Schwarz
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genesis / suppers ready / shepperton 1973 from 16mm / 23:00 min. classic spooky gabriel!
paint it black with killer cans
via zars
vz sent this one in for dr aw. ash pencils
deck demo / filmed and posted by ed t. staring bill and joe and the doomed deck
MMW GAD
k bighair from dallas has a DIY shipping container project going on down in kerrville texas and has photo documented it here. she has been posting frequently on the fab-prefab container-bay message board. asking smart questions and offering good answers to other's questions. on this recent thread fellow board participant and admitted architect gregory la vardera chases her off with this hot new new topic :
Why do Containers attract DIY?
Why, like rats to a meat truck, do containers attract DIYs? Really there is nothing different about this than any kind of construction, heavy or light. Yet people seem to have some sort of regard for regular construction which keeps most people away and hiring contractors, some sort of regard that they don't have for working with a container.
Honestly, having looked at them very closely there is nothing different about building a house from a container than there is from steel. Yet I don't see anybody asking "how many bolts do I need on that beam to create a moment connection to that column.." Its like nobody would ever ask that - like its considered the domain of some kind of mystical expert, yet containers are wide open to anybody with a blow torch and some balls. Frankly you are in much deeper sh-t if you think you are going to mess with a container than you are with structural steel. There are lots of resources out there for working with structural steel. Books, industry standards, classes at universities and community colleges. Of course there are no resources on building with containers because its all "brand new". But that does not mean that working with them is any simpler or easier than any other type of construction.
All that means is you have to make it up yourself as you go along, which answers my question I suppose. A DIYer would really love doing that! But at least hire yourself an engineer if you are not sure its going to stand up.
All I can say is go for it, and don't screw up so badly that you make tough for others that may follow being a little bit more methodical and thorough.
this family snap shot scan just in from my brother. we are trailer folks. left to right. uncle al's trailer, aunt juanita, cousin paul, me, cousin steve, uncle al, brother john and i dont know what hes driving. visiting us in dallas '62ish enroute to his management level assignment with the park service at death valley national park in nevada..
revamped wtc memorial design
ck berryman / originator of the teddy bear. this drawing made gift to my grandmother as a child on a visit to her aunt in washington dc in 1912. berryman and the aunt both worked in the us patent office at the time.
glenn gould you tube proformances :
Lois Marshall sings strauss's cancillie w/ glenn gould in accompaniment.
plays aria from the goldberg variations
A short segment from "Glenn Gould's Toronto," a long-unavailable film from the late 1970s produced for the CBC. He talks about the new CN Tower, about how Toro ... (more)
Leonard Rose and Glenn Gould play the 3rd movement (Adagio cantabile — Allegro vivace) of Ludwig van Beethoven's Cello Sonata No 3 in A major, Op. 69.
four 1920's or 1930's initiation photographs
I've been writing love songs all my life, never rocking the boat. There were years that I paid no attention to the political process, times I never voted. The closest I came to writing music with any social and political connotation was "What the World Needs Now is Love." When that song was written 40 years ago, it was an important song.
And, now, it is a thousand times more so.
But starting with the 2000 election, things for me began to change. I watched as Bush basically stole the election, and other terrible situations occurred; and by the time 9/11 hit, I didn't feel like writing love songs.
dukesfest '06
Earlier in my life there seemed to be unlimited possibilities, but my mind was closed. Now, years later and with an open mind, possibilities no longer interest me. I seem content to be continually rearranging the same furniture in the same room. My concern at times is nothing more than establishing a series of practical conditions that will enable me to work. For years I said if I could only find a comfortable chair I would rival Mozart.
My teacher Stefan Wolpe was a Marxist and he felt my music was too esoteric at the time. And he had his studio on a proletarian street, on Fourteenth Street and Sixth Avenue. . . . He was on the second floor and we were looking out the window, and he said, “What about the man on the street?” At that moment . . . Jackson Pollock was crossing the street. The crazy artist of my generation was crossing the street at that moment.
If a man teaches composition in a university, how can he not be a composer? He has worked hard, learned his craft. Ergo, he is a composer. A professional. Like a doctor. But there is that doctor who opens you up, does exactly the right thing, closes you up—and you die. He failed to take the chance that might have saved you. Art is a crucial, dangerous operation we perform on ourselves. Unless we take a chance, we die in art.
Polyphony sucks.
Because I’m Jewish, I do not identify with, say, Western civilization music. In other words, when Bach gives us a diminished fourth, I cannot respond that the diminished fourth means, O God. . . . What are our morals in music? Our moral in music is nineteenth-century German music, isn’t it? I do think about that, and I do think about the fact that I want to be the first great composer that is Jewish.
“That means a bigger picture,” she says. “When somebody comes to somebody and says, ‘Do this project,’ if there’s been a study of that area, they know what kind of envelope they should have. But there doesn’t seem to be much study at all here. On one hand, it’s kind of refreshing in New York that every plan is autonomous and just goes up; on the other hand, you have a lot of ad hoc stuff that isn’t perfect.”
“People have tremendously emotional feelings about cities like Paris because it never changes,” I say. “I know Paris probably needs as many things as anywhere else, but a city like that, a completely beautiful place for centuries, why do anything there?”
“I think it’s a problem if we don’t change,” she says. “It’s beautiful, but it has no energy. Like Venice—it’s beautiful when you have the film festival or the Biennale, and it’s beautiful in winter. But it can’t grow. Paris is very even. But otherwise it’s quite dull.”
As I can’t agree, I drop it. I would rather live in a dull, beautiful place than a place where things “happen.” My own utopian ideas involve population control and scaling down the human presence on the planet. Architects think in terms of endless capitalist expansion, endless growth, endless everything; yet I feel certain we are coming to the end of endlessness. Still, Zaha Hadid is probably the only architect I’ve met who seems conscious of this, without necessarily acknowledging it. She has to build, so she needs to be positive. I have to write and have the luxury of skepticism.
We discuss the recent fracases over air rights and plot mergers, particularly in the West Village. “One could say it’s terrible,” she says. “But in Hong Kong they used to do illegal extensions, and sometimes they were nice. But I understand the problem, if you have something and it disappears. I used to come to New York a lot; my brother had a flat in midtown with the most fantastic view. And he thought he had the air rights to the next-door building. Then they decided to make a tower, and it wasn’t illegal, and suddenly it was like a blank wall in front of our faces. It’s a tragedy, but it was part of life in New York, I guess.”
vinalhaven maine in the times
IT takes a certain determination to visit the island of Vinalhaven, Me. Once you've made it to Rockland, halfway up the Maine coast along slow, winding Route 1, you're still a 75-minute ferry ride away. The ferry fits only 16 cars, and reservations are limited, so it's not unusual for motorists on a busy summer day to wait in line for two or even three of the six daily ferries to depart before securing a place on board.i hope no one read it
John Strausbaugh examines the history of race relations in American popular culture, from vaudeville to hip-hop, in Black Like You. (listen)
neptune crossing images
arthur lee and love on you tube
uuuuuuuummm kitchens