Podcasts about international exhibition

Donald Trump begins his Middle East trip in Riyadh. Then: India and Pakistan’s fragile ceasefire holds for now and we unpack the Philippines’ midterm election results. Plus: Triennale Milano’s 24th International Exhibition.See omnystudio.com/listener for privacy information.

Telescope domes are designed to keep the telescopes inside safe and on-target. But just because they’re practical doesn’t mean they can’t be beautiful. That’s especially true of some built in the 1930s. They were influenced by the design style that was all the rage – known today as art deco. The event that popularized art deco began 100 years ago this week – the International Exhibition of Decorative Arts and Modern Industries, in Paris. It was a showcase for French design in architecture, art, furniture, clothing, and other fields. Most countries participated. The only restriction: Everything had to be modern. The exhibition inspired a design wave across the United States. Popular examples include the Empire State Building and Chrysler Building in New York, along with trains, airplanes, cars, consumer goods, and more. Astronomy got into the act as well. The best-known example is Griffith Observatory, in Hollywood. Its domes and grounds have been featured in dozens of movies and TV shows. The domes of Palomar Observatory feature art-deco design as well, including the one that houses the 200-inch telescope – the largest in the world for decades. And no list is complete without our own McDonald Observatory. Its original dome was dedicated in 1939. It housed not only the observatory’s 82-inch telescope, but also labs, offices, and living space for the astronomers – all executed in beautiful art deco style. Script by Damond Benningfield

Where do new ideas come from? What is the genesis of those masterpieces that have redefined Modernity?At the beginning of the 20th century, a revolutionary artistic movement emerged, with the ambition of changing everything. This movement was Art Deco. A new style, with clean, pure lines that owes its name to an event with global repercussions, held in Paris in 1925: The International Exhibition of Modern Decorative and Industrial Arts.At the heart of this avant-garde event, and amongst the jewels that were awarded the Grand Prix, was a bracelet. Its name: Fleurs enlacées, roses rouges et blanches or “Entwined Flowers, Red and White Roses”. Signed Van Cleef & Arpels, this bracelet was the perfect combination of tradition and Modernity.Voice of Jewels, a podcast from L'ÉCOLE, School of Jewelry Arts supported by Van Cleef & Arpels. Unveiling the stories and secrets behind History's most fascinating jewels.With Inezita Gay-Eckel, Jewelry Historian and Lecturer at L'ÉCOLE, School of Jewelry Arts. Written by Martin Quenehen and Aram Kebabdjian, performed by Jean Ann Douglass and produced by Bababam. Hosted on Acast. See acast.com/privacy for more information.

In hour 3 Andy and Randy get back in to the great, but accidental goldmine that the NHL stumbled upon, the NFL Combine starting next week, and a HUGE weekend in Atlanta sports.

Beta, Ireland's festival of art and technology, will return for its second edition with a focus on interrogating the relationship between power and technology, examining how digital tools influence society and how we can take agency back in their use. Co-founded and supported by The Digital Hub, Beta will return from 1st to 17th November and will feature a series of events including two exhibitions, several interactive workshops, performances, a thought-provoking conference, and an assembly focussed on artificial intelligence and art. Cannes Film Festival winner Noire, the Unknown Life of Claudette Colvin will make its Irish debut at this year's Beta Festival. Directed by Stéphane Foenkinos and Pierre-Alain Giraud, Noire tells the real-life story of 15-year-old Claudette Colvin, who refused to give up her bus seat to a white passenger in a segregated 1950s Alabama through an immersive and encapsulating digital performance showing the power of storytelling through technology. Noire is presented by The Digital Hub, the French Embassy in Ireland and Institut Francais, as part of the official Novembre Numérique programme, and is supported by Smart Dublin. This year, Beta will host two exhibitions: the first Unsettling the Algorithm: Seeds of Resistance, is an international exhibition curated by Aisling Murray and Nora O' Murchú. Featuring artists including Irish-Iraqi artist Basil Al-Rawi, Tega Brain and Sam Levigne, Firas Shehadeh, Winnie Soon and Tzu-Tung Lee, Nora Al Badri and Mediengruppe Bitnik among others, the exhibition will explore how digital infrastructures and algorithms shape, influence and govern our daily lives. Separately, the Local Artists Network will spotlight emerging Irish artists with new work from Conan McIvor, Aisling Phelan, Cailean Finn, and more. Among these installations will be the interactive artwork Boogaloo Bias, which explores the dangers of unregulated use of facial recognitiontechnology particularly among law enforcement. Created by Jennifer Gradecki and Derek Curry, the project examines the practice of 'brute forcing', where law enforcement substitutes images of celebrities resembling suspects when high-quality images are unavailable and explores themes of accountability and bias in automated systems. Keynote addresses by cognitive behavioural scientist and member of the UN's AI Advisory Board Abebe Birhane and Head of Arts Technologiesat London's Serpentine Gallery Kay Watson will be delivered at the conference, while several workshops, discussions and think-ins will be hosted by ADAPT research centre, the Creative Futures Academy, Fire Station Artists' Studios and Creative Spark during the festival. Key highlights for the festival will include: Noire, the Unknown Life of Claudette Colvin tells the real-life story of the 15-year-old who refused to give up her bus seat to a white passenger in a segregated 1950's Alabama in a near-mirror event to that of Rosa Parks, told through an immersive digital performance. Noire won the inaugural award for Best Immersive Experience at Cannes Film Festival earlier this year and the production is brought to Ireland by the Beta Festival and The Digital Hub, in association with the French Embassy and Institut Francais, and is supported by Smart Dublin. Noire will make its Irish debut at the Samuel Beckett Theatre from 7th - 10th November. Assembly on Art and AI will bring together AI researchers, policy makers, cultural leaders and artists to explore the impact of artificial intelligence on arts and culture and identify challenges and opportunities to fuel a rolling agenda of areas to consider when creating policy centred on AI. Cold Call, a call centre created by Tega Brain and Sam Lavigne that reimagines carbon offsetting, by transforming the concept of time theft - a form of resistance where employees deliberately slow productivity - into a carbon-saving strategy aimed at high-emission companies. Through the call centre, viewers are encouraged to call fos...

Celtic's First Cup Final (Glasgow Exhibition Cup)Season1888-1889 not only saw Celtic's first competitive game, but Celtic's first, second and third cup finals. It would be a year of learning, losing, wining and controversy starting with The Glasgow Exhibition Cup, held to coincide with the International Exhibition of Science, Art & Industry.For more information, follow Hail Hail History Enjoy… This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit thecelticunderground.substack.com/subscribe

"People speak about the Anthropocene. I don't quite like this term, but the idea that humans have been transforming nature and have been altering it, adulterating it, something to put into perspective regarding this nostalgia for pristine nature. And utopianism actually goes hand in hand with nostalgia. I mentioned the myth of the Golden Age. This was something that used to exist, the Golden Age or paradise, an idea of pure nature in harmony with human beings. These nostalgic imaginaries that feed into and can reactivate utopian thinking in our day. We should by no means let go of an idea of pristine nature. And I also don't think, just to return to this idea of species extinction. I don't think that the de-extinction efforts are particularly utopian, even though they may seem this way. How do we compensate for the material loss of biodiversity? I think no amount of technological ingenuity will actually fulfill this desire for a return to the pristine nature that we have lost.”S. D. Chrostowska is professor of humanities at York University, Canada. She is the author of several books, among them Permission, The Eyelid, A Cage for Every Child, and, most recently, Utopia in the Age of Survival: Between Myth and Politics. Her essays have appeared in such venues as Public Culture, Telos, Boundary 2, and The Hedgehog Review. She also coedits the French surrealist review Alcheringa and is curator of the 19th International Exhibition of Surrealism, Marvellous Utopia, which runs from July to September 2024 in Saint-Cirq-Lapopie, France.https://profiles.laps.yorku.ca/profiles/sylwiac/www.sup.org/books/title/?id=33445https://chbooks.com/Books/T/The-Eyelidhttps://ciscm.fr/en/merveilleuse-utopiewww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

As Surrealism turns 100, what can it teach us about the importance of dreaming and creating a better society? Will we wake up from the consumerist dream sold to us by capitalism and how would that change our ideas of utopia?S. D. Chrostowska is professor of humanities at York University, Canada. She is the author of several books, among them Permission, The Eyelid, A Cage for Every Child, and, most recently, Utopia in the Age of Survival: Between Myth and Politics. Her essays have appeared in such venues as Public Culture, Telos, Boundary 2, and The Hedgehog Review. She also coedits the French surrealist review Alcheringa and is curator of the 19th International Exhibition of Surrealism, Marvellous Utopia, which runs from July to September 2024 in Saint-Cirq-Lapopie, France."People speak about the Anthropocene. I don't quite like this term, but the idea that humans have been transforming nature and have been altering it, adulterating it, something to put into perspective regarding this nostalgia for pristine nature. And utopianism actually goes hand in hand with nostalgia. I mentioned the myth of the Golden Age. This was something that used to exist, the Golden Age or paradise, an idea of pure nature in harmony with human beings. These nostalgic imaginaries that feed into and can reactivate utopian thinking in our day. We should by no means let go of an idea of pristine nature. And I also don't think, just to return to this idea of species extinction. I don't think that the de-extinction efforts are particularly utopian, even though they may seem this way. How do we compensate for the material loss of biodiversity? I think no amount of technological ingenuity will actually fulfill this desire for a return to the pristine nature that we have lost.”https://profiles.laps.yorku.ca/profiles/sylwiac/www.sup.org/books/title/?id=33445https://chbooks.com/Books/T/The-Eyelidhttps://ciscm.fr/en/merveilleuse-utopiewww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“I like to think of utopianism as “effective social daydreaming” because utopia is associated with consciously imagining societies. Our imagination is always involved in creating reality. The opposition between the two, reality and the imaginary, is not a stark one; they're porous.”S. D. Chrostowska is professor of humanities at York University, Canada. She is the author of several books, among them Permission, The Eyelid, A Cage for Every Child, and, most recently, Utopia in the Age of Survival: Between Myth and Politics. Her essays have appeared in such venues as Public Culture, Telos, Boundary 2, and The Hedgehog Review. She also coedits the French surrealist review Alcheringa and is curator of the 19th International Exhibition of Surrealism, Marvellous Utopia, which runs from July to September 2024 in Saint-Cirq-Lapopie, France.https://profiles.laps.yorku.ca/profiles/sylwiac/www.sup.org/books/title/?id=33445https://chbooks.com/Books/T/The-Eyelidhttps://ciscm.fr/en/merveilleuse-utopiewww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“I think that we should not be under any illusion that we can return to some pristine Earth. We have to do the best we can with the Earth that we have inherited for our generation and for those of our children, but we should not, therefore, say, well, it's all lost. Species are becoming extinct as never before. We should not become pessimists because there is no other alternative, because we've been robbed of this idea of pristine nature.I think nature has not been pristine. People speak about the Anthropocene. I don't quite like this term, but the idea that humans have been transforming nature and have been altering it, adulterating it, something to put into perspective regarding this nostalgia for pristine nature. And utopianism actually goes hand in hand with nostalgia. I mentioned the myth of the Golden Age. This was something that used to exist, the Golden Age or paradise, an idea of pure nature in harmony with human beings. These nostalgic imaginaries that feed into and can reactivate utopian thinking in our day. We should by no means let go of an idea of pristine nature. And I also don't think, just to return to this idea of species extinction. I don't think that the de-extinction efforts are particularly utopian, even though they may seem this way. How do we compensate for the material loss of biodiversity? I think no amount of technological ingenuity will actually fulfill this desire for a return to the pristine nature that we have lost.”S. D. Chrostowska is professor of humanities at York University, Canada. She is the author of several books, among them Permission, The Eyelid, A Cage for Every Child, and, most recently, Utopia in the Age of Survival: Between Myth and Politics. Her essays have appeared in such venues as Public Culture, Telos, Boundary 2, and The Hedgehog Review. She also coedits the French surrealist review Alcheringa and is curator of the 19th International Exhibition of Surrealism, Marvellous Utopia, which runs from July to September 2024 in Saint-Cirq-Lapopie, France.https://profiles.laps.yorku.ca/profiles/sylwiac/www.sup.org/books/title/?id=33445https://chbooks.com/Books/T/The-Eyelidhttps://ciscm.fr/en/merveilleuse-utopiewww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“What is imaginary tends to become real -- that's a quote from the founder of Surrealism, André Breton. We daydream of a better world, and this could be a very vague daydream. The idea of utopianism that I'm putting forward in the book is not a detailed, orderly, rational model of the city utopia. It's this free floating, desirous model of the body utopia, which is unfinished and imperfect. It's always in transformation. These dreams and daydreams that we have are guiding our actions, influencing our day-to-day behavior if we let them. Our imagination is always involved in creating reality. The opposition between the two, reality and the imaginary, is not a stark one; they're porous. I've just co-curated a major exhibition of Surrealism, reflecting on the 100 years since the Manifesto of Surrealism, so I'm very much in this moment where I'm trying to explain to the public the value of this movement.S. D. Chrostowska is professor of humanities at York University, Canada. She is the author of several books, among them Permission, The Eyelid, A Cage for Every Child, and, most recently, Utopia in the Age of Survival: Between Myth and Politics. Her essays have appeared in such venues as Public Culture, Telos, Boundary 2, and The Hedgehog Review. She also coedits the French surrealist review Alcheringa and is curator of the 19th International Exhibition of Surrealism, Marvellous Utopia, which runs from July to September 2024 in Saint-Cirq-Lapopie, France.https://profiles.laps.yorku.ca/profiles/sylwiac/www.sup.org/books/title/?id=33445https://chbooks.com/Books/T/The-Eyelidhttps://ciscm.fr/en/merveilleuse-utopiewww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastImage credit:Guy Girard, La canicule des sirènes, 1997, oil on canvas, 92 x 73 cm

“I like to think of utopianism as “effective social daydreaming” because utopia is associated with consciously imagining societies. Our imagination is always involved in creating reality. The opposition between the two, reality and the imaginary, is not a stark one; they're porous. What is imaginary tends to become real -- that's a quote from the founder of Surrealism, André Breton. We daydream of a better world, and this could be a very vague daydream. The idea of utopianism that I'm putting forward in the book is not a detailed, orderly, rational model of the city utopia. It's this free floating, desirous model of the body utopia, which is unfinished and imperfect. It's always in transformation. These dreams and daydreams that we have are guiding our actions, influencing our day-to-day behavior if we let them. Our imagination is always involved in creating reality. The opposition between the two, reality and the imaginary, is not a stark one; they're porous. I've just co-curated a major exhibition of Surrealism, reflecting on the 100 years since the Manifesto of Surrealism, so I'm very much in this moment where I'm trying to explain to the public the value of this movement.”S. D. Chrostowska is professor of humanities at York University, Canada. She is the author of several books, among them Permission, The Eyelid, A Cage for Every Child, and, most recently, Utopia in the Age of Survival: Between Myth and Politics. Her essays have appeared in such venues as Public Culture, Telos, Boundary 2, and The Hedgehog Review. She also coedits the French surrealist review Alcheringa and is curator of the 19th International Exhibition of Surrealism, Marvellous Utopia, which runs from July to September 2024 in Saint-Cirq-Lapopie, France.https://profiles.laps.yorku.ca/profiles/sylwiac/www.sup.org/books/title/?id=33445https://chbooks.com/Books/T/The-Eyelidhttps://ciscm.fr/en/merveilleuse-utopiewww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“I'd like young people not to limit their world to content they can find on the internet. I think that's a real danger. Many of my students say, “well, I haven't thought about this,” “I haven't read this because I didn't find it online for free.” I want them to remember that not all knowledge is digitized, that much remains elusive to the nets of the internet even in its effort to make knowledge accessible on one platform, to create this kind of enormous encyclopedia. And in this quest, we also reduce the past to the present. The past is more virtually present in our lives than for any other generation, because it's available online in the form of textual and audiovisual archives. This proximity actually affects the past's pastness. The appearance of distance is lost in the digital reproduction, whether it's paintings, or archival documents, or photographs. I think it's erroneous to think that everything that is extant from the past is at our fingertips and that we don't have to go out and look for it. So what I would like to pass on is curiosity; curiosity about the past shouldn't stop at the digital. It's tempting to think that all the answers are already there online because it's so vast, this web we are spinning, but that's not the case.”S. D. Chrostowska is professor of humanities at York University, Canada. She is the author of several books, among them Permission, The Eyelid, A Cage for Every Child, and, most recently, Utopia in the Age of Survival: Between Myth and Politics. Her essays have appeared in such venues as Public Culture, Telos, Boundary 2, and The Hedgehog Review. She also coedits the French surrealist review Alcheringa and is curator of the 19th International Exhibition of Surrealism, Marvellous Utopia, which runs from July to September 2024 in Saint-Cirq-Lapopie, France.https://profiles.laps.yorku.ca/profiles/sylwiac/www.sup.org/books/title/?id=33445https://chbooks.com/Books/T/The-Eyelidhttps://ciscm.fr/en/merveilleuse-utopiewww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“I like to think of utopianism as “effective social daydreaming” because utopia is associated with consciously imagining societies. Our imagination is always involved in creating reality. The opposition between the two, reality and the imaginary, is not a stark one; they're porous.”S. D. Chrostowska is professor of humanities at York University, Canada. She is the author of several books, among them Permission, The Eyelid, A Cage for Every Child, and, most recently, Utopia in the Age of Survival: Between Myth and Politics. Her essays have appeared in such venues as Public Culture, Telos, Boundary 2, and The Hedgehog Review. She also coedits the French surrealist review Alcheringa and is curator of the 19th International Exhibition of Surrealism, Marvellous Utopia, which runs from July to September 2024 in Saint-Cirq-Lapopie, France.https://profiles.laps.yorku.ca/profiles/sylwiac/www.sup.org/books/title/?id=33445https://chbooks.com/Books/T/The-Eyelidhttps://ciscm.fr/en/merveilleuse-utopiewww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

As Surrealism turns 100, what can it teach us about the importance of dreaming and creating a better society? Will we wake up from the consumerist dream sold to us by capitalism and how would that change our ideas of utopia?S. D. Chrostowska is professor of humanities at York University, Canada. She is the author of several books, among them Permission, The Eyelid, A Cage for Every Child, and, most recently, Utopia in the Age of Survival: Between Myth and Politics. Her essays have appeared in such venues as Public Culture, Telos, Boundary 2, and The Hedgehog Review. She also coedits the French surrealist review Alcheringa and is curator of the 19th International Exhibition of Surrealism, Marvellous Utopia, which runs from July to September 2024 in Saint-Cirq-Lapopie, France.“I like to think of utopianism as “effective social daydreaming” because utopia is associated with consciously imagining societies. Our imagination is always involved in creating reality. The opposition between the two, reality and the imaginary, is not a stark one; they're porous.”https://profiles.laps.yorku.ca/profiles/sylwiac/www.sup.org/books/title/?id=33445https://chbooks.com/Books/T/The-Eyelidhttps://ciscm.fr/en/merveilleuse-utopiewww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“I like to think of utopianism as “effective social daydreaming” because utopia is associated with consciously imagining societies. Our imagination is always involved in creating reality. The opposition between the two, reality and the imaginary, is not a stark one; they're porous.”S. D. Chrostowska is professor of humanities at York University, Canada. She is the author of several books, among them Permission, The Eyelid, A Cage for Every Child, and, most recently, Utopia in the Age of Survival: Between Myth and Politics. Her essays have appeared in such venues as Public Culture, Telos, Boundary 2, and The Hedgehog Review. She also coedits the French surrealist review Alcheringa and is curator of the 19th International Exhibition of Surrealism, Marvellous Utopia, which runs from July to September 2024 in Saint-Cirq-Lapopie, France.https://profiles.laps.yorku.ca/profiles/sylwiac/www.sup.org/books/title/?id=33445https://chbooks.com/Books/T/The-Eyelidhttps://ciscm.fr/en/merveilleuse-utopiewww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

As Surrealism turns 100, what can it teach us about the importance of dreaming and creating a better society? Will we wake up from the consumerist dream sold to us by capitalism and how would that change our ideas of utopia?S. D. Chrostowska is professor of humanities at York University, Canada. She is the author of several books, among them Permission, The Eyelid, A Cage for Every Child, and, most recently, Utopia in the Age of Survival: Between Myth and Politics. Her essays have appeared in such venues as Public Culture, Telos, Boundary 2, and The Hedgehog Review. She also coedits the French surrealist review Alcheringa and is curator of the 19th International Exhibition of Surrealism, Marvellous Utopia, which runs from July to September 2024 in Saint-Cirq-Lapopie, France.“There's the existing AI and the dream of artificial general intelligence that is aligned with our values and will make our lives better. Certainly, the techno-utopian dream is that it will lead us towards utopia. It is the means of organizing human collectivities, human societies, in a way that would reconcile all the variables, all the things that we can't reconcile because we don't have enough of a fine-grained understanding of how people interact, the different motivations of their psychologies and of societies, of groups, of people. Of course, that's another kind of psychology that we're talking about. So I think the dream of AI is a utopian dream that stands correcting, but it is itself being corrected by those who are the curators of that technology. Now you asked me about the changing role of artists in this landscape. I would say, first of all, that I'm for virtuosity. And this makes me think of AI and a higher level AI, it would be virtuous before it becomes super intelligence.”https://profiles.laps.yorku.ca/profiles/sylwiac/www.sup.org/books/title/?id=33445https://chbooks.com/Books/T/The-Eyelidhttps://ciscm.fr/en/merveilleuse-utopiewww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“There's the existing AI and the dream of artificial general intelligence that is aligned with our values and will make our lives better. Certainly, the techno-utopian dream is that it will lead us towards utopia. It is the means of organizing human collectivities, human societies, in a way that would reconcile all the variables, all the things that we can't reconcile because we don't have enough of a fine-grained understanding of how people interact, the different motivations of their psychologies and of societies, of groups, of people. Of course, that's another kind of psychology that we're talking about. So I think the dream of AI is a utopian dream that stands correcting, but it is itself being corrected by those who are the curators of that technology. Now you asked me about the changing role of artists in this landscape. I would say, first of all, that I'm for virtuosity. And this makes me think of AI and a higher level AI, it would be virtuous before it becomes super intelligence.”S. D. Chrostowska is professor of humanities at York University, Canada. She is the author of several books, among them Permission, The Eyelid, A Cage for Every Child, and, most recently, Utopia in the Age of Survival: Between Myth and Politics. Her essays have appeared in such venues as Public Culture, Telos, Boundary 2, and The Hedgehog Review. She also coedits the French surrealist review Alcheringa and is curator of the 19th International Exhibition of Surrealism, Marvellous Utopia, which runs from July to September 2024 in Saint-Cirq-Lapopie, France.https://profiles.laps.yorku.ca/profiles/sylwiac/www.sup.org/books/title/?id=33445https://chbooks.com/Books/T/The-Eyelidhttps://ciscm.fr/en/merveilleuse-utopiewww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“I like to think of utopianism as “effective social daydreaming” because utopia is associated with consciously imagining societies. Our imagination is always involved in creating reality. The opposition between the two, reality and the imaginary, is not a stark one; they're porous.”S. D. Chrostowska is professor of humanities at York University, Canada. She is the author of several books, among them Permission, The Eyelid, A Cage for Every Child, and, most recently, Utopia in the Age of Survival: Between Myth and Politics. Her essays have appeared in such venues as Public Culture, Telos, Boundary 2, and The Hedgehog Review. She also coedits the French surrealist review Alcheringa and is curator of the 19th International Exhibition of Surrealism, Marvellous Utopia, which runs from July to September 2024 in Saint-Cirq-Lapopie, France.https://profiles.laps.yorku.ca/profiles/sylwiac/www.sup.org/books/title/?id=33445https://chbooks.com/Books/T/The-Eyelidhttps://ciscm.fr/en/merveilleuse-utopiewww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

As Surrealism turns 100, what can it teach us about the importance of dreaming and creating a better society? Will we wake up from the consumerist dream sold to us by capitalism and how would that change our ideas of utopia?S. D. Chrostowska is professor of humanities at York University, Canada. She is the author of several books, among them Permission, The Eyelid, A Cage for Every Child, and, most recently, Utopia in the Age of Survival: Between Myth and Politics. Her essays have appeared in such venues as Public Culture, Telos, Boundary 2, and The Hedgehog Review. She also coedits the French surrealist review Alcheringa and is curator of the 19th International Exhibition of Surrealism, Marvellous Utopia, which runs from July to September 2024 in Saint-Cirq-Lapopie, France.“I like to think of utopianism as “effective social daydreaming” because utopia is associated with consciously imagining societies. Our imagination is always involved in creating reality. The opposition between the two, reality and the imaginary, is not a stark one; they're porous.”https://profiles.laps.yorku.ca/profiles/sylwiac/www.sup.org/books/title/?id=33445https://chbooks.com/Books/T/The-Eyelidhttps://ciscm.fr/en/merveilleuse-utopiewww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

As Surrealism turns 100, what can it teach us about the importance of dreaming and creating a better society? Will we wake up from the consumerist dream sold to us by capitalism and how would that change our ideas of utopia?S. D. Chrostowska is professor of humanities at York University, Canada. She is the author of several books, among them Permission, The Eyelid, A Cage for Every Child, and, most recently, Utopia in the Age of Survival: Between Myth and Politics. Her essays have appeared in such venues as Public Culture, Telos, Boundary 2, and The Hedgehog Review. She also coedits the French surrealist review Alcheringa and is curator of the 19th International Exhibition of Surrealism, Marvellous Utopia, which runs from July to September 2024 in Saint-Cirq-Lapopie, France.“I like to think of utopianism as “effective social daydreaming” because utopia is associated with consciously imagining societies. Our imagination is always involved in creating reality. The opposition between the two, reality and the imaginary, is not a stark one; they're porous.”https://profiles.laps.yorku.ca/profiles/sylwiac/www.sup.org/books/title/?id=33445https://chbooks.com/Books/T/The-Eyelidhttps://ciscm.fr/en/merveilleuse-utopiewww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

As Surrealism turns 100, what can it teach us about the importance of dreaming and creating a better society? Will we wake up from the consumerist dream sold to us by capitalism and how would that change our ideas of utopia?S. D. Chrostowska is professor of humanities at York University, Canada. She is the author of several books, among them Permission, The Eyelid, A Cage for Every Child, and, most recently, Utopia in the Age of Survival: Between Myth and Politics. Her essays have appeared in such venues as Public Culture, Telos, Boundary 2, and The Hedgehog Review. She also coedits the French surrealist review Alcheringa and is curator of the 19th International Exhibition of Surrealism, Marvellous Utopia, which runs from July to September 2024 in Saint-Cirq-Lapopie, France.“I think that we should not be under any illusion that we can return to some pristine Earth. We have to do the best we can with the Earth that we have inherited for our generation and for those of our children, but we should not, therefore, say, well, it's all lost. Species are becoming extinct as never before. We should not become pessimists because there is no other alternative, because we've been robbed of this idea of pristine nature.I think nature has not been pristine. People speak about the Anthropocene. I don't quite like this term, but the idea that humans have been transforming nature and have been altering it, adulterating it, something to put into perspective regarding this nostalgia for pristine nature. And utopianism actually goes hand in hand with nostalgia. I mentioned the myth of the Golden Age. This was something that used to exist, the Golden Age or paradise, an idea of pure nature in harmony with human beings. These nostalgic imaginaries that feed into and can reactivate utopian thinking in our day. We should by no means let go of an idea of pristine nature. And I also don't think, just to return to this idea of species extinction. I don't think that the de-extinction efforts are particularly utopian, even though they may seem this way. How do we compensate for the material loss of biodiversity? I think no amount of technological ingenuity will actually fulfill this desire for a return to the pristine nature that we have lost.”https://profiles.laps.yorku.ca/profiles/sylwiac/www.sup.org/books/title/?id=33445https://chbooks.com/Books/T/The-Eyelidhttps://ciscm.fr/en/merveilleuse-utopiewww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

As Surrealism turns 100, what can it teach us about the importance of dreaming and creating a better society? Will we wake up from the consumerist dream sold to us by capitalism and how would that change our ideas of utopia?S. D. Chrostowska is professor of humanities at York University, Canada. She is the author of several books, among them Permission, The Eyelid, A Cage for Every Child, and, most recently, Utopia in the Age of Survival: Between Myth and Politics. Her essays have appeared in such venues as Public Culture, Telos, Boundary 2, and The Hedgehog Review. She also coedits the French surrealist review Alcheringa and is curator of the 19th International Exhibition of Surrealism, Marvellous Utopia, which runs from July to September 2024 in Saint-Cirq-Lapopie, France.“What is imaginary tends to become real -- that's a quote from the founder of Surrealism, André Breton. We daydream of a better world, and this could be a very vague daydream. The idea of utopianism that I'm putting forward in the book is not a detailed, orderly, rational model of the city utopia. It's this free floating, desirous model of the body utopia, which is unfinished and imperfect. It's always in transformation. These dreams and daydreams that we have are guiding our actions, influencing our day-to-day behavior if we let them. Our imagination is always involved in creating reality. The opposition between the two, reality and the imaginary, is not a stark one; they're porous. I've just co-curated a major exhibition of Surrealism, reflecting on the 100 years since the Manifesto of Surrealism, so I'm very much in this moment where I'm trying to explain to the public the value of this movement.”https://profiles.laps.yorku.ca/profiles/sylwiac/www.sup.org/books/title/?id=33445https://chbooks.com/Books/T/The-Eyelidhttps://ciscm.fr/en/merveilleuse-utopiewww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

As Surrealism turns 100, what can it teach us about the importance of dreaming and creating a better society? Will we wake up from the consumerist dream sold to us by capitalism and how would that change our ideas of utopia?S. D. Chrostowska is professor of humanities at York University, Canada. She is the author of several books, among them Permission, The Eyelid, A Cage for Every Child, and, most recently, Utopia in the Age of Survival: Between Myth and Politics. Her essays have appeared in such venues as Public Culture, Telos, Boundary 2, and The Hedgehog Review. She also coedits the French surrealist review Alcheringa and is curator of the 19th International Exhibition of Surrealism, Marvellous Utopia, which runs from July to September 2024 in Saint-Cirq-Lapopie, France.“I like to think of utopianism as “effective social daydreaming” because utopia is associated with consciously imagining societies. Our imagination is always involved in creating reality. The opposition between the two, reality and the imaginary, is not a stark one; they're porous. What is imaginary tends to become real -- that's a quote from the founder of Surrealism, André Breton. We daydream of a better world, and this could be a very vague daydream. The idea of utopianism that I'm putting forward in the book is not a detailed, orderly, rational model of the city utopia. It's this free floating, desirous model of the body utopia, which is unfinished and imperfect. It's always in transformation. These dreams and daydreams that we have are guiding our actions, influencing our day-to-day behavior if we let them. Our imagination is always involved in creating reality. The opposition between the two, reality and the imaginary, is not a stark one; they're porous. I've just co-curated a major exhibition of Surrealism, reflecting on the 100 years since the Manifesto of Surrealism, so I'm very much in this moment where I'm trying to explain to the public the value of this movement.”https://profiles.laps.yorku.ca/profiles/sylwiac/www.sup.org/books/title/?id=33445https://chbooks.com/Books/T/The-Eyelidhttps://ciscm.fr/en/merveilleuse-utopiewww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

As Surrealism turns 100, what can it teach us about the importance of dreaming and creating a better society? Will we wake up from the consumerist dream sold to us by capitalism and how would that change our ideas of utopia?S. D. Chrostowska is professor of humanities at York University, Canada. She is the author of several books, among them Permission, The Eyelid, A Cage for Every Child, and, most recently, Utopia in the Age of Survival: Between Myth and Politics. Her essays have appeared in such venues as Public Culture, Telos, Boundary 2, and The Hedgehog Review. She also coedits the French surrealist review Alcheringa and is curator of the 19th International Exhibition of Surrealism, Marvellous Utopia, which runs from July to September 2024 in Saint-Cirq-Lapopie, France.“I'd like young people not to limit their world to content they can find on the internet. I think that's a real danger. Many of my students say, “well, I haven't thought about this,” “I haven't read this because I didn't find it online for free.” I want them to remember that not all knowledge is digitized, that much remains elusive to the nets of the internet even in its effort to make knowledge accessible on one platform, to create this kind of enormous encyclopedia. And in this quest, we also reduce the past to the present. The past is more virtually present in our lives than for any other generation, because it's available online in the form of textual and audiovisual archives. This proximity actually affects the past's pastness. The appearance of distance is lost in the digital reproduction, whether it's paintings, or archival documents, or photographs. I think it's erroneous to think that everything that is extant from the past is at our fingertips and that we don't have to go out and look for it. So what I would like to pass on is curiosity; curiosity about the past shouldn't stop at the digital. It's tempting to think that all the answers are already there online because it's so vast, this web we are spinning, but that's not the case.”https://profiles.laps.yorku.ca/profiles/sylwiac/www.sup.org/books/title/?id=33445https://chbooks.com/Books/T/The-Eyelidhttps://ciscm.fr/en/merveilleuse-utopiewww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

For six months in the early 20th century, a magnificent palace was built in Hagley Park for the largest event held in the city, Christchurch's international fair.  The International Exhibition of 1906, held in Christchurch, was scarcely believable in scale and ambition. Need more great podcasts? Check out Stuff's full catalogue here. GET IN TOUCH Feedback? We're listening! Email us at thelongread@stuff.co.nz  CREDITS Written and read by Charlie Mitchell Produced by Jen Black Audio editing by Connor Scott Learn more about your ad choices. Visit megaphone.fm/adchoices

09.00 สำนักงานการวิจัยแห่งชาติ นำทัพสิ่งประดิษฐ์และนวัตกรรม ร่วมประกวดและจัดแสดงในงาน “The 49th International Exhibition of Inventions Geneva” ณ นครเจนีวา สมาพันธรัฐสวิส

Vasco Araújo, nasceu em Lisboa, em 1975. Concluiu a licenciatura em Escultura pela FBAUL, frequentou o Curso Avançado de Artes Plásticas da Maumaus em Lisboa. Integrou ainda programas de residências, como Récollets (2005), Paris; Core Program (2003/04), Houston. Em 2003 recebeu o Prémio EDP Novos Artistas, Portugal. Desde então tem participado em diversas exposições individuais e colectivas tanto nacional como internacionalmente: “Momento à parte”, MAAT – Fundação EDP, Lisboa, Portugal (2019); Vasco Araújo”, M-Museum, Leuven, Belgica, (2018); “Decolonial desires”, Autograph ABP, Londres, U.K. (2016); “Potestad”, MALBA - Museu de Arte Latino-Americana de Buenos Aires, Buenos Aires, Argentina.(2015) “Under the Influence of Psyche”, The Power Plant, Toronto (2014); “Debret”, Pinacoteca do Estado de S. Paulo, S. Paulo (2013); “Eco” Jeu de Paume, Paris (2008); “Em Vivo Contacto”, 28º Bienal de S. Paulo, São Paulo (2008); “Experience of Art”; La Biennale di Venezia. 51th International Exhibition of Art, Veneza (2005); “The World Maybe Fantastic” Biennale of Sydney (2002), Sydney. O seu trabalho está publicado em vários livros e catálogos e representado em várias colecções, públicas e privadas. No final do podcast:Excerto sonoro de “Duettino”, 2001Cortesia do artistaFicha técnica:VídeoTexto de “Don Giovanni” de W.A. MozartDuração: 2'06”, LoopDimensões variáveis Links: http://www.vascoaraujo.org/upcoming https://www.franciscofino.com/artists/33-vasco-araujo/biography/ https://www.fundacaoedp.pt/en/artist/vasco-araujo https://www.maat.pt/pt/exhibition/vasco-araujo-momento-parte https://www.dn.pt/arquivo/2005/amp/arte-portuguesa-bem-vista-na-bienal-de-veneza-628239.html/ http://museuafrobrasil.org.br/pesquisa/portugal-portugueses/artistas/2016/08/22/vasco-ara%C3%BAjo https://www.rtp.pt/noticias/cultura/artista-portugues-apresenta-performance-na-bienal-de-sao-paulo_n167793 https://www.rtp.pt/noticias/cultura/artista-portugues-apresenta-performance-na-bienal-de-sao-paulo_n167793 Episódio gravado a14.03.2024 http://www.appleton.pt Mecenas Appleton:HCI / Colecção Maria eArmando Cabral / A2P / MyStory Hotels Apoio:Câmara Municipal de Lisboa

Stephanie Van de Wetering, a Workshop Director for The San Diego Watercolor Society, talks about the Society's nearly 60 years of expanding the appreciation of and involvement in watermedia painting through member instruction, exhibition, community education and promotion. Van de Wetering describes the annual International Exhibition that is being held throughout October at the Liberty Station-based Society.

Glass Knitting by Carol Milne A pioneer in the field of knitted glass, Carol Milne combines passion for knitting with experience in sculpture. The artist began working with kiln cast lead crystal, experimenting with different methods and developing a lost wax process to cast individual knitted works into glass. Playing with translucency and the material's ability to highlight a prismatic range of hues, light is essential to Milne's body of work, and she has recently been working on pieces that focus on illumination. States Milne: “I see my knitted work as metaphor for social structure. Individual strands are weak and brittle on their own, but deceptively strong when bound together. You can crack or break single threads without the whole structure falling apart. And even when the structure is broken, pieces remain bound together. The connections are what bring strength and integrity to the whole and what keep it intact.” Receiving a degree in landscape architecture from the University of Guelph, Canada, in 1985, Milne realized in her senior year that she was more interested in sculpture than landscape. After casting iron around glass in graduate school, she experimented with many materials: clay, bronze, concrete, wood, glass, epoxy, fiberglass, mosaic and found objects. In 2000, she returned to glass and has been working primarily with the material ever since.   In 2006, Milne created her Knitted Glass, incorporating the techniques of knitting, lost wax casting, mold making and kiln casting. Her unique process involves knitting the original art piece using wax strands, surrounding the wax with a heat-tolerant refractory material, removing the wax by melting it out, thus creating a mold; and placing the mold in a kiln where lead crystal frit is heated to 1530 degrees F, melting the glass into the mold. After it has cooled, the mold material is removed to reveal the finished piece within. Collected internationally, Milne's work garnered the Silver Award at the International Exhibition of Glass, Kanazawa, Japan; the Juror's award, All Things Considered 9: Basketry in the 21st Century, National Basketry Organization; Special Citation and Honorable Mention, the 9th Cheongju International Craft Juried Competition, Cheongju, Republic of Korea; the Joan Eliot Sappington Award for On the Fringe: Today's Twist on Fiber Art, Lake Oswego Festival of the Arts; and Honorable Mention purchase award, Art of Our Century, UVU Woodbury Art Museum, Orem, UT.. Recent exhibitions include Carol Milne: Knit Wit, Bainbridge Island Museum of Art in 2019; Vogue Knitting LIVE! Seattle, Meydenbauer Center, Bellevue, WA; and Carol Milne: Knitting Glass, Schiepers Gallery, Hasselt, Belgium, both in 2017. Milne's collectors include Amazon Headquarters, Seattle, WA; Asheville Art Museum, Asheville, NC; Fuller Craft Museum, Brockton, MA; Glasmuseum Lette, Coesfeld, Germany; The Glass Furnace, Istanbul, Turkey; Gustav Selter GmbH & Co KG, Germany; The Kamm Teapot Foundation, Sparta, NC; MusVerre Nord, Sars Poteries, France; Notojima Glass Art Museum, Ishikawa, Japan; and UVU Woodbury Art Museum, Orem, UT. She has published three e-books: In the Name of Love; Knitted Glass: Kiln-cast Lead Crystal Bowls; and Glass Slippers. Carol Milne Knitted Glass: How Does She Do That?, authored by Steve Isaacson, is available as an e-book and in paperback Through her original work in knitted glass, Milne has blazed a new artistic path. Bringing the visual illusion of softness and drape to a material that is fixed in its final form, her work encourages closer inspection to reveal the nuances of her designs.  Says Milne: “I've knitted since I was 10, but knitting wasn't a career path – or at least it didn't seem like one. I studied landscape architecture as a bridge between engineering and design. But I became captivated by earthworks and kinetic art, which lead me to sculpture. Glass is very much like kinetic sculpture, since it changes with the light.” Through different bodies of work – socks, shoes, baskets, hands knitting themselves – Milne addresses themes including the circle of life, the disconnect between appearance versus reality, black humor and visual puns. If the work wasn't challenging, she says, she would get bored and quit making it. “But in working with glass, scale is the biggest challenge. Large work requires large molds. Large molds are difficult to make, and heavy to move once they're made,” explains Milne. This month, Milne will have an open studio during REFRACT: The Seattle Glass Experience, October 14 from 11 to 4 p.m. She will exhibit a new body of work in an upcoming solo show, Knotty and Nice, at Culture Object gallery in NYC. An opening reception will be held from 6 to 8 p.m. on October 18. Three of her Grenade pieces are on view in an ongoing group show called Like Mother, now through November 2 at the Helen S. Smith Gallery at Green River College, Washington. Milne will teach Knitted Glass from November 4 to 6 and 10 and Casting Hands, November 8 to 9 at Milkweed Arts, Phoenix, Arizona. In 2024, she will exhibit at the Gala Opening of Chasen Gallery's new location at The Mark in Sarasota, FL, on January 20 and participate in Blue Spiral 1 Gallery's Glass Invitational, November 2 – December 25, 2024 in Asheville, NC.  

Confederation of Indian Industry (CII) organized its flagship International Exhibition and Conference for the Indian Water and Waste Industry, Water & Waste Expo 2023 between 16th till 18th February, 2023 at Pragati Maidan, New Delhi. That was a co-located event alongside CII's 25th edition of its flagship event, International Engineering and Technology Fair (IETF 2023). The gala event was inaugurated by one and the only Hon'ble President of India, Shrimati Draupadi Murmu ji. The event was graced by auspicious presence of several Cabinet Ministers and Ministers of State too. Water & Waste Expo 2023 has been a biannual event and aims at providing an excellent international platform, to showcase the full range of environmental technologies including water, sewage, refuse, recycling, and energy conservation management in India, focusing on basic to highly sophisticated machinery and environmental solutions from domestic and international exhibitors. Vaidic Srijan LLP was privileged to get an invite from CII, as a promising startup in the Water sector to have their stall at the expo and this video is dedicated towards that event only. It showcases our stall along with the various visitors and our interactions with them. --- Send in a voice message: https://podcasters.spotify.com/pod/show/vaidicsrijan/message

Raised in mere months for the 1879 International Exhibition, the Garden Palace was colonial Sydney's most spectacular building. But its fiery demise was even more spectacular, the grand complex razed to burning rubble in mere minutes. Why did it burn? Who was to blame? And how are its losses still being felt 140 years later?Get The Murder Squad in time for Father's Day - at 33% off the RRP.https://www.booktopia.com.au/the-murder-squad-michael-adams/book/9781922863836.htmlSupport Forgotten Australia:Apple - http://apple.co/forgottenaustraliaPatreon - https://www.patreon.com/ForgottenAustralia Hosted on Acast. See acast.com/privacy for more information.

In this episode, I speak with Marie Kinsella, the CEO of the International Exhibition & Conference Group. As former Managing Director and Founder of Australian Exhibitions & Conferences Marie commenced in the events industry in 1989. Today as the CEO of the International Exhibition & Conference Group, Marie and her team conduct approximately 8 major trade shows annually. One of those is the Global Sourcing Expo coming up in Sydney in July and Melbourne in November. During our chat Marie and I dive into: The benefits of attending the Global Sourcing expo, such as: Accessing over 350 Suppliers from small to large scale manufacturers, right here on our doorstep in Australia Exploring new and Innovative Supply Chain Solutions  Develop & Source new products and categories Expand your Network & Connect with Industry We also discuss who should attend, how to navigate the expo, opportunities to exhibit, shifts in the sourcing landscape, the expo's global seminar series offering access to a dynamic line-up of industry thought leaders and changemakers, free workshops and so much more. For those who are committed to delivering optimal business results, the Global Sourcing Expo is a MUST on the annual calendar. By attending and becoming informed, you will not only become equipped on a Global Sourcing Level, but you will also continue to increase your knowledge bank on a responsible business journey, and together we can collectively continue to drive positive change in the fashion industry. Download our FREE Navigating The Global Sourcing Expo Checklist https://fashionequipped.com.au/navigating-the-global-sourcing-expo Register to Visit and book your Seminar Tickets at: https://globalsourcingexpo.com.au/ READY TO SCALE UP? Ready to level up to a new phase of growth and expansion? Elizabeth founded fashion consultancy Fashion Equipped in 2012 to expand the reach and potential of the Australian industry. Backed by decades of experience in all aspects of the business, and passionate about entrepreneurship, growth and the power of community, Elizabeth delivers fashion consulting, mentorship and online learning to hundreds of businesses and counting. From buying, product development, sales and sourcing, to strategic planning, marketing and team management, our expert line-up of industry insiders are committed to sharing their knowledge, networks and passion - to empower you to build a thriving fashion business. Elizabeth's next availability for consulting is September 2023. Feel free to reach out to her directly at elizabeth@fashionequipped.com.au.  Consulting is suited to brands that are already trading and ready to work on their strategic growth plans.  READY TO START UP? Ready to bring your vision to life and start your fashion business? ONLINE LEARNING We've crafted our decades of experience into an online fashion business syllabus informed by and tailored to the real world. Start Your Fashion Business is an industry-first online learning platform and a dynamic and engaged community. If you are a startup who wants to make the Fashion Business your Business – then head to our website and watch the replay of our last Info Session & QA. Our ‘Start Your Fashion Business' programme is open online, so if you would like to join our community jump straight in! MENTORSHIP   It takes finely tuned business skills to make it in fashion, but mindset also plays a huge role. This is why mentorship is an essential ingredient to success – few can guide you on this path better than those who've already walked it and our deeply experienced mentors are here to help you navigate the business while building a strong mindset.  If you want to work 1:1 with a Mentor and kickstart your biz development, you can head to Your Mentor Collective – book a 1 hour of power session with one of our amazing industry Mentors - that's where the magic happens! MINI COURSES If you're up for a Mini-Course, check out our Start and Scale Studio on our Fashion Equipped website and explore Start your Sourcing Strategy, Startup Cost Analysis, and Tech Pack Development. You can find Fashion Equipped over at: Instagram: @fashionequipped @startyourfashionbusiness_au Podcast Insta: @fashionbusinessmindset Facebook: www.facebook.com/fashionequipped Website: www.fashionequipped.com.au Let's do this together, let's make The Fashion Business, YOUR Business! #FashionBusinessMindsetPodcast #FashionEquipped #StartYourFashionBusiness #podcastersofinstagram  #melbournebusiness #sydneybusiness #brisbanebusiness  #fashionbusiness #Australianbusiness #businessadvice #podcaster #australianfashion #fasionbusinessconsultant #consulting #consultancy #businessstratey #businessstrategist  #businesstips #goodbusiness #businesspodcast #AustralianFashionBrand #goodbusinessjourney  #wholesalefashion #sourcing, #indiasourcing #clothingsourcing #fashionsourcing #indiamanufacture #cinamanufacture #chinasourcing #globalsourcingexpo See omnystudio.com/listener for privacy information.

GB2RS News Sunday the 7th of May 2023 The news headlines: RSGB Coronation activities RSGB insurance Tonight@8 webinar   The RSGB has released some updates about its planned Coronation activities. Firstly, a personalised RSGB Coronation QSL card is now available on the Coronation web pages. You can simply enter your callsign and print it off. Following the recent issue of GB23BAA to BZZ by Ofcom, the Beaconnect activity registration is now open. If you go to the Beaconnect web page you will find the registration section which will guide you through the process. Finally, it is now possible for individual radio amateurs and clubs to register to use the GB23C callsign between the 10th of May to the 30th of June. Details can be found on the GB23C web page. For further information on these and all the other Coronation activities being led by the RSGB, go to rsgb.org/coronation RSGB club insurance, and beacon and repeater insurance, have now been renewed for the year to April 2024. Club insurance certificates can be downloaded from the RSGB website. You will need to log in to obtain your certificate. Beacon and repeater insurance certificates are available for an admin fee of £12 from the RSGB shop. Please allow a couple of days after renewal for your certificate to be dispatched. The RSGB's May Tonight@8 webinar is not in its usual slot on the first Monday of the month. To accommodate the two Bank Holidays, the live webinar will be on Monday the 15th of May instead. Put the date in your diary for an interesting presentation by Jack Purdum, W8TEE and Al Peter, AC8GY on the T41-EP ALPS: A High Performance CW Decoder. Matthew, M0MZB from Calder Bridge in Cumbria, has become a SOTA Mountain Goat in impressive style. He reached the 1,000 activation point threshold with an overnight activation of High Stile G/LD-012 in the English Lake District. Matthew set up overnight camp on the summit of the long ridge above the western shore of Lake Buttermere. He operated both on VHF and HF and made a summit-to-summit contact with Alex Hill, G7KSE who was on the Dent summit, G/LD-045. Since getting involved in Summits on the Air, Matthew's expeditions have left many radio amateurs in awe. He has conducted many multi-summit expeditions without motorised transport, traversing between summits entirely on foot or by bicycle. Upon reaching the coveted Mountain Goat status, Matthew commented: "SOTA has given me new ideas for my little expeditions and has put me in touch with lots of new friends. The challenge of Mountain Goat has included many facets, from learning CW to antenna building, from battery technology to fishing poles." For more information about Summits on the Air visit www.sota.org.uk  Pubs and Clubs on the Air is taking place on the 12th, 13th and 14th of May. If you or your radio club or society is interested in taking part and operating a station, please email g1puv@yahoo.co.uk or visit the g6tw.co.uk website. Mills on the Air Weekend will take place on Saturday the 13th and Sunday the 14th of May. For more information, or to register to take part, visit www.ddars.net or contact millsontheair@gmail.com   And now for details of rallies and events Thorpe Camp Hamfest Rally is taking place today, Sunday the 7th of May. The venue is Thorpe Camp Visitor Centre and the entrance fee is £4 per person. The rally is taking place from 9 am to 1 pm. Hot food and drinks will be available on-site. For more information phone Sylvia or Anthony at 07956 654 481. Dartmoor Radio Rally is taking place today, Sunday the 7th of May at Yelverton War Memorial Hall, Meavy Lane, Yelverton, Devon, PL20 6AL. The usual bring-and-buy, trader stands, refreshments and free parking are available. Doors open at 10 am and admission is £2.50. For more information contact Roger by phone at 07854 088 882, or email via 2e0rph@gmail.com The Braehead Rally will take place on Sunday the 14th of May. The venue will be Braehead Arena Foyer, 150 Kings Inch Road, Renfrew G51 4BN. Free parking will be available. The doors open for everyone at 10 am and admission is £4. The event will feature bring-and-buy and the Central Scotland Repeater Group AGM. For more information and contact details visit www.braeheadradiorally.com RetrotechUK, hosted by the British Vintage Wireless Society, will take place on Sunday the 21st of May. The venue will be Sports Connexion, Leamington Road, Ryton-on-Dunsmore, Coventry, CV8 3FL. This large annual vintage technology fair will feature up to 200 indoor stalls. Private sellers, clubs and dealers will offer vintage items, including radio, television, hi-fi, vinyl, 78s, gramophones, telephones, communications equipment, spare parts, and much more. There will also be a bring-and-buy area and free parking available. The event is open to everyone and general admission from 10.30 am is £10. Early entry from 9 am costs £25. For more details contact Jeremy, G8MLK via email on jezzer3@hotmail.com, by phone on 07799 110 080, or visit www.retrotechuk.com The Barry Amateur Radio Society Rally will take place on Saturday the 27th of May. The venue will be Sully Sports and Social Club, South Road, Sully, CF64 5SP. Doors open from 9.30 am for the public and 7.30 am for traders. Free parking is available on-site. For more information contact Steve on 07368 140 795.   Now the Special Event News Today is the last chance to work special callsign 5F15SIA which is active to promote Morocco's International Exhibition of Agriculture. QSL via Logbook of the World, or direct to CN8WW. OT2023EPIC is the special callsign for the Pajottenlandse Radio Amateur Club in Belgium to promote the sixth Antwerp Port Epic cycling race. Look out for activity until the 21st of May. Special callsign GB4VLB will be active on the 20th and 21st of May from the Volunteer Life Brigade Watch House in Tynemouth as part of SOS Radio Week. The station will be operating in support of the Volunteer Life Brigade, RNLI and National Coast Watch Institution. For more information visit qrz.com. QSL via Logbook of the World.   Now the DX news Today is the last chance to work Kasimir, DL2SBY who is active as 8Q7KB in the Maldives. He is operating CW, SSB and FT8 and FT4 with a focus on the 30, 17, 12, 10 and 6m bands. QSL via Logbook of the World, Club Log's OQRS or direct to his home call. Pista, HA5AO will be active as 5X2I from the shores of Lake Victoria, Uganda until Wednesday the 10th of May. He will operate CW, SSB and FT8 on the 40 to 10m bands.  QSL via HA5AO's OQRS page is preferred. JE1HXZ/6 is active from Kuroshima, AS-024, until Monday the 8th of May. He will operate CW, SSB, RTTY, FT8 and FT4 on the HF and 6m bands. QSL via the Bureau and Logbook of the World.   Now the contest news Today, the 7th, the Worked All Britain 7MHz Phone Contest runs from 1000 to 1400UTC. Using phone mode on the 40m band, the exchange is signal report, serial number and Worked All Britain square. Today, the 7th, the ARI International DX Contest ends its 24-hour run at 1200UTC. Using CW, RTTY and SSB on the 80 to 10m bands, where contests are permitted, the exchange is signal report and serial number. Italian stations give their province code. Today, the 7th, the 10GHz Trophy Contest runs from 0800 to 1400UTC. Using all modes on the 10GHz band, the exchange is signal report, serial number and locator. Today, the 7th, the UK Microwave Group Low Band Contest runs from 0800 to 1400UTC. Using all modes on the 1.3 to 3.4GHz bands, the exchange is signal report, serial number and locator. Also today, the 7th, the 432MHz to 245GHz Contest ends its 24-hour run at 1400UTC. Using all modes, the exchange is signal report, serial number and locator. On Tuesday the 9th of May, the 432MHz FM Activity Contest runs from 1800 to 1855UTC. Using FM on the 70cm band, the exchange is signal report, serial number and locator. Also on Tuesday the 9th of May, the 432MHz UK Activity Contest runs from 1900 to 2130UTC. Using all modes on the 70cm band, the exchange is signal report, serial number and locator. On Wednesday the 10th of May, the 432MHz FT8 Activity four-hour Contest runs from 1700 to 2100UTC. Using FT8 on the 70cm band, the exchange is a report and four-character locator. Also on Wednesday the 10th of May, the 432MHz FT8 Activity two-hour Contest runs from 1900 to 2100UTC. Using FT8 on the 70cm band, the exchange is a report and four-character locator. Stations entering the four-hour contest may also enter the two-hour contest. On Thursday the 11th of May, the 50MHz UK Activity Contest runs from 1900 to 2130UTC. Using all modes on the 6m band, the exchange is signal report, serial number and locator. On Sunday the 14th of May, the 70MHz CW Contest takes place from 0900 to 1200UTC. Using CW on the 4m band, the exchange is signal report, serial number and locator. On Sunday the 14th of May, the UK Microwave Group Millimetre-Wave Contest runs from 0900 to 1700UTC. Using all modes on the 24, 47 and 76GHz bands, the exchange is signal report, serial number and locator.   Now the radio propagation report, compiled by G0KYA, G3YLA, and G4BAO on Thursday the 4th of May 2023 Next week will see the Sun presenting with four large sunspots groups that are rotating to be Earth-facing, so look out for trouble. Just as the UK weather takes a turn for the worse, we expect the space weather to be unpredictable too! Active regions 3293, 3294, 3296 and 3297 look dark and are looming large on the Sun's face. Region 3293 emitted an M7.2 class solar flare on the 3rd of May, which the Space Weather Prediction Centre reported was likely due to an intensification of the magnetic field within the spot group. The flare caused some degradation of the ionosphere, but nothing too serious. However, the Space Weather Prediction Centre now predicts that further flares could follow, perhaps even a strong X-class flare, which could have more serious effects. If an X-class flare occurs in daylight over the UK, we can expect the HF bands to be affected in what is known as a sudden ionospheric disturbance or Dellinger fadeout. This could see the lower HF bands shut down due to extreme ionisation in the D-layer, only for the band to return to normal over a period of minutes to an hour. More worrying is the fact that the flare could spark a coronal mass ejection, or CME, which, if Earth-directed, could cause the Kp index to rise, MUFs to drop and bring auroral activity a few days after the CME. So, keep an eye on solarham.net for updates. Meanwhile, the solar flux index, or SFI, remains in the 150s and this looks set to continue. The US Air Force predicts the SFI will start the week at 152, then dip slightly, before reaching 170 by the 12th of May. It also predicts that geomagnetic conditions will be settled once we get past this weekend, which could see the Kp index rise to four. These unsettled conditions may be due to a coronal hole, which became Earth-facing on Thursday. Propagation-wise, F2-layer maximum usable frequencies over a 3,000km path has struggled to exceed 21 to 24MHz during daylight hours as we head towards summer. The season is characterised as having lower MUFs during the day, but these tend to be maintained into the hours of darkness. Meanwhile, Sporadic-E might spring some surprises for paths over 800 to 2,200km on 14 to 28MHz, with very strong signals and rapid fading.   And now the VHF and up propagation news The weather pattern is taking a change to unsettled as we move through this first May weekend, with low pressure dominating the charts and throwing active weather fronts across the country. This will produce some quite heavy rain at times and perhaps even some thundery activity. This bodes well for rain scatter on the GHz bands. This pattern extends well into next week, eventually changing from a south-westerly to a north-westerly followed by a building ridge of high pressure to bring a temporary hint of Tropo to end the week. This opens the more exotic modes to consider, such as meteor scatter and possible aurora, but these are very much outliers to the main interest at this time of year, which is Sporadic-E. The season has nominally started, and daily blogs are being added to the website Propquest.co.uk, which describe the more likely regions to find Sporadic-E opportunities. This unsettled weather pattern brings a useful bonus in that it is often associated with jet stream activity. The whole period offers several jet streams across Europe, a positive for the start of the new Sporadic-E season since jet streams are often associated with the location of Sporadic-E activity. Moon declination is low and falling, reaching minimum next Tuesday. EME Moon windows will be short. Perigee is Thursday, so when you do have a view of the Moon, path losses will be low. 144MHz sky noise is high, reaching over 3200K late on Monday. And that's all from the propagation team this week.

Felix joined us for a group prayer   Bonus episodes and videos at https://www.patreon.com/ChapoFYM

MEPs have adopted a proposal for new measures to promote the renovation of buildings in the European Union. Under the proposal, all new buildings would have to be zero-emission from 2028 and some existing buildings would have to be renovated. The Holiday World tourism fair took place in Prague, one of the most important events of its kind in the tourism sector in Central Europe. This year - the 31st edition of the exhibition was marked by the anniversary of the division of Czechoslovakia.

From the Moon 2 is the podcast series created by Triennale Milano with journalist David Plaisant, to explore the themes and artists of the 23rd International Exhibition "Unknown Unknowns. An Introduction to Mysteries".

Claude Membrez is CEO of the International Exhibition Centre, Palexpo, in Geneva, Switzerland. In this episode Claude talks about the return of Live events and the amazing programme of events and exhibitions that are returning to the venue. He explains How and Why the venue is attracting more visitors than ever before. He also discusses the ‘drop off' in interest in Digital and Virtual events as people are happy to travel and to meet again, but recognises the digital marketing mix has evolved - as Palexpo have invested in delivering a more digital service to clients. He also highlights some of the innovations that Palexpo are focused on - including their commitment to Sustainable electricity and energy from Solar panels, as well as offering measurement of an organisers carbon footprint.Connect with Claude Membrez on LinkedInConnect with Frazer Chesterman on LinkedInVisit the FuturePrint website

Claude Membrez is CEO of the International Exhibition Centre, Palexpo, in Geneva, Switzerland. In this episode Claude talks about the return of Live events and the amazing programme of events and exhibitions that are returning to the venue. He explains How and Why the venue is attracting more visitors than ever before. He also discusses the ‘drop off' in interest in Digital and Virtual events as people are happy to travel and to meet again, but recognises the digital marketing mix has evolved - as Palexpo have invested in delivering a more digital service to clients. He also highlights some of the innovations that Palexpo are focused on - including their commitment to Sustainable electricity and energy from Solar panels, as well as offering measurement of an organisers carbon footprint.Visit the FuturePrint Leaders Summit websiteVisit the FuturePrint websiteFollow FuturePrint on LinkedInFollow FuturePrint on Twitter

“To have even a brief conversation with artist Michael E. Taylor is to dive headfirst into a deep pool of scientific and intellectual inquiry. Taylor has always been an extremely analytical artist, responding with equal fervor to his intellectual encounters with scientific ideas, art history, philosophy, or current events. Whether inspired by formal quality of geometry, the Higgs boson particle, or the moral implications of artificial intelligence, Taylor's work is ultimately about investigation.” – Museum of Glass, Tacoma, solo show, Traversing Parallels, 2017/2018. Widely-renowned for his cut and laminated glass works, geometric constructions, and fractal abstractions inspired by everything from subatomic particles to music, Michael E. Taylor first used glass while attending a workshop at Penland School of Crafts in North Carolina. He was struck by the material's heat and spontaneity, a dynamic opposite from the deliberate and extended processes for firing and shaping ceramics. Dedicated to art and education for over 49 years, the artist was born in Lewisberg, Tennessee, in 1944, where he initially studied ceramics while working towards a Bachelor of Science in Art Education from Tennessee State University. Studying ceramics honed his intuitive sense of form, color, and design; skills which would later be important to his glass career.  One of the first generation of artists to learn from the founders of the Studio Glass movement, Taylor experienced the early days of glass through interactions with Harvey Littleton, Fritz Dreisbach, and Marvin Lipofsky. As a young student, a Fulbright Hayes Grant to Scandinavia introduced him to the factories of Kosta-Boda Glasbruke and Johansfors Glasbruke, as well as artists of the region, including Anna Warff.  Taylor's artistic career has been intertwined with decades as a university professor, including a more than 20-year tenure as a professor in the School for American Crafts at Rochester Institute of Technology, invited Professor at the Universidade Nova de Lisboa, Faculdade de Ciencias e Tecnologia, Campus da Caprica, Portugal, 2005 – 2013, and instructor at schools in the US such as Pilchuck, Penland, and the Corning Museum of Glass. His career in academia made it possible to experiment and explore new ideas through his sculpture instead of feeling pressure to repeat popular works for monetary sales. The academic setting also allowed Taylor to continue to explore scientific, philosophical, and artistic ideas. While at the College of Idaho and teaching the history of modern art, Taylor's directive led to political and visual expressions of the Russian revolution and artists of constructivism. The hard lines and acute angles of constructivism of the 1920s continued to scientific theory and theoretical physics. Using glass with scientific exactness and austerity resulted in further architectural form and shapes of accuracy. Readings of future science and cultural futurism led to issues of DNA and binary systems as they related to laminations in his work.  Taylor states: “Art reflects thought and ideals of the period in which it is made. It can relate to predictions for the future. My work speaks of the importance of science and technology and its eventual dominance through Artificial Intelligence.” Taylor's honors and awards are many and include the Calouste Gulbenkian Foundation Grant, 2009, 2011; Luso – American Foundation Grant, Portugal, 2002 -2007; Outstanding Visual Artist Award, Arts and Cultural Council of Greater Rochester, New York, 2001; College of Imaging Arts and Sciences, Research and Development Grant, RIT, 2000; Grand Prize, The International Exhibition of Glass, Kanazawa, Japan, 1988; National Endowment for the Arts, Visual Artists Forums Grant, 1985-86 and Visual Artist Fellowship, National Endowment for the Arts, 1984-85. Other educational awards and opportunities include a Lewis Comfort Tiffany Grant, Penland School Scholarship, and The American – Scandinavian Foundation Grant. His work can be found in the permanent collections of the Chrysler Museum of Art, Norfolk, Virginia; the National Collection of American Art, Renwick Gallery, Smithsonian Institute, Washington, D.C.; The Museum of Glass, Tacoma, Washington; Asheville Museum of Art, North Carolina; Racine Museum of Art, Racine, Wisconsin; Royal Ontario Museum, Toronto, Ontario, Canada; Glas Museum Ebeltoft, Ebeltoft, Denmark; Kanazawa City Museum, Kanazawa, Japan; and Tokyo Glass Art Institute, Kawasaki-Shi, Japan, to name only a few. Inviting viewers to utilize scientific-like observations to analyze the implications of a rapidly changing world, Taylor's sculpture is both triumphant and cautionary, simultaneously celebrating technological breakthroughs and worrying about their implications. By using glass to make these theoretical connections, the artist inspires contemplation of social and scientific issues and continues to take the material of glass into new expressive terrain. States Taylor: “The race is on in all technological advanced countries for the discovery of human consciousness for AI. I predict it will be the last frontier of human intellect. I have constructed a laminated slab of color blocks which represent the codes for the human consciousness. I see it as a kind of Rosetta Stone of translation from one language to another – binary to English. The RS interpretation of Egyptian hieroglyphics to Greek language allowed us to make the intellectual and cultural jump. “I see Codes as containing the information for making the final leap from human consciousness to that of machines. This will be a discovery of epic proportions. This would be the beginning of a new world of solutions to puzzles such as eternal life, interplanetary travel, and the discovery of philosophic truth for each individual human.”   

Ahead of next week's IAF International Exhibition on Track Technology in Münster, Germany, Plasser & Theurer speaks with IRJ Editor-in-Chief Kevin Smith in our latest Rail Group on Air podcast. Fabian Hansmann, Deputy Director for Marketing, looks ahead to IAF and the supplier's key exhibits; Alexander Lehner, Director for Global Customer Services, reflects on Plasser & Theurer's changing approach to customer service, including new rental services and second-hand machine supply; and Florian Auer, Director of Technologies and Innovation, looks at the future of railway infrastructure maintenance and the adoption of new technologies. (Introductory music: “Tired Traveler on the Way to Home” by Andrew Codeman – CC BY 3.0)

In this episode of PhotoWork with Sasha Wolf, Sasha talks with photographer, film maker and Yale MFA Senior Critic in Photography, (as well as interim Acting Director of Graduate Studies) John Pilson. They discuss John's artistic journey, how he landed at Yale as a grad student himself and the Yale graduate program as it is today. https://www.instagram.com/johnpilson/ John Pilson lives and works in Brooklyn, NYC and teaches in the Yale School of Art's Graduate Studies in Photography Program where he is a Senior Critic. He has exhibited his work at P.S.1 Contemporary Art Center and at the Museum of Modern Art. Mr. Pilson has been an artist-in-residence at the Harvestworks Digital Media Arts Center and the LMCC World Views Program. At the Venice Biennale in 2002 he was awarded one of four prizes given to artists in the International Exhibition. Pilson was the editor for volume one of A New Nothing published by Sleeper Studio in 2021 and he is a contributor to the upcoming book, Object Lesson: The Influence of Richard Benson, to be published by Aperture in 2022. Find out more at https://photowork.pinecast.co

Varvara Stepanova was a leader of the constructivist movement and co-author of the constructivist manifesto. Described as “a frenzied artist,” she designed books, magazines, posters, advertisements, as well as textiles, clothing, and costumes. On top of that, she was an author and poet. Her design style and aesthetic was avant garde, modern, and often characterized by simplicity and geometric forms and patterns, but Varvara was never content with stasis. She constantly evolved her style and worked to develop new concepts and ideas. As a co-founder of the Constructivist movement, her work typifies the aesthetic and philosophies of Constructivism. While Varavara worked on many of her own projects, she also did many together with her husband, Alexander Rodchenko, another well-known Constructivist designer. Her work often gets linked to Rodchenko's, and it's Rodchenko who gets mentioned in histories of graphic design and credit for designs that should be attributed to Stepanova as well. At a time when women were largely still expected to be no more than wives and mothers, Stepanova was a woman who made an unmistakable mark on art and design.TIMELINE1894 – b Kovno [now Kaunas, Lithuania]1910-11 – Attended Kazan' School of Art (meets Aleksandr Rodchenko)1913-14 – Attended Stroganov School, studied with Konstantin Yuon & Il'ya Mashkov1920-30 – Taught at the Vkhutemas design school1921 – Work included as part of the 5 x 5 = 25 exhibition1922 – Co-wrote the Constructivist Manifesto with Alexander Rodchenko & Aleksei Gan 1922 – Designed the set and costumes for The Death of Tarelkin1923 – Worked at the  First Textile Printing Factory designing fabrics1924 – Vladimir Lenin dies, marks the beginning of the end of the Soviet Avant Garde1925 – Costume designs for the play The Death of Tarelkin were exhibited in the Soviet Pavilion at the International Exhibition of Modern Industrial and Decorative Arts in Paris1932 – Independent artist groups are banned by Josef Stalin1958 – d Moscow, May 20thREFERENCESAdaskina, N. (1987). Constructivist Fabrics and Dress Design. The Journal of Decorative and Propaganda Arts, 5, 144-159. doi:10.2307/1503941Aspden, R. (2009, Jan 26). Constructing a new world. New Statesman, 138, 40-43. Retrieved from Cunningham, R. (1998). The Russian women artist/designers of the avant-garde. TD&T: Theatre Design & Technology, 34(2), 38–51. Fer, B. (1989). Tatlin; Varvara Stepanova: a Constructivist life. Art History, 12, 382–385. Goldman, W. (2002). Women at the gates gender and industry in Stalin's Russia. Cambridge, UK; New York, NY: Cambridge University Press.Jenkins, S. (2014). Russia's dynamic duo. Art Newspaper, 24(263), 32. Lavrentiev, A. (1988). Varvara Stepanova: A constructivist life. London; Thames and Hudson.Nazarov, Y. (1996). Can Man Live Without Wonder? by Varvara Stepanova (review). Leonardo, 29(1), 79.Vkhutemas. (2004). In G. Julier, The Thames & Hudson dictionary of design since 1900 (2nd ed.). Thames & Hudson. Credo Reference: Wolanksi, M. (retrieved on June 25, 2020) “The Role of Women in Soviet Russia”. Guided History: History Research guides by Boston University students. Blog. https://blogs.bu.edu/guidedhistory/moderneurope/molly-wolanski/

“Why does fate play such tricks with poor, helpless worms?” [BOSC]   On the third episode of every month in Season 5, we explore exotic animals in the Sherlock Holmes canon. This month's animal is a rare one: worms.   While you may be thinking the only reference is the remarkable worm unknown to science that left Isadora Persano stark staring mad, there are a few others. But just a Trifle more.   Have you left us a rating and review on Apple Podcasts yet? You don't need to own an Apple device, and every review helps more people find the show.    Links / Notes This episode: ihose.co/trifles242 Poor Helpless Worms I Hear of Sherlock Everywhere Episode 158: The International Exhibition of Sherlock Holmes Find us on Facebook, Twitter, Instagram and YouTube Email us at trifles @ ihearofsherlock.com Support us on Patreon   Sponsor The Baker Street Journal   Music credits Performers: Uncredited violinist, US Marine Chamber Orchestra Publisher Info.: Washington, DC: United States Marine Band Copyright: Creative Commons Attribution 3.0   --      

Triennale Milano has been working for some time on a series of in-depth analyses of its programmes in podcast form. From the Moon is part of this project and will accompany the public towards the opening of the International Exhibition. The series, which will be in English, consists of seven episodes, in which leading names from the world of culture and science will discuss some of the key issues facing the world today. Hosted by David Plaisant

Щотижневий дайджест, щоб бути в курсі продуктового світу

In today's episode, the Chart squad (Javier specially) has the pleasure to introduce you to the artist you didn't know you needed to know: Stanislaw Szukalski. Born in 1893, he enrolled in the Chicago Institute of Art a prodigy at only 13 years of age. After graduating he made a name for himself in Paris, where he participated in the 1925 International Exhibition of Modern and Decorative Arts. He seemed like your average chap until 1940, when he started a 40-year-long journey to develop a pseudo-scientific theory called Zermatism. Long story short, humanity originated in the post-deluge Easter Island and had to battle the descendants of the Yeti throughout history. Yeah, you read right. Surely you can't wait to learn more about one of the craziest and most beautiful minds in the history of art, so tune into this week's episode!   For email enquiries: chart podcastgmail.com   Make sure to follow us on our socials! INSTAGRAM: https://www.instagram.com/chartpodcast/ Here you can see on which different platforms you can listen to our podcasts! https://pod.link/1517293067 That's it for now! Hope to see you again in our next episode!    chART out!  (Love you, bye)

The Danvers State Hospital, also known as the State Lunatic Hospital at Danvers, The Danvers Lunatic Asylum, and The Danvers State Insane Asylum, was a psychiatric hospital located on what was once known as Hawthorne Hill, in Danvers, Massachusetts. This is ironically where the Salem Witch Trials judge, John Hathorne, once lived. Which, sounds like a future train ride or bonus… maybe. It’s been done a lot. And HOLY SHIT was that a fucked up situation. If you think people are judgmental now, OH BOY!  Once occupied on a hilltop site of over 500 acres with a commanding view of Boston 18 miles to the south. Known as Hawthorne Hill, Porter Hill, and Dodge's Hill, the Commonwealth purchased the site in 1874 from Francis Dodge, who owned the 200 acre Dodge Farm and was a local farmer and Civil War veteran, for a whopping $39,542, right around $907,322.41 in today's money.  It was laviously covered with established oak, pine, and apple groves. Speaking of apples, my family owns the distinct privilege of finding and documenting the first “Golden Delicious'' apple tree. The original tree was found on the Mullins' family farm (My grandmother was a Mullins) in Clay County, West Virginia, in the U.S. of Fuckin’ A, and was locally known as Mullin's Yellow Seedling and Annit apple. Maybe you don’t give a shit and maybe you do. Either way, that’s now a part of YOUR useless knowledge. Suggit! Just kidding… kind of. ​ The State Lunatic Hospital at Danvers was erected, (erected… hehe) under the supervision of prominent Boston architect Nathaniel J Bradlee, in an extremely rural, out-of-the-way location.The immediate crisis which precipitated the building of a mental hospital north of Boston was the imminence in the early 1870's of the closing of the facility at South Boston. In 1873, Worcester, Taunton and Northampton and the 1866 Tewksbury Asylum for chronic patients were already housing 1300 patients in buildings designed for 1000; So, a LITTLE tiny bit crowded. And another 1200 patients were scattered about in various other hospitals.   At a cost of $1.5 million at the time, right around $39,237,300 the hospital originally consisted of two main center buildings, housing the administration, with four radiating wings on each side of the Administration Block. Said to be the inspiration for our own episode topic H.P. Lovecraft’s Arkham Sanatorium, Danvers had a gothic design that has captured the imagination of horror aficionados, the world over. The kitchen, laundry, chapel, and dormitories for the attendants were in a connecting building in the rear. Middleton Pond supplied the hospital its water. On each side of the main building were the wings, for male and female patients respectively. The outermost wards were reserved for the most hostile patients.   It included space for patients, attendants, and administration, reflecting a centralized approach to care. Later buildings were added such as the Male and Female Nurses Homes representing the segregation of patients and staff; the male & female tubercular buildings and the Bonner Medical Building represent specialization of medical treatment; the cottages, repair shops and farm buildings represent an increased self-sufficiency for the hospital, an emphasis on occupational therapy and increased dispersal of the hospital population. A circumferential (my 10 point scrabble word) and interior road network serviced the entire complex.   The hospital opened on May 1st, 1878 and the hospital's first patients arrived on May 13th. Dr. Calvin S. May was appointed Superintendent through 1880. Previous to Danvers, Dr. May was an Assistant Physician at the Connecticut Hospital for the Insane from 1874-1877, and for 1877 was Acting Superintendent. While Danvers was originally established to provide residential treatment and care to the mentally ill, its functions expanded to include a training program for nurses in 1889 and a pathological research laboratory in 1895. By the 1920's the hospital was operating school clinics to help determine mental deficiency in children. During the 1960's as a result of increased emphasis on alternative methods of treatment and deinstitutionalization and community based mental health care, the inpatient population started to decrease. Danvers State Hospital closed on June 24, 1992 due to budget cuts within the mental health system by the former Governor, William Weld.  ​ Danvers State Hospital, originally known as the State Lunatic Hospital at Danvers, was significant in both architectural and social history. Designed in 1874 by noted Boston architect, N.J. Bradlee, it is an implementation of the nationally recognized Kirkbride plan. When built it represented the latest contemporary advances in technology and engineering as well as architecture. Later additions reflect changes in mental health care philosophy and contribute to an understanding of the overall functioning of the hospital. Historically, Danvers State Hospital was significant for its leading role in treatment of the insane including an advanced occupational therapy program, early training facilities for staff, and a long-term concern with community health issues. Thus, Danvers State Hospital possesses integrity of location, design, setting, materials and workman­ship. Concern for the disadvantaged, including the poor, the sick, and the mentally disturbed, was recognized as a responsibility of the public sector in Massachusetts since its early 17th century settlement period. Until the mid-19th century, the charge for their care rested primarily with the towns in which they resided through locally established poor farms: As the towns' duties in 'this regard- became unwieldy and largely' unfulfilled, due to in part to the pressures of immigration and rapidly increasing numbers of unsettled poor, the state stepped in first establishing the Board of Commissioners of Alien Passengers (1851) and in 1863 the Board of State Charities. Though still administratively combined, different facilities and types of care were gradually provided to victims of varying types of misfortune. For example, by 1863, three state hospitals specifically to care for the insane had been built: at Worcester (1877), at Taunton (1854), and at Northampton (1856). . ​Bradlee's design for Danvers State Hospital was based on his unbuilt 1867 plan and 1868 plan for an insane asylum at Winthrop. Many locations were picked including Nahant, Chelsea, Dorchester and Roxbury but the state purchased land in Winthrop. After numerous appeals to relocate Winthrop to another location, Danvers was finally chosen.  A logical choice of the Danvers commissioners in December 1873, he prepared for this project by researching hospitals at Worcester, MA Poughkeepsie, NY, Concord, NH, Philadelphia, Trenton, and one under construction at Morristown, NJ. On this basis, he asked for $900,000 almost half again what the commissioners had allotted in April and picked draftsman James F. Ellis to be superintending architect during its construction. The Danvers site, was chosen for its beauty, privacy, view, and farming potential. Eighteen miles north of Boston, 2 miles west of Danvers, 7 miles from the coal port at Salem, accessibility to visitors and a supply of heating fuel were also deciding factors. The "Swan's Crossing" station (later renamed Asylum Station) on the Lawrence Branch of the Eastern Railroad sat on the northern border of the tract. Under the supervision of Lynn engineer Charles Hammond, an overall site plan was drawn up, locating the main building on the crown of Hathorne Hill and providing also for a support network of roads and room for a farming operation.   Bitter controversy over the building of Danvers State Hospital centered around its con­figuration, ornamentation and cost. Construction began May l, 1874, eventually cost a whopping $1,464, 940. 57. Many agreed that "Danvers rank(ed) among the foremost in its facilities for convenience in practical operation, its provisions for securing that purity of atmosphere which is necessary to the perfection of hygienic conditions and in its general adaptation to the purpose for which it was intended." They explained "the plan, the style, the architect, and the thoroughness and permanence of the work already performed."   In 1877 an inquiry was held into cost overruns during which the issue of the hospital's style, dubbed "Domestic Gothic" by Bradlee, inevitably surfaced. The Commissioners defended their plans which when exhibited at the International Exhibition in Philadelphia, received the only award made to this country for plans for an insane hospital. Others lined up behind Senator Sanborn who, calling it the "Hospital Palace at Danvers", argued that "even many a royal palace is neither so large nor so pretentious architecturally as the hospital at Danvers." (Sanborn, E.F.; The Hospital Palace at Danvers ; 1877). Pliny Earle, then Superintendent at the State Lunatic Asylum in Northampton "decried the trend to excessive ornamentation in hospital architecture, preferring comfortable interiors to 'gorgeous exteriors', suggesting that domes, towers, and turrets are very appropriately situated 'at universities like Harvard and Yale but are scarcely appropriate' when they stand as monuments over the misfortune and the miseries of men. "(Lucy Sanborn, The towers and turrets were in fact necessary to the building's ventilating system, not merely stylistic features.) The investigating committee concluded that several errors in judgment had been made. While the hospital commissioners were “superseded” early as a reprimand, a $150,000 appropriation was awarded to allow the completion of construction. The first patient was admitted May 13, 1878. Provision of pure water, an important component in 19th century mental health therapy, was also the subject of argument during the construction and early years of the hospital. The nearby Ipswich River was explored early as a source. Ultimately, the town of Danvers, which had in 1874 established its own water supply from Middleton Pond at Wills' Hill, indicated its willingness to service the hospital's needs as well. In 1876, an agreement was struck whereby the town would build its own intermediate reservoir on the grounds to supply a gravity feed system via a series of ten 5000 gallon tanks in the attic. The towns' inability to cope with a rapidly rising and undigested anti-social population was not the only impetus behind state involvement in mental health. Another important component was the move away from "demonology" toward moral treatment of the insane, a cause which was loudly and publicly championed by such social reformers as Boston's Dorothea Lynde Dix. Her energetic career (1841-1887) had significant local as well as national and international impact.   Ok, so what the fuck is “demonolgy”? Demonology, as some of you dark sumbitches may know, is the study of demons or beliefs about demons. They may be nonhuman, separable souls, or discarnate spirits which have never inhabited a body. Once smarty pants doctors and psychologists realized that people were mentally ill and stopped pointing their fingers at them for being “possessed by the goddamn devil!”, science slowly moved in and people started to receive the help they needed.   At mid-century, the humanistic approach toward care of the insane was generally accepted, about time, dummies...yet controversy still surrounded the form or building arrangement such institutions should assume. Some, heavily represented on the State Board of Charities, favored the dispersion of the dependent as opposed to their congregation. The other faction in the controversy, which found many supporters in the Association of Medical' Superintendents, favored a large, highly centralized complex. Chief proponent of the centralized plan was Thomas S. Kirkbride, M.D., L.L.D. (1809-1883), a founder of the American Psychiatric Association, physician to the Pennsylvania Hospital for the Insane, and friend of Dorothea Lynde Dix. Sorry about your name, Dorothea.   Dr. Thomas Story Kirkbride, who is a legitimate badass and who served the Pennsylvania Hospital as the superintendent from 1841-1883 created a humane and compassionate environment for his patients, and believed that beautiful settings restored patients to a more natural "balance of the senses". Dr. Kirkbride's progressive therapies and innovative writings on hospital design along with management became known as the (DUN DUN DUN) Kirkbride Plan, which influenced, in one form or another, almost every American state hospital by the turn of the century including Danvers.   Kirkbride the badass devised a specific institutional model, thereafter known as the (DUN DUN DUN) Kirkbride Plan, which was built upon in all thirty states then in existence and in several European cities. H.H. Richardson, the prominent American architect. for example, built a variation of the Kirkbride Plan hospital in Buffalo, NY in the early 1870s in cooperation with Frederick Law Olmsted. The Kirkbride Plan provided that mental hospitals should:   be built “in the country” though accessible at all seasons be set on grounds of at least 100 acres house a maximum of 250 patients be built of stone or brick with slate or metal roof and otherwise made as fireproof as possible be composed of 8 wards, separated according to sex, and built according to other specifications as to size, location, and material of accommodations be organized with wings flanking a central administration building house the most "excited" patients in the end or outermost wings provide an abundance of "pure fresh air" Kirkbride's hospitals were intended as monuments to the belief that most insane are curable and thus that the function of the hospital is primarily curative and not custodial. That curative process was to be greatly enhanced by pleasant surroundings, fresh air, and pure water. Fully developed Massachusetts' examples of the Kirkbride Plan exist at Danvers and at Worcester     By the turn of the 20th century, Danvers State Hospital had outgrown its site and facilities. Therefore, in 1902 an additional 100 acres straddling the towns of Danvers and Middleton, was purchased and a major building campaign was undertaken. Twentieth century additions to the hospital reflect not only growth of the patient population, but also an increased emphasis on occupational therapy and current theories of decentralized care. Large barns (demolished) were built as were new buildings for the men who helped out the farming venture. Grove Hall and Farm Hall and for women chronic patients (Middleton Colony 1903). In fact, after the very first year of its operation, once the layout was decided, roads, fences, piggery, corn barn, wagon shed, manure cellar, and apple orchard were in place. After only the second, 50 cords of wood and 10,386 lbs. of fresh pork were realized. The farm continued to grow and prosper and soon became a famous model. The Danvers onion, locally derived by the Gregory Seed Co., was among the many vegetables grown. Elaborate pleasure gardens were established adjacent to the Kirkbride complex to supplement recreational therapy programs. In fact, the Danvers State Hospital was so remarkable that it attracted 12,000 yearly visitors as early as 1880. In addition to visiting patients, they brought contributions of books, magazines, and flowers and conducted religious services. Thus, was established a pattern of community involvement for which the hospital would later become noted.   As originally established, the Danvers hospital was to be run by a resident Superintendent appointed by an unpaid lay Board of Trustees, chosen by the Governor. Central authority lay with the Board of State Charities (after 1879-The State Board of Health, Lunacy and Charity). In 1898 the leadership role of the Commonwealth of Massachusetts radically advanced with the information of the State Board of Insanity, the first in the United States. Landmark legislation:   took the poor out of the almshouses and put them under state control. introduced occupational therapy and social services. emphasized mental hygiene, and called for professional training of nurses and attendants.   Danvers State Hospital became a leader in the implementation of these progressive and humanitarian tenets, becoming one of "the most advanced institutions of the kind in the country providing all practical means possible for intelligent treatments of insanity as a disease." (Frank E. Moynaham (Publisher), Danvers, Massachusetts (Danvers: Danvers Mirror, 1899) Danvers State made extensive early use of occupational therapy. In addition to working the farm and greenhouses, patients repaired facilities (like the reservoir-1912), dug tunnels (like the one to the Nurses' Home-1913), and built small buildings (like the 1917 slaughter­ house built from patient-made concrete blocks). They also made shoes and participated in other crafts and Montessori kindergarten exercises. Patient crafts were sold to the public and exhibited (along with displays about the hospital's latest therapeutic techniques) at exhibitions; like the Boston Mechanics Hall Textile Show (1916) and the one at Stoneham (1919). Mental and physical hygiene at Danvers State was guided by the most advanced contemporary thinking (despite epidemics such as the great outbreak of bacillary dysentery of 1908 in which 36 died). Primary ingredients in the program were recreational therapy (gardens, etc.) fresh air supplied by an advanced ventilating system, and especially hydrotherapy. It was believed that the use of water baths to ameliorate the clogged condition of the brain would allow for the discontinuance of irritating restraints and depressing drugs and advanced pathology department supported the hygiene effort.   Danvers State Hospital established the second nursing school in Massachusetts (1889) and the second nurses' home in the state (Gray Gables-1898). It had already pioneered by being the first Massachusetts mental hospital to hire a woman doctor (1879). By the end of the 1920s, two large nurses' homes had been built on the property, one for female nurses and the other for male.   The hospital was a leader in the area of community involvement from the start. As early as 1907, the Superintendent was advocating a preventive mental health program. In 1909 the "Danvers Series" was inaugurated to share the results of research at the hospital. By 1912 there was an active community mental health program. "From such beginnings grew the Massachusetts Plan in which the state hospital is regarded as the center of mental hygiene and psychiatric activity throughout the district." About the same time the Massachusetts Plan was being popularized, 1938, the current Department of Mental Health was set up. It succeeded the Commission on Mental Diseases, which had replaced the State Board of Insanity in 1916.   By the 1920s the hospital was operating school clinics to help determine mental deficiency in children. Reports were made that various inhumane shock therapies, lobotomies, drugs, and straitjackets were being used to keep the crowded hospital under control. This sparked controversy.  Shock therapy and straight jackets became the norm. The thinking was that jolts of electricity could either alter a patient’s brain or make the patient afraid of shock therapy and scare them into submission. When they misbehaved, they were put in straight jackets and forgotten. When shock therapy failed, the lobotomies started. In 1939, the medical community was looking for a permanent fix to the crisis facing mental health facilities. The population of the hospital swelled to 2,360. A total of 278 people died at the hospital that year. Medical science saw lobotomies as a cure for anyone’s insanity, and as a way to stop the deaths. Neurology experts often called Danvers State Hospital the “birthplace of the prefrontal lobotomy.”  Brought to the US and perfected by Dr. Walter Freeman, most while at Danvers. The moniker came from its widespread use, but also from the deplorable procedures refinement at the hospital.  What is a lobotomy, you may ask yourself, well… self, I’ll tell you.   LOBOTOMY (from the Greek lobos, meaning lobes of the brain, and tomos, meaning cut) is a psychosurgical procedure in which the connections the prefrontal cortex, the section of the frontal cortex that lies at the very front of the brain, in front of the premotor cortex, and underlying structures are severed, or the frontal cortical tissue is destroyed, the theory being that this leads to the uncoupling of the brain's emotional centres and the seat of intellect (in the subcortical structures and the frontal cortex, respectively). The lobotomy was first performed on humans in the 1890s. About half a century later, it was being touted by some as a miracle cure for mental illness, and its use became widespread; during its heyday in the 1940s and '50s, the lobotomy was performed on some 40,000 patients in the United States, and on around 10,000 in Western Europe. The procedure became popular because there was no alternative, and because it was seen to alleviate several social crises: overcrowding in psychiatric institutions, and the increasing cost of caring for mentally ill patients. Um, because they were making ZOMBIES!! Although psychosurgery has been performed since the dawn of civilization, the origins of the modern lobotomy are found in animal experiments carried out towards the end of the nineteenth century. The German physiologist Friedrich Goltz (1834-1902) performed SURGICAL removal of the neocortex in dogs, and observed the changes in behaviour that occurred as a result: I have mentioned that dogs with a large lesion in the anterior part of the brain generally show a change in character in the sense that they become excited and quite apt to become irate. Dogs with large lesions of the occipital lobe on the other hand become sweet and harmless, even when they were quite nasty before. Poor dogs...These findings inspired the physician Gottlieb Burkhardt (1836- ?), the director of a small asylum in Prefargier, Switzerland, to use these removals of the cortex to try and cure his mentally ill patients. In 1890, Burkhardt removed parts of the frontal cortex from 6 of his schizophrenic patients. One of these patients later committed suicide, and another died within one week of his surgery. Thus, although Burkhardt believed that his method had been somewhat successful, he faced strong opposition, and stopped  experimenting with brain surgery. Quitter. It was not until the 1930s that lobotomy was again performed on humans. The modern procedure was pioneered at that time by the Portugese neuropsychiatrist Antonio Egas Moniz, a professor at the University of Lisbon Medical School. While attending a frontal lobe symposium in London, Moniz learned of the work of Carlyle Jacobsen and John Fulton, both of whom were experimental neurologists at Yale University. Jacobsen and Fulton reported that frontal and prefrontal cortical damage in chimpanzees led to a massive reduction in aggression, while complete removal of the frontal cortex led to the inability to induce experimental neuroses in the chimps. Here, they describe the post-operational behaviour of a chimp named "Becky", who had previously got extremely distressed after making mistakes during the task she had learnt: The chimpanzee...went to the experimental cage. The usual procedure of baiting the cup and lowering the opaque screen was followed...If the animal made a mistake, it showed no evidence of emotional disturbance but quietly awaited the loading of the cups for the next trial. It was as if the animal had joined the "happiness cult of the Elder Micheaux," and had placed its burdens on the Lord! On hearing the presentation by Jacobsen and Fulton, Moniz asked if the surgical procedure would be beneficial for people with otherwise untreatable psychoses. Although the Yale researchers were shocked by the question, Moniz, together with his colleague Almeida Lima, operated on his first patient some three months later. On November, 12th, 1935, Moniz and Lima performed for the first time what they called a prefrontal leucotomy ("white matter cutting"). The operation was carried out on a female manic depressive patient, and lasted about 30 minutes. The patient was first anaesthetized, and her skull was perforated on both sides (that is, holes were drilled through the bone). Then, absolute alcohol was injected through the holes in the skull, into the white matter beneath the prefrontal area. Jebus christmas!  In this way, two of the bundles of nerve fibres connecting the frontal cortex and the thalamus were severed. (The thalamus is either of two masses of gray matter lying between the cerebral hemispheres of the brain on either side of the third ventricle, relaying sensory information and acting as a center for pain perception.) Moniz reported that the patient seemed less anxious and paranoid afterwards, and pronounced the operation a success. Subsequently, he and Lima used a knife, which, when inserted through the holes in the skull and moved back and forth within the brain substance would sever the thalamo-cortical connections. What the fuck!!!! They later developed a special wire knife called a leucotome, (that sounds better, doesn’t it?) which had an open steel loop at its end; when closed, the loop severed the nerve tracts within it. You know who else used an object like that? Yep! Egyptians who turned people into mummies.  These procedures were "blind" - the exact path of the leucotome could not be determined, so the operations produced mixed results. Ya think?! In some cases, there were improvements in behaviour; in others, there was no noticeable difference; and in yet others, the symptoms being treated became markedly worse! In all, Moniz and Lima operated on approximately 50 patients. FIFTY! The best results were obtained in patients with mood disorders, while the treatment was least effective in schizophrenics. In 1936, Moniz published his findings in medical journals, and travelled to London, where he presented his work to others in the medical community. In 1949, he was shot four times by one of his patients (on a positive note, it wasn’t one who had been lobotomized… SHOCKER!); one of the bullets entered his spine and remained lodged there until his death some years later. In the same year as the shooting, Moniz was awarded the Nobel Prize for Medicine, for his innovations in neurosurgery AND SCRAMBLING PEOPLES BRAIN EGGS! So, what in the shit does this have to do with Danvers Lunatic asylum? Well... The American clinical neurologist Walter Freeman (1895-1972) had been following the work of Moniz closely, and had also attended the symposium on the frontal lobe. It was Freeman who introduced the lobotomy to the United States, and who would later become the biggest advocate of the technique. With neurosurgeon James Watts, Freeman refined the technique developed by Moniz. They changed the name of the technique to "lobotomy", to emphasize that it was white and grey matter that was being destroyed. The Freeman-Watts Standard Procedure was used for the first time in September 1936. Also known as "the precision method", this involved inserting a blunt spatula through holes in both sides of the skull; the instrument was moved up and down to sever the thalamo-cortical fibers (above). However, Freeman was unhappy with the new procedure. He considered it to be both time-consuming and messy, and so developed a quicker method, the so-called "ice-pick"lobotomy, Did you get that? ICE… PICK…!  which he performed for the first time on January 17th, 1945. With the patient rendered unconscious by electroshock, an instrument was inserted above the eyeball, mmmhmmm... through the orbit using a hammer. (Calm down, Thor) Once inside the brain, the instrument was moved back and forth; this was then repeated on the other side. (The ice-pick lobotomy, named as such because the instrument used resembled the tool with which ice is broken, is therefore also known as the transorbital lobotomy.  Freeman's new technique could be performed in about 10 minutes. Because it did not require anaesthesia, it could be performed outside of the clinical setting, and lobotomized patients did not need hospital internment afterwards. Thus, Freeman often performed lobotomies in his Washington D.C. office, much to the horror of Watts, who would later dissociate himself from his former colleague and the procedure, because fuck that guy! Freeman happily performed ice-pick lobotomies on anyone who was referred to him. During his career, he would perform almost 3,500 operations. Like the leucotomies performed by Moniz and Lima, those performed by Freeman were blind, and also gave mixed results. Some of his patients could return to work, while others were left in something like a vegetative state. Most famously, Freeman lobotomized President John F. Kennedy's sister Rosemary, who’s lobotomy was scheduled BY HER FATHER and without her mother knowing, because she was mentally impaired!! She was incapacitated by the operation, which was performed on her when she was only 23 years of age. Rosemary spent the next six decades hidden from the public in a Wisconsin Catholic institution, where she was cared for by nuns. She died there in 2005 at age 86. Her father never visited her again, and her siblings rarely spoke of her. WHAT THE FUCK, KENNEDYS!?!  Also, on December 16th, 1960, Freeman notoriously performed an ice-pick lobotomy on a 12-year-old boy named Howard Dully, at the behest of Dully's wicked fucking stepmother, who had grown tired of his defiant behaviour. Howard went on to say “My stepmother hated me. I never understood why, but it was clear she'd do anything to get rid of me...If you saw me you'd never know I'd had a lobotomy. The only thing you'd notice is that I'm very tall and weigh about 350 pounds. But I've always felt different - wondered if something's missing from my soul. I have no memory of the operation, and never had the courage to ask my family about it. So [recently] I set out on a journey to learn everything I could about my lobotomy...It took me years to get my life together. Through it all I've been haunted by questions: 'Did I do something to deserve this?, Can I ever be normal?', and, most of all, 'Why did my dad let this happen?'” Dully's mother had died when he was 5 years old, and his father subsequently remarried a woman named Lou. Freeman's notes later revealed that Lou Dully feared her stepson, and described him as "defiant and savage-looking". According to the notes: He doesn't react to either love or punishment. He objects to going to bed but then sleeps well. He does a good deal of daydreaming and when asked about it says 'I don't know.' He turns the room's lights on when there is broad daylight outside. Freeman recorded the events leading up to Dully's lobotomy: [Nov. 30, 1960] Mrs. Dully came in for a talk about Howard. Things have gotten much worse and she can barely endure it. I explained to Mrs. Dully that the family should consider the possibility of changing Howard's personality by means of transorbital lobotomy. Mrs. Dully said it was up to her husband, that I would have to talk with him and make it stick. [Dec. 3, 1960] Mr. and Mrs. Dully have apparently decided to have Howard operated on. I suggested [they] not tell Howard anything about it. Following the operation, the notebook reads: I told Howard what I'd done to him...and he took it without a quiver. He sits quietly, grinning most of the time and offering nothing.   About 40 years after his lobotomy, he discussed the operation with his father for the first time. He discovered that it was his stepmother who had found Dr. Freeman, after being told by other doctors that there was nothing wrong, and that his father had been manipulated by this evil cunt and Freeman into allowing the operation to be performed. Sorry about the C word, but...what would you call her? The poor kid probably had HDD or something far less problematic than the need for a FUCKING LOBOTOMY!    It was largely because of Freeman that the lobotomy became so popular during the 1940s and '50s. He travelled across the U. S., teaching his technique to groups of psychiatrists who were not qualified to perform surgery. Freeman was very much a showman; he often deliberately tried to shock observers by performing two-handed lobotomies, or by performing the operation in a production line manner. (He once lobotomized 25 women in a single day.) Journalists were often present on his "tours'' of hospitals, so that his appearance would end up on the front page of the local newspaper; he was also featured in highly popular publications such as Time and Life. Often, these news stories exaggerated the success of lobotomy in alleviating the symptoms of mental illness. Consequently, the use of lobotomies became widespread. As well as being used to treat the criminally insane, lobotomies were also used to "cure" political dissidents. It was alleged that the procedure was used routinely on prisoners against their will, and the use of lobotomies was strongly criticised on the grounds that it infringed the civil liberties of the patients. An excellent account of the effects of lobotomy, and of the ethical implications of the use of the procedure, can be found in Ken Kesey's book One Flew Over the Cuckoo's Nest. (This was made into a film in 1975, by Milos Forman, who received the Academy Award for Best Director. Jack Nicholson won the award for Best Actor in a Lead Role.) The use of lobotomies began to decline in the mid- to late-1950s, for several reasons. Firstly, although there had always been critics of the technique, opposition to its use became very fierce. Secondly, and most importantly, phenothiazine-based neuroleptic (anti-psychotic) drugs, such as chlorpromazine, became widely available. These had much the same effect as psychosurgery gone wrong; thus, the surgical method was quickly superseded by the chemical lobotomy.     Visitors to Danvers State Hospital in the early 1940s reported lobotomy patients wandering aimlessly through the halls of the hospital. The patients didn’t complain, because many of them just stared blankly at walls. Patients walked around in a drugged, hellish daze. No one would let them leave and held them against their will.     During the 1960s as a result of increased emphasis on alternative methods of treatment, deinstitutionalization, and community-based mental health care, the inpatient population started to decrease. Massive budget cuts in the 1960s played a major role in the progressive closing of Danvers State hospital. The hospital began closing wards and facilities as early as 1969. By 1985, the majority of the original hospital wards were closed or abandoned. The Administration Block, in the original Kirkbride, building closed in 1989. Patients were moved to the Bonner Medical Building across the campus. The great shift in mental health treatment came with the invention of psychopharmaceuticals, the early “hypnotics.” Though drugs like chloral hydrate, morphine, and opium had been in use for much of the late 19th and early 20th centuries, the advent of modern antipsychotics such as chlorpromazine (Thorazine) “revolutionized” the care of the “mentally ill.” With the help of this new breed of drug, hospitals were able to admit and manage a greater number of patients. The population at Danvers peaked at nearly 3,000 in the late 1960’s and into the early 1970’s. Patients were regularly treated using not only psychotropic medications but also electroshock therapy, hydrotherapy, and psychosurgery (also known as the prefrontal lobotomy). Asylum populations began to shift dramatically and hospitals moved away from the centralized model, choosing instead to unitize, working with the various regions to provide as much community support as possible. Eventually reports began to surface of abuse and neglect within the hospital’s walls. Suspicious deaths, patient escapes, and violent assaults were all recorded. By the late 1980’s the hospital’s main operations were moved from the Kirkbride to the more modern Bonner Building across the way. By the time the remaining hospital buildings were closed down for good in 1992, the buildings had begun to decay and by and large the public was happy that the state hospital was no more. The doors to Bradlee’s architectural masterpiece were locked and the Castle on the Hill was abandoned. The remaining and lasting impression of Danvers State Hospital was that it was a snake pit where the mentally ill went to languish and often die. The entire campus was closed on June 24, 1992 and all patients were either transferred to the community or to other facilities In December 2005, the property was sold to AvalonBay Communities, a residential apartment developer. A lawsuit was filed by a local preservation fund to stave off the demolition of the hospital, including the Kirkbride building, which was listed on the National Register of Historic Places. This did not stop the process, however, and demolition of most of the buildings began in January 2006, with the intent to build 497 apartments on the 77-acre (310,000 m2) site. By June 2006, all of the Danvers State Hospital buildings that were marked for demolition had been torn down, including all of the unused buildings and old homes on the lower grounds and all of the buildings on the hill. Demolition was done by Testa Corp. of Wakefield, Massachusetts. The historic Kirkbride was also demolished, with only the outermost brick shell of the administration area (along with the G and D wards on each side) being propped up during demolition and construction while an entirely new structure was built behind and inside of it, leaving the historic Danvers Reservoir and the original brick shell. Much of the wood from the demolition project was salvaged and recycled into flooring and other millwork. A replica of the original tower/steeple on the Kirkbride was built to duplicate what was removed around 1970, due to structural issues. (The first picture illustrates the original tower in 1893, the second and third pictures illustrate the new replica in 2006 and 2007, and the fourth picture illustrates the one from 1970.) Avalon Bay predicted that they would have properties available for rent or sale by Fall 2007. On April 7, 2007, four of the apartment complex buildings and four of Avalon Bay's construction trailers burned down in a large fire visible from Boston, nearly 17 mi (27 km) away. Damage was confined mostly to the buildings under construction on the eastern end, but the remaining Kirkbride spires caught fire due to the high heat. The tunnel leading up from the power plant still exists, but is blocked at the top of the hill. Only the exterior of the Kirkbride complex was preserved in the demolition, and the cemeteries, several blocked tunnels, and the brick shell of the administration and the D and G wings are all that remain from the original site. Richard Trask of the Danvers Archival Center wrote, concerning the state's failure to preserve the Kirkbride complex, noting: “The failure to protect and adaptively reuse this grand exterior is a monumental blot in the annals of Massachusetts preservation. What might have been a dignified transformation of a magnificent structure which was originally built to serve the best intentions, but at times lost its way through human frailty, now is a mere ghost-image of itself.” On June 27, 2014, Avalon Bay Communities, Inc,. sold the property for $108.5 M to the DSF Group. The DSF Group released plans for the property to undergo further renovations. The only remnants of the horrific practices that went on in Danvers State Hospital are the gravestones in two nearby cemeteries, which contain 770 bodies. Some headstones only have numbers as opposed to names. Even in death, administrators at Danvers State Hospital did not dignify their patients. There is a monument listing the patients’ names, but nothing on the grave markers.   Many ghost hunters snuck into the property before it’s demolition. Very few of them captured any sort of evidence. In most cases, they caught phantom footsteps and a few shadows. There’s only been one eyewitness report to surface over the years. Jeralyn Levasseur stated she saw a ghost when she lived there as a child. The ghost pulled the sheets off her bed and it manifested as an older, scowling woman. Levasseur said she never felt threatened by the ghost. She also confirmed it only appeared one time. While the number of documented paranormal experiences may be low, there’s a great deal of potential ghostly activity at the hospital. From 1920-1945, the hospital and its staff committed horrible acts, including those horrendous lobotomies, systemic neglect and restraining children for days at time. Supposedly, this negative energy left a massive psychic imprint in the dark and decaying halls of Danvers. You may not see a ghost, but you can feel the patients’ pain from years ago. Some paranormal experts believe this may help create a personalized haunting. This means you may not see a patient’s ghost, but the building could manifest your inner fears, doubts and agony. Ok, listen… The following is A horrible account from a Danvers employee… this is pretty fuckin’ rough so if you don’t want to listen to it, I completely understand. It’s about the unfortunate death of a child. Skip ahead about 30 seconds if you need to. “Back when they started dual diagnosis, they transferred this 15-year-old boy from Hogan to DSH. This boy had a habit of crawling into heat ducts. The heat ducts don't go anywhere at Hogan, it's a newer building and you can't get hurt. Anyway, they sent him up and he was up there for about 3 weeks and he disappeared. We searched everywhere for him. We looked all over and we couldn't find him. The staff over at J ward started to notice a horrible smell getting worse and worse every day. Anyway, to make a long story short, he got inside the duct work in J Annex. The duct work in DSH goes right down to heating coils. He slid down, couldn't get up, got trapped and died. His feet landed right on the coils and literally burnt off up to his shins. I was there and had to go over there and help cut him out of the wall. There must have been 25 people in that room that day. The Medical Examiner, clinicians you name it. I cut the wall and Butch (The Tinsmith) was there to cut the tin duct work. When we cut through it all and opened it up the kid was right there and looked almost frozen. The pathologist reached in to take him out and his hands sunk into his chest like Jello. The smell was disgusting. It was a nasty stench and we all got sick. His death brought on a major, major state investigation. His parents were mad as hell and rightfully so. We had big wigs from Boston and the State Police lab up there for weeks. It was just a horrible experience. I've seen a lot in my 24 years and that was by far the worst.” Top Horror movies set in asylums/ mental hospitals Horror: Horror movies set in asylums/ mental hospitals - IMDb Ace’s Depot http://www.aces-depot.com   BECOME A PRODUCER! http://www.patreon.com/themidnighttrainpodcast   Find The Midnight Train Podcast: www.themidnighttrainpodcast.com www.facebook.com/themidnighttrainpodcast www.twitter.com/themidnighttrainpc www.instagram.com/themidnighttrainpodcast www.discord.com/themidnighttrainpodcast www.tiktok.com/themidnighttrainp   And wherever you listen to your favorite podcasts.   Subscribe to our official YouTube channel: OUR YOUTUBE        

Todays destination takes us to one of the only building's in the world still being used for its original purpose. Come and take a stroll through the 1800s and wonder at the fascination of the age of International Exhibitions. This destination has lived almost all the lives a building has lived and is still loyally serving the people of Melbourne daily. If you're interested in a transcript, images, references and more check out our website.destinationhistorypod.comDestination: History is growing and we need your help. Fill out this 20 sec survey, and do your bit to help the podcast grow.

On today's date in 1876, America was celebrating its Centennial, and the place to be was in Philadelphia, where a Centennial Exhibition was in progress. Officially known as "The International Exhibition of Arts, Manufacturers and Products of the Soil and Mine," this was the first World's Fair to be held in the United States. It drew 9 million visitors—this at a time when the entire population of the U.S. was only 46 million. The Exhibition had opened in May with a concert attended by President and Mrs. Ulysses S. Grant. After "Hail to the Chief," the orchestra premiered a specially commissioned "Centennial March" by the famous German opera composer Richard Wagner. Wagner was paid $5000 for the commission, an astronomically high fee in those days. Wagner did not bother to attend the Philadelphia premiere, and privately told friends back in Germany: "Between you and me, the best thing about the march was the $5000 they paid me." The following month, the French composer Jacques Offenbach arrived in Philadelphia to conduct his music at a specially constructed open-air pavilion. "They asked my permission to call it 'Offenbach Gardens,'" the composer later wrote. "How could I refuse?" The concertmaster of Offenbach's orchestra, by the way, was a 21-year old violinist from Washington, D.C. by the name of John Philip Sousa, who would go on to write some festive music of his own.

On today's date in 1876, America was celebrating its Centennial, and the place to be was in Philadelphia, where a Centennial Exhibition was in progress. Officially known as "The International Exhibition of Arts, Manufacturers and Products of the Soil and Mine," this was the first World's Fair to be held in the United States. It drew 9 million visitors—this at a time when the entire population of the U.S. was only 46 million. The Exhibition had opened in May with a concert attended by President and Mrs. Ulysses S. Grant. After "Hail to the Chief," the orchestra premiered a specially commissioned "Centennial March" by the famous German opera composer Richard Wagner. Wagner was paid $5000 for the commission, an astronomically high fee in those days. Wagner did not bother to attend the Philadelphia premiere, and privately told friends back in Germany: "Between you and me, the best thing about the march was the $5000 they paid me." The following month, the French composer Jacques Offenbach arrived in Philadelphia to conduct his music at a specially constructed open-air pavilion. "They asked my permission to call it 'Offenbach Gardens,'" the composer later wrote. "How could I refuse?" The concertmaster of Offenbach's orchestra, by the way, was a 21-year old violinist from Washington, D.C. by the name of John Philip Sousa, who would go on to write some festive music of his own.

Chapter 8: The Coolgardie Exhibition A brief history of the International Mining and Industrial Exhibition held in Coolgardie in March, 1899. The PDF booklet of the Dalmatian Connection and all of the mp3 files are available from Goldfieldstories.com Further episodes are as follows: Chapter 1: The Kazeas. Jenny and Mat Kazea arrived in Boulder, Western Australia, from Victoria in 1897. They decided to embark on an overseas trip for six months to visit Mat's family in Zlarin and Jenny's family in Ireland. They also decided to go to Paris to see the International Exhibition that was held there in March 1900. Chapter 2: Jenny's diary. Go back in time with Jenny on the steamship Oroya, as they travel to Zlarin. You will then follow their travels in Zlarin, Trieste, Vienna Leplitz and Paris in the year 1900. Chapter 3: The Paris Exhibition Jenny's diary gives an interesting account of the Paris Exhibition of 1900 and the city of Paris. They then travel to England and Ireland. We then travel with them on the Ortona back to Australia. Chapter 4: Jean Jenny adopted Mat's niece from Zlarin. Her name was Tomasina. She later married and had a girl named Jean. This chapter looks at her early life in Fremantle and Spearwood. Chapter 5: The Lime Kilns In 1933 Jean agreed to work for her brother as housekeeper and cook in a remote settlement on the Transcontinental Railway Line called the Lime Kilns. This chapter looks at the unique and isolated community that produced lime for the goldfields. Jean lived at the settlement for 33 years Chapter 6: A First World War Diary Jenny found a diary written by Sister Fitzpatrick. This diary details her experiences as a nursing sister in the First World War. Chapter 7: Continuing Jean's Story Jenny's recollections of interesting events at the Lime Kilns and the challenges of living in a remote settlement.

Chapter 7: Continuing Jean's Story Jenny's recollections of interesting events at the Lime Kilns and the challenges of living in a remote settlement. The PDF booklet of the Dalmatian Connection and all of the mp3 files are available from Goldfieldstories.com Further episodes are as follows: Chapter 1: The Kazeas. Jenny and Mat Kazea arrived in Boulder, Western Australia, from Victoria in 1897. They decided to embark on an overseas trip for six months to visit Mat's family in Zlarin and Jenny's family in Ireland. They also decided to go to Paris to see the International Exhibition that was held there in March 1900. Chapter 2: Jenny's diary. Go back in time with Jenny on the steamship Oroya, as they travel to Zlarin. You will then follow their travels in Zlarin, Trieste, Vienna Leplitz and Paris in the year 1900. Chapter 3: The Paris Exhibition Jenny's diary gives an interesting account of the Paris Exhibition of 1900 and the city of Paris. They then travel to England and Ireland. We then travel with them on the Ortona back to Australia. Chapter 4: Jean Jenny adopted Mat's niece from Zlarin. Her name was Tomasina. She later married and had a girl named Jean. This chapter looks at her early life in Fremantle and Spearwood. Chapter 5: The Lime Kilns In 1933 Jean agreed to work for her brother as housekeeper and cook in a remote settlement on the Transcontinental Railway Line called the Lime Kilns. This chapter looks at the unique and isolated community that produced lime for the goldfields. Jean lived at the settlement for 33 years Chapter 6: A First World War Diary Jenny found a diary written by Sister Fitzpatrick. This diary details her experiences as a nursing sister in the First World War. Chapter 8: The Coolgardie Exhibition A brief history of the International Mining and Industrial Exhibition held in Coolgardie in March, 1899.

Chapter 6: A First World War Diary Jenny found a diary written by Sister Fitzpatrick. This diary details her experiences as a nursing sister in the First World War. The PDF booklet of the Dalmatian Connection are available from Goldfieldstories.com Further episodes are as follows: Chapter 1: The Kazeas. Jenny and Mat Kazea arrived in Boulder, Western Australia, from Victoria in 1897. They decided to embark on an overseas trip for six months to visit Mat's family in Zlarin and Jenny's family in Ireland. They also decided to go to Paris to see the International Exhibition that was held there in March 1900. Chapter 2: Jenny's diary. Go back in time with Jenny on the steamship Oroya, as they travel to Zlarin. You will then follow their travels in Zlarin, Trieste, Vienna Leplitz and Paris in the year 1900. Chapter 3: The Paris Exhibition Jenny's diary gives an interesting account of the Paris Exhibition of 1900 and the city of Paris. They then travel to England and Ireland. We then travel with them on the Ortona back to Australia. Chapter 4: Jean Jenny adopted Mat's niece from Zlarin. Her name was Tomasina. She later married and had a girl named Jean. This chapter looks at her early life in Fremantle and Spearwood. Chapter 5: The Lime Kilns In 1933 Jean agreed to work for her brother as housekeeper and cook in a remote settlement on the Transcontinental Railway Line called the Lime Kilns. This chapter looks at the unique and isolated community that produced lime for the goldfields. Jean lived at the settlement for 33 years Chapter 7: Continuing Jean's Story Jenny's recollections of interesting events at the Lime Kilns and the challenges of living in a remote settlement. Chapter 8: The Coolgardie Exhibition A brief history of the International Mining and Industrial Exhibition held in Coolgardie in March, 1899.

Chapter 4: Jean - Her early life in Fremantle & Spearwood Jenny adopted Mat's niece from Zlarin. Her name was Tomasina. She later married and had a girl named Jean. This chapter looks at her early life in Fremantle and Spearwood. The PDF booklet of the Dalmatian Connection and all of the mp3 files are available from Goldfieldstories.com Further episodes are as follows: Chapter 1: The Kazeas. Jenny and Mat Kazea arrived in Boulder, Western Australia, from Victoria in 1897. They decided to embark on an overseas trip for six months to visit Mat's family in Zlarin and Jenny's family in Ireland. They also decided to go to Paris to see the International Exhibition that was held there in March 1900. Chapter 2: Jenny's diary. Go back in time with Jenny on the steamship Oroya, as they travel to Zlarin. You will then follow their travels in Zlarin, Trieste, Vienna Leplitz and Paris in the year 1900. Chapter 3: The Paris Exhibition Jenny's diary gives an interesting account of the Paris Exhibition of 1900 and the city of Paris. They then travel to England and Ireland. We then travel with them on the Ortona back to Australia. Chapter 5: The Lime Kilns In 1933 Jean agreed to work for her brother as housekeeper and cook in a remote settlement on the Transcontinental Railway Line called the Lime Kilns. This chapter looks at the unique and isolated community that produced lime for the goldfields. Jean lived at the settlement for 33 years Chapter 6: A First World War Diary Jenny found a diary written by Sister Fitzpatrick. This diary details her experiences as a nursing sister in the First World War. Chapter 7: Continuing Jean's Story Jenny's recollections of interesting events at the Lime Kilns and the challenges of living in a remote settlement. Chapter 8: The Coolgardie Exhibition A brief history of the International Mining and Industrial Exhibition held in Coolgardie in March, 1899.

Chapter 5: The Lime Kilns In 1933 Jean agreed to work for her brother as housekeeper and cook in a remote settlement on the Transcontinental Railway Line called the Lime Kilns. This chapter looks at the unique and isolated community that produced lime for the goldfields. Jean lived at the settlement for 33 years. The PDF booklet of the Dalmatian Connection and all of the mp3 files are available from Goldfieldstories.com Further episodes are as follows: Chapter 1: The Kazeas. Jenny and Mat Kazea arrived in Boulder, Western Australia, from Victoria in 1897. They decided to embark on an overseas trip for six months to visit Mat's family in Zlarin and Jenny's family in Ireland. They also decided to go to Paris to see the International Exhibition that was held there in March 1900. Chapter 2: Jenny's diary. Go back in time with Jenny on the steamship Oroya, as they travel to Zlarin. You will then follow their travels in Zlarin, Trieste, Vienna Leplitz and Paris in the year 1900. Chapter 3: The Paris Exhibition Jenny's diary gives an interesting account of the Paris Exhibition of 1900 and the city of Paris. They then travel to England and Ireland. We then travel with them on the Ortona back to Australia. Chapter 4: Jean Jenny adopted Mat's niece from Zlarin. Her name was Tomasina. She later married and had a girl named Jean. This chapter looks at her early life in Fremantle and Spearwood. Chapter 6: A First World War Diary Jenny found a diary written by Sister Fitzpatrick. This diary details her experiences as a nursing sister in the First World War. Chapter 7: Continuing Jean's Story Jenny's recollections of interesting events at the Lime Kilns and the challenges of living in a remote settlement. Chapter 8: The Coolgardie Exhibition A brief history of the International Mining and Industrial Exhibition held in Coolgardie in March, 1899.

Chapter 3: The Paris Exhibition Jenny's diary gives an interesting account of the Paris Exhibition of 1900 and the city of Paris. They then travel to England and Ireland. We then travel with them on the Ortona back to Australia. The PDF booklet of the Dalmatian Connection and all of the mp3 files are available from Goldfieldstories.com Further episodes are as follows: Chapter 1: The Kazeas. Jenny and Mat Kazea arrived in Boulder, Western Australia, from Victoria in 1897. They decided to embark on an overseas trip for six months to visit Mat's family in Zlarin and Jenny's family in Ireland. They also decided to go to Paris to see the International Exhibition that was held there in March 1900. Chapter 2: Jenny's diary. Go back in time with Jenny on the steamship Oroya, as they travel to Zlarin. You will then follow their travels in Zlarin, Trieste, Vienna Leplitz and Paris in the year 1900. Chapter 4: Jean Jenny adopted Mat's niece from Zlarin. Her name was Tomasina. She later married and had a girl named Jean. This chapter looks at her early life in Fremantle and Spearwood. Chapter 5: The Lime Kilns In 1933 Jean agreed to work for her brother as housekeeper and cook in a remote settlement on the Transcontinental Railway Line called the Lime Kilns. This chapter looks at the unique and isolated community that produced lime for the goldfields. Jean lived at the settlement for 33 years Chapter 6: A First World War Diary Jenny found a diary written by Sister Fitzpatrick. This diary details her experiences as a nursing sister in the First World War. Chapter 7: Continuing Jean's Story Jenny's recollections of interesting events at the Lime Kilns and the challenges of living in a remote settlement. Chapter 8: The Coolgardie Exhibition A brief history of the International Mining and Industrial Exhibition held in Coolgardie in March, 1899.

Chapter 2: Jenny's diary. Go back in time with Jenny on the steamship Oroya, as they travel to Zlarin. You will then follow their travels in Zlarin, Trieste, Vienna Leplitz and Paris in the year 1900.Chapter 1: The PDF booklet of the Dalmatian Connection and all of the mp3 files are available from Goldfieldstories.com Further episodes are as follows: Chapter 1: The Kazeas. Jenny and Mat Kazea arrived in Boulder, Western Australia, from Victoria in 1897. They decided to embark on an overseas trip for six months to visit Mat's family in Zlarin and Jenny's family in Ireland. They also decided to go to Paris to see the International Exhibition that was held there in March 1900. Chapter 3: The Paris Exhibition Jenny's diary gives an interesting account of the Paris Exhibition of 1900 and the city of Paris. They then travel to England and Ireland. We then travel with them on the Ortona back to Australia. Chapter 4: Jean Jenny adopted Mat's niece from Zlarin. Her name was Tomasina. She later married and had a girl named Jean. This chapter looks at her early life in Fremantle and Spearwood. Chapter 5: The Lime Kilns In 1933 Jean agreed to work for her brother as housekeeper and cook in a remote settlement on the Transcontinental Railway Line called the Lime Kilns. This chapter looks at the unique and isolated community that produced lime for the goldfields. Jean lived at the settlement for 33 years Chapter 6: A First World War Diary Jenny found a diary written by Sister Fitzpatrick. This diary details her experiences as a nursing sister in the First World War. Chapter 7: Continuing Jean's Story Jenny's recollections of interesting events at the Lime Kilns and the challenges of living in a remote settlement. Chapter 8: The Coolgardie Exhibition A brief history of the International Mining and Industrial Exhibition held in Coolgardie in March, 1899.

Chapter 1: The Kazeas. Jenny and Mat Kazea arrived in Boulder, Western Australia, from Victoria in 1897. They decided to embark on an overseas trip for six months to visit Mat's family in Zlarin and Jenny's family in Ireland. They also decided to go to Paris to see the International Exhibition that was held there in March 1900. The PDF booklet of the Dalmatian Connection is available from Goldfieldstories.com Further episodes are as follows: Chapter 2: Jenny's diary. Go back in time with Jenny on the steamship Oroya, as they travel to Zlarin. You will then follow their travels in Zlarin, Trieste, Vienna Leplitz and Paris in the year 1900. Chapter 3: The Paris Exhibition Jenny's diary gives an interesting account of the Paris Exhibition of 1900 and the city of Paris. They then travel to England and Ireland. We then travel with them on the Ortona back to Australia. Chapter 4: Jean Jenny adopted Mat's niece from Zlarin. Her name was Tomasina. She later married and had a girl named Jean. This chapter looks at her early life in Fremantle and Spearwood. Chapter 5: The Lime Kilns In 1933 Jean agreed to work for her brother as housekeeper and cook in a remote settlement on the Transcontinental Railway Line called the Lime Kilns. This chapter looks at the unique and isolated community that produced lime for the goldfields. Jean lived at the settlement for 33 years Chapter 6: A First World War Diary Jenny found a diary written by Sister Fitzpatrick. This diary details her experiences as a nursing sister in the First World War. Chapter 7: Continuing Jean's Story Jenny's recollections of interesting events at the Lime Kilns and the challenges of living in a remote settlement. Chapter 8: The Coolgardie Exhibition A brief history of the International Mining and Industrial Exhibition held in Coolgardie in March, 1899.

By Joe Wiegand, Medora's TR 4/13/2020 Theodore Roosevelt's review of the 1913 Armory Show - the International Exhibition of Modern Art - celebrating the 150th Anniversary of the New York Metropolitan Museum of Art - founded April 13, 1870. (TR's father was an original Trustee of the MET) Medora, ND: https://www.facebook.com/MedoraND Teddy Roosevelt Show: https://www.facebook.com/TeddyRooseveltShow Executive Producer: Joe Wiegand Editor: Dillon Olson Additional Production: Justin Fisk ©, 2020, all rights reserved. Wiegand's Victory Enterprises, Inc. and the Theodore Roosevelt Medora Foundation

By Joe Wiegand, Medora's TR 4/10/2020 Theodore Roosevelt's review of the 1913 Armory Show - the International Exhibition of Modern Art - celebrating the 150th Anniversary of the New York Metropolitan Museum of Art - founded April 13, 1870. (TR's father was an original Trustee of the MET)   Medora, ND: https://www.facebook.com/MedoraND Teddy Roosevelt Show: https://www.facebook.com/TeddyRooseveltShow Executive Producer: Joe Wiegand Editor: Dillon Olson Additional Production: Justin Fisk ©, 2020, all rights reserved. Wiegand's Victory Enterprises, Inc. and the Theodore Roosevelt Medora Foundation

Tali Grinshpan: Connecting Thoughts about Homeland and the Internal Landscape of Memory Bay Area artist Tali Grinshpan seeks to create intimate spaces of reflection where the past speaks to the transient present. In her 2019 solo show at Bullseye Bay Area Gallery titled Longing for the (Home)Land כיסופים למולדת, multi-generational stories of immigration were told via delicate pâte de verre forms that recall curling flower petals or silky folds of fabric.  Grinshpan says: “I explore the fragility of nature and human existence by using organic materials to create forms that burn out in the kiln. Their remnants speak of the spirit and beauty of what once existed.” Born and raised in Tel Aviv, Israel, Grinshpan earned a B.A. and M.A. in Business and Psychology from Tel Aviv University. A variety of art mediums were a source of interest and exploration since childhood. Travels around the world with her family were also important in her development as an artist. In 2004, the artist moved to and currently resides in Walnut Creek, California, where she fell in love with glass and began to pursue it professionally. “The ever-changing life of the land, in particular that of Israel, where I was born, and that of my present home in Northern California, inspires me. As an immigrant, I search for connection between the land and my internal landscape of memory. These landscapes, simultaneously intimate and vast, come together in my work,” she explains. Grinshpan’s education and experience in glass includes a professional residency at Pilchuck Glass School in Stanwood, Washington; serving as teaching assistant for both Saman Kalantari and Alicia Lomne, who were instructing at Corning Museum of Glass (CMOG) Studio in Corning, New York; summer sessions at CMOG’s Studio and the Pittsburgh Glass Center, Pennsylvania; and a professional residency and master class at North Lands Creative Glass, Scotland, UK. Grinshpan was selected as a finalist at The International Exhibition of Glass Kanazawa Japan in 2016; first prize winner of The Glass Prize 2017 international competition, UK; and published in CMOG’s survey of cutting-edge glass, New Glass Review 39. She achieves the paper-like qualities in her glass beginning with a model of the final artwork made out of clay, wax or other materials. A mold is made from the model using plaster and silica. After mixing finely crushed glass with a binding material, this paste is applied to the inner surface of a negative mold to form a coating. When the coated mold is fired, the glass fuses into an object whose walls depend on the thickness of the pâte de verre layers. After firing, the artist removes the mold material and cleans the piece. The amount of cold work on the fired piece varies, depending on artistic and aesthetic considerations. Over the past few years Grinshpan’s work has been exhibited in various national and international galleries and museums. Upcoming exhibitions include: Grand Rapids Art Museum, Michigan, A New State of Matter – Contemporary Glass, January 25 through April 26, 2020; Abrams Claghorn Gallery, Albany, California, Particles, Grinshpan’s first exhibition as curator, February 1 through 28, 2020; Eretz Israel Museum, Tel Aviv, The Biennial for Art and Design, March 17 through November 30, 2020; and Pittsburgh Glass Center, The United, October 2, 2020 – January 24, 2021.  

An interview with Annette Everette , a nationally-award winning sculptor whose historical and religious works have been shown at the American Women Artists’ exhibition, the Springville Museum of Art’s Spring Salon and Spiritual & Religious shows, BYU Museum of Art and the Church’s International Exhibition, just to name a few. Annette Everette’s monuments of allegorical and historical figures can be found at universities, government memorials, and Church sites. She is one of the 90 artists invited to participate in the Certain Women Art Show.

Tonya Vistaunet is an artist, entrepreneur, community organizer and overall doyenne of joyful color. Often partnership with her husband Steve, she creates pieces in wide range of media from fine art to coloring books, and murals. Tonya’s work has been accepted into countless shows, including multiple times to the Springville Museum’s Annual Spring Salon, the Spirituality & Religious Show, and the Church’s International Exhibition. Tonya is an advocate and organizer, playing a major role in teaching, supporting, and promoting artists and their work. She is participating in the Certain Women Art Show.

From Carnival rides and Funnel Cakes to world fairs and Nursery men, the boys talk about how communities have come together to celebrate and exhibit what they grow, bake and build.

Todd Rosenthal (Set Designer) is a Chicago based set designer. Broadway: August Osage County (Tony Award), The Motherfucker with the Hat (Tony and Outer Critics Circle Nomination), Who’s Afraid of Virginia Woolf (Tony Award Best revival), Of Mice and Men, This is Our Youth, Fish in the Dark, Straight White Men, and the upcoming Linda Vista. Select Off Broadway premieres: Red Light Winter, Barrow Street Theater; Domesticated, Lincoln Center; Qualms, Playwrights Horizons; Close Up Space, Manhattan Theatre Club; Nice Fish, St. Ann’s Warehouse. Set designer for 6 years for the Big Apple Circus. International: August Osage County (National Theatre, London, Sydney Theater, Australia); The Beauty Queen of Leenane (Theatre Royal, Ireland); Nice Fish, (Harold Pinter Theatre, West End, London); Madama Butterfly, Dublin, Ireland; and the upcoming Downstate at the National Theatre in London. Regional: Steppenwolf (33 productions), Goodman (artistic partner), Chicago Shakespeare, Guthrie, Mark Taper Forum, ART, La Jolla Playhouse, Arena Stage, Berkeley Rep, Alley Theater, Lyric Opera of Chicago, Oregon Shakespeare Festival and many others. Select Museum Exhibitions: Mythbusters: The Explosive Exhibition and The International Exhibition of Sherlock Holmes. Other select awards: 2019 Distinguished Achievement Award (United States Institute for Theatre Technology (USITT), Laurence Olivier, Helen Hayes, Ovation, Bay Area Theater Critics Circle, Joseph Jefferson, Suzi Bass, and the Michael Merritt Award for Excellence in Design and Collaboration. Full Professor, Northwestern University. Graduate, Yale Drama.

“They had among their exhibits” [VEIL]  We're accustomed to seeing Sherlock Holmes on the printed page, screen, stage and even the Internet as a course of regularity. But it isn't all that often we have an opportunity to see an entire exhibition dedicated to Sherlock Holmes.   Amy Noble Seitz and Geoffrey Curley join us to discuss how their respective teams at Exhibits Development Group and Geoffrey Curley + Associates collaborated with the Arthur Conan Doyle Estate and other Sherlock Holmes experts to put together the International Exhibition of Sherlock Holmes.   The exhibition has been traveling the world for the last five years or so, and it is now at Liberty Science Center in Jersey City, New Jersey.

The 1862 International Exhibition, held in London, is an oft-overlooked event within the pantheon of 19th-century world’s fairs—and for good reason. Occurring just 11 years after the Crystal Palace Exhibition in London, the 1862 rendition came off as derivative, and a cloud hung over it due to Prince Albert’s recent death, Queen Victoria’s prolonged period of mourning, and the American Civil War. Despite it all, the 1862 exhibition altered the world’s fair template in ways that would influence other such events held in the United States later in the century. In this episode, Ruth Slatter, scholar and co-creator of the Visit 1862 Project, resurrects the world’s fair visitor experience and discusses the legacy of the 1862 International Exhibition. She speaks with Elizabeth Cummings, Public Programs Manager at the Newberry. --- Intro music: "Two Types of Awakenings" by Nheap

Songs from the Mountains – A selection By Henry Kendall Narrated by Denis Daly This was the final collection of verse by Australian poet Henry Kendall and was first published in 1880. 1 - Black Lizzie 2 - Cooranbean 3 - Peter the Piccaninny 4 - The Sydney International Exhibition 5 - On a Spanish Cathedral 6 - The Melbourne International Exhibition 7 - A Hyde Park Larrikin 8- Leichhardt This recording may be freely downloaded and distributed, as long as Voices of Today is credited as the author. It may not be used for commercial purposes or distributed in an edited or remixed form. For further information about Voices of Today or to explore its catalogue please visit: https://www.voicesoftoday.org/

Songs from the Mountains – A selection By Henry Kendall Narrated by Denis Daly This was the final collection of verse by Australian poet Henry Kendall and was first published in 1880. 1 - Black Lizzie 2 - Cooranbean 3 - Peter the Piccaninny 4 - The Sydney International Exhibition 5 - On a Spanish Cathedral 6 - The Melbourne International Exhibition 7 - A Hyde Park Larrikin 8- Leichhardt This recording may be freely downloaded and distributed, as long as Voices of Today is credited as the author. It may not be used for commercial purposes or distributed in an edited or remixed form. For further information about Voices of Today or to explore its catalogue please visit: https://www.voicesoftoday.org/

The 1967 Universal and International Exhibition, better known as Expo 67, was the highlight of Canada’s centennial celebrations. It was held in Montréal from April to October 1967, and was considered the most successful world’s fair of the 20th century. LAC has maintained the majority of the Expo 67 records for the last 40 years. In this episode, we talk with Margaret Dixon, senior project archivist at LAC, about the legacy of Expo and the work that has gone into archiving these documents.

The Event, the Building, the Legacy The Jubilee Exhibition took place at a time when South Australia was experiencing the effects of the economic depression that would take hold internationally from about 1890. The Exhibition was 'a brave attempt' to pull the colony out of a depression by harnessing the power of positive thinking. Talking History presented, in April 2017, a panel inviting speakers to discuss Adelaide's Jubilee International Exhibition 1887-1888. The panel included: Assoc. Prof Christine Garnaut, Dr Julie Collins, Tom Gara, & Richard Venus. Each explored the topic from a different angle and area of expertise. This free public lecture was part of the History Trust of South Australia's Talking History series. For upcoming events visit: history.sa.gov.au/whats-on/events/

Speaker Charlotte Ribeyrol (Sorbonne University; Trinity College, Oxford) Abstract: This paper focuses on the chromatic anachronism of William Burges’s Great Bookcase (1859-62, Ashmolean Museum, Oxford) which was first exhibited in the Medieval Court of the 1862 International Exhibition. Modelled on a surviving piece of polychrome French Gothic furniture, and painted by no fewer than 14 promising artists (including Edward Burne-Jones and Simeon Solomon), it represents the Pagan and Christian origins of art and yet some of the colours used were modern pigments devised by an expanding chemical industry. A fellow exhibitor of painted furniture at the Medieval Court, William Morris shared a similar passion for medieval France, which his early poetry construed as a golden age, contrasting with the bleakness of the industrial present. However some of his poems also introduce effects of chromatic disjunction and anachronism, notably in ‘Golden Wings’, which H.H. Statham analysed in 1897 as ‘characteristic of a decorator poet’, quoting the expression ‘red brick lip’ as ‘a sign of the times’ rather than of the architecture of the age of Chrétien de Troyes. Drawing on the complex description and inscription of these shifting chromatic materialities, I wish to show how the convergence of Victorian debates on ancient forms of polychromy and the colours of industrial modernity shaped Morris’s and Burges’s early poetic and artistic practice.

Meet two young people from the Puget Sound area who love history so much, they live it. They also have some advice for those who visit The International Exhibition of Sherlock Holmes, now showing at Pacific Science Center.

Our newest exhibit is now open and it's a real mystery. Literally. Find out more: https://www.pacificsciencecenter.org/the-sherlock-holmes-exhibition/