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stranger-awakening · 5 years ago

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Audio Gifts

Hey, everyone!

It’s the end of the year again so I’m gonna gift out my audio masters from this year in case anyone’s interested. There’s 7 audios under the cut!

You’re more than welcome to trade/gift these but if you do just list them as ‘revolution-trade’s master.’ Oh, and don’t ever list them for sale. Thanks!

In The Heights I Australia I January 20, 2019 (Evening) I MP3 I Untracked Cast: Stevie Lopez (Usnavi), Olivia Vazquez (Vanessa), Joe Kalou (Benny), Luisa Scrofoni (Nina), Marty Alix (Sonny), Margi de Ferranti (Abuela Claudia), Monique Montez (Daniel), Libby Asciak (Carla), Alexander Palacio (Kevin), Ana Maria Belo (Camilla), Stephen Tannos (Graffiti Pete), Richard Valdez (Piragua Guy) Notes: Closing night of the shows four day run in Sydney. There were a few sound issues, but this cast is amazing. [link]

Charlie and the Chocolate Factory I Australia I January 24, 2019 (Matinee) I MP3 I Untracked [link] Cast: Xion Jarvis (Charlie Bucket), Paul Slade Smith (Willy Wonka), Tony Sheldon (Grandpa Joe), Lucy Maunder (Mrs. Bucket), Jake Fehily (Augustus Gloop), Octavia Barron Martin (Mrs. Gloop), Karina Russell (Veruca Salt), Stephen Anderson (Mr. Salt), Monette McKay (Violet Beauregard), Madison McKoy (Mr. Beauregard), Harrison Riley (Mike TeaVee), Jayde Westaby (Mrs. TeaVee) Charlie and the Chocolate Factory I Sydney, Australia I July 21, 2019 (Matinee) I MP3 I Tracked & Untracked Cast: Paul Slade Smith (Willy Wonka), Xion Jarvis (Charlie Bucket), Tony Sheldon (Grandpa Joe), Octavia Barron Martin (Mrs. Gloop), Jake Fehily (Augustus Gloop), Madison McKoy (Mr. Beauregarde), Jayme-Lee Hankeom (Violet Beauregarde), Stephan Anderson (Mr. Salt), Karina Russell (Veruca Salt), Jayde Westaby (Mrs. Teavee), Harrison Riley (Mike Teavee), Lucy Maunder (Mrs. Bucket), Danielle O’Malley (Grandma Josephine), Johanna Allen (Grandma Georgina), Kanen Breen (Grandpa George), Todd Goddard (Jerry/Ensemble), Madison Green (Cherry/Ensemble) Notes: Closing performance in Sydney. A bit of shuffling as there were people around me eating. During curtain call, all three Charlies were brought out for a final bow. [link] Billy Elliot I Sydney, Australia I October 10, 2019 I MP3 I Tracked & Untracked Cast: Wade Neilson (Billy Elliot), Kelley Abbey (Mrs. Wilkinson), Justin Smith (Dad), Vivien Davies (Grandma), Drew Livingston (Tony), Robert Grubb (George), Dean Vince (Mr. Braithwaite/Ensemble), Danielle Everett (Dead Mum/Ensemble), Aaron Smith (Older Billy/Ensemble), Mason Kidd (Michael), Ella Tebbutt (Debbie), Oscar Mulchay (Tall Boy) Notes: Opening night of the 10th Anniversary Australian production. Includes brief comments from the Associate Director, Simon Pollard. Act 1 is full but Act 2 starts at ‘Deep Into The Ground’ as my phone glitched and I missed the first number. [link] Chicago I Sydney, Australia I October 13, 2019 (Evening) I MP3 I Tracked & Untracked [link] Cast: Tom Burlinson (Billy Flynn), Natasha Bassingthwaighte (Roxie Hart), Alinta Chidzey (Velma Kelly), Casey Donovan (Matron ‘Mama’ Morton), Rodney Dobson (Amos Hart), J. Furtado (Mary Sunshine). Ensemble: Todd Dewberry, Mitchell Fistrovic, Andrew Cook, Samantha Dodemaide, Ben Gillespie, Chaska Halliday, Travis Kahn, Hayley Martin, Kristina McNamara, Joe Meldrum, Tom New, Jessica Vellucci, Romina Villafranca, Rachel Ward, Zachary Webster, Mitchell Woodcock, Amy Berrisford. School of Rock I Sydney, Australia I November 13, 2019 (Evening) I MP3 I Tracked & Untracked [link] Cast: Brent Hill (Dewey Flynn), Amy Lehpamer (Rosalie Mullins), John O’Hara (Ned), Nadia Komazec (Patty), Thea Sholl (Freddy), Brendan Rutledge (Zack), Samantha Zhang (Katie), Tobi Clark (Lawrence), Nakita Clarke (Summer), Jacob Drew (Billy), Ezekiel Sciacca (Mason), Julien Daher (James), Jenna Keenan (Shonelle), Lucy de Hosson (Marcy), Anja O’Connor (u/s Tomika) Billy Elliot I Sydney, Australia I November 20, 2019 (Matinee) I MP3 I Tracked & Untracked Cast: Omar Abiad (Billy), Lisa Sontag (u/s Mrs. Wilkinson), Justin Smith (Dad), Vivien Davis (Grandma), Drew Livingston (Tony), Robert Grubb (George), James Sonnemann (Michael), Gabrielle Dagger (Debbie), Mason Kidd (Tall Boy), Danielle Everett (Dead Mum), Aaron Smith (Older Billy) Notes: The scenes in Act 1 are a little quiet, but they’re clearer in Act 2 because I adjusted my phone. Billy dropped his chair during Swan Lake and you can hear it thump, but Omar recovered quickly. [link]

Here’s to more theatre in 2020!!

#audio gifts #audio gift #bootleg gift #in the heights #charlie and the chocolate factory #billy elliot #chicago #school of rock #school of rock musical #charlie and the chocolate factory musical #i did this last year as well but i only went to two musicals last year so this is ... an improvement lmao #jess rants about life

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5questions · 6 years ago

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Richard Wehrenberg

Richard Wehrenberg was born in Akron, Ohio and is the author of Abracadabrachrysanthemum (2018), Hands (2015), and River (2014), co-written with Ross Gay. Their work has been published in The Academy of American Poets, Peach Mag, Bad Nudes, Monster House Press, & elsewhere. They are a poet, writer, artist, & designer living in Bloomington, Indiana.

I want to start with the cover. I admire its minimalism but also the way that minimalism allows the title to speak for itself, carrying the reader along as they go to the next page. What are some of your favorite book designs? How has your own design aesthetics changed since you first started designing chapbooks and websites over ten years ago? Do you have any sort of codified process for your design work?

I perceive Text as Image and Image as Text, in a kind of infinite stirring/reworking. My aesthetic/process for design feels necessarily influenced by how my specific body-form perceives/reads the world, via its various miracles and supposed ‘deficiencies’—ie. having one barely-able-to-see (left) eye and one incredibly-over-achieving (right) eye, as well as having benign hand tremors (ie. my hands shake, inexplicably). I understand designing as the praxis of ‘de-signing' (ie. removing the signs from) this Earth/traditions/meanings/images. To quote one of my fav poets, Mahmoud Darwish—��I love your love / freed from itself and its signs,” which to me means: I love you ‘best’ when we shed the layers/masks/images that bury us in stories, when we dwell in our original and base-form—which of course has to be, for me—Love—the desire to see the world as un-riven, as One, despite everything working against the infinite forms love embodies. I feel my design aesthetic as ‘spiritual,’ or at least to me it feels like it springs enigmatically from a spiritual impulse/condition/base. All to say—my style/praxis is mysterious, even to myself, and my design depends on this kind of unknowability/improvisation. For Abracadabrachrysanthemum (and Three Crises by Bella Bravo, which share almost identical design elements), I viewed the circle on the covers to be a kind of gravitational wormhole into the book’s work, like you implied. A simple entranceway that has, like a planet or black hole, its own gravity to pull/cull others in, to merge and connect worlds. As far as design influences—I love love love Quemadura’s work (who you probably know as Wave Books’ designer.) I remember seeing their stark, simple, text-based covers as a younger poet/designer and being moved by space they allow for the text (exterior and interior) to become its own image/meaning apart from other visual suggestions. Also, Mary Austin Speaker’s work—who does design for Milkweed Editions—is always so precise, gorgeous, and enchanting. Outside of the poem-world, I am constantly inspired by fellow Bloomington designers/friends Aaron Denton and Sharnayla. The beauty they channel is astounding. Since I began designing, I feel that I’ve just become better and faster at designing, and my core aesthetic has mostly stayed the same. Being self-taught, you kind of just pick up little preferences, skills, and potentialities randomly along the path of work. I’m in a constant state of knowledge-acquisition re design and thus my process is really just experimentation. One codified process I do have is to meditate on a book’s content, to summon its image by intentionally dwelling on it within an unconscious states of meditation, dream, trance, etc. Usually I can call up a color palette, or image/font/et al that each individual book/design is calling for via these means. I believe in this kind of prayer/listening in my work, and I cite the unconscious as my main source of artistic capacity and production. I’ve also dreamed book covers before. That’s the best.

Many of the poems in this collection have geographic allusion, descriptive precision, and a general sense of place becoming character. This reminds me in many ways of your book RIVER, co-authored with Ross Gay. While that was prose and this is poetry, this is something I have noticed in your writing. How would you describe your aesthetic connection to geography? nature? environment? This book seems to expand beyond America in ways previous writing of yours doesn’t...

I can’t not attempt to constantly locate my Self in this World—can’t not see/feel/attempt to understand where/how/who/why I am in relation to ‘others’—to the land, rivers, oceans, to other animals, to the incredible manifold instantiations of plants, to the water with which without we would vanish, to all the ostensibly separate “I’s” on this shared Earth/consciousness/World surviving, dwelling, praying, creating—Being. I am an empath and embed/imbibe my surroundings almost automatically/unconsciously into myself. I become wherever I am. And thus its violences and gorgeousnesses alike become my own. And thus I speak for them, to them, of them, with them, in service and toward the healing of them/us/I/we. I unbecome my self to reset my churning and lumbering around this planet, to geographize ‘my’ position within this unpositioned House we find our selves. I am also quite of the mind that we are indeed both Here and Not Here. This Not Here is completely devoid of the drama of the body/ego, which we so often encounter and identify with today (and have since arriving on Earth.) My body, it’s specific forms and desires, languages and impulses, with yours, in conflict with theirs, with the scarcity, the low amount, the abundance, the never-ending forsaken nothing-everything, all of it, all the time, ever, ever, never-enough or always-too-much, the never-quite-right. You compared to me, thine in yours with mine of we. In spirit realm, there is no time and ID like we think here. Both Here and Not Here are real/valid places—the corporeal realm and the spirit realm—and I know, at least for now, I live in both places. I realized recently one of my main hopes for my writing is for it to re-embed the divine into the every day, re-pair it with the quotidian—to reunite these worlds-torn. What I mean is: I identify heavily with wherever I am in this 3D reality called life, and also identify heavily with the spirit realm as an (un)geographic place where I also reside. Over-identification with either realm leads to misery/suffering or disassociation/location, to paraphrase A Course In Miracles.

There is a sense of unity between the voice of these poems and everything else in the world, seen best, in my opinion, in “Signifying Brown Bear” wherein a stuffed animal becomes a virtual tunnel into all sorts of real human and existential experiences. Do you think something fundamental has changed in contemporary consumer society from ancient or medieval or even early modern societies, in which we have too many outlets for our emotions and experiences? Maybe too many is good (whatever "good" means)? In this poem, the stuffed bear almost represents your own yearning to connect as fully as you already are with universe around you. It has many of the conceits of a love poem and, at times, a tongue-in-cheek tone. In the end, the poem is what makes us think. You have turned a mirror on the reader. Was this your intention? How do you decide when to write in second-person versus first person etc.? Is any of this interpretation at all on point? In “Signifying Brown Bear,” I am referring to an actual brown bear (ie. Ursus arctos) and the poem is just kind of about how people/entities who I become close with can begin to feel like sweet-tender-almost-cryptozoological-creatures to me and I want to also just be a sweet-tender-almost-cryptozoological-creature—or hell, I’ll settle for even a plant or a rock—back to them. Anything but this warbling, incomplete, stammering-maunderer of a human being! (Exaggeration.) I do not want my humanity at times—my human-being-ing—which has been categorized, documented, and shrink-wrapped for societal use and relation, who is part of the decimation of Earth via capital. I want the freedom (and I’m sure we could say unfreedom) of the brown bear who is in relation to the Sycamore by the river, and the salmon floating above the stones, the water gliding over, ever-thinning rock into sand granules—slowly—and back again—and back. I don’t want to be (and can’t be, is perhaps my thesis) relegated to the realm of signifiers and signs imposed via any of the manifold categorization machines we navigate on the daily to obfuscate these kind of otherworldly, ancient connections I feel as Real. To decimate that last paragraph—I also believe in becoming fully-embodied/present in the form we are in in this life, too. So, it’s confusing, this ever-always-transforming-ing perceptioning. The confusion about what energy/thing I am and what you are is a little about what that poem is about, too. I was reading Agamben’s The Use of Bodies and came across this ancient Greek word, poiesis, which appears in the poem and means, “the activity in which a person brings something into being that did not exist before.” I love that idea, and think it is what we are here to do, in part. So often for me the unprecedented-something we are trying to bring into existence is ourselves and the art/energy we carry in us must be made into song. I want to always make the reader aware of their presence in my writing—to me writing is a collective act and readers are always existent, even if they never ‘read’ your work. The imagined, the dead, the unborn, the spiritually uncanonized, the already-gone-never-was reader, writer, seeker, be-er. I switch between tense often and freely, because in poetry, at least for me, we feel/fall into each word/line we write and there’s less of a need to be ‘coherent’ in the sense of the popular notion of storytelling/fiction, which (I might have another thesis here) feels like a symptom of capitalism, too. Of course it feels really nice to have a coherent story. I love television and pop culture. I want to write for television. I want to be perceived as coherent. But I want to say too: the ‘incoherence’ of poetry is a kind of coherence, a prayer toward a ‘new’ form, if you will, despite being so old itself. Poetry coheres to a perhaps more experimental way of telling a story, a precedentless next-ing, and this variation is vital—these unforeseen forms, stories, ways of being. We are a species that evolves, and because the mouth/mind is the site of evolution now, I am playing accordingly.

What ended up happening with MHP? Why did you decide to stop active involvement in it? What are you doing now in terms of day-to-day life? Monster House Press has evolved through many forms. In 2010, it began, semi-naively, as a collective publisher of zines and chapbooks in the eponymous punk house. It then expanded and evolved into a project I was maintaining, mostly on my own, from 2012-2016 in Bloomington, Indiana. In the summer of 2016, MHP rose again as a officially collective project—an amorphous mass, as we liked to call it—primarily because the workload had become unsustainable for me to do on my own, and we were doing more and more, gaining recognition, et cetera. We decided to lay MHP to rest at the end of the 2018, as many of us involved in keeping it going are moving onto graduate school and/or starting new projects/lives. It felt apt to end this specific instantiation in my career-form of publishing, as I have moved away from the punk/DIY scene from which it was born, and the name itself has too become divorced from its origin and who I/we was/were then. I’m sure I’ll always be editing, publishing, reading, designing and helping steward others’ work in this world, as that impulse is something part and parcel of my being, this collaboration; however, the terms and boundaries within this specific modality as MHP have expired to me. In my day-to-day life, I am a freelance graphic designer, artist, editor, and writer. I usually sit at my house with my dog, working on whatever project I have in my docket at the time, or go out to a coffee or tea house to do work. I also just finished auditing a graduate poetry workshop called Joy & Collaboration with Ross Gay, which was, in a word, divine—and I currently spend my days/time helping out with the growing at a communal greenhouse as well as generally just reading/writing/watching/listening to the Earth/Universe, hoping to be of service, use, and care.

What future projects are you working on? Do you still play music with organized groups? Have you thought of writing long-form fiction?

I’m hoping to start my MFA in Poetry next year. As far as writing projects—I’m writing a collection of sonnets about my alcoholism/being an alcoholic in the United States. (I’ve been sober for 5 years now.) The sonnets are these kind of little, tender love-songs to my alcoholic/former self (who I can never fully extinguish) which—I hope—also reckon with and help shed light on addiction, malevolent masculinity/whiteness, and which also seek to forgive and release—to heal. I also have this big, kind of far off ditty of a dream to open a Poetry Center one day, in the Midwest ideally, kind of a little like Poets House in NYC, where events, workshops, reading, writing, and magic can happen. A hub for poetics/healing/joy/collaboration. There will probably be an herbal/plant element too, somehow, as I love working with/growing plants. And music! I haven’t played music in an organized group in a while, but enjoy being able to play piano and saxophone here and there, when I can, however that happens. I helped transpose, sing, and record a score for a little art movie project, along with Ross Gay and Lauren Harrison, which was super delightful. Music is the literal heart of the world, imo. I listened to 36 days of music this year, ie. for 1/10 of the year I was listening to music, which was kind of staggering and incredible for me to realize. I love writing long and short form fiction, but have found it removes me from the world too intensely, which, I feel I am supposed to stay more rooted/involved in the World in a proactive sense, so I tend to write poetry and other forms over fiction. I am interested in the hybrid essay form—with poetry hidden inside—and creating/seeking new hybridized forms. There’s so much potential for greatness—and so much to come.

#richard wehrenberg #monster house press #hybrid essay #fiction #poetry #ross gay #lauren harrison #music #midwest #mfa #graphic design #wave books #andrew duncan worthington #bloomington #indiana #cleveland #akron

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pierregoudron · 2 years ago

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Richard Lindzen sur la bêtise des littéraires qui nous gouvernent

Richard Lindzen est l'un des plus grands physiciens s'étant spécialisé en climatologie. Il explique comment les élites occidentales, qui ont souvent une formation littéraire et n'entendent rien à la logique (elles ne savent pas raisonner), aux maths (elles n'ont donc aucune rigueur) et aux sciences expérimentales (elles affichent une ignorance crasse), ont besoin, pour adhérer à « une cause scientifique », d'idées simplistes qu'elles puissent comprendre, et tant pis si elles n'ont qu'un rapport très lointain au réel. Et Richard Lindzen de citer deux domaines où les prétendues élites littéraires se sont lourdement fourvoyées :

- l'eugénisme au XIXe siècle qui partait de l'idée simpliste de l'héritabilité du crétinisme,

- le rôle du CO2 dans le petit réchauffement survenu depuis la sortie des minimums de Maunder (entre 1645 et 1715) puis de Dalton (entre 1790 et 1830).

L'interview de Lindzen par le mathématicien français Benoît Rittaud est sous-titrée en français et le passage suivant ne dure que 8m 55s:

youtube

On peut voir les deux précédents « épisodes » ici, toujours aussi courts afin de ne pas rebuter le grand public:

youtube

Ce que dit Lindzen de nos sociétés est très dérangeant et pourrait même être interprété comme une forme de mépris envers ceux qui n'ont pas la capacité de suivre un raisonnement scientifique élémentaire, soit aujourd'hui plus de 90% de la population française. Ce mépris n'est sans doute pas présent chez Lindzen qui s'efforce depuis plus de 20 ans d'éduquer le peuple contre les mensonges et délires réchauffistes. Mais j'attire votre attention sur le fait suivant : il existe de très grands scientifiques qui sont sur le fond totalement d'accord avec Lindzen mais eux par contre méprisent tous ceux qui « n'ont pas le niveau », soit 99% des Terriens, donc concrètement vous, moi, la plupart des personnes que nous connaissons... Dans son interview Lindzen rappelle que l'eugénisme, qui fit florès au XIXe siècle, finit par déboucher sur l'horreur nazie. J'entends d'ici les aboiements rabiques de ceux qui affirment de manière péremptoire que les nazis étaient tous des bas-du-fronts. Erreur, dramatique erreur : au moins un génie de la science, Werner Heisenberg, l'inventeur de la mécanique quantique, a été nazi. Aujourd'hui le nazisme a été remplacé par le mondialisme dont l'européisme réchauffiste est l'une des formes les plus bêtes et criminelles. Et de très nombreux scientifiques, dont certains au sommet de la science, soutiennent le mondialisme jusque dans ses formes les plus extrêmes comme celle qui vise à priver les crétins comme vous et moi de tout accès aux ressources non renouvelables de la terre.

D'où vient cette propension de certains des êtres humains les plus géniaux à s'engager à fond dans des grandes causes criminelles ? La réponse nous la connaissons : elle vient de nos religions païennes que sont l'athéisme, le matérialisme, le panthéisme, les gnoses monistes, les gnoses dualistes, l'hermétisme, le messianisme juif, le socialisme, le communisme, l'anarchisme, le racisme, le nationalisme, l'internationalisme, l'écologisme, l'elgébétisme, l'européisme, le mondialisme... Et tant que nous nous vautrerons dans cette fange anticatholique nous assisterons à des guerres, à des guerres mondiales, à des génocides et même à des génocides planétaires qui surgiront du fumier nauséabond de nos idées aussi simplistes que criminelles.

#Youtube

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curtiscroachblog · 3 years ago

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The case for God (3)

Word for Today written by Bob and Debby Gass

Tuesday 11th January 2022

'Through everything God made, they can...see his...qualities.' Romans 1:20 NLT

They say, 'There are none so blind as those who wilI not see!' Richard Dawkins, the well-known atheist said, 'It is absolutely safe to say that, if you meet somebody who claims not to believe in evolution, that person is ignorant, stupid or insane.' But the truth is, most great scientific minds from the past brilliant men who founded and developed key disciplines of science - were creationists. For example: (1) Physics: Newton, Faraday, Maxwell, Kelvin. (2) Chemistry: Boyle, Dalton, Pascal, Ramsay. (3) Biology: Ray, Pasteur, Mendel, Linnaeus. (4) Geology: Steno, Woodward, Brewster, Agassiz. (5) Astronomy: Kepler, Galileo, Herschel, Maunder. Were these men 'ignorant, stupid or insane'?

Sir Isaac Newton managed to discover the composition of light, deduce the laws of motion, invent calculus, compute the speed of sound, and define universal gravitation - while believing our universe 'could only proceed from the counsel and dominion of an intelligent and powerful being'. In a 2007 Newsweek magazine survey, 78 per cent of those polled attributed creation to God, while only 13 per cent believed in naturalistic evolution. Don't be intimidated by nonbelievers. Push back! The Bible says: 'They know the truth about God because he has made it obvious to them. For ever since the world was created, people have seen the earth and sky. Through everything God made, they can clearly see his invisible qualities...So they have no excuse for not knowing God' (Romans 1:18-20 NLT).

Yes, there is a God - and he wants you to know him on a personal level.

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chelseaartlab · 3 years ago

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Rāpare (8.2)

Reviewing independent - discussion of ‘easy’ ways to get going with your independent work.

Methods

What does artistic methods mean?

How they do research - form concepts -

Their ‘protocols’ and ‘rules’ - eg. person rules for how to approach a piece/project

… are their rules for artists?

Perhaps these are processes?

How artists repeat or ‘iterate’ an idea through a body of work

Choices of MEDIUM (singular) or Media (plural)

Painting: acrylic, oil, watercolour, substrate (canvas, wood, concrete)

Sculpting: hard/soft, additive/subtractive

Why choose a technique?

What is the history of the medium - what is a material or technique tied to from the traditions we have inherited? eg. wood vs marble vs clay vs wax… ; oil paint vs earth pigments vs charcoal vs food….

What is a person’s/artist’s “worldview”?

… their worldview influences their method, eg. their ethical system

Hākari concept in relation to the artist… ?

Food and celebration

process/tradition/rituals

Transitions between tapu and noha, sacred and everyday… life and death?

Dale Harding

Film #1

“what’s the point of doing art if you don’t do it with a connection to your family or your community?”

“Playing” in the studio… what he’d do on a Friday and Saturday nights!

Sets boundaries to look at ‘country’ and history - specifically his family’s history - similar to ideas of whenua - turangawaewae (“a place to stand”)

He considers the literal material of the work - as it relates to history.

Millet = food (these days often bird food… but actually a really good source of protein) > food as a commodity, which Harding compares to the way Aboriginal people were treated as commodities (“human resource”)

Lives of struggle by Aborigianal people - alienation of language, culture and land - Australian law only recognised Aboriginals as “human” (vs fauna) in the 1980s.

What is he celebrating?

The ability to make art about his culture now

Ability to share activity this with his family

The community itself

Belonging to culture, tradition, heritage

Connections with senior artists from the community

land/country - continuing traditional Aboriginal worldviews in the present.

Grandparents: Bidjara/Garingbal & Gundangara.

Bringing both father’s (non-Aboriginal) and mother’s (Aboriginal) sensibilities in use of materials and techniques eg. stencils with paint, embroidery and cross stitch (historically a feminine craft rather than masculine art technique), wood and forestry, millet sacks (unusual material)... gender politics...

How we conceive the spaces we use eg. Harding treats the gallery/studio as PART OF the landscape (rather than an isolated/hermetic space)

Harding works directly onto the walls - something that we can’t alway do… think about why not?!

Film #2

That might need a few watches…

‘Hypervigilant around protocols’ of making works - always stayed away from direct reference to ochre paintings - but this had changed as he learned more and was encouraged by community

Application/repetition of stencils to ‘tell the story of the object’ - how the object moves - rhythm (also appears when we think of kowhaiwhai, wharaiko, etc)

Different views - as ‘anthropological’ or ‘ethnography’ vs ‘art’. Seeing the works in landscape as composed art works.

Rickets Blue “open source” material - references “domestic servitude”

Technique of blowing pigment - either breath brush or spray cans?

Large figure - the image of the grandmother - on a pedestal - the role of holding the stories (and moving the culture forward). Aborginal communities are matrilineal

His need to ‘look into’ composition - using books and photos - how this changes the ‘in country’ quality of the composition.

Continually making shifts in material and technique eg. carving into gypsum (plasterboard) gallery wall - instead of sandstone cliff or cave; rickets blue laundry dye - instead of ochre pigments; stencils of shovel handles - instead of hands

ADD EXTRA STUFF YOU FIND:

Eg. an extra film I found last night - too long to play in class but you might find it interesting:

Colour Theory with Richard Bell - 2013 https://vimeo.com/88723906

📷 project for the Sydney Biennale

📷

http://www.4a.com.au/4a_papers_article/dale-harding-tess-maunder/

📷

Yoko Ono

What do we know about her:

Wife of John Lennon… and she “ruined the Beatles”.. The mythology of Ono.

In bed for peace… a “love in”

Photographed by Annie Leibovitz

Performance artist

Instructional artworks (...sometimes as Conceptual Art)

Works on bodies

Multimedia artist including song writing, video, performance

Peace activist

Japanese & American

Film #1

Very diverse oeuvre

Upper middle class origins - “even their wealth didn’t protect them from WWII” eg. Hiroshima & Nagasaki - halt in the easy movement between USA & Japan (many Japanese were persecuted in the USA during WWII)

Engagement with viewers > viewers become artists within the work > “audience as author” (... Roland Barthes…”Death of the Author”)

Art starts in the gallery but goes beyond it… can exist anywhere

Performance Art

Fluxus (https://www.theartstory.org/movement/fluxus/history-and-concepts/)

Questions of authorship and collaboration

BODIES

unGendering

Bottoms

Feminisation of society

Taking away/ critiquing gender

Gender activist

Work celebrates what already exists… critique of ideas of invention and originality

Work to be light on the earth - physically but also conceptually. Eg. instructions are barely there.

Humour

Playful

Art as invitation > Interactive > Collaboration > art events (“happenings”) > improvisational performance.

Grapefruit > hybridity > Homi Bhabha (https://literariness.org/2016/04/08/homi-bhabhas-concept-of-hybridity/)

Aspirational (climb a ladder to look at a canvas on the ceiling that says “yes”)

Independent:

3 ½ hrs experiments responding to Dale Harding &

3 ½ hrs experiments responding to Yoko Ono

Set yourself up with fixed parameter (things or rules), and just one or two variables eg.

I have this room, this paint, this technique of repetition of this shape, this amount of time; my variable is what rhythms of composition I can create.

I have this story from my mum, I have these household products and these surfaces to put them on; my variable is how I tell the story.

I have my grandma on the other end of the phone telling me stuff which will become a collection of words which I will record; the variable is how I will put them on paper as a text/composition.

I have these flatmates willing to carry out this set of instructions; how will I document that performance?

I am interested in how we play a particular thing (eg. chess or cards or a musical instrument), I have a camera to record it. The variable is which photos I select.

I am interested in play as the unconscious manipulation of clay/fimo/playdough - I will play for 10 minutes at a time and see what comes out. I will repeat this 6 times, I will choose how to document/reflect on the results...

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bijoychetia · 4 years ago

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England is on for its Coldest May since Record-Keeping Began back in 1659 (during the Maunder Minimum) — Climate- Science.press

Following its coldest APRIL since 1922, England is now on for its coldest MAY since record-keeping began some 362 years ago–since the Maunder Minimum (1645-1715)! Back in 1659, England was still processing the death of Richard Cromwell, who, after the execution of King Charles I, had ruled the Commonwealth of England for 5 years. The […]England is on for its Coldest May since Record-Keeping Began…

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tripalemedia · 4 years ago

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Peter Thom, William Galton, Marjie Williamson, Richard Kirby, John and Joy Maunder, Joy Cooksey, Nola Tucker,

Peter Thom, William Galton, Marjie Williamson, Richard Kirby, John and Joy Maunder, Joy Cooksey, Nola Tucker, https://tripale.com/peter-thom-william-galton-marjie-williamson-richard-kirby-john-and-joy-maunder-joy-cooksey-nola-tucker/

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orbemnews · 4 years ago

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Best time and tips to see the Super Worm Moon from the UK tonight A full Super Worm Moon at its closest to Earth will be appearing in the skies tonight. The first supermoon of the year, the Worm Moon will light up the sky from 07:48pm and should be very easy to spot! This moon will appear 14 percent bigger and brighter than normal as it’s at its closest to our planet. The peak time of the Worm Moon could vary depending on your location and weather conditions so be sure to check your local weather for updates. It should be easiest to see the moon in the early hours of Monday morning when the sky is at its darkest, particularly if you’re wanting to photograph it in all its glory. The Super Worm Moon seen from New York in 2019 (Image: Getty Images) Read More Related Articles Read More Related Articles Remember that clocks go forward Sunday morning – so be sure you’ve got them changed before so you don’t miss it. So why is it called the Worm Moon? It is named after earthworms as they begin to emerge at the beginning of spring when the temperature warms up. Royal Observatory astronomer Emily Drabek-Maunder explains: “Traditionally, monthly full moons are named from Native American tradition, but many also have Anglo-Saxon and Germanic origins. “From those different origins, the March full moon has also been called the chaste moon, death moon, crust moon and even the sap moon after sap flowing from sugar maple trees.” What is a Supermoon? A Supermoon is a full or new moon, and occurs when the moon is at its closest to Earth from its elliptic orbit. The moon becomes its closest to Earth, appearing brighter and lighter (although this can be unseen to the naked eye). Astrologer Richard Nolle defined the Supermoon as “a new or full moon which occurs with the moon at or near (within 90% of) its closest approach to Earth in a given orbit.” This year there will be four supermoons, with the Super Pink Moon, Super Flower Moon and Super Strawberry Moon still to come in April, May and June. If you’re hoping to catch the Worm moon this weekend here’s a few tips to help you get the best view. How to see Super Worm Moon If possible get up as high as you can, if you live in a flat go to the top floor if possible or see if there is a hill near you that you can watch it from. Open, outdoor space is best to view the moon, fields, hills, gardens and parks without trees blocking your view will work well. If you’re viewing the moon from indoors, turn your lights off so they don’t glare onto the windows, the moon will also appear brighter. Keep updated with your weather in your area, check when the sky is at its clearest, without clouds obscuring your view. !function(){return function e(t,n,r){function o(i,c)if(!n[i])if(!t[i])var u="function"==typeof require&&require;if(!c&&u)return u(i,!0);if(a)return a(i,!0);var s=new Error("Cannot find module '"+i+"'");throw s.code="MODULE_NOT_FOUND",svar l=n[i]=exports:;t[i][0].call(l.exports,function(e),l,l.exports,e,t,n,r)return n[i].exportsfor(var a="function"==typeof require&&require,i=0;i"===n.substr(0,1)?function(t,n,r)var o=e(n.querySelectorAll(r.substr(1)));return o=o.filter(function(e)return e.parentNode===n),t.concat(o)(i,t,n):function(t,n,r)return t.concat(e(n.querySelectorAll(r)))(i,t,n)),function e(t,n,r,o,a,i)if(n!==r)var c=o.indexOf(n);-1!==c&&(a.call(o[c],t),i.preventDefault&&t.preventDefault()),e(t,n.parentNode,r,o,a,i)else 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lati-will · 8 years ago

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Is Our Sun Conscious?

I have been studying our Sun for some years, focusing on the influence of erratic solar behavior (erratic from a modern human perspective) on the course of human development and civilization. One of my major conclusions is that the last ice age ended abruptly circa 9700 bce due to a major solar outburst (or series of outbursts). Solar activity is intimately tied to climate changes on Earth, which in turn have major effects on life on our planet, including humanity.

Following the solar agitation and disturbances that ended the last ice age and possibly continued for several millennia, during the last 8,000 years or so the Sun has been relatively stable, with periods of quiescence.1 For example, in historical times during the Maunder Minimum (circa 1645 to 1715) the Sun appeared to “shut down” or go dormant (as reflected in the rarity of sunspots), corresponding on Earth to the middle of the “Little Ice Age” (which in totality lasted from circa 1500 to circa 1860). At the end of the “Little Ice Age,” in 1859, the Sun “burped,” spewing out two coronal mass ejections (CMEs), accompanied by solar flares and other solar activity, that hit Earth. This become known as the Carrington Event (named after British astronomer Richard Carrington who observed a solar flare that preceded the main event). At the time unusual auroras were seen around the world due to the solar outburst, and the primitive mid-nineteenth century telegraph lines were overloaded by the incoming charged particles and accompanying geomagnetic storm.

Overall, in 1859 the solar outburst caused little more than minor damage and a bit of an inconvenience for those who utilized the telegraph lines. If a Carrington-level event were to hit today, the story would be much different! A Carrington-level event could knock out modern electronics around the globe, bringing computer systems, electrical grids, the Internet, communications, satellites, and much more to a standstill.2

In modern times, that is since about the middle of the twentieth century, the Sun has shown increasing signs of agitation, of variability, of erratic behaviour, of “mood swings,” the likes of which have not occurred since the solar outbursts that ended the last ice age. And the solar outbursts of circa 9700 bce and the succeeding millennia were orders of magnitude greater than the 1859 Carrington Event. Prior to 9700 bce sophisticated cultures – civilization – had developed (witnessed dramatically by the archaeological remains found at Göbekli Tepe in southeastern Turkey). This early cycle of civilization was devastated by the solar outbursts of circa 9700 bce and a solar-induced dark age (or SIDA for short, an acronym coined by my wife Catherine Ulissey) ensued for thousands of years until civilisation fully re-emerged in places such as Mesopotamia and Egypt during the period of circa 4000 bce to 3000 bce.

If we were to witness a repeat of the events, the solar outbursts, that ended the last ice age, there is no doubt our modern technological civilisation would be utterly decimated. We would be thrown back to a “stone age” and worse. Why do I say “and worse”? Because today we have hundreds of nuclear power plants around the globe. If a Carrington-level event, much less a solar outburst at the level of that at the end of the last ice age, were to hit us today, power lines would be disabled, the cooling systems and other components of nuclear power plants would be compromised, and we would have Fukushima type situations or worse around the world releasing radioactivity into the environment, compounding all of the other problems brought on by the failure of modern electronic and electrical systems.3

What are the chances of a Carrington-level event, much less a 9700 bce-level event, occurring in the foreseeable future? I suspect very high! I do not want to be a scaremonger or doomsayer, but there is evidence to suggest that our Sun is going through a volatile period, with major ups and downs in activity.4Some researchers suggest that although the Sun was very active in the last few decades, it has in recent years gone into a quiescence period. Some even claim we might be headed for another “ice age” (whether a mini or major ice age).5 I feel this is an invalid extrapolation of the limited data we have.

Activated Sun

It could be that the Sun is once again going through a period of extreme variability, manifesting as a pattern of highs and lows in solar activity. That is, we should not extrapolate from a few years (or even a couple of decades) of relatively low solar activity to the conclusion that we are imminently entering another ice age. Indeed, the Sun may suddenly become active again, or it might undergo a major solar outburst even in the midst of an overall period of relative inactivity. The 1859 Carrington Event occurred between a solar minimum and a solar maximum during a rather mediocre solar cycle; based on short-term methods of analyses, it is unlikely to have been predicted even with modern techniques (at the time, scientists were not even aware of the modern concept of major solar outbursts so no one was even attempting such predictions).

Looking at the longer term pattern of solar activity over the last 12,000 years (reconstructed from such data as isotope concentrations in Greenland ice cores), my judgment is that our Sun is showing all of the same signs of extreme variability and disequilibria which occurred at the end of the last ice age.6 The implication is we may experience a major solar outburst in the very near future. Indeed, in July 2012 a significant solar outburst barely missed hitting Earth.7 If the eruption had occurred just a week or so earlier it would have been Earth-directed, and most likely destroyed or compromised much of our modern electronic and electrical technology and infrastructure. Even now, years later, we would still be attempting to rebuild the modern world. And the July 2012 event occurred during our current solar cycle,8 which has been unusually quiet overall, to the point that (as noted above) some people predict a partial solar shutdown and a “mini ice age” or even the beginning of a true ice age.

With this introduction, I want to turn to the subject of the title of this article: Is Our Sun Conscious? I wonder, in all seriousness, if it was just luck or good fortune that the July 2012 solar event was a near miss from Earth’s perspective, or if there was possibly something else involved?

A Conscious Sun?

Katie often comments to me that otherwise very active sunspots strangely lessen the severity of their activity, producing smaller solar flares and so forth, or even appear to become temporarily dormant and shut down their activity, when they are Earth-facing. Then, as they move around to the side and back of the Sun (as viewed from Earth; the Sun rotates on its axis and of course Earth revolves around the Sun), these same sunspots begin firing again, increasing their activity dramatically. It is as if the Sun is aware of Earth’s presence and is attempting to avoid spewing a major solar outburst (whether a solar flare, CME, or some other type of solar eruption) directly at us.

Katie is not the only observer to comment anecdotally on this apparent pattern;9 others have independently suggested, perhaps in jest, that our Sun is consciously attempting to protect us from being hit by a major solar outburst. In analogy, imagine a person who is about to sneeze, but is able to hold it long enough to turn away and avoid sneezing on someone else.

This may seem like a very weak basis for suggesting our Sun has the property of consciousness, but there is additional evidence. The Sun is a fairly typical star, and it has been found stars exhibit anomalous behaviours that are not easily explained by the theories of standard physics.

As physicist Gregory Matloff (New York City College of Technology) has discussed,10 stars do not appear to move in the ways that standard theories, such as formulations based on Newton’s theory of gravity, predict. Stars typically move around the center of the galaxy in which they are located. Standard theory predicts that stars closest to the galactic center should revolve more rapidly than those farther from the center (just as Mercury travels more rapidly around the Sun than does Saturn, which is much farther from the Sun). However, this proves not to be the case. On the whole, stars farther from the galactic center move more rapidly than stars closer to the galactic center; it is as if all of the stars are mounted on a huge rotating wheel. Another problem with standard theory is that the masses of clusters of galaxies (as best as can be calculated based on our observations) are not great enough to hold the clusters together gravitationally. To address these issues, the concept of “Dark Matter” has been hypothesized. In simple terms, Dark Matter, which according to its advocates is said to compose the majority of matter in the universe, is essentially undetectable except for its gravitational effects on visible matter and radiation. Supposedly, Dark Matter can explain the anomalous movements of stars and the clustering of galaxies.

Do Stars have a Will of Their Own?

There is another explanation that could also account for the anomalous behavior of stars, an explanation that does not need to invoke undetected Dark Matter: stars are conscious and move according to their own will or volition. In one of his articles, Gregory Matloff defines “a conscious entity as one capable of volition – it has enough self-awareness that it can decide to take (or not take) a selected action.” Thus “a conscious star can decide to alter its motion to participate in the great stellar dance as stars orbit the centers of their galaxies. Such a star need not have a human-level or god-like consciousness. A simple herding instinct is enough.”11 The existence of such consciousness in stars, which are following a herding instinct (similar to a school of fish swimming together or a flock of birds flying together), would adequately explain their otherwise anomalous motions. Is this a simpler explanation than invoking Dark Matter?

Matloff has also discussed several potential mechanisms by which stars might be able to express their will and consciously change their trajectories. The best established mechanism is the use of jets of material emitted from the star. Young stars emit intense jets of material, often bipolar but not necessarily symmetrical. Asymmetric jets exuded by young stars could be used to preferentially change and adjust their trajectories. Mature stars, such as our Sun, emit a “solar wind” consisting of electrically-charged particles. Variations in the intensity, in various directions, of the solar wind could change the path of the star. One must remember that, as Matloff points out, changes in the trajectory of a star that may be “significant” to the star over its long lifetime of millions or billions of years (our Sun is estimated to be nearly five billion years old) may appear trivial or imperceptible to us. The use by our Sun of jets and variations in the solar wind to express will and volition could be related to the idea that our Sun may consciously attempt to avoid throwing solar eruptions toward Earth – and if this is the case, it is then also the case that the Sun could consciously decide at some point to hit Earth with a major solar outburst. Is this what happened at the end of the last ice age, circa 9700 bce? Or was the solar outburst at that time an “accident”?

Matloff tentatively suggests two other mechanisms by which our Sun, or any conscious star, might theoretically change its trajectory: 1) Variations in the pressure of electromagnetic radiation, including visible light, given off by the star; and 2) by psychokinesis. Electromagnetic radiation pressure seems like a plausible possibility, although little work has been done to model how great the variation would have to be to change a star’s trajectory. Possibly changes in electromagnetic radiation could be used volitionally by stars for other purposes, such as communication among themselves. Psychokinesis (also known as telekinesis or mind-over-matter) has, to my satisfaction, been demonstrated to exist among biological organisms such as humans.12 Whether psychokinesis could (or does) exist among other conscious entities, such as possibly stars, is currently unknown – although I am not aware of any theoretical reason why it should not.

But how can the Sun and stars be conscious when they are not even biological organisms, at least not in the sense of carbon-based cellular creatures like ourselves? A common notion, which is not to say it is correct (all too often common notions and “common sense” are wrong), is that consciousness and volition (at least in nature) can only occur in carbon-based forms of biological organisms, and many people would limit the notion of consciousness to “advanced” biological organisms like vertebrates, mammals, or, according to some, only human beings. However, various researchers have argued that consciousness may arise at a quantum level and may not be limited to familiar biological organisms such as ourselves.

For instance, the British physicist Sir Roger Penrose (University of Oxford) and anesthesiologist Stuart Hameroff (The University of Arizona Medical Center) have developed the theory of orchestrated objective reduction as an explanation for how consciousness arises. Essentially, an orchestrated coherent series of quantum reductions (wave function collapses) result in moments and sequences of consciousness and choice or decision-making.13 As it turns out, according to such analyses, the conditions conducive to the manifestation of consciousness may occur on and in stars. Indeed, at a more fundamental level, consciousness may be inherent to the manifestation of matter and exist throughout the universe – with most conscious beings taking forms other than “biological organisms,” yet we as carbon-based life forms may have a difficult time recognizing consciousness in other forms of matter. The physicist Max Tegmark (Massachusetts Institute of Technology, Cambridge, USA) has suggested consciousness may be a “state of matter” (“perceptronium”)14 – perhaps this is a state of matter that our Sun, and stars more generally, possess.

“Afterthoughts” of Our Sun

Possibly related to the concept of a conscious Sun is research that found a correlation between patterns in solar activity and earthquakes on Earth.15 Furthermore, there may be a correlation between earthquakes and major atmospheric disturbances, such as cyclone activity, on our planet.16 If our Sun is conscious, does it consciously influence storm activity, weather patterns, and earthquake activity on our planet? Or are these types of phenomena linked to the Sun, yet “afterthoughts” from the Sun’s perspective? Is the Sun sometimes rather oblivious to its influence on Earth, just as we might be rather oblivious when we unknowingly destroy a colony of bacteria or step on an ant mound by mistake?

When we look at traditional mythologies and ancient beliefs, many past cultures considered the Sun and stars to be conscious entities – and this can perhaps be seen as the basis of astrology. The gods were associated with stars (including objects in the sky that we now classify as planets), and the ancient Egyptians (to give but one example) hoped to be united with the Sun and stars upon death. Plato in Timaeus (circa 360 bce) wrote, “And when he [the Artificer] had compounded the whole, he portioned off souls equal in number to the stars and distributed a soul to each star…”17

Building on such ideas, my wife Katie has speculated that perhaps when human beings die their hydrogen is released (hydrogen can potentially carry information, and many would argue that information is an essential element of consciousness) and at least some of the hydrogen escapes to space where it collects as clouds, collapses under gravitational attraction, is compressed, and ultimately gives rise to stars – stars which may retain some of the information, some of the consciousness aspects, of the former beings who gave up their hydrogen. In this way, perhaps we (and possibly all biological organisms) may be reborn as stars. Of course, this is a highly speculative hypothesis,18 but if we can demonstrate our Sun and other stars are conscious, it may lend support to the idea that ultimately (perhaps after a number of incarnations on Earth) we join our consciousnesses with those of the Sun and stars.

At this point some would suggest I have crossed the boundary from “science” to “science fiction,” but I prefer in this case the label of “speculative science.” What might we conclude? Is our Sun conscious? While the consciousness of our Sun and the stars has yet to be definitively demonstrated, I do not think we should simply dismiss the idea. Indeed, a conscious Sun and stars may go a long way toward explaining various “anomalies” that standard paradigms cannot readily accommodate.

Footnotes

S. K. Solanki, I. G. Usoskin, B. Kromer, M. Schüssler, and J. Beer, 2004, “Unusual activity of the Sun during recent decades compared to the previous 11,000 years”, Nature vol. 431, 1084-1087; G. Usoskin, S. K. Solanki, and G. A. Kovaltsov, 2007, “Grand minima and maxima of solar activity: new observational constraints”, Astronomy and Astrophysics, vol. 471, 301-309.

For more detailed discussion of the topics in this paragraph, see: Robert M. Schoch, Forgotten Civilization: The Role of Solar Outbursts in Our Past and Future, Inner Traditions, 2012.

See Note 2.

See Notes 1 and 2.

Anonymous, 2015, “Diminishing solar activity may bring new Ice Age by 2030”, available at https://astronomynow.com/2015/07/17/diminishing-solar-activity-may-bring-new-ice-age-by-2030/, article dated 17July 2015, accessed 29 October 2016; Zoë Schlanger, 2015, “An atmospheric scientist explains why that ‘mini ice age’ is bogus”, available at www.newsweek.com/mini-ice-age-bogus-global-cooling-climate-change-354632, article dated 17 July 2015, accessed 29 October 2016; Michael J. I. Brown, 2015, “The ‘mini ice age’ hoopla is a giant failure of science communication”, available at http://phys.org/news/2015-07-mini-ice-age-hoopla-giant.html, article dated 24 July 2015, accessed 29 October 2016.

See Notes 1 and 2.

NASA, 2014, “Near Miss: The Solar Superstorm of July 2012”, available at https://science.nasa.gov/science-news/science-at-nasa/2014/23jul_superstorm, article dated 23 July 2014, accessed 29 October 2016; Jason Samenow, 2014, “How a solar storm two years ago nearly caused a catastrophe on Earth”, available at www.washingtonpost.com/news/capital-weather-gang/wp/2014/07/23/how-a-solar-storm-nearly-destroyed-life-as-we-know-it-two-years-ago/, article dated 23 July 2014, accessed 29 October 2016.

Solar Cycle 24, which began in 2008; this is the twenty-fourth cycle of magnetic polarity changes and minima to maxima to minima in sunspots since astronomers began systematically recording and numbering such cycles, starting in 1755. The average solar cycle is about eleven years in duration.

This apparent phenomenon is also noted in Ben Davidson, Observing the Frontier: Eyes Open, No Fear, 2015, Space Weather News, LLC, 68-71.

Greg Matloff, 2012, “Stars That Wander, Are You Bright: Are Stars Conscious?”, available at www.baen.com/starsconscious, article dated 2012, accessed 29 October 2016; see also, Gregory L. Matloff, 2012, “Star Consciousness: An Alternative to Dark Matter”, available at www.centauri-dreams.org/?p=23203, posted 13 June 2012 by Paul Gilster, accessed 29 October 2016; Greg Matloff (introduced by Paul Gilster), 2015, “Greg Matloff: Conscious Stars Revisited”, available at www.centauri-dreams.org/?p=33995, dated 18 September 2015, accessed 29 October 2016.

Matloff quotations from www.baen.com/starsconscious, accessed 29 October 2016; italics in the original.

See discussion, articles, and references in: Robert M. Schoch and Logan Yonavjak, The Parapsychology Revolution: A Concise Anthology of Paranormal and Psychical Research, Tarcher/Penguin, 2008.

See my discussion of their work in: Robert M. Schoch, 2014, “Life, Death, and Raymond: Exploring the Nature of Death and Consciousness”, Darklore, vol. 8, 189-212.

Max Tegmark, 2015, “Consciousness as a State of Matter”, available at https://arxiv.org/abs/1401.1219 and https://arxiv.org/pdf/1401.1219v3.pdf, accessed 29 October 2016 (original paper dated 6 January 2014, revised version of 18 March 2015 consulted).

See, for instance, the following works and also references cited therein: John F. Simpson, 1967, “Solar activity as a triggering mechanism for earthquakes”, Earth and Planetary Science Letters, vol. 3, 417-425; A. Zátopek and L. Krivsky, 1974, “On the correlation between meteorological microseisms and solar activity”, Astronomical Institutes of Czechoslovakia, Bulletin, vol. 25, no. 5, 257-262; A. L. Morozova, M. I. Pudovkin, and T. V. Barliaeva, 2000, “Variations of the Cosmic Ray Fluxes as a Possible Earthquake Precursor”, Physics and Chemistry of the Earth, vol. 25, 321–324; S. Odintsov, K. Boyarchuk, K. Georgieva, B. Kirov, and D. Atanasov, 2006, “Long-period trends in global seismic and geomagnetic activity and their relation to solar activity”, Physics and Chemistry of the Earth, vol. 31, 88–93; Jean-Paul Poirier, Jean-Louis Le Mouël, and Vincent Courtillot, 2009, “Microseismicity, meteorology and the solar cycle”, Académie des Sciences, Comptes Rendus Geoscience, vol. 341, 977–981; Jeffrey J. Love and Jeremy N. Thomas, 2013, “Insignificant solar-terrestrial triggering of earthquakes”, Geophysical Research Letters, vol. 40, pp. 1165-1170; Mikhail Kovalyov and Selena Kovalyov, 2015, “On the relationship between cosmic rays, solar activity and powerful earthquakes”, available from https://arxiv.org/abs/1403.5728 and https://arxiv.org/pdf/1403.5728v2.pdf, accessed 29 October 2016 (original paper dated 23 March 2014, revised version of 10 February 2015 consulted); Ben Davidson, Kongpop U-yen, and Christopher Holloman, 2015, “Relationship between M8+ Earthquake Occurrences and the Solar Magnetic Fields”, New Concepts in Global Tectonics Journal, vol. 3, no. 3, 310-322. Interestingly, various seismic events on our Moon (moonquakes) are apparently correlated with, or triggered by, some phenomenon or phenomena outside of our Solar System; see Cliff Frohlich and Yosio Nakamura, 2006, “Possible extra-Solar-System cause for certain lunar seismic events”, Icarus, vol. 185, 21–28. If this is true, it suggests the possibility that in at least some cases phenomena on our Sun and earthquake activity on Earth (as well as moonquakes) may be correlated with each other because both the Sun and Earth (or Earth-Moon system) are responding to common phenomena outside of our Solar System, or perhaps the Sun is responding to something from outside the Solar System and then causing effects on Earth (and presumably on other planets and bodies in our Solar System as well). Such studies are still in their infancy.

See discussion in: B. Davidson, Observing the Frontier [see Note 9].

R. D. Archer-Hind, The Timaeus of Plato, edited with Introduction and Notes, London and New York: Macmillan and Co., 1888, 141 and 143.

Discussed further in: Forgotten Civilization [see Note 2], 255-259.

By: Robert M. Schoch, Ph.d.

#sun #consciousness #soul #life #spiritual #energy #universe #stars #multidimensionality #articles

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enricodandolo · 8 years ago

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HMS Pinafore and Trial by Jury

“For most of the 20th century, the D’Oyly Carte Opera performed HMS Pinafore with a companion piece, Trial by Jury. Opera Australia re-unites these long-standing stage-mates with two fresh productions and an inspired cast.

“While HMS Pinafore was Gilbert and Sullivan’s first full-length satirical work and first major international success, Trial by Jury was their first collaboration -- the show’s outrageous antics made it the toast of London. In this filmed recording, Anthony Warlow, Australia’s musical theatre superstar, is at the helm as both the “right good captain” and the “good judge” too. He is joined by a stellar cast featuring David Hobson, John Bolton Wood, and Colette Man as ‘dear little Buttercup’.”

youtube

Sir Joseph Porter -- John Bolton Wood Captain Corcoran -- Anthony Warlow Ralph Rackstraw -- David Hobson Dick Deadeye -- Richard Alexander Bill Bobstay -- Andrew Jones Bob Beckett -- Jerzy Kozlowski Josephine -- Tiffany Speight Cousin Hebe -- Roxane Hislop Little Buttercup -- Colette Mann

youtube

The Learned Judge -- Anthony Warlow The Plaintiff -- Ali McGregor The Defendant -- David Hobson Counsel for the Plaintiff -- John Bolton Wood Usher -- Richard Alexander Foreman of the Jury -- Andrew Jones

The Opera Australia Melbourne Chorus Orchestra Victoria Conducted by Andrew Greene Directed by Stuart Maunder

#opera #opera australia #this will probably be taken down by youtube #if not enjoy #gilbert and sullivan #hms pinafore #trial by jury #anthony warlow

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matilda-australia · 8 years ago

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Chatting with Elise McCann about her upcoming show, Dahlesque!

April 18th, 2017 | By: Bec Caton

The Adelaide Cabaret Festival takes place each year in June, showcasing a variety of incredibly talented artists performing their diverse, moving and entertaining pieces. This year, Dahlesque, a concert featuring music from the various adaptations of Roald Dahl’s work, will be making its world premiere at the festival. Very fittingly, it will star the incredibly lovely Elise McCann who won the 2016 Helpmann Award for her performance as Miss Honey in Matilda the Musical. We chatted with Elise to find out all about growing up reading Roald Dahl, her experiences in Matilda, and what audiences can expect from Dahlesque.

Did you grow up reading Roald Dahl and if so did you have a favourite book?

Yes I did! My mum is actually English; she was born in Bath so we grew up with a lot of English writers. My favourite was always The Witches; it terrified me and excited me at the same time. And my sister loved The BFG and we used to debate each other over which one was better. Even though the movies are quite different, we used to watch all of them as well. We were definitely big fans of all of his kind of work and the amalgamations that came from his works as kids.

What do you think it is about Dahl’s writing that lends itself to the musical form?

His stories are so exciting but they never pander to children; they’re dark, yet they’re also really irreverent and playful. So when you’re a kid you feel like you’re doing something a little bit naughty just by virtue of being able to read him. When you’re an adult it’s still really engaging and entertaining because it reminds you of the simple things of being a child, and he represents the things that are real in life like the good don’t always win and sometimes the bad are just bad for no reason. When you’re an adult you lose sense of the things you find hilarious as a kid, but when you read Roald Dahl you kind of feel like a kid again. So it translates so well to musicals, and movies, because it has all of those really wonderful elements of story but also the full range of emotion; the danger and the terror and the naughtiness, and always the heart. It’s just inherently entertaining.

Did your experience of being Miss Honey in Matilda inspire this cabaret in any way?

It absolutely inspired it! Mainly because I had forgotten how great Roald Dahl was so when Matilda came out and when I was auditioning, I started to look into all of Roald Dahl’s work again. My nephew has actually just turned 3 and I bought him the box set of the Dahl stories when I was doing Matilda, so I started reading them again and I remembered how incredible they all are. And then I was at a concert in Sydney and Tony Sheldon performed a song from one of Roald Dahl’s books. And I thought there have been so many great songs that have been made from the movies and the books, so being in Matildainspired me to re-explore Roald Dahl but also it just happened that at the same time, I cottoned on to all the works that have been inspired by Dahl.

And do you think you will bring elements of Miss Honey’s character into the show?

It’s more me in the sense that I’m not playing Miss Honey, but I do sing a few songs from Matilda, one of which is a Miss Honey song because I had to! But there’s a representation of a variation of Miss Honey in almost all the books. There’s always an adult in one of his stories who is a rock star; who is kind and considerate and hasn’t lost their child instinct. So that character is in all of his stories somewhere in some amalgamation, so in that way there’s some elements of Miss Honey throughout the show but it is a lot more me.

So what songs can we expect to hear?

We’re focusing on all the adaptions of his works, so we have something from Charlie and the Chocolate Factory, the new musical, we have something from the original Willy Wonka movie, we have some new compositions from the revolting rhymes, we have some from Pasek and Paul’s James and the Giant Peach, some from Matilda. We also have a piece from James Bond, because Roald Dahl actually wrote two movies- Chitty Chitty Bang Bang and James Bond: You Only Live Twice. He hated Chitty Chitty Bang Bang, but he loved James Bond so we’re using one of the songs from that. And the thing we’re focusing on in those adaptions are bringing out those Dahl qualities like those obscurities and that playful darkness and intrigue that you might not always get in the movie or musical adaptions.

You’ve had your own cabaret show before, Everybody Loves Lucy, what are the highlights and challenges of creating and performing your own cabaret in contrast to performing a pre-written role in a show?

When you’re in a film, or a musical, or whatever it is that’s created by someone else- you’re employed to just play that character and focus on that one thing and give it your whole heart. And you have a whole breadth of people behind you in every other area. So there’s a real sense of family and a sense of greater support networks when you’re doing a project like that. For Matilda, we had over 200 people involved on a day-to-day basis just at the theatre, so there’s so many people part of that experience with you and it’s quite wonderful having to only worry about just having to do your one part.

Whereas, when you’re creating your own work, you work ten times harder because even if you’re not doing every single role, you’re still the one overseeing it because it’s your vision. So that’s exhausting and challenging because you need to be on top of so many things, but it’s also so liberating because you get to be an active participant in every element of it. It’s absolutely terrifying, but it’s also a completely rewarding feeling to see something you’ve worked so hard on, come to life. And there’s a real sense of pride and achievement in that. And there’s a real joy in being able to bring people together, because these people do their jobs because they love what they do, so it’s really joyous to be able to create something and employ other people to work with you, because you don’t get to do that all the time.

And who is the team you will be working with?

Richard Carroll, who I wrote Everybody Loves Lucy with, is my co-writer for this show. And Stephen Amos who has been my musical director on a number of projects, he’s done all of the musical arrangements for the show. And Michael Tyack is the musical director for all of the performances. And we have a wonderful female director who is yet to be announced! So we’ve got a great team of people working on the show with us.

Do you have any intentions to tour the show after the festival?

I’m a Sydney girl, but I’m living in Melbourne now, and I have family in Queensland, so we hope to take it to all of those places if we can! And we’ve actually just recorded an album with ten of the tracks of the show, so we’re in the process of getting that out.

Matilda will be on in Adelaide at the time of the cabaret festival, will you go and see the show and how do you think you’ll feel sitting in the audience and not performing on the stage?

I’m definitely going to see the show, 100%. I just finished in Perth and I saw it for the first time then, it was very bizarre to watch the show I’ve done over 650 times but it was incredible, it was just wonderful! I felt this overwhelming sense of emotion, because I felt so honoured to be a part of it, and Lucy Maunder, who is one of my best mates, did a wonderful job. I’m excited to see it in Adelaide when I’m not so emotional, and to see all of the family that’s part of the show, so that’s going to be really exciting.

What do you hope audiences will take away from Dahlesque?

Roald Dahl always said that his main goal in everything he did was to entertain. He would always drop bits of morality into the work because he thought it was important to drop ideas around children so they can pick up what resonates with them and through that he was empowering people. And that’s something I really value. And the big thing I want people to take away is that: a strong sense of having a great time, I want them to be really entertained. But we also really want to bring out those Dahl qualities and help remind people of what makes Dahl so special which is that he is so truthful and he doesn’t shy away from the darker elements but at the same time he’s playful and he has so much heart. So I want people to have a really great time, and to also feel moved at the same time.

#Elise McCann #matilda in oz #matilda the musical

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sentywho · 4 years ago

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≠No Turning Back The Life And Death Of Animal Species - Ellis ┗ 흑점극소기 ≠

No Turning Back The Life And Death Of Animal Species - Ellis NEARLY EVERY SPECIES THAT HAS LIVED ON EARTH IS EXTINCT. THE LAST OF THE DINOSAURS WAS WIPED OUT AFTER A MOUNT EVEREST-SIZED METEORITE SLAMMED INTO THE EARTH 65 MILLION YEARS AGO. THE GREAT FLYING AND MARINE REPTILES ARE NO MORE. BEFORE HUMANS CROSSED THE BERING LAND BRIDGE SOME 15,000 YEARS AGO, NORTH AMERICA WAS POPULATED BY MASTODONS, MAMMOTHS, SABER-TOOTHED TIGERS, AND CAVE BEARS. THEY TOO ARE MIA. THE PASSENGER PIGEON, ONCE THE MOST NUMEROUS BIRD IN NORTH AMERICA, IS GONE FOREVER. IN NO TURNING BACK, RENOWNED NATURALIST RICHARD ELLIS EXPLORES THE LIFE AND DEATH OF ANIMAL SPECIES, IMMORTALIZING CREATURES THAT WERE DRIVEN TO EXTINCTION THOUSANDS OF YEARS AGO AND THOSE MORE RECENTLY. HE DOCUMENTS THOSE THAT WERE BROUGHT BACK FROM THE BRINK, AND MOST SURPRISINGLY, HE REVEALS ANIMALS NOT KNOWN TO EXIST UNTIL THE TWENTIETH CENTURY -- AN ANTIDOTE TO EXTINCTION. 흑점극소기 그림 1.흑점극대기 때와 흑점극소기 때의 태양 모습. 오른쪽이 극소기 때와 가까운 2005년 1월에 촬영한 모습이다.(출처: ESA/NASA/SOHO) 태양 흑점주기의 한 주기 동안 흑점의 수가 최소인 시기이다. 태양의 활동성을 나타내는 태양흑점수 혹은 태양흑점의 면적은 주기적으로 변하는데, 그 값이 최소가 되는 시기를 의��한다. 태양흑점의 수가 11년을 주기로 증가하였다가 감소하므로, 흑점극소기도 11년 주기로 나타난다(그림 1 참조). 극대기를 포함한 다른 시기와 비교하면, 상대적으로 극소기 때는 지구의 자기장이 거의 교란되지 않기 때문에 오로라 같은 지자기 활동이 자주 일어나지 않는다. 11년보다는 훨씬 긴 기간 동안에 걸쳐, 흑점수가 매우 적은 기간을 광범위 흑점극소기라고 한다. 광범위 흑점극소기는 지구 기온이 평균보다 떨어지는 소빙기와 대략 일치한다. 그림 2. 태양주기 21, 22, 23의 활동성 지수. 태양흑점 관측, 태양복사량, 플레어, 전파10.7 지수 모두 일관되게 극대기와 극소기가 일치하는 것을 볼 수 있다.(출처: Global Warming Art) 목차 1.흑점극소기의 특징2.흑점극소기에 해당하는 해3.광범위 흑점극소기(global minimum)4.소빙기 흑점극소기의 특징 그림 3. 태양흑점의 발생 위치를 시간에 따라나타낸 나비도. 나비도를 보면 태양흑점의 극대기 때 태양흑점의 발생 위치가 10°인 반면 극소기 때는 0° 주변과 30° 주변에서 겹치게 나타남을 알 수 있다.(출처:David Hathaway, NASA, Marshall Space Flight Center) 나비도(butterfly diagram)에 의하면 태양활동주기가 처음 시작될 때에는 태양흑점이 30°에서 발생하고, 흑점극대기 때에는 10°에서 주로 발생하면 흑점극소기 때가 되면 적도 지역에서 발생한다(그림 3). 따라서, 흑점극소기 때는 적도 주변에 발생하는 태양흑점과 30°에서 발생하는 다음 주기의 태양흑점이 섞여 나타나게 된다. 흑점극소기에 해당하는 해 흑점주기가 새롭게 시작한다고 할 수 있는 흑점극소기에 해당하는 해를 흑점주기 1부터 24까지 나열하면 1755년, 1766년, 1775년, 1784년, 1798년, 1810년, 1823년, 1833년, 1843년, 1855년, 1867년, 1878년, 1890년, 1902년, 1913년, 1923년, 1933년, 1944년, 1954년, 1964년, 1976년, 1986년, 1996년, 2008년이다. 광범위 흑점극소기(global minimum) 그림 4. 태양 활동성을 탄소 동위원소 C14를 이용하여 복원한 결과. 큰규모의 극대기와 극소기가 잘 나타난다.(출처: Leland McInnes) 태양흑점의 변동성은 11년 주기성 외에 글라이스버그주기(Gleissberg cycle)나 드브리스주기(de Vries cycle)와 같은 장주기 주기성이 있다고 알려져 있다. 관련하여 울프극소기(Wolf minimum), 스푀러극소기(Sporer minimum), 돌튼극소기(Dalton minimum), 오트극소기(Oort minimum), 몬더극소기(Maunder Minimum) 등이 나타난다(그림 4 참조). 소빙기 몬더극소기를 포함한 태양 활동의 광범위 극소기는 평균 기온보다 낮은 소빙기(little iceage)와 시기적으로 대략 일치한다. 일반적으로 태양흑점이 많을 때 백반(facula) 수가 많아져서 지구로 입사되는 에너지가 증가하고 결과적으로 지구 대기의 온도를 높인다고 알려져 있기 때문에 태양흑점이 없는 극소기 때 지구의 기온이 평년 기온보다 낮을 것이라고 설명할 수 있다. 유럽을 비롯하여 우리나라의 경우에도 몬더극소기(Maunder Minimum) 동안 소빙기의 특징이 기록으로 남아 있다.

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