#delattic

[frenchcurious]

André Delatte (1887-1953) lampe de table en verre émaillé et bronze patiné, vers 1930. - source Cristina Ardelean.

[myvinylplaylist]

Lillian Axe - Out Of The Darkness Into The Light (1987-1989) (1991)

I.R.S. Records

[robotpoetry]

TILL

"Till"

He Stays While The Woes Matte

The Fire Of The Dovelike Pratte

Silent Valleys Wild Farewell Wise

I Used To Find His Ais

---

And Your Day And Lick And Reputed

And Play And The Ended

St Not Speak He Is Matt

Like Harmonious Thunderings The Delatte

[thierrylidolff]

LIRE « L’Etat droit dans le mur - Rebâtir l’action publique »

UNE ACTION PUBLIQUE EN FAVEUR DES ENTREPRISES PLUS QUE DES MÉNAGES Au fil d’une longue enquête chiffrée, l’économiste Anne-Laure Delatte met à mal dans son livre certaines idées reçues sur l’action publique et montre qu’elle tend à favoriser davantage les entreprises que les ménages. « L’Etat droit dans le mur. Rebâtir l’action publique », d’Anne-Laure Delatte, Fayard, ARTICLE « L’Etat droit…

[delattic]

SUNSET X DEL’ATTIC

Fotografía: Jesús Pousada para DEL’ATTIC

[bastianhallix]

so im playing the sims 4 again after 3 years and

i tried ¯\_(ツ)_/¯

[dijonbeaune]

Face au maire #1 : Jean-François Dodet, maire-médecin de Saint-Apollinaire

En Côte-d’Or comme ailleurs, la période a réaffirmé la place d’un maire dans le destin d’un territoire. DBM et DijonBeaune.fr en font une chronique inédite et invitent un casting d’élus départementaux, homme comme femme, devant l’objectif de Jean-Luc Petit. Jean-François Dodet, maire-médecin de Saint-Apollinaire, est assez bien placé pour inaugurer le concept…

Jean-François Dodet est maire…

[cwkarl]

Air France, Airbus A380. Credit: Grégoire Delatte #airlines #airfrance #france #airbus #airbusa380 https://www.instagram.com/p/CVDcJr_Arim/?utm_medium=tumblr

[artisticlegshake]

24 SEVEN NEW ORLEANS RESULTS 2020/21

TEEN SOLOS:

1st Braylon Browner - DANCE WORKS + STC!

1st Cambry Bethke - THE DANCE KOLLECTIVE STC!

2nd Tegan Chou - AMD STC!

2nd Mariella Saunders - JEAN LEIGH STC!

3rd Lola Iglesias - MLDA STC!

4th Angelina Brennan - STARS STC!

5th Faith Stoner - THE POINTE PAC STC!

5th Sofia Andrus - MLDA STC!

5th Kenzie Jones - DANCEPLEX STC!

6th Jenna Laurent - MODERN CONCEPTIONS STC!

7th Charlie Kauter - NOR CAL STC!

7th Kameron Couch - WESTSIDE STC!

7th Keiran Holmes - THE DANCE KOLLECTIVE STC!

7th Katie Couch - WESTSIDE STC!

8th Hannah Sullivan - PROJECT C STC!

8th Sadie Grace Bethke - THE DANCE KOLLECTIVE STC!

8th Mackenzie Couch - WESTSIDE STC!

8th Camila Robles - UNLIMITED STC!

8th Molly Henry - JBP ENTERTAINMENT STC!

8th Darbye Simpson - SPOTLITE STC!

9th Liza Grace Cole - THE DANCE CENTRE STC!

9th Mikayla Welch - JEAN LEIGH STC!

9th Samyria Mason - SHEFFIELD STC!

9th Elise LeBlanc - MODERN CONCEPTIONS STC!

10th William Huguet - JEAN LEIGH STC!

10th Julissa Ortiz - NOR CAL STC!

10th Renee Bergeron - STARS STC!

10th Lawsen Hooker - WILLIAMS CENTER STC!

10th Chloe Barbara - TO THE POINTE STC!

SENIOR SOLOS:

1st Sophia Seymour - THE DANCE KOLLECTIVE STC!

2nd Kennedy Barry - DANCEOLOGY STC!

3rd Olivia Abadie - MODERN CONCEPTIONS STC!

3rd Paulina Gonzalez - UNLIMITED STC!

4th Sarah Hladky - MODERN CONCEPTIONS STC!

4th Kaylie Wood - JEAN LEIGH STC!

4th Lillian Pitre - TO THE POINTE STC!

5th Mallory L’Hoste - DANCER’S POINTE STC!

6th McKenzie Schaffer - JEAN LEIGH STC!

6th Eva Delatte - A TOUCH OF CLASS STC!

6th Hayden Folse - THE MOVEMENT STC!

7th Harper Simpson - SPOTLITE

7th Sofia Garcia - UNLIMITED

8th Paulina Arzu - UNLIMITED

9th Makayla Masters - SANTA ROSA

10th Jolie Ferguson - MODERN CONCEPTIONS

[mfslg]

Paul Christophe

Agnès Firmin Le Bodo

Dimitri Houbron

Loïc Kervran

Patricia Lemoine

Alexandra Louis

Maina Sage

Erwan Balanant

Géraldine Bannier

Philippe Berta

Christophe Blanchet

Vincent Bru

Jean-Pierre Cubertafon

Marguerite Deprez-Audebert

Nadia Essayan

Perrine Goulet

Brahim Hammouche

Cyrille Isaac-Sibille

Christophe Jerretie

Fabien Lainé

Jean-Paul Mattéi

Sophie Mette

Philippe Michel-Kleisbauer

Patrick Mignola

Jimmy Pahun

Frédéric Petit

Sabine Thillaye

Nicolas Turquois

Michèle de Vaucouleurs

Philippe Vigier

Sylvain Waserman

Saïd Ahamada

Éric Alauzet

Aude Amadou

Pieyre-Alexandre Anglade

Christophe Arend

Stéphanie Atger

Françoise Ballet-Blu

Aurore Bergé

Pascal Bois

Julien Borowczyk

Éric Bothorel

Pascale Boyer

Yaël Braun-Pivet

Jean-Jacques Bridey

Anne Brugnera

Stéphane Buchou

Carole Bureau-Bonnard

Pierre Cabaré

Céline Calvez

Christophe Castaner

Anne-Laure Cattelot

Philippe Chalumeau

Fannette Charvier

Stéphane Claireaux

Christine Cloarec-Le Nabour

Fabienne Colboc

Dominique Da Silva

Olivier Damaisin

Yves Daniel

Catherine Daufès-Roux

Dominique David

Marc Delatte

Jacqueline Dubois

Nicole Dubré-Chirat

Audrey Dufeu

Stella Dupont

Camille Galliard-Minier

Anne Genetet

Olga Givernet

Guillaume Gouffier-Cha

Fabien Gouttefarde

Carole Grandjean

Stanislas Guerini

Véronique Hammerer

Danièle Hérin

Sacha Houlié

Guillaume Kasbarian

Yannick Kerlogot

Fadila Khattabi

Daniel Labaronne

Michel Lauzzana

Célia de Lavergne

Gaël Le Bohec

Nicole Le Peih

Marie Lebec

Christophe Leclercq

Marion Lenne

Monique Limon

Richard Lioger

Sylvain Maillard

Sereine Mauborgne

Thomas Mesnier

Thierry Michels

Patricia Mirallès

Jean-Michel Mis

Sandrine Mörch

Jean-Baptiste Moreau

Florence Morlighem

Cendra Motin

Claire O’Petit

Catherine Osson

Xavier Paluszkiewicz

Sophie Panonacle

Zivka Park

Hervé Pellois

Alain Perea

Anne-Laurence Petel

Bénédicte Pételle

Bénédicte Peyrol

Michèle Peyron

Béatrice Piron

Jean-Pierre Pont

Éric Poulliat

Florence Provendier

Bruno Questel

Isabelle Rauch

Rémy Rebeyrotte

Stéphanie Rist

Mireille Robert

Cédric Roussel

Nathalie Sarles

Jean-Bernard Sempastous

Bruno Studer

Liliana Tanguy

Sylvain Templier

Jean Terlier

Vincent Thiébaut

Valérie Thomas

Alice Thourot

Stéphane Travert

Marie-Christine Verdier-Jouclas

Stéphane Vojetta

Guillaume Vuilletet

Hélène Zannier

Sce :

Pour les repérer :

Jean-Baptiste Moreau (l'unique dė-pute-eh de la Creuse)

[denimatio]

On arrive à des conclusions semblables quand on étudie les textes néo-platoniciens qui se rapportent au miroir de Dionysos. Dans le culte dionysiaque, certains objets étaient tenus pour sacrés et jouaient un rôle soit comme instruments du culte, soit comme symboles : les auteurs citent un miroir, une toupie, une pomme de pin, des pommes, des osselets, une balle, etc. La légende orphique racontait que c'étaient les jouets avec lesquels Héra ou les Titans avaient amusé le dieu enfant Zagreus, afin de pouvoir plus aisément perpétrer leur forfait : on sait qu'après l'avoir assassiné, ils le mirent en pièces. Le rôle du miroir dans cet épisode est particulièrement mis en relief par Nonnus et par Firmicus Maternus.

Les néo-platoniciens se sont emparés de cette légende et, selon leur habitude, l'ont interprétée symboliquement. "Le miroir, dit Proclus, a été traité par les théologiens comme un emblème de l'aptitude à l'achèvement spirituel de l'Univers. C'est pourquoi Héphaïstos, disent-ils, fabriqua pour Dionysos un miroir : le dieu y ayant contemplé son image sortit (de lui-même) et se répandit dans toute la création divisible". Ailleurs, il rappelle que, d'après les poèmes orphiques, "les images de Dionysos régissent la génération et reçoivent la forme complète du modèle", et qu'il faut leur attribuer "les compositions et les divisions (des êtres) et les lamentations". On trouve la même doctrine chez Olympiodore : "Dionysos ayant mis son image dans le miroir, la suivit ; il fut ainsi divisé et forma les éléments de l'univers". Plotin y fait aussi allusion dans un passage où il compare les âmes qui sont attirées sur la terre par la contemplation de leurs propres images à Dionysos qui, en regardant son reflet dans le miroir, a subi la même attraction. — Armand Delatte (La catoptromancie grecque et ses dérivés, 1932) Le symbole du miroir, attribué à Dionysos par la tradition orphique, donne à ce dieu une signification métaphysique que Nietzsche ne parvint pas à démêler. En se regardant dans un miroir, le dieu voit le monde comme sa propre image. Le monde est donc une vision, sa nature n'est que connaissance. Le rapport entre Dionysos et le monde est le même que celui entre la vie divine, indicible, et son reflet. Ce dernier ne nous donne pas la reproduction d'un visage, mais l'infinie multiplicité des créatures et des corps célestes, l'écoulement démesuré de figures et de couleurs : tout cela est rabaissé au rang de semblant, d'image dans un miroir. Le dieu ne crée pas le monde : le monde est le dieu lui-même en tant qu'apparence. Ce que nous croyons être la vie, le monde qui nous entoure, est la forme en laquelle Dionysos se contemple, s'exprime face à lui-même. Le symbole orphique ridiculise l'antithèse occidentale entre immanence et transcendance, au sujet de laquelle les philosophes ont fait couler beaucoup d'encre. Il n'y a pas deux choses, dont il faudrait se demander si elles sont séparées ou bien unies, mais une seule: le dieu, dont nous sommes l'hallucination. Nietzsche est proche de cette conception de Dionysos dans La Naissance de la tragédie, bien qu'avec une coloration schopenhauerienne excessive ; par la suite sa croyance obstinée à l'immanence a fait obstacle à sa pénétration. — Giorgio Colli (Après Nietzsche, 1987)

photo : Victoria Audouard, 2013

[robotpoetry]

POEM

"Poem"

I Must Seek Thee And Kratt

It Was Dark Mother Inmarsat

Thus Then If At The Wyland

Light Had Just Removed The Thistles Stangeland

---

Gently Hear Hovering And Pale Dobrynin

Driven Out And Heaberlin

Rising From Its Voice Delatte

Unseen Descending The Old At

[subrotonayak]

I am looking into the codebook “Mars Study” in details because I’m very much fascinating to learn about the red planet. I would like to study how Mars territorial features are interlinked. Craters are the main territorial feature which is being studied by many researchers in recent time. Major challenges of craters study are limited availability of datasets. Future astronomy will be depending on data science application on it. So it will be interesting if we can study and identify craters parameters which are highly correlated

The hypothesis is: How Mars crater depth related to its latitude and longitude circle image

There are lot of reading on these subjects. Following are selected useful studies related to hypothesis identified

1.      Automated crater detection on Mars using deep learning, Planetary and Space Science Volume 170, June 2019, Pages 16-28 (https://doi.org/10.1016/j.pss.2019.03.008 )

2.      EXPLORATION OF MACHINE LEARNING METHODS FOR CRATER COUNTING ON MARS. D. M. DeLatte et al Univeristy of Tokyo, Department of Aeronautics and Astronautics, 7-3-1 Hongo, Bunkyo, Tokyo 113-8654

3.      Detecting Impact Craters in Planetary Images Using Machine Learning, T. F. Stepinski et al

4.      Training of a crater detection algorithm for Mars crater imagery, Tatiana Vinogradova and Eric Mjolsness

5.      Martian Crater Identification Using Deep Learning, Lee C (https://ui.adsabs.harvard.edu/abs/2018AGUFM.P41D3768L/abstract)

[artandfeminism]

2019 WIKIPEDIA EDIT-A-THON SATURDAY, MARCH 2 AT THE MUSEUM OF MODERN ART WITH HUNDREDS OF EVENTS INTERNATIONALLY THROUGHOUT THE MONTH OF MARCH

FEBRUARY 14, 2019 FOR IMMEDIATE RELEASE PRESS CONTACT: MOLLY KURZIUS, molly_kurzius@moma.org

New York City -- Art+Feminism’s sixth-annual Wikipedia Edit-a-thon, an all-day event designed to generate coverage of gender, feminism, and the arts on Wikipedia, will take place at the Dorothy and Lewis B. Cullman Education and Research Building, The Museum of Modern Art, New York, 4 West 54 Street, on Saturday, March 2, 2019 from 10 a.m. to 5 p.m. The much-anticipated event features panel discussions, workshops, tutorials for the beginner Wikipedian, ongoing editing support, reference materials, childcare, and refreshments. People of all gender identities and expressions are encouraged to attend.

“This year we focused on growth, both in people and in focus,” said Art+Feminism lead co-organizers Siân Evans, Jacqueline Mabey, McKensie Mack, Michael Mandiberg, and Melissa Tamani Becerra. “We welcomed Melissa Tamani Becerra as lead co-organizer, we now boast thirteen of Art+Feminism regional organizers from Accra to Taiwan, and we’ve brought on Community and Communication Fellows with the goal of training the next generation of activists in the arts. And, in focusing our 2019 campaign on editing about non-binary topics, we made public our personal commitment to an expansive understanding of gender. This way, we can better represent the gender identities of Art+Feminism organizers and participants."

The Edit-a-thon at The Museum of Modern Art will feature a series of programs throughout the day. This year’s event kicks off with a conversation exploring visibility and vulnerability, featuring writer and archivist Che Gossett; performance artist, writer, and educator Alok Vaid-Menon; and Simone Browne, an Associate Professor in the Department of African and African Diaspora Studies at the University of Texas at Austin. The discussion is moderated by Danielle A. Jackson, Curatorial Assistant, Department of Media and Performance Art, The Museum of Modern Art.

The Edit-a-thon will also feature Gallery Sessions on feminist art; a discussion of the forward-thinking teaching artists who shaped the development of the Department of Education via materials in the library archives; a workshop on creating boundaries to combat implicit and explicit bias; and a teach-in on deleting and defending articles on Wikipedia. With the intention of making women artists and photographers of the African Diaspora more visible, The Black Lunch Table hosts their Wikimedia Photo Booth. Professional photographers Laylah Amatullah Barrayn, Andrea Cauthen, and Adama Delphine Fawundu will be on hand taking portraits for upload to Wikimedia Commons. Communal editing tables will be hosted by AfroCROWD, an organization that increases awareness of free culture movements among people of African descent, and POWarts, which champions the professional lives of women in the art world. Across the street, New York Public Library’s 53rd Street Branch will host Drag Queen Story Hour and offer a zine-making workshop.

In addition to the Edit-a-thon at The Museum of Modern Art, New York City will play host to events at a wide range of institutions, including The Jewish Museum (March 3); Kickstarter (March 3); International Center of Photography (March 9); Interference Archive (March 10); Bard Graduate Center (March 16); Columbia University (March 16); Pratt Institute (March 19); The School of Visual Arts Library (March 21); Hauser & Wirth (March 27). Internationally, edit-a-thons will take place during the month of March at hundreds of institutions such as Impact Hub, Accra; Kunstmuseum Basel; The Wexner Center for the Arts, Columbus; Buni Innovation Hub, Dar es Salaam; Pand P, Eindhoven; Università degli studi di Salerno, Fisciano; MAMCO, Geneva; Asia Art Archive, Hong Kong; Cornell University, Ithaca; Musée d’art de Joliette; ICA, Los Angeles; Initiative for Indigenous Futures, Montreal; University of Nigeria, Nsukka; Mills College Art Museum, Oakland; Centre Culturel Suisse, Paris; Le Musée national des beaux-arts du Québec, Quebec City; University of Nevada, Reno; Museo Nacional de Bellas Artes, Santiago; Womany Wonderland, Taipei City; Morris and Helen Belkin Art Gallery, The University of British Columbia, Vancouver; Winston-Salem State University; Material Zürich; and online in a month-long Edit-a-thon led by Women in Red.  An updating list of venues can be found on the Art+Feminism’s website: http://www.artandfeminism.org/find-an-event/

On the eve of the March Edit-a-thons, Art+Feminism announced the release of new artworks from Wendy Red Star and Tuesday Smillie, created under the auspices of the Call to Action art commissions program. Established in 2017, artists are invited to create Creative Commons licensed works to be hosted on Wikimedia Commons; Divya Mehra’s Dangerous Women (Blaze of Glory) was the inaugural commission. Ashkaamne (matrilineal inheritance) (2019) by Wendy Red Star depicts the artist and her daughter, Beatrice Red Star Fletcher, reclining in matching striped shirts and blankets, with the words, “Apsáalooke feminist,” repeated in the background. Apsáalooke inheritance is based on matrilineal descent, tracing affiliation along with the mother-to-daughter line; the image represents a lineage, female empowerment, and the next generation.  Rage/Sorrow (2018) by Tuesday Smillie is an animated GIF. The text “RAGE” appears large, filling the square format from left to right. “RAGE” is quickly obscured by a cascade of rectangles and the text, “SORROW,” repeated in a smaller font. Rage/Sorrow, a born-digital work, suggests the role of technology and the internet in nurturing and exacerbating pre-existing social divisions. The endless loop of the GIF mimics a cycle of anger and anguish produced by the constant stream of horrifying news.

Founded in 2014 by Siân Evans, Jacqueline Mabey, Michael Mandiberg and Laurel Ptak, Art+Feminism is a do-it-yourself campaign to improve coverage of gender, feminism, and the arts on Wikipedia. Wikipedia’s gender trouble is well-documented; in a 2011 survey, the Wikimedia Foundation found that less than 10% of its contributors identify as women. This lack of participation has led to significant gaps in content on the world’s most popular online research tool. Since 2014, over 10,000 people at more than 800 events around the world have participated in our edit-a-thons, resulting in the creation and improvement of more than 33,000 articles on Wikipedia.

The 2019 Wikipedia Edit-a-thon at The Museum of Modern Art is organized by Art+Feminism, led by Siân Evans, Jacqueline Mabey, McKensie Mack, Michael Mandiberg, and Melissa Tamani Becerra, in collaboration with AfroCROWD, Black Lunch Table, Women in Red, the Professional Organization for Women in the Arts (POWarts) and The Museum of Modern Art, New York and with support from Qubit New Music, Inc. and Wikimedia NYC.

Art+Feminism’s Regional Ambassadors are Mohammed Sadat Abdulai, Accra; Marta Delatte, Barcelona; Daniela Brugger, Basel; Walaa Abdel Manaem, Cairo; Medhavi Gandhi, Chandigarh; Amanda Meeks, Flagstaff; Dominique Eliane, Ivory Coast; Stacey Allan, Los Angeles; Amber Berson, Montreal; Linden How, Portland; Taryn Tomasello, Portland; Juliana Monteiro, São Paulo and Jessie Mi, Taiwan. The 2019 Fellows are Keon Dillon and Nina Yeboah.

The Art + Feminism Wikipedia Edit-a-thon at The Museum of Modern Art is supported by The Modern Women’s Fund.

The Art + Feminism initiative is made possible by the Wikimedia Foundation.

Education at MoMA is made possible by a partnership with Volkswagen of America.

[delattic]

BIGGIE SMALLS X DEL’ATTIC

Fotografía: Jesús Pousada