, Dear Green at ZK/U, Berlin, Germany, 2014 and Tipping the Line at My Occupy Time Gallery, London, UK, 2014. He was nominated in 'Jury Picks' in 100 Painters of Tomorrow(Thames & Hudson 2014) and the New Sensation 2014 by Sattchi Gallery. His first solo exhibition was held at Kigoja in Seoul, 2016.

curated by Jeongyoon Choi

이희준 작가는 10/14 ~ 11/12동안 Keep in Touch가 기획한 그룹전 <Land Play>에 정현두, 최수인 작가와 함께 참여합니다.

5/6 ~ 5/28 이사라 Yi Sa Ra (b. 1988)

yisara.com

이사라는 주로 비디오 설치 미술과 디지털 사진 작업을 하는 미술가이다. 그는 개인적인 경험이 동시대의 사회, 문화적 곤경과 어떻게 연결되는지 탐구한다. 현재 서울에서 거주하며 작업하고 있고, 2018년에 뉴욕 컬럼비아대학교 대학원에 진학할 예정이다. 2011년 로드아일랜드 스쿨 오브 디자인을 졸업하였고, 2010년에 예일대학교로부터 엘렌 배텔 스토켈 펠로우쉽을 받아 예일 노퍽 섬머 스쿨 오브 아트 앤드 뮤직을 이수하였다. 챕터투, 한국 (2016), 에치고 츠마리 아트 트리엔날레, 일본 (2015), 예술의 전당 한가람 미술관, 한국 (2013), 로저 윌리엄스 국립공원, 미국 (2011)에서 전시했다.

Yi Sa Ra (Sarah Lee) is an artist who primarily works in video installation and digital photography. Her work and research explore how her personal experiences inform social and cultural predicaments specific to our time. She currently lives and works in Seoul, and will be in New York City to attend the MFA program of Columbia University in 2018. She received a BFA from the Rhode Island School of Design (RISD) in 2011 and the Ellen Battell Stoeckel fellowship from Yale University to attend the Yale Summer School of Art and Music in Norfolk in 2010. Her work has been exhibited at CHAPTER II, Korea (2016), Echigo-Tsumari Art Triennale, Japan (2015), Hangaram Art Museum, Seoul Arts Center, Korea (2013) and Roger Williams National Memorial, USA (2011).

curated by Jeongyoon Choi

이사라 작가는 10/20 오후 6시에 인사미술공간에서 진행하는 릴레이 토크 프로그램 <막간>에 최정윤 기획자와 함께 참여합니다.

6/10 ~ 7/9 함혜경 Hyekyung Ham (b. 1983)

함혜경은 한국에서 활동하고 있는 비디오 작가다. 그녀는 다양한 장소에서 수집된 이미지를 재구성하여 ‘누군가’의 독자적인 이야기로 만들어 내는 작업을 하고 있다. 그녀는 이미 존재하는 내러티브와 이미지를 도구로 새로운 이야기를 만드는 방식에 주목하며, 현실의 어떤 불편함, 불완전함, 언제 끝날지 모르는데 끝나버릴(린) 상황등을 나름의 방식으로 은유 한다.

Hyekyung Ham is a video artist currently working in South Korea. She collects and edits images from various places into a unique narrative of ‘someone’. By focusing on weaving new stories from already existing narratives and images as the main tool, her works represent a metaphor of discomfort and imperfection of truth, and situation which to end (or has ended) in indefinite time.

curated by Jeongyoon Choi

8/26 ~ 9/24 전현선 Hyunsun Jeon (b. 1989)

전현선은 현재 서울에 거주하며 작업하고 있다. 이화여자대학교에서 서양화를 전공하였으며 현재 동대학원을 수료했다. 이화익갤러리 (2016)와 플레이스막 (2015)에서 개인전을 열었고, 인사미술공간 (2016), 하이트컬렉션 (2015), 두산갤러리 (2015), 스페이스 K (2015) 등 다수의 그룹전에 참여하였다. 그림과 글이 담긴 <그림이 된 생각들(열림원)> 책을 출판했다.

Hyunsun Jeon lives and works in Seoul. She received her BFA in Painting and completed her master's course in Painting from Ewha Womans University. She had solo exhibitions at LEEHWAIK Gallery (2016) and Place MAK (2015). She participated in group exhibitions at Insa Art Space (2016), HITE Collection (2015), DOOSAN Gallery (2015) and Space K (2015). She also published the book Thoughts that Became Paintings (Yolimwon Publishing Group) with her paintings and writings.

curated by Jeongyoon Choi

10/14 ~ 11/12 박아람 Rahm Parc (b. 1986)

rahmparc.tumblr.com

박아람은 서울을 기반으로 작업하며, 2014년에 첫 개인전인 <자석 올가미 측량> (케이크 갤러리), 2016년에는 두 번째 개인전 <질, 량, 형> (갤러리 엠)을 열었다. 참여한 그룹전으로는 <우주생활> (일민미술관, 2015), <오늘의 살롱> (커먼센터, 2015), <분석적 목차> (케이크 갤러리, 2015), <평면 탐구> (일민미술관, 2015) 등이 있다.

Rahm Parc works in Seoul, Korea. She received a BA in Visual Communication Design from Gacheon University and a MFA in painting from Hongik University. She has had solo shows at Cake Gallery, Seoul (2014) and Gallery EM, Seoul (2016). She has also participated in group exhibitions at Il Min Museum, Seoul (2015), Common Center, Seoul (2015) and Cake Gallery, Seoul (2015). curated by Jeongyoon Choi 11/25 ~ 12/24 시아오시 비비안 비비안 친 Xiaoshi Vivian Vivian Qin (b. 1989) xiaoshiqin.co

시아오시 비비안 비비안 친은 중국 광저우와 뉴욕을 오가며 작업한다. Denison University에서 Communication Theories and Art를 학사 졸업하였고 Columbia University에서 석사 졸업하였다. 그는 Queens Museum, 뉴욕 (2016), Jewish Museum, 뉴욕 (2014), HB Station at Times Museum, 광저우 (2014), SPRING/BREAK ART Show (2016), Barnard College (2016), I: project space, 베이징 (2015), 221A Gallery, 벤쿠버 (2015), Flux Factory, 퀸즈 (2015), Ying Space, 베이징 (2016), Biljana Circs' curatorial project You Won't be Young Forever (2016)의 전시에 참여하였다. 비비안은 the Lotos Foundation Prize를 2015년에 수상하였고 Modern Weekly Magazine(周末画报)과 Leap Magazine에서 예술과 기술에 대한 글을 기고한다.

Xiaoshi Vivian Vivian Qin lives and works between Guangzhou, China, and New York City. She received her MFA from Columbia University (2015) and BA in Communication & Studio Art from Denison University (2012). Her work has been screened or exhibited in Queens Museum, New York (2016), Jewish Museum, New York (2014), HB Station at Times Museum, Guangzhou (2014), SPRING/BREAK Art Show (2016), Barnard College (2016), I: project space, Beijing (2015), 221A Gallery, Vancouver (2015), Flux Factory, Queens (2015), Ying Space, Beijing (2016) and at Biljana Circs’ curatorial project You Won’t be Young Forever (2016). She received the Lotos Foundation Prize in 2015. She writes about art and technology for Modern Weekly Magazine(周末画报) and Leap Magazine.

organized by Jenny Cho

2018 Weekend + 2/W 소개 2018년 위켄드와 2/W 는 하나의 고정된 디렉터쉽이 아닌 다양한 참여작가와 기획자가 공동으로 운영합니다.

앞으로 위켄드와 2/W 가 위치한 물리적 공간은 필요에 의해 유기적으로 합쳐지거나 나뉘어질 예정입니다. 더 많은 이름이 생기고 또 사라질 수도 있습니다. 공간에 관여하게 될 사람들 또한 특정한 역할이나 정체성에 얽매이지 않고 자유롭게 공간을 공유합니다.

이러한 새로운 구조를 통해 실험적이고 도전적인 작품과 기획을 마주하게 되기를, 또한 첫 전시를 하는 젊은 작가나 기획자에게는 새롭게 성장할 수 있는 틀을 스스로 구축할 수 있는 계기가 되기를 기대합니다.

In 2018, Weekend and 2/W will be operated by multiple curators and artists instead of a single artistic directorship.

The physical space of Weekend and 2/W will be organically structured as they could be put together or separated as needed. More identities can be added or removed, and the participating curators and artists are not bound to a particular role or identity.

With this new structure, we hope to provide an open platform where challenging young art and exhibitions of emerging artists and curators form their own frames of growth and development.

2018년 위켄드에서는 신진기획자 박혜린, 김연우가 역량있는 8명의 동세대 작가를 소개합니다. 기획자 소개를 포함한 2018년 위켄드 프로그램은 크리스마스 이브에 공개할 예정이오니 많은 관심 부탁드립니다. (공간문의: [email protected])

2/W는 위켄드 2층과 4층에 위치한 프로젝트 스페이스입니다. 찾아 주시는 관객, 참여 작가 그리고 기획자들이 함께 공유하고 운영합니다. (공간 및 참여 문의: [email protected])

Weekend is very pleased to introduce two emerging curators, Hae Lin Park and Yeon Woo Kim, and eight contemporary artists for 2018. Weekend program for the next year will be announced on Christmas Eve. (Inquiries: [email protected])

2/W is a project space located on 2nd and 4th floor of Weekend. 2/W introduces challenging young art and exhibitions through an open platform shared by participating artists, curators, and audience. (Inquiries: [email protected])

2017년 Weekend는 서울에서 독립 큐레이터로 활동하는 최정윤과 서울과 뉴욕을 오가며 활동하고 있는 제니조 작가가 공동설립한 공간으로 국내외 신진 작가들을 소개합니다.

Co-founded by Jeongyoon Choi, an independent curator based in Seoul and Jenny Cho, an artist based in New York and Seoul, Weekend introduces young and emerging local and international artists in Seoul.

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peckhampeculiar · 7 years ago

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Yes we can

The duo behind Hop Burns & Black have launched a pop-up summer beer emporium in Peckham.

The HB&B Can Station will open every Saturday throughout the summer at meat snack specialist Serious Pig, which is based in a railway arch at 42 Blenheim Grove.

It will offer a convenient way for people to get their hands on some of Hop Burns & Black’s best beers in can form, from breweries such as Beavertown, Cloudwater, Magic Rock, Northern Monk, Evil Twin, Lervig, Yeastie Boys and many more.

Hop Burns & Black co-owner Jen Ferguson, who runs the shop with her partner Glenn, said: “The main focus is to make it easy for people around the station area to get the world’s best craft beer to take away.

“However, the arch and its courtyard offers such a lovely space that it would be a shame not to use it, so people will also be able to sit back and enjoy a beer with some Serious Pig snacks on site as well.”

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naivelocus · 7 years ago

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Tracking protein function with sodium multi quantum spectroscopy in a 3D-tissue culture based on microcavity arrays

Bioreactor

Experiments were conducted using a MRI-compatible bioreactor containing a 3D culture in microcavity arrays that can be actively perfused as has been described earlier35. Further components of the setup are a reservoir for cell culture medium connected to a peristaltic pump and a gas mixing station. The bioreactor, connected to the perfusion pump and the medium reservoir, is shown in Fig. 1a. This setup ensures that during the whole experiment the cells can be supplied with cell culture medium at normoxic or otherwise required conditions. In contrast to the reactor which was previously used by Gottwald et al.34, this reactor has two compartments which can be independently perfused. Experiments with different perfusion conditions for each compartment are possible with this reactor type. A zoomed image of the bioreactor is depicted in Fig. 1b. Constant temperature of 37 °C inside the reactor was achieved by placing the reactor on a pre-heated animal bed. Regular temperature checks with an infrared thermometer (IR-SCAN-350RH, Voltcraft, Hirschau, Germany) were performed after removal of the reactor from the scanners’ isocenter.

Figure 1

(a) Bioreactor connected to the peristaltic pump which produces the pulsatile flow of 400 µl/min and a reservoir for cell culture medium. (b) Zoomed image of the bioreactor. The dotted line shows the area where the microcavity array is hosted in the reactor. (c) Fluorescence image of the microcavity array with cultured cells. The green color indicates living cells. (d) Custom built sodium surface coil.

Cell culture

For all experiments the hepatoma cell line Hep G2 (ATCC, HB-8065, Manassas, VA, USA) was used. Passaging and processing the cells for the bioreactor experiments was done according to previous works34,35,36. The main steps to inoculate the cells into the microcavities were as follows: the microcavity array was placed into a 6 cm petri dish and a drop of 150 µl cell culture medium containing approximately 6 × 106 cells was placed on top of the microcavity array. During the following two hour incubation period under standard cell culture conditions, the cells sedimented into the microcavities. Afterwards, 5 ml cell culture medium was added and the arrays were incubated for two more days leading to tissue-like three dimensional cell cultures. Fluorescence microscopy was performed to proof the viability of the cells after inoculation of the array (Fig. 1c).

Two identical laboratory bottles with 100 ml volume were put into a warm water bath. For proton measurements, one bottle contained 40 ml cell culture medium while the other contained cell culture medium spiked with 2 mM of the contrast agent gadoterate meglumine (Dotarem Guerbet, Paris, France). In case of the TQTPPI experiments, the medium in the second bottle was spiked with 20 mM strophanthin (Sigma-Aldrich, Munich, Germany). The bottles were connected to a three-way valve allowing switching from normal to spiked culture medium and vice versa. Cell viability during the experimental protocol was tested performing lactate dehydrogenase (LDH) measurements before and after treating the cells with 20 mM strophanthin.

Magnetic resonance setup

All MR experiments were carried out on a conventional small animal scanner with a magnetic field strength of 9.4 T (Biospec 94/20, Bruker, Ettlingen, Germany) using ParaVision 6.0 software. A combination of a commercial proton volume linear transmit-only resonator and a four element receive-only surface coil, placed directly on the bioreactor, was used for experiments at the proton frequency (ω0,H = 400.3 MHz). The direct contrast enhanced (DCE) proton experiments were used to monitor the time of the bolus to reach the bioreactor and to validate a homogenous distribution of the bolus in both chambers of the reactor.

The bioreactor perfusion kinetics were studied after injecting a 6 ml bolus containing 2 mM Dotarem in the circuit. The arrival as well as the distribution of the bolus in the reactor were tracked at a flow rate of 400 µl/min by use of a three dimensional T1 weighted RARE sequence with the following parameters: TR/TE = 900 ms/15 ms, RARE factor = 10, Repetitions = 32, Matrix = 64 × 64 × 64, FoV = 33 × 27 × 10 mm3, scan time per image = 3 min 50 s.

For sodium experiments, a custom built single loop sodium transmit-receive surface coil (Fig. 1d) was used. The coil had a diameter of 3 cm and was fully balanced using two trimmer capacitors for tuning it to the sodium resonance frequency (ω0,Na = 105.9 MHz) and matching the coil to 50 Ω inside the bore. Unloaded and loaded Q factors were equal to 398 and 386, respectively. The coil was directly placed on top of the bioreactor. In order to achieve a sufficient magnetic field homogeneity an automated shimming procedure up to the second order was applied using sodium MR signals.

The microcavity array was placed in the bioreactor immediately before each TQTPPI experiment. In a following step all air bubbles were removed from the perfusion system. Each experiment started with the injection of a 6 ml bolus. In case of the control experiment it was a phantom bolus from two bottles with identical cell culture medium without any other substances. In case of Na-/K-ATPase blockage it was a bolus with 20 mM strophanthin. The medium supply was switched from one culture medium to the other via the three-way valve.

The response of the cell culture to the presence of strophanthin was observed during bolus injection and its wash out. A perfusion protocol (flow rate 400 µl/min) containing four different stages was used. During the first stage (15 min) the strophanthin bolus was pumped into the circulation system. Subsequently, constant supply of normal cell culture medium was maintained for the next 38 min (stage 2). This time interval was chosen based on the DCE perfusion study the and necessity to provide homogenous distribution of the bolus within the reactor volume. The perfusion pump was switched off for the next 30 min (stage 3). Then, the pump was turned on for more than 57 min (stage 4) to ensure a complete clearance of the strophanthin bolus. The resulting overall experimental time was 140 min.

MQ spectroscopy was performed using a TQTPPI sequence with three 90° excitation radio frequency (RF) pulses according to the pulse scheme 90° − TEvo − 90° − TMix − 90° (Fig. 2)11. The parameters TEvo and TMix depict the evolution and mixing time, respectively. A 16 step phase cycle with corresponding time step increments was used to separate SQ and TQ resonances. The contributions from DQ resonances are rather unspecific and their suppression can enhance the quality of the applied fitting routine (see paragraphs below for more details). The proposed phase cycling scheme consists of two phase parameters (α and β), which are applied to the first and second RF pulse. The third RF pulse was applied at a constant phase. During the phase cycle, the parameter β was altered between 90° and 270° after each step while α was incremented by steps of 45° after each second iteration. Along with the phase increment of α, the evolution time was simultaneously incremented with the step width Δ (typically 150 µs). The subsequent steps with different values for β and equal values for α and TEvo were added up to suppress contributions from DQ transitions. The value for TMix was kept at the minimal value, equal to the pulse length. The length of the excitation RF pulses was dependent on the density of the cell culture, the typical values were found to be between 30 and 70 µs.

Figure 2

Pulse scheme of the TQTPPI pulse sequence, which consists of three 90° radio frequency excitation pulses with pulse phases α and β. The inter pulse delays are called evolution (TEvo) and mixing time (TMix). During the phase cycle α and TEvo are incremented simultaneously while β is altered between 90° and 270°. The receiver for data acquisition is represented by ACQ(R).

Thus, 640 free induction decays (FIDs), were recorded using a TR of 140 ms and 2048 complex data points resulting in an acquisition time of 4 min for each single TQTPPI spectrum. With the proposed sequence parameters 35 TQTPPI spectra were necessary to cover the whole perfusion protocol.

Data analysis

The phase shifts in the MR signal arising from the receiving electronic were removed. Each first FID in the phase cycle was phase corrected with respect to the acquisition time domain. The same correction factor was applied to every following FID. Subsequently, a Fourier transform (FT) was performed along the acquisition time domain. Real parts of the resulting spectra at the sodium resonance frequency ω0,Na along the evolution time domain were used to construct a TQTPPI-FID. Sodium TQTPPI spectra were obtained by applying a second FT to the constructed TQTPPI-FID. Real parts of all TQTPPI spectra were phase corrected manually and fitted in MATLAB (R2015a, The MathWorks Inc., Natick, MA, USA) using a non-linear least squares fit. The following spectral peak models were used for fitting the SQ and TQ data7, 27:

SQ Part:

S SQ ( S 0 , SQ , λ SQ , ω SQ , ω 0 , SQ , C SQ ) = S 0 , SQ λ SQ λ SQ 2 ( ω 0 , SQ − ω SQ ) 2 + C SQ

TQ Part:

S TQ ( S 0 , TQ , λ TQ , 1 , λ TQ , 2 , ω TQ , ω SQ , C TQ ) = S 0 , TQ ( λ TQ , 1 λ TQ , 1 2 ( 3 ω 0 , SQ − ω TQ ) 2 − λ TQ , 2 λ TQ , 2 2 ( 3 ω 0 , SQ − ω TQ ) 2 ) + C TQ

S0,SQ, S0,TQ, ωSQ and ωTQ depict the signal amplitudes and frequencies of the different resonances, respectively. The full width at half maximum (FWHM) for the single Lorentzian SQ resonance is represented by λSQ. TQ spectral peaks were assumed to consist of two peaks with different values λTQ,1 and λTQ,2 for FWHM7, 27. Prior to fitting, expected SQ (ω0,SQ) and TQ (ω0,TQ) resonance frequencies were estimated according to the published procedure27. Constants CSQ and CTQ were added to compensate for DC offsets during acquisition. Areas under the SQ and TQ peaks were calculated by numeric integration of the fitted curves and used to calculate the relative TQ intensity (TQ/SQ).

Correlation analysis was also performed in MATLAB using its built in corr() function to evaluate correlation coefficients (R) and significance levels (p) values.

— Nature Scientific Reports

#Nature Scientific Reports #Tracking protein function with sodium multi quantum spectroscopy in a 3D-

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weekend-seoul · 7 years ago

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모든 것과 아무것도

FORESTS AND SWAMPS

전현선

Hyunsun Jeon

2017. 8. 25 ~ 9. 24

Opening Reception: Friday, 8. 25, 5 - 7 PM

‘모든 것’과 ‘아무것도 아닌 것’. 이처럼 양 끝에 있어 만날 수 없을 것 같은 정반대의 개념들은, 어쩌면 등을 맞대고 있는 두 사람처럼 마주 볼 수는 없지만 서로를 느끼고 있는 것이 아닐까 하는 생각이 든다. 캔버스 위에 그림을 그리는 일은 꿈속에 있는 것처럼 모든 것이 가능한 일인 동시에 기억나지 않는 꿈처럼 아무것도 아닐 수도 있다는 불안함과 두려움을 주는 일이기도 하다. 이런 정반대의 생각은 스위치의 on/off처럼 수없이 깜박이지만, 그 연속 안에서 어떤 견고한 숲을 만들어 나가려고 한다. 물론 그 숲은 갑자기 무너져내려 늪이 되기도 하지만 계속 그림을 그려나간다. 질문에서 시작해서 질문으로 끝난다고 하더라도 그사이에 몇 개의 깃발을 꽂을 수 있다면 그것은 그림을 그리는 이유가 되어 조금씩 화면을 채워나간다. 작은 부분들이 모여 이룬 전체 화면은 무언가를 외친다기보다는 모호한 상황만을 제시한다.

‘Everything’ and ‘nothing’; these two opposite concepts are perhaps similar to two people standing back to back. They are unable to look into each other's eyes, but still have a glimpse of one’s presence. The act of painting makes everything possible like in a dream. At the same time, this world can be a source of anxiety and discomfort as the potential may never be realized. While these two contradicting thoughts continuously flicker like an on/off switch, each small pieces piles up into a rigid forest. Even if that forest slides down into swamps, the act of painting shall be continued nonetheless. The works may begin and end with questions, and my reason to fill out the canvas is derived from a possibility to discover some values among those questions. This cluster of small segments comprises into a whole plane, alluding to ambiguous situations rather than crying out for an answer.

2017 Weekend Program

12/17 ~ 1/22 이환희 Fanhee Lee (b. 1990)

fanheelee.com

이환희는 현재 서울에서 거주하며 작업하고 있다.

Fanhee Lee lives and works in Seoul, Korea.

이환희 작가는 9/6~9/27동안 SOPHIS GALLERY에서 두번째 개인전 <Gambit>을 선보입니다.

2/4 ~ 3/5 조나 킹 Jonah King (b. 1985)

jonahking.info/

조나 킹의 비디오 설치 작품은 디지털 기술이 자연과 인간의 심리관계에 어떤 영향을 끼치는지를 탐구한다. 그는 허구와 사실적 이야기들을 지역 사회공동��나 배우들과 스튜디오에서 촬영한 영상들로 엮어낸다. 유토피아나 종말론적 꿈과 같은 사변적인 내러티브를 환기함으로써 작가는 최근 크게 디지털화 되고 있는 인간 생태계의 의미에 대해 질문을 던진다. 조나 킹은 2012년에 더블린의 National College of Art & Design을 수석으로 졸업하였고, 2016년에는 Columbia University에서 석사학위를 취득했다.

organized by Jenny Cho and NaJeong Lee

3/18 ~ 4/16 이희준 Heejoon Lee (b. 1988)

curated by Jeongyoon Choi

5/6 ~ 5/28 이사라 Yi Sa Ra (b. 1988)

yisara.com

curated by Jeongyoon Choi

6/10 ~ 7/9 함혜경 Hyekyung Ham (b. 1983)

curated by Jeongyoon Choi

함혜경 작가는 9/1~9/24동안 갤러리룩스에서 장보윤 작가와 함께 2인전 <유영하는 삶 Floating Life>에 참여합니다.

8/26 ~ 9/24 전현선 Hyunsun Jeon (b. 1989)

curated by Jeongyoon Choi

10/14 ~ 11/12 박아람 Rahm Parc (b. 1986)

rahmparc.tumblr.com

organized by Jenny Cho

Weekend 로고 디자인: 윤지수 Jisoo Yoon (b. 1989)

jisooyoon.com

윤지수는 서울에 거주하며 작업하는 그래픽 디자이너다.

Jisoo Yoon is a graphic designer who lives and works in Seoul.

Weekend는 서울에서 독립 큐레이터로 활동하는 최정윤과 서울과 뉴욕을 오가며 활동하고 있는 제니조 작가가 공동설립한 공간으로 국내외 신진 작가들을 소개합니다.

Co-founded by Jeongyoon Choi, an independent curator based in Seoul and Jenny Cho, an artist based in New York and Seoul, Weekend introduces young and emerging local and international artists.

Weekend in partnership with 67 in NY,

USCA in Antwerp, Belgium

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