#hans hatfield

[looooooong]

Done!! I thought I would never finish this art😔

[ewwwabug]

WTF A LOT OF MY OCS (even unposted galaction)!!!! i cant even imagine how much time you spent on this!!!?? thank ypu sm for this epic wonderful drawinh😭😭😭😭 i will be looking into all the details here for a long time

High resolution here  

HBD for my epic friend Pela<3

[unblogparaloschicos]

TV: Rickie Vasquez

“My So-Called Life“ (1994-1995) es de esas series que han dejado huella aunque nunca haya pasado de la primera temporada. Es, más aún, de esos programas que han merecido que fans y críticos atacasen a las esferas más altas de un canal televisivo por no haberle dado otra oportunidad a una joya que casi pasa al olvido, caso reiterado en otras maravillas televisivas como “Freeks and Geeks” (1999-2000, una temporada) o “Anne With An E” (2017-2019, tres temporadas), por citar sólo dos ejemplos cuyo destino interrumpido ha dejado un mal sabor de boca a los fans.

Gran exponente de la adolescencia noventosa (mención de honor para su creadora, Winnie Holzman), la historia se enfoca en la joven protagonista Angela Chase (Claire Danes), que nos pone al tanto de sus experiencias familiares, sociales, escolares y, desde luego, románticas. Así conocemos a su mejor amiga Rayanne Graff (A. J. Langer), a su vecino y compañero Brian Krakow (Devon Gummersall), a Jordan Catalano, el chico rebelde que le gusta (nada raro, considerando que lo encarna el ganador del Oscar Jared Leto) y, claro está, el inolvidable Enrique “Rickie” Vasquez (Wilson Cruz), considerado el primer adolescente abiertamente gay en una serie de primetime.

Al principio, sólo parece el “amigo afeminado” de la protagonista, pero a partir del tercer episodio, en el que se toca el tema de las armas en las escuelas, su personaje se vuelve más complejo y su historia comienza lentamente a tomar mayor importancia, aunque sin abandonar demasiado ese rol secundario. Por caso, en el undécimo episodio, narrado por Brian, Rickie se enamora de un chico nuevo, de nombre Corey Halfrick (Adam Biesk), atento a su intuición que le advierte de que puede ser gay debido a sus coloridas zapatillas y a su estilo tan peculiar como el suyo. Más que enamoramiento, su fascinación puede deberse a la posibilidad de compartir su experiencia con otro chico gay.

Sin embargo, su historia tendrá mayor relevancia a partir del episodio navideño llamado “So Called Angels”, en donde Rickie aparece muy golpeado y huyendo de su hogar, que compartía con sus tíos. Si uno conoce al personaje, ya se imaginará lo que en realidad le sucedió (aunque no se explicita mucho en el capítulo), pero allí es un alma perdida, vagando por las calles en el crudo invierno y “protegido” por una misteriosa y angelical figura, encarnada por la cantante Juliana Hatfield. El propósito del episodio es reflejar la realidad de los chicos que han sido perdidos o abandonados por sus familias y, al final del episodio, se publica un número telefónico para llamar a la acción del público.

Posteriormente al final feliz del capítulo, el siguiente lo encuentra siendo recuperado y protegido por los Chase, pero esta tranquilidad dura poco, ya que decide volver a escaparse tras escuchar una preocupada conversación entre los dueños de casa. Simula estar bien y asegura tener un hogar adónde ir, pero la fachada de seguridad es descubierta por su profesor de Lengua, Richard Katimski (Jeff Perry), que le encuentra un lugar donde chicos como él pueden cobijarse. Rickie vuelve a escaparse... para llegar a la casa de su profesor, que vive con su pareja, que es otro hombre, adonde vive de forma temporal. El cierre de la temporada, que es el de la serie, lo muestra junto a Delia Fischer (Senta Moses), la chica que se ha enamorado de él, confirmándole que es homosexual, pero que, en caso de no serlo, sin duda la elegiría a ella como pareja.

Un personaje esencial en una serie imprescindible cuyo eco resuena desde entonces, como ejemplo cabal de los sinsabores de la adolescencia LGBTQ y ha servido para ofrecer visibilidad y esperanza, incluso, para el propio Cruz, como lo recalca en esta nota:

https://www.today.com/popculture/my-so-called-life-star-wilson-cruz-reflects-impact-his-t217985

[lemuelhoben]

Nike Air Max 90: Celebrando la Revolución de Confort y Estilo

En el panorama de la moda deportiva, el Nike Air Max 90 se erige como un monumento a la innovación, el confort y el estilo. Desde su lanzamiento en 1990, este icónico calzado no solo ha redefinido lo que esperamos de las zapatillas, sino que también ha dejado una huella imborrable en la cultura popular. Este artículo celebra la revolución que el Air Max 90 ha traído al mundo del calzado.

Orígenes Innovadores

El Nike Air Max 90, diseñado por el legendario Tinker Hatfield, se introdujo inicialmente como el Air Max III. Este modelo revolucionó el concepto de zapatillas con su unidad de aire visible en el talón, ofreciendo no solo un aspecto único sino también una amortiguación sin precedentes.

Un Diseño Emblemático

Con su silueta distintiva y su paleta de colores audaz, el Air Max 90 desafió las expectativas y definió una era. Su diseño combinaba funcionalidad y estilo, lo que lo convertía en una opción popular tanto para atletas como para amantes de la moda. El uso de materiales como cuero y malla, junto con su característica cámara de aire, lo convirtió en un clásico instantáneo.

Impacto Cultural y Moda

El Air Max 90 trascendió rápidamente el mundo del deporte para convertirse en un ícono de la moda urbana. Ha sido adoptado por diversas subculturas y sigue siendo un elemento básico en la moda streetwear. Su versatilidad ha permitido que se mantenga como un favorito tanto en la pista como en la calle.

Evolución y Reinvención

A lo largo de los años, el Air Max 90 ha sido reinventado con nuevas coloraciones y colaboraciones, manteniendo su relevancia en un mercado en constante cambio. Estas iteraciones han permitido que el modelo se mantenga fresco y emocionante, atrayendo a nuevas generaciones de aficionados a las zapatillas.

Confort y Tecnología

El compromiso de Nike con la innovación se refleja en el Air Max 90. La zapatilla no solo es un icono de estilo, sino también un pionero en confort. La unidad Air Max en el talón garantiza una amortiguación superior, mientras que su diseño ergonómico ofrece un ajuste cómodo y seguro.

Sostenibilidad y Futuro

En consonancia con los tiempos, Nike ha integrado consideraciones de sostenibilidad en el Air Max 90, utilizando materiales reciclados y procesos de producción más verdes. Esta evolución muestra el compromiso de la marca con el futuro y con las generaciones de sneakerheads que valoran tanto el estilo como la sostenibilidad.

Conclusión

El Nike Air Max 90 es más que una zapatilla; es un testimonio de la innovación y la moda. Con cada paso, celebra una revolución en confort y estilo, manteniendo su posición como un icono en la cultura sneaker. Para los aficionados a las zapatillas de todo el mundo, el Air Max 90 sigue siendo un símbolo de creatividad, tecnología y diseño atemporal.

[ewwwabug]

i really love all of these !!!!!!😭😭😭 i want these silly things so bad!!! even the brothers are here!!!

Some done before, send it once.

no bleed,because I forget…no jatay，because I made him ugly，something wrong😳

hope 3 GIF can move.and dicecest

worm and centipede💕💙

[sesiondemadrugada]

The Picture of Dorian Gray (Albert Lewin, 1945).

[lolapetticrewed]

Anne Boleyn, based off an alleged Hans Holbein original. Housed at Hatfield House.

[magicoldcottage]

Bibliography

My posts use knowledge gained over the years as a qualified Herbalist. However to bring you the best information possible I do use a long list of references. Please see below.

The Herbal Apothecary - JJ Pursell

Plants of the Gods - R E Schultes, A Hofmann, C Ratsch

The magical and ritual use of herbs - R A Miller

Botanical Medicine for Womens health - A Romm

Herbal antivirals - S H Buhner

Magical Folkhealing - DJ Conway

Botanical Folk tales of Britain and Ireland - L Schneidau

Herbs for Children's health - R Gladstar

The herbal medicine-makers handbook - A Green

Medical Herbalism - D Hoffmann

The wonders of nature - B Hoare

Encyclopaedia of Herbal Medicine - A Chavallier

Madicinal Herbs - R Gladstar

Cough Cures - G Ferrer

Herbal Recipies for Vibrant Health - R Gladstar

Herbal Antivirals - M Jones

The lost book of Herbal Remedies - N Apelian, C Davies

The Hearth Witch's Kitchen Herbal - A Franklin

A Modern Herbal - M Grieve

Herbal Remedies Handbook - A Chevallier

Alkaline Herbal Medicine - A Aniys

The Practice of Traditional Western Herbalism - M Wood

Spices and Herbs - P Lakshmi

Medicinal Plants in Folk Tradition - D E Allen, G Hatfield

Herbal Magik - G Dunwich

Asian Herbs - S Ahluwalia

The Green Pharmacy - J A Duke

Herbal Antibiotics - S H Buhner

Backyard Medicine - J B Seal, M Seal

Hedgerow - J Wright

Pharmacodynamic Basis of Herbal Medicine - M Ebadi

The Herbal Home Remedy book - J A Wardwell

Ancient Herbs, Modern Medicine - H Han, G E Miller, N Deville

Herbal Remedies made simple - S Dugliss-Wesselman, S Gregg

The Complete Medicinal Herbal - P Ody

The Secret Wisdom of Nature - P Wohlleben

How to Benefit from Everyday Herbs - P Bratianu, D Schwontkowski

Herbal Remedies Guide: Uses of 100 herbs for Common Ailments - A Curtis

Holistic Herbal - D Hoffmann

If you are looking to expand your knowledge this is a fairly handy list.

[desimonewayland]

Gilt bronze figure of a seated bear

China, Western Han Dynasty (206 BC-AD 8)

This small but exceptionally compelling gilt-bronze sculpture represents a plump bear seated on its haunches in a moment of repose as it scratches a spot immediately behind its right ear with its right forepaw. At peace with itself and with the world, the bear appears to be enjoying the moment and is wholly lacking in the ferocity that typifies most Han-dynasty representations of bears, tigers, and other wild beasts, marking this as an astonishingly rare and very naturalistic sculpture.

Collection of Robert Hatfield Ellsworth / Christie’s

[thinkwinwincom]

Dwight Williamson: el ascenso y la caída de Hatfield es una historia para recordar | Opinión

Dwight Williamson: el ascenso y la caída de Hatfield es una historia para recordar | Opinión

Se han escrito innumerables historias y muchos libros sobre el demonio de Anas Hatfield y la disputa entre Hatfields y McCoys. Sin embargo, quizás el personaje más interesante de todo este grupo sea el hijo menor del famoso líder Hatfield, su decimotercer retoño, el tenista Samuel Hatfield. Fue el tenis, probablemente por razones principalmente políticas, lo que ayudó a organizar el primer…

[demianblog]

Lacework anuncia despidos y reestructuración

Los codirectores generales de Lacework, David “Hat” Hatfield y Jay Parikh, han anunciado que la empresa de seguridad en la nube se reestructurará y despedirá a un número no revelado de empleados. La medida se produce menos de un año después de que Parikh, ex vicepresidente de Facebook, se uniera a la junta directiva de Lacework y fuera contratado como codirector ejecutivo para administrar la…

[brodasweb]

Hatfield y DJ BLKLUOS hacen alarde de su versatilidad juntos en “No Change” (reseña de EP)

Hatfield y DJ BLKLUOS hacen alarde de su versatilidad juntos en “No Change” (reseña de EP)

Publicado por: Las leyendas nunca morirán 4 de mayo de 2022 Hatfield es un MC de Toronto, Canadá, que ha estado lanzando sencillos de manera constante durante más de un año, como “Tax” y, más recientemente, “Did It All Without a Quake Feature”. Pero para su EP debut, contrata al productor local DJ BLKLUOS detrás de escena para todo el asunto, ya que han estado trabajando mucho juntos…

[bdscuatui]

Các giao dịch bất động sản ở Massachusetts cho các hạt Hampden, Hampshire và Franklin, ngày 9 tháng 2 năm 2020 AgawamPhát triển Nhà ở & Đô thị của U S A để Chase Reisbig, 12 Mansion Woods Drive, #B, $ 148,100.Justin David đến JLX Properties LLC, 69 Kensington St., $ 125.000.Matthew M. Weiner đến Neri Daniel Teo Morataya và Juan Ayala, 1443 Main St., 155.000 đô la.Patrick E. Goonan đến Alyssa L. Febo, 616 Suffield St., $ 8.150.Thomas F. Marquette đến Joseph Marquette, Michael Marquette và Thomas F. Marquette, bất động sản cuộc sống, 469 North Westfield St., 100 đô la.AmherstLuke Woodward và Dori E. Ehrlich cho Jennifer A. Lorang, 45 Spaulding St., $ 387.920.BelchertownTập đoàn bất động sản Inc., đến David Lee Brosseau và Felicia Marie Brosseau, 290 Rockrimmon St., 229.900 đô la.Rakshitha Athukorala cho Michael A. Demento Jr., và Amanda L. Ryan, 1130 Liên bang St., 400.000 đô la.BernardstonTimothy E. Deneault và Mary E. Glabach đến Don J. Powell và Tammy J. Powell, 222 đường Brattleboro. 160.000 đô laPatrica K. Cohn ở Middlebury, từ Ct đến Jacob Hubbard, 530 Huckle Hill Road, 150.000 USD.BlandfordWilliam E. O KhắcBrien cho Daniel M. Wead và Camille V. Wead, 104 Main St., $ 157.000.Cánh đồngJames J. Hoffey và Becky A. Hoffey cho Alfred J. Albano Jr., người được ủy thác, Regina Murdock, người được ủy thác và Sugar River Nominee Trust, người được ủy thác, 138 Brookfield Road, 295.900 đô la.CharlemontRobert A. Canuel đến Margaret J. Veith, 17 Warfield Road, $ 162.500.ChicopeeBeverly G. Rossi và Robert A. Beaulieu đến Kelly G. O SựBrien, 79 Providence St., $ 142,260.Brian T. Gorman và Suzanne P. Gorman gửi 685 Fuller LLC, 685 Fuller Road, 492.444 USD.Cynthia I. Buss, đại diện, và Dona M. Hall, bất động sản, cho David E. Lopez, 248 Carew St., $ 185.000.John Martin đến Slawomir P. Madro, 200 Lambert Terrace, Đơn vị 71, $ 176.500.Jongsun J. Lim, đại diện, và Ronald R. Lempke, bất động sản, đến Jason A. Spear, 294 Britton St., $ 163.500.Linda M. Ledbury đến Kinda Shea, 61 Abbey Abbey Drive, Đơn vị 128, $ 157.000.Marshall Payne đến Juan D. Rios, 551 -553 Front St., $ 235.000.Perry R. Dulude và Michael J. Hearn đến Sol Maria Culhane, 117 Pondview Drive, 227.000 đô la.Theresa Johnson, đại diện, và Christine Clarke, bất động sản, đến Precious Ng và Gilberto Ng, 25 ngõ Lanelark, Đơn vị 6086D, 125.000 đô la.Thomas E. McMahon đến 9 Canal LLC, 9 Canal St., 150.000 đô la.Waycon Inc., đến Leslie L. Christen và Susan M. Christen, 2 Stockbridge St., $ 370.000.DeerfieldRichard V. Smiaroski Estate và Stephen Smiaroski, đại diện cá nhân, đến Eric J. Covey và Heather C. Poulin, 202 Mill Village Road, 210.000 đô la.Đông LongmeadowNgân hàng Mỹ đến JMB Property Management LLC, 48 Van Dyke Road, 108.000 USD.David L. Lorenzi Jr., đến Susan Jones và Susan P. Jones, 27 đường Hill Hill, 54.000 đô la.Emily R. Gralia, Emily R. Quinn và Kyle Quinn đến Carole L. Jones, 337 Pinehurst Drive, Đơn vị 337, 300.000 USD.Marco Andrea Scibelli đến Lori Crum, 43 đường Pease, 375.000 USD.Mark Lorenzi đến Susan Jones và Susan P. Jones, 27 đường Hill Hill, 54.000 đô la.Regina M. Retynsky đến Kristin M. Lapointe và Kyle J. Sherman, 66 Smith Ave., $ 235.000.Đông thànhRonald P. Finnessey Sr., và Rosemarie Finnessey đến Ronald P. Finnessey Jr., và Michelle Shanley, 84 Northamtpon St., $ 310.000.Warren Jones và Roberta Jones đến James G. Mailloux, 44 Maple St., $ 217.500.ChungAlyn M. Hastings và David W. Hastings đến Thomas W. Wyman và Susanne H. Lacosse, 88 North Cross Road, $ 310.000.GranbyMountain Stream LLC, đến Joseph M. Macsisak, Phố Amherst, 49.900 đô la.John R. Blanchard đến Heather L. Cruz, 18 High St., 150.000 đô la.Ronald A. Gnatek đến Jill A. Hodnicki và Carole L. Peternansel, Phố Amherst, 90.000 USD.Cánh đồng xanhAmanda Hale-Doyle, Hồi nka Hồi Amanda Vigue và Melissa Vigue cho Jessica A. Washer, 30 Vòng tròn Glen Glen, Đơn vị B-30, Chung cư Nhà Greenfield Town, 165.500 đô laSean M. Paper Estate, Lorraine H. Bates, đại diện cá nhân, đến Robert E. Shave, 16 Coolidge Avenue, 192.000 đô laPaul Eliot Hurwitz và Roseanne Apfeldorf Hurwitz đến Thomas A. Powers, 80 Munson St., 138.000 USDMichael W. Smith động sản, Bonnie Smith, đại diện cá nhân và cá nhân, đến Samuel Veillette và Jamie Veillette, 234 Barton Road, 209.000 đô la.Greenfield Paper Box Co., cho David A. Erickson và Gallagher K. Hannan, 55-57 Pierce St., 200.000 đô la.HampdenLeslie A. Glista đến Mark A. Imbriglio và Dawn M. Imbriglio, 438 Main St., $ 275,000.Michael D. Laffert và Sharyn A. Laffert đến Michele Laffert, 437 Wilbraham Road, $ 309.000.HolyokeAna Ynoa đến Carla L. Cruz và Elvin A. Ynoa, 962 Main St., 100.000 đô la.Cristal Redding cho Gregory M. Case, 42 Washington Ave., $ 120.000.Edward S. Scott và Dawn Scott đến Jennifer A. Perez, 35 Saint James Ave., $ 257.500.Tổng chưởng lý bang Massachusetts, Holyoke City, Ronald M. Pellitier và Home Equity Assets Realty LLC, người nhận, đến Home Equity Assets Realty LLC, 1117 Main St., $ 155,895.Raymond W. Barron, bất động sản, và Rebecca A. Rolon, đại diện, đến Karol Makusiewicz, 297-299 Sargeant St., 255.000 đô la.HuntingtonGoss Road Estates LLC, đến Mark Iwanicki và Christine Stochlinski, Goss Hill Road, 79.900 đô la.LeverettKimberly A. Adams, "fka" Kimberly A. Brownlee và Kimberlee A. Brownlee, đến Marielle L. Emond, 20 North Leverett Road, 100.000 đô la.Douglas P. Glazier, Ronald P. Glazier và Terry P. Glazier đến John A. Fiscella và Laurie L. Lassiter, đường Montague. 55.000 đô la.LeydenCatherine C. Cayer đến Kayla B. Bernard và Jonathan R. Rice, 18 Eden Trail, 295.000 USD.LongmeadowAntonio DiGioia đến Hans A. Doup, 486 Đường Maple, $ 225.000.Chelsea A. Samble đến Joanne Hetherington, Đường 176 Dunn, $ 445.000.Ramona O. Carando đến Constantine Delis và Sarah Delis, Churchill Drive, $ 330.000.LudlowSamuel P. Carson và Debra A. Carson đến Jackson Rodriguez LLC, 200 Center St., Đơn vị 13, $ 100.000.Đức ôngCarolyn D. Szarlan đến Robert P. Williams, 7 Cơ khí, $ 210.000.MontagueSusan T. Bellemare và David P. Brule đến Phillip E. Lucas Jr., và Lauren A. Lucas, 12 Carlisle Ave., 195.000 đô laGiáo dụcNgân hàng Wells Fargo NA, ủy thác và Tín thác cho vay thế chấp Carrington cho Patricia Duffy, 37 Hatfield St., 158.000 đô la.Michelle A. Carrera đến Ngân hàng Hoa Kỳ NA, ủy thác và Ủy thác tham gia chính của LSF10, 201 Nonotuck St., $ 182.500.Alan Joseph Clemente cho Simon Elliot Scher, 5 Vòng tròn Austin, 184.000 đô la.Peter M. Schlessinger đến Ferdene I. Chin-Yee và Scott Reed, 24 Stoddard St., 150.000 đô la.Linda S. Youngblood và Alicia M. Spence đến Maha Moushabeck và Harrison Williams, 89 Straw Ave., và Holyoke Street, 515.000 đô la.Joel P. Westerdale và Sarah-Jane Poindexter cho Christopher J. Kusek và Molly Kusek, 68 Fort St., 341.000 đô la.Hoa Kỳ Phát triển Nhà ở & Đô thị cho Donna Hoener, 400 South St., $ 175.000.trái camDavid C. Dorow đến Timothy A. Mallet, 151 đường Athol, $ 17,381,17.Ronny Departo và John Gregory đến Nicole Ward và Thomas Ward, 157 West River St., $ 209.000.Karen R. Anderson và Robert D. Anderson đến Ngân hàng Hoa Kỳ NA, ủy thác, 75 E. Main St., $ 441.017,98.PalmerAnnunziata Cardaropoli đến Tòa án Quận Hoa Kỳ, 36 Edgewood St., $ 50.000.David Swain đến Donald P. Lafleur và Dawn Lafleur, 2214 Main St., $ 160.000.Melissa Desimone, Melissa A. Cormier, Tracy N. Cormier và Tracy Herzik đến Steven E. Cormier và Ann A. Cormier, Jim Ash Road, 24.500 đô la.Peter E. Easton và Deborah L. Dill to Lisa M. Ducharme, 49 Meadowbrook Lane, Đơn vị 49, $ 127.000.Steven E. Cormier và Ann A. Cormier cho Jerald E. Jacobs Jr., và Paige A. Jacobs, 146 Jim Ash Road, $ 34,900.ShutesburySean A. Sawicki và Brittany E. Sawicki, "fka" Brittany E. Dawson, đến David J. Bourgeois và Naomi R. Bourgeois, 1 Pelham Hill Road, 205.000 đô la.Michael E. Shane đến Donna West và Gary West, 57 Shore Drive, 65.000 đô la.Nam HadleyJamison J. Buchanan đến Daniel North và Brittania Weatherspoon-North, 15 Kimberly Drive, $ 262.500.David L. Morrissette, đại diện cá nhân, Brian H. Lyons, đại diện cá nhân, và Gerard W. Morrissette, bất động sản, đến Trang T. Tran, Hai Tran và Danh Lang, 41 Susan Ave., $ 170.000.Remigiusz Paluszak, Remigiusz M. Paluszak, Liliana Herakova và Liliana L. Herakova đến Stacie D. Manning, 159 Lyman St., $ 235.000.David A. Stuntz đến Mary T. Quesnel, Đại lộ Richview, $ 40.000.NamwickBernard F. Berard và Lisa M. Berard đến Melanie Ann Guillemette và Joshua Alan Goodman, Nơi ẩn náu, 430.000 đô la.Fiore Realty Holdings LLC, đến Hamelin Framing Inc., Sawgrass Lane, $ 117.000.John M. Zomek, Carole Sullivan, Stanley C. Zomek Jr., Christopher Sullivan, Loretta A. Fedora-O hèConnor và Loretta A. Fedora đến Ronald Vandervlet và Lisa Vandervlet, 392 North Loomis St., $ 142.000.SpringfieldAmat Victoria Curam LLC, đến Xiomara Bezares, 75-77 McKnight St., $ 167.000.Aquarius Real Real LLC, đến Lekeisha Walker và James C. Lee, 3 Ashley St., $ 170.000.Barbara Tardy đến Jack Tardy, 278 Denver St., 100 đô la.Chad T. Lynch và James W. Rocca đến Alexis R. Marquez và Yailine S. Figueroa, 264 Main St., 165.000 đô la.Chad T. Lynch và James W. Rocca đến Danielle Johnson và Patrick Johnson, 149 Quincy St., # 151, $ 224.500.Daniel M. Grogan đến Cig4 LLC, 7-9 Glendell sân thượng, 90.000 USD.Derek J. Rose và Erica L. Rose đến Waleska Lugo-DeJesus, 192 Wollaston St., $ 181,200.Destiny R. Norcott, William F. Kern, giám đốc điều hành, và Clarence A. Norcott, bất động sản, đến Angelo A. Gomez và Dawn E. Bourbeau, 22 Boyer St., 80.000 đô la.Edward T. Longtin và Ellen M. Longtin đến Barbara A. Mason và James G. White IV, sân thượng 124 Pheonix, 152.000 đô la.Eli S. Santana và Jessica Sotomayor đến Nancy Rivera và Edgar Galarza, 115 Catalina Drive, 220.000 USD.Erik J. Correa và Yazdel T. Correa đến Cig4 LLC, 845 Worthington St., 98.000 đô la.Cực kỳ sạch sẽ (2) LLC, đến David D. Guasco Loja, 80-82 Knox St., $ 201.000.Insight Homes LLC, đến Jose J. Diaz, 140 W. Alvord St., $ 215.000.Jahjan LLC, đến Anthony McNeil, 11 Sidney Place, 150.000 đô la.Hoàng tử Joan đến Erica Canty, 2 đường Washington, 255.000 đô la.John W. Cody đến Nicole O. Ogoke, 122 Rhinebeck Ave., $ 203.000.Karen J. Amato đến Peter Creanza, 617 Nassau Drive, 149.500 đô la.Lori A. Maynard cho Edward G. Brush Jr., và Lindsey C. Brush, 105 Temby St., 130.000 đô la.Maura C. O hèNeil đến Alfred Shattelroe và Shunard Hoa, 67 Gillette Ave., 80.000 đô la.Michael P. Hogan đến Vòng Hai LLC, 33 Margerie St., $ 78.500.Milton Finklea đến Erika Flores, 76 Cambridge St., $ 62.000.Ming Tsang, người nhận, Nhà thi hành luật thành phố Springfield và Timrick Gresham đến Ming Tsang, Lifang Luo và Lisa Cassidy, 108-110 Colton St., 210.000 đô la.Nancy Geurrandeno đến Regina M. DiGiovanni, 123 Peekkill Ave., $ 220.000.Norman C. Levesque đến Jasnia Realty LLC, 914-916 Belmont Ave., $ 192.000.Phoenix Island LLC, đến Npn Realty LLC, 91 Pinevale St., $ 1,300,000.Ngân hàng PNC đến Juan Angel Santana, 11 San Miguel St., $ 90,160.Ryan H. Flannery đến Alexis J. Veguilla và Yonaiza Sanchez, 26 đường Brittany, $ 185.000.Sandra Jean Savenko, Evelyn Marie Pratt và Eleanor M. Artioli đến Luisa M. Melendez, 1009 Carew St., 169.900 USD.Thành phố Springfield đến Sonia Vazquez và Sonia N. 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[luispueyocortes]

Caravan - Dos (1972 y 1974)

En los años 70 y primeros 80, en España se publicaba poco y, frecuentemente, mal: sin las letras, a veces con portadas diferentes a las originales (por censuradas o por otras causas).

Pero nosotros, los que no teníamos pasta para ir a Londres o NYC, éramos cabreados-felices porque, de repente, te publicaban un doble de Caravan como el que nos ocupa. Que, cómo explican en el texto interior, extraordinariamente nutritivo y traducido (por entonces, saber inglés era raro de cohones!), realmente eran dos discos diferentes: “Waterloo Lily (1972)” y “Caravan & the New Symphonia”.

Ni rastro de las portadas originales, claro. Pero, eso sí, la edición era chula.

Debajo, el texto interior del disco:

“Con el nombre de The Wild Flowers, en 1964, Robert Wyatt, Graham Flight, Richard Sinclair, Brian Hopper, Hugh Hopper y Kevin Ayers formaban uno de los grupos más importantes que circulaban por Inglaterra. Su principal radio de acción estaba en Canterbury y sus alrededores. Su música tenía algo de fantástica, algo de jazzística, y bastante de elaboración. En 1967, Wyatt y Ayers dejan el grupo para incorporarse a Soft Machine.

La marcha de estos dos importantes músicos hizo pasar una mala racha a The Wild Flowers, pero ninguno de los componentes que quedaban pensaron en la disolución del grupo. Remozaron la estructura de los Flowers con David Sinclair en los instrumentos de teclado, David Lawrence en el bajo, Richard Coughlan en la batería y Pye Hastings con la guitarra.

Con esta formación de cuatro miembros The Wild Flowers duró unos seis meses más. Pasado este tiempo cada uno se fue por su parte con vistas a clarificar ideas y buscar el tipo de música que querían tocar. En enero de 1968 nace CARAVAN. Sus cuatro miembros eran Pye Hastings, Richard Sinclair, David Sinclair y Richard Coughlan. Esta formación duró hasta julio de 1971. Durante este tiempo hicieron tres álbumes: “CARAVAN”, “If i could do it all over again, i’d do it all over you” y “In the land of Grey and Pink”. Este último álbum capituló a CARAVAN de forma definitiva. Su riqueza musical era cada vez más imaginativa y la banda supo sacar la rentabilidad suficiente a este primer éxito importante.

El siguiente álbum “Waterloo Lily”, se realizó sin la presencia de David Sinclair. En su lugar, haciéndose cargo de los instrumentos de teclado, se incorporó sólo para este disco Steve Miller. Miller era un viejo conocido de los tiempos de Wilde Flowers, y sabía más o menos las aspiraciones de CARAVAN como grupo. Su paso por la banda contribuyo de forma importante a crear alrededor de CARAVAN una imagen de grupo instrumentista que, actualmente, aún persiste. Al poco tiempo de editarse el disco Steve Miller abandonó el grupo para formar DELIVERY. Con él también desapareció Richard Sinclair, éste para formar HATFIELD and the NORTH.

Mientras Pye Richard y Coughlan volvieron a reestructurar CARAVAN. Parecía que siempre iban a estar con los mismos problemas. Tres nuevos miembros dejaron el grupo definitivamente constituido en la forma que hoy se les conoce.

Las vicisitudes por las que CARAVAN ha pasado solamente los miembros del grupo o los que han pasado por él las conocerán. Lo que es innegable son las ganas de hacer música y el instinto de supervivencia de Richard Coughlan y Pye Hastings.

Conscientes de la importancia de CARAVAN en el contexto de la música actual, presentamos ahora este álbum doble conteniendo dos de los discos más importantes de CARAVAN. La diferencia de tiempo entre una grabación y otra (“Waterloo Lily” en 1972 y “CARAVAN and the New Symphonia” en 1974) y la variación en el personal que realizó dichas grabaciones, demuestran que el espíritu de CARAVAN lo mantienen los dos únicos supervivientes a las diversas formaciones del grupo: Pye Hastings y Richard Coughlan.” ■

[caveartfair]

When Is an Artist’s Mental Health Your Business?

What does an understanding of an artist’s life story bring to bear on their work? It’s an old question, and of course, one that doesn’t have an easy answer. Biographical information can enrich our understanding of a practice, but it can also narrow a viewer’s focus, forcing critical interpretations through a distorting lens.

We certainly don’t need to know everything about an artist to appreciate her output—whether she smoked or drank; slept with men, or women, or both; was ever arrested, or took LSD, or loved cats—but a hunger for such details is understandable. We are, after all, a curious species.

In the case of so-called outsider art, or art made by those distant from the “art world” (often with mental health complications), it’s an even thornier issue. Curators, and those charged with translating and presenting the story of art to a wider public, have difficult choices to make. What details are relevant, rather than just salacious? Where is the dividing line between honest explication and exploitation?

In conversations with several figures, various aspects of this dilemma come into focus. First, and perhaps most obvious, is that there is no blanket statement or best practice to follow when resolving art’s relationship to mental health. Each artist’s situation is unique, and should be approached as such. Secondly, this is still a dialogue that is in flux, and one in which the foundational vocabulary—including basic terms like “outsider”—are very much contested. The lack of a shared language is itself uncomfortable.

Breaking Down Boundaries

It’s no surprise that folk or outsider art—we can perhaps agree to drop the quotation marks and “so-called” qualifiers—are still wrapped up in questions of mental health. Outsider art’s founding moments were with publications and collections that had their roots in psychiatric institutions, from Hans Prinzhorn’s 1920s volumes (including Artistry of the Mentally Ill) to the iconic Art Brut collection organized by the French painter Jean Dubuffet, now housed in Lausanne, Switzerland.

From the beginning, this was art that was both aesthetic and diagnostic. Its interest was partially as a record of psychic maladies, evidence of how differently wired brains might work. (These collections and archives simultaneously provided a fruitful cache of imagery that modern artists were happy to plunder.)

In the 21st century, we’ve started to slowly slough off categorical divisions, as institutions grow more comfortable showcasing outsider or folk art alongside that made by trained or professional artists. It’s a tendency closely associated with a curator like Massimiliano Gioni and key exhibitions that he oversaw or organized, including the 2013 Venice Biennale and 2016’s “The Keeper” at the New Museum.

Installation view of work by Hilma af Klint in “The Keeper” at New Museum, 2016. Photo by Maris Hutchinson / EPW Studio. Courtesy New Museum, New York.

There are still institutions, though, specifically dedicated to the appraisal and scholarship surrounding art made by extraordinary individuals in uncommon circumstances. But these institutions, focused on folk or outsider art, aren’t organizing exhibitions for didactic purposes; the goal isn’t to lamely exemplify, yet again, what schizophrenia or bipolar disorder looks like in visual terms. And so they’re in a difficult position: making a case for the artistic merit of the work itself, while also deciding what amount of background information is necessary to fully appreciate or comprehend it.

Context Is Key

To get a better handle on this dilemma, I met with Valérie Rousseau, the curator of 20th-century and contemporary art at the American Folk Art Museum in New York. At the time of my visit, two exhibitions were on view, showcasing the work of Carlo Zinelli and Eugen Gabritschevsky. Wall texts for both shows seem to perform a familiar elision, hinting at unavoidable biographical facts while refusing concrete details.

Carlo Zinelli, Untitled, San Giacomo Hospital, Verona, Italy 1960. Collection of Audrey B. Heckler. Photo by Visko Hatfield © Fondazione Culturale Carlo Zinelli. Courtesy of the American Folk Art Museum.

“We always caricature our fields by saying that we’re all about biographies, and the market builds mythologies around the artist,” she explains, sitting in a gallery full of Gabritschevsky’s fantastical gouache paintings. In the case of these dual exhibitions, Rousseau says, “I didn’t [include] anything specific about their mental illnesses, and everybody is asking me: ‘Oh, by the way, I know it’s not written on the walls—but can you tell me? What exactly was the diagnosis of Gabritschevsky?’ People are savvy and curious about this connection, and they want to know. But I question the validity of giving them the answer.”

Would a different sort of institution, she wonders, feel inclined to share wall-text information about an artist’s struggles with “addiction, hallucinations, social issues, or anorexia,” she wonders? “You have to be careful about what’s relevant. I’m driven by showing great artworks—fascinating artists, complex lives—and you do want to be verbal, and bring the visitors into something that is an exhibition experience.”

At the same time, she notes, what would providing diagnostic or clinical information really add to that exhibition experience? Audiences, weaned on Hollywood and pop-psychology, might fancy themselves experts—but what comprehension does the casual viewer actually have of bipolar disorder or schizophrenia?

That’s not to say that curators should sweep mental health context under the carpet entirely. Rather, it’s one thread of a larger narrative.

In the case of Zinelli, who was a patient at the San Giacomo del Tomba hospital beginning in the middle of the last century, his physical surroundings—the jam-packed institution, the pioneering series of studio classes he took part in there—are important, but so are other things, Rousseau stresses. His upbringing on a farm, appreciation of nature, and fond feelings for a beloved dog are also salient details. Likewise, with Gabritschevsky, the artist’s background as an esteemed biologist provides arguably much more context than the knowledge of the mental health struggles that derailed his career.

“I found it interesting,” Rousseau says, “to show the full range of influences that an artist, a creator, could have had.”

Rousseau brings up another vital point: The way we conceive of mental health and categorize patients has evolved drastically over the centuries. The foundational definitions of sanity and normalcy are constantly shifting. “Timeframe is important,” she says. “If you were in a Swiss hospital in 1945, that’s different than being in one here in New York in 2013. Mental illness has changed, along with its diagnostics and treatments.”

Eugen Gabritschevsky, Untitled, Haar, Germany 1947. Collection Chave, Vence, France, no. 1647. Photo by Galerie Chave © Estate of Eugen Gabritschevsky. Courtesy of the American Folk Art Museum.

Carlo Zinelli, Untitled, San Giacomo Hospital, Verona, Italy 1967. Collection of Gordon W. Bailey. Photo by Adam Reich © American Folk Art Museum © Fondazione Culturale Carlo Zinelli. Courtesy of the American Folk Art Museum.

As a result, a curator who decides to play armchair psychiatrist, at great historical remove, would run the risk of being both inaccurate and unethical.

“I hope my shows refuse the pathologizing of the artist,” says Gioni, whose recent curatorial work has been instrumental in mingling mainstream and outsider practices. In his mind, part of our thrall to the latter has to do with “a certain romanticism, a desire for sincerity” that is lacking in the larger art world.

Take Hilma af Klint, a recently lauded artist from the early 20th century who was influenced by spiritualist movements of the times. Catalog copy on the artist casually suggests that she had “visions”—but what does that even mean?

“These objects and stories help us understand that the rules and notions of conformity and eccentricity are historical, and relative,” Gioni says. “Af Klint had visions or hallucinations—I don’t know if they were pathological or not, but we have enough history under our belts to understand that the definition of pathology is relative, and historical, and cultural. And to be reminded of that might help us also have a healthier relationship with our fellow humans.”

Risky Choices

Despite the fact that boundaries between these types of artmaking are slowly dissolving, prejudices and anxieties remain—tied to both artistic legacies and markets.

Rousseau points to the case of Frank Walter, the subject of the Antigua and Barbuda Pavilion at this year’s Venice Biennale. Walter is an artist whose work I encountered there, and later wrote about, focusing on the more colorful and anecdotal elements of his backstory (and doing my own part to dance around mental health issues by including the problematic word “visionary” in my headline).

Installation view of “Frank Walter: The Last Universal Man 1926-2009” on view at the Pavilion of Antigua and Barbuda at the Venice Biennale, 2017.

The Pavilion, and its hefty accompanying catalogue, is a fascinating case study regarding the choices curators can make in dealing with complicated artists. In Rousseau’s reckoning, the Pavilion organizers “really dig into all the possible biographical facts they could—they don’t have an art-historical approach for that publication, which surprised me.” At the same time, she says, “I think the tone was right. I think it was a point of view that was risky.”

But what’s next for an artist like Walter, after the Biennale? Will it be the Serpentine or the American Folk Art Museum? Rousseau somewhat wistfully notes that, once an artist’s work has been received in a particularly high-profile manner, it’s difficult to change course.

“It’s impossible or often misperceived to send them back, to associate them again to a niche, specialized presentation like in our museum,” she says. “It’s [as if]: ‘Oh, no, he doesn’t belong anymore in this category.’ I’ve seen that so many times. It’s interesting how this whole process of recognition in the art world is more like an irreversible path, from one step to another. And I think outsider or self-taught artists do not escape that program.”

Self-Portrait with Bandaged Ear, 1889. Vincent van Gogh The Courtauld Gallery, London

Infinity Nets OQRET, 2005. Yayoi Kusama Anthony Meier Fine Arts

In other words, the biographical drama of Walter’s life might act as a wedge to generate (justifiable) interest and intrigue. Meanwhile, the paintings themselves—divorced from those details—are indeed fascinating and adept. If we fast-forward three decades, perhaps Walter’s oeuvre might be assimilated into a larger art-historical narrative that doesn’t dwell too much on his personal eccentricities or mental health. That might all depend on the steps his estate takes, institutionally, as well as the decisions it makes in terms of how his work is packaged, exhibited, and contextualized.

It’s a process that Rousseau and Gioni both allude to, in the case of canonized artists from Vincent van Gogh to Barnett Newman, Jackson Pollock, or even Yayoi Kusama: At first, the details of the individual life are tantalizing. But after we’re generally familiar with those details, we can somehow move on and appreciate the art on its own terms.    

The Challenge of Living Artists

As if this conversation wasn’t complex enough, there’s another wrinkle: the considerations at play with living artists who may have mental health issues or, more specifically, developmental disabilities. Perhaps no New Yorker has been more involved in promoting work from such artists than Matthew Higgs, the director of White Columns, who has created a thriving network between his non-profit institutions and centers around the country, like Creative Growth in Oakland and and Visionaries + Voices in Cincinnati. For these practitioners, he stresses, one thing swiftly trumps the viewer’s curiosity about an artist’s background: the right to privacy.

“Certainly, with historical work, it now seems pretty accepted that the biographical narrative is part of the work of self-taught, outsider, and folk artists,” Higgs says. “But it’s much more complicated when showing the work of living artists with disabilities.”

Untitled, 2014. John Hiltunen Creative Growth

Untitled, 2014. John Hiltunen Creative Growth

Here, the balance is twofold: Not encroaching on an artist’s privacy rights—especially in the case of those who are “not in the position to articulate” them directly—while also highlighting the positive work being done by non-profit organizations. “When you go to the desk at White Columns,” Higgs says, “the press text will explain that this is an artist who is affiliated with a center that supports artists with disabilities. But we wouldn’t then go beyond that into establishing a narrative around their medical circumstances or mental health issues.”

What Do We Talk about When We Talk about Mental Health?

Eccentric. Visionary. Prophetic. It often seems like institutions, galleries, and the media have developed a series of lightly coded terminology with which to tip-toe around issues that can’t, or shouldn’t, be fully unpacked in the case of a wall text or short catalog essay.

Is the vocabulary we have, I wondered, lagging behind the rest of the field itself? If so, Gioni sees a silver lining, that “these artists, artworks, and objects are still putting our system in crisis to such an extent that there’s not yet a word for it. That’s the hopeful aspect.”

Andrew Edlin, who runs an eponymous New York gallery and also helms the Outsider Art Fair, is less optimistic when I bring up the handful of phrases that seem to resurface so often within the field. “I don’t particularly like any of these words,” he says. “Visionary can be appropriate at times, but I tend to think of William Blake. Eccentric seems like a euphemism to describe someone who’s a bit weird. There’s that well-known line: The difference between someone who is eccentric and crazy is how much money they have!”

And perhaps, he suggests, the repetition of rote or cliched phrases is simply the byproduct of a certain laziness. “I don’t think we are lacking in vocabulary at all,” Edlin says. “If a writer sticks to the idiosyncratic qualities of each artist, there shouldn’t be any problem in finding the right words to accurately talk about his or her work.”

What Difference Does It Make?

We generally want to know more about all the artists we love—whether or not those facts actually enhance our understanding of the work they make. We crave gossip and insider dirt, or at least a broader picture of a life. “That’s one of the reasons why the Calvin Tomkins [profiles] in the New Yorker are so fascinating,” Higgs says. “It’s one of the rare opportunities to get a glimpse into an artist’s background, what their parents did, how they grew up, what their circumstances are—all of which is useful information.”  

But with outsider artists, it’s important not to indulge in sensationalism under the guise of scholarship. Rousseau does admit that, in certain cases, a deeper understanding of someone’s mental health or related background can be fruitful. She points to George Widener, an artist who has Asperger’s Syndrome. “Because of his love for inventories and numbers, it’s not an un-useful fact to know,” she says. “He also has a photographic memory. It helps you understand a cause and effect. But that’s not often the case.”

Month of Saturdays, 2014. George Widener Ricco/Maresca Gallery

In other instances, seeing beyond biographies and categorical distinctions seems to be a way out of the morass. “I’m led to believe that there is no difference between the ‘eccentric’ artist and the professional artist, when they’re dealing with matter and materials,” Gioni says. “In the moment they sit down to make, I ultimately don’t think there’s any difference in the knowledge they have of their hands meeting the material.”

Susanne Zander of Cologne-based Delmes & Zander echoes that sentiment. Her gallery represents the likes of Eugene von Bruenchenhein and Prophet Royal Robertson. “Essentially, we are not that interested in the mental history of the artist,” she says. “The selection of the artists in our program is based mainly on the quality of their work, irrespective of whether or not it was produced specifically for the art market. It’s important for us that the quality is on a par with established art production, and that the artists are judged not for any of their psychological problems—but rather for the quality, individuality, and autonomy of their artistic work.”

Galactic City , 1990-1992. Royal Robertson ZQ Art Gallery

As for the basic phrase “outsider art,” Zander feels that it has lost its usefulness. “We feel that the term ‘outsider’ focuses too strongly on the personal situation of the artist and misleads the public, who neglect the actual work itself. We see each work not in reference to a classification or terminology, but for what it really is.”

“The most respectful way to talk about an artist with any condition or pathologies is to stick to the facts,” Edlin says. “If there are things that are unknown—but evidence that suggests certain possibilities—than that’s exactly how it should be put across. Focus on the work, and use the biographical info to help interpret the artmaking process.”

At the same time, Edlin recognizes that an exceptional background can add another dimension to the appreciation of the work. “One of the most interesting and exciting results of accurately explaining the details of the lives of outsider artists—or any artists who have overcome incredibly challenging circumstances—is that their art becomes even more transcendent and uplifting for the viewer,” he continues. “It’s important to remember that figures like Henry Darger, Adolf Wölfli, and Martín Ramírez were some of the most downtrodden artists we’ve ever known. Genius resides in some of the most unlikely of places.”

When Ignorance Is Bliss

Disko Girls (Anonymous), untitled, 1970s-1980s (archive-# 1). Courtesy Delmes & Zander, Cologne.

Disko Girls (Anonymous), untitled, 1970s-1980s (archive-# 32). Courtesy Delmes & Zander, Cologne.

“Despite thorough research it has not been possible to identify the artist behind these drawings, found in Germany in the late 1990s,” read the press statement for a group of 50 stunningly idiosyncratic colored-pencil drawings that Delmes & Zander showed at this year’s Independent art fair in New York. Based on its content, the series had been dubbed “Disko Girls,” a title that was “attributed to the work out of respect for the unnamed and unknown author.”

Here, finally, is a case study that happily short-circuits everything we’ve just discussed. For the moment, it’s possible to stand in front of these strange portraits—titillating, disturbing, campy, playful, raw—with absolutely zero baggage.

Perhaps art-historical sleuthing will turn up the artist’s identity in the next few years. Perhaps we’ll find out that he was an orthodontist in Cologne who drew on the weekends, or that she was a university student who copied designs from advertisements and pornographic magazines. Biography will become a magnifying glass used to zoom in on what was once peculiar, elusive, and magnificently foreign about the artist. With any luck, that day will never come.  

—Scott Indrisek

Header image by Corey Olsen for Artsy.

from Artsy News

[fumpkins]

What is Alpha Centauri hiding? Searches for Earth-like planets ramp up around our nearest stellar neighbor | Science

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The Very Large Telescope in Chile will target Alpha Centauri, which glows brightly in the southern sky.

Y. BELETSKY (LCO)/ESO

LIVERPOOL, U.K.—Alpha Centauri, a three-star system just 4 light-years away that is the sun’s nearest neighbor, ought to be a great place to look for Earth-like planets. But last week, at a meeting of the European Astronomical Society (EAS) here, astronomers lamented the way the system has thwarted discovery efforts so far—and announced new efforts to probe it. “It’s very likely that there are planets,” says Pierre Kervella of the Paris Observatory in Meudon, France, but the nature and positions of the stars complicate the search. “It’s a little frustrating for planet searchers.”

The system’s two sunlike stars, Alpha Centauri A and B, orbit each other closely while Proxima Centauri, a tempestuous red dwarf, hangs onto the system tenuously in a much more distant orbit. In 2016, astronomers discovered an Earth-mass planet around Proxima Centauri, but the planet, blasted by radiation and fierce stellar winds, seems unlikely to be habitable. Astrobiologists think the other two stars are more likely to host temperate, Earth-like planets.

Maksym Lisogorskyi, an astronomer at the University of Hertfordshire in Hatfield, U.K., tried to find them with an instrument on the European Southern Observatory’s (ESO’s) 3.6-meter telescope in Chile. He and his colleagues looked for Doppler shifts in the spectral lines of the stars’ light that would be caused if a planet tugged them back and forth. But Lisogorskyi told the meeting that the stars’ surfaces are turbulent, and prone to flares that also jiggle the spectral lines, masking the subtle signals from any Earth-size planets. “The lines do all kinds of things,” he says. Although Alpha Centauri has been a primary target for the planet-finding instrument since it was inaugurated in 2005, it has seen nothing so far.

Also hampering observations are the current positions of the two stars. As viewed from Earth, they are very close together, making them harder to study individually, Lily Zhao of Yale University told the meeting. More precise observations should become possible as their 80-year orbit carries them farther apart. In the meantime, Zhao and her colleagues have succeeded in ruling out the presence of giant planets around either star, based on a decade’s worth of data from three instruments on different telescopes. “There are no Jupiters in the system, but there may be plenty of Earth-sized planets still to discover,” she said.

In a binary system like Alpha Centauri the lack of giant planets in Jupiter-like orbits is no surprise, because the gravity of each star would tend to kick any such planets orbiting the other star out of the system, Kervella says. But he says that temperate planets in the habitable zone, closer in, would be immune to these perturbations. A chance to get a close look is coming soon: Kervella’s team mapped out the system’s trajectory and found that in a decade, Alpha Centauri A will pass in front of a more distant star and act as a gravitational lens, distorting the light of the star behind it. How the light from the distant star flickers and mutates over time will provide a wealth of information about any inner planets. By that time, ESO’s 39-meter Extremely Large Telescope is expected to be operating and capable of observing the distortion in detail. “We will see all the planets, big and small,” says astronomer Hans-Ulrich Käufl of ESO in Garching, Germany.

The privately funded Breakthrough Initiatives wants an even closer look. In 2016, the organization announced its Starshot program, a $100 million effort to equip a microchip-size spacecraft with a camera and light-sails. A blast of photons from a giant ground-based laser would accelerate the craft to 20% of the speed of light, allowing it to make the 4-light-year trip in 20 years. During a flyby that might last only seconds, it would snap close-ups of the Alpha Centauri planets—assuming they exist.

Finding targets for the Starshot is one aim of a Breakthrough-funded effort that ESO announced last year: adapting an existing instrument on the Very Large Telescope in Chile to directly image possible planets. Called VISIR, the instrument will be equipped with a coronagraph—a mask to block out the light of the star so that the much fainter planets can be seen. VISIR observes in the midinfrared, an advantage for imaging a temperate planet because the disparity in brightness between the dim planet and its brilliant parent star is smaller in this part of the spectrum. The ESO team is testing the hardware and hopes to start observing in mid-2019 with 100 hours of dedicated telescope time.

Others at the EAS meeting think the fastest and cheapest way to detect an Earth-like planet around either of the sunlike stars is with a space telescope. A privately backed organization called Project Blue is seeking $70 million to build and launch a 50-centimeter telescope that would stare at Alpha Centauri. Last year, the project raised $150,000 through crowdfunding to design the spacecraft. Franck Marchis, an astronomer at the SETI Institute in Mountain View, California, a partner with Project Blue, says such a telescope, outfitted with a coronagraph, would be able to obtain an image. “It’s doable. The technology is there,” Marchis said. “The goal is to image a pale blue dot.”

New post published on: http://www.livescience.tech/2018/04/12/what-is-alpha-centauri-hiding-searches-for-earth-like-planets-ramp-up-around-our-nearest-stellar-neighbor-science/