#Christa's museum

[christas-museum]

Christa Winsloe: 80 years ago

(10th of June, 1944–2024)

Full name: Christa Kate Winsloe (own preferred short form of first name since 40's is Chris (or full masculine version, Christian) which was found by people who read Chris' letters to Dorothy Thompson.)

WHO? A high-class pencil artist, a high-class sculptor (second reason of fame), a French resistance member (~ "completed all assignments"), leftist communist, into women, animal lover, wonderful amateur actress (lead Christarole in a play at the boarding school Kaiserin-Augusta Seminary), writer (including humorous mini stories i.e. feuilletones) & playwright: famous for (main reason of fame) Mädchen in Uniform (the book Das Mädchen Manuela (literally The Girl Manuela, known in print as The Child Manuela) . . .

A fact: the film Loving Annabelle is based on Mädchen in Uniform.

A knowledgeable fan can share a lot about this wonderful woman who was a real Manuela but with light skin, father's 9 of 12 siblings were born in Scotland instead of they had "Spanish grandmother"), and who predicted so called 10th of June (not the date, of course) as Manuela's number at school in the book was 55 and 23.12.1888–10.06.1944 is 55. 

Every post, an article (any site), anything related (eBay, (stock) photo sites etc.) means deine legacy and memory about dich lives on and on. Fanfictions and fan art related to anything du wrote are very important too to keep figurative fire burning bright. (One user on Tumblr commented on a poll ~ "as long as I'm in, the fandom exists" (about self as the only one member.) Sad almost complete Chris-related truth if say about text form (but random fans write something once in a blue moon, though.)

Personally, all our many similarities are like an incredible chance to be close to such smart (Art, German, languages (De, Fr, En, It, Hu), Natural History (Science?)), witty & talented woman. And to have Chris as a guide in some of decision making (but using logic mostly) is to be strong when needed. Meine HERO Chris.

The most suitable photo for such day (from Auto-Biographie und andere Feuilletones edited by Doris Hermanns.) My comment: as understandable, the photograph was taken some time after Dorothy Thompson's jealous husband sent Chris to his farm in Vermont? to live with his ex-wife.

Liebling Chris, wir (deine Fans) lieben dich. Ich liebe dich für immer.

[superfluffychickens]

I’m going to a nearby science/aerospace museum for my birthday on Thursday and I’m going to be So Autistic™️ about it

[oswlld]

I WILL NEVER KNOW HOW YOU SEE RED AND YOU WILL NEVER KNOW HOW I SEE IT —  vice versa (2022) ⪢ episode eleven (part 2 of 2)

fernando pessoa || patti smith, year of the monkey || beth revis, a million suns || william h. woodwell jr. || elizabeth scott, love you hate you miss you || christa wolf, cassandra: a novel and four essays || frank bidart, to the dead || ted hughes, birthday letters: poems; “visit” || isabelle ronin, chasing red || trisha north, safe: the place i go in my head to feel acceptance & peace || adonis, candlelight || stephen dunn, “the waiting”, the insistence of beauty: poems || marie howe, the affliction || clarice lispector, tr. by katrina dodson || jonathan safran foer, extremely loud & incredibly close || willy clay, in our museum

[lboogie1906]

Camille Josephine Billops (August 12, 1933 – June 1, 2019) was a sculptor, filmmaker, archivist, printmaker, and educator.

She obtained her BA from California State University and her MFA from City College of New York.

Her primary visual art medium is sculpture, and her works are in the permanent collections of the Jersey City Museum and the Museum of Drawers, Bern, Switzerland. Her first exhibition was at Gallerie Akhenaton, where she displayed ceramic pots and sculptures. She experimented with photography, printmaking, and painting. She has exhibited in one-woman and group exhibitions worldwide, including Gallerie Akhenaton, Cairo; Hamburg, Kaohsiung, Gimpel, and Weitzenhoffer Gallery; and La Tertulia Museum, Cali. She was a long-time friend and colleague of master printmaker Robert Blackburn, whom she assisted in establishing the first printmaking workshop in Asilah.

Her film projects have been collaborations with, and stories about, members of her family. For instance, they were co-produced with her husband James Hatch, and credited his son as director of photography. Suzanne studies the relationship between her sister Billie and her daughter Suzanne. Finding Christa deals with her daughter whom she gave up for adoption. Older Women and Love is based on a love affair with her aunt. #africanhistory365 #africanexcellence

[cryptid-pet]

Okayyy soooo, there are two towns and in between in a giant ocean.

Carla me Shin are hunters,

The mukamis are mermen,

Shu is one of the rich men in the other town (daddi’s moneyyy) he’s not interested in any illegal stuff or killing other rich for more money and power. Btw, he knows a merman, and he ADORES that merman.

Reiji is like, the one who studies the ocean, about mermen, how they live in the surface, the temperatures, their abilities, their powers, the environment, etc. He also keeps information about possible areas where they are mermaids or dangerous creatures. He gives these information to this town and gets money.

Ayato, Laito, kanato, are like a mafia of the other town, they’re famous for stealing properties, underground mermen trading for museum (where they prob get abused or smthg) and just illegal stuff.

Subaru is an assassin, who is hired mostly by the rich of this town, he can be hired by basically anyone. If he’s currently working for one rich man and another offers him more money to kill his current boss, he will. He’s in it for the moneyyy, he’s very sneaky, and no one has been able to catch him.

Dawg what about Kino//Joke//nm//silly

I like the idea of there being two towns actually, I feel like they don’t really get along unless it’s for possible trading of goods and stuff like that

And I feel like, as for Yuma in this case, it’s a loooooooong trip to get to the town Shu lives in and Shu even will go out on his own just to meet up (Like he’s the only person who knows about these creatures and won’t tell anyone for his own sake)

The triplets being in a mafia or smth got me laughing, I can’t reaaally see them being a boss IN a mafia but perhaps working under one????

I guess I’ll agree with Subaru wanting money if another mafia wants him to kill is current boss, but I also want to believe he easily takes the role of an assail BECAUSE of the money for his sick mother, Christa

[sokeanshu]

Ninjato (忍者刀) at the Iga-ryu #Ninjutsu Museum (伊賀流忍者博物館)

[optikes]

Nalini Malani (b.1946) India  Listening to the Shades 30 acrylic, ink and enamel reverse painting on acrylic sheet (2008)

http://www.nalinimalani.com/

Nalini Malani is one of India’s most celebrated artists and the Dr Bhau Daji Lad Museum is proud to present her work Listening to the Shades, and to honour her for receiving the prestigious Fukuoka prize for Art and Culture. Malani brings an intense scrutiny of social and political pathologies to her work, which includes a remarkable diversity of mediums from painting to installation, new media, performance and sound animation. However in a world where painting as an art form has sadly diminished in significance, Malani continues to be an artist whose painting defines her art form. She has in a sense bridged the lacuna between the new media art of today and the painterly qualities of an earlier generation, and that is one of the reasons she remains one of the most significant artists working today. Her work at the most recent Documenta was an extraordinary culmination of this creative exploration. The Fukuoka prize commends her for “consistent focus on such daring contemporary and universal themes as religious conflict, war, oppression of women and environmental destruction...” Malani sees the artist as a Cassandra of our times. She draws on archetypal images from the Greek myths to represent universal truths. Cassandra, the prophetess who agonisingly sees the disaster ahead but is condemned to never being believed, is a metaphor for our common myopia and for the subjugation of the feminine. Malani collaborated with Professor Robert Storr of Yale University, to produce the book Listening to the Shades, based on the modern interpretation by Christa Wolf. The book offers a revisualisation of the ancient Greek myth and consists of 42 reverse paintings that are facsimile printed. The works evoke the traumas of our times, like ghostly characters seeking to redeem the past and rescue the future. In the essay for the book Professor Storr says, “Malani’s work indicates that she has tapped into fathomless reserves of imagery, reference and metaphor, and from those depths arise painterly effects that invite us to luxuriate in colours strokes and textures of disorienting but arresting strangeness. Her iconography is equally captivating. Not only does she conjure with difference…she reaches back to myth, but not in order to re-enchant the world...but to show us that we can no longer escape a collective awareness that the seeds of our own destruction were not divinely sown but were sown by ourselves.”  www.bdlmuseum.org

http://fukuoka-prize.org/en/laureate/prize/cul/nalinima.php

[exhibit-of-the-century]

Masterlist: Lesson Recommended Readings

Masterlist

BUY ME A COFFEE

✨Lucy E. Thompson, 'Vermeer's Curtain: Privacy, Slut-Shaming and Surveillance in "A Girl Reading a Letter", Survelliance & Society 2017 ✨Gregor Weber, 'Paths to Inner Values,' in Gregor Weber, Pieter Roelofs, and Taco Dibbits, Vermeer, (NewYork: Thames & Hudson, 2023) ✨Bernard Berenson on Masaccio, panel in National Gallery, 1907 ✨Giorgio Vadari, Lives of the Most Eminent Painters, Sculptors and Architects (online translation published, 1912) ✨Marjorie Munsterberg, Writing about Art ✨Paul Binski, Westminster Abbey and the Plantagenets: Kingship and the Representation of Power, 1200-1400, 1955 ✨Toby Green, A Fistful of Shells: West Africa from the River of the Slave Trade to the Age of Revolution, 'Rivers of Cloth, Masks of Bronze: The Bights of Benin and Biafra', 2019

✨Pieter Roelofs, 'Girls with Pearls', extract from 'Vermeer's Tronies' in Gregor Weber, Pieter Roelofs, and Taco Dibbits, Vermeer, (NewYork: Thames and Hudson, 2023)

✨Frantz Fanon, Black Skin, White Masks (1986)

✨Frantz Fanon, The Wretched of the Earth (1963)

✨Decolonial/Postcolonial Voices

✨Honour, Hugh and Fleming, John.  A World History of Art. London: Laurence King Publishing. 7th ed, 2005

✨The Painter of Modern Life, Charles Baudlaire, 1863 Part 2, Part 3 Other Quality

✨The Photographers Eye, John Szarkowski, 1966

✨Elkins, James. Stories of Art. London: Routledge, 2002

✨Paragraphs on Conceptual Art, Sol Lewitt, 1967

✨Nikolaus Pevsner, The Buildings of England. London, volume 1, The Cities of London and Westminster, 1973

✨Annie E. Coombes, Reinventing Africa: Museums, Material Culture and Popular Imagination in Late Victorian and Edwardian England, 'Material Vulture at the Crossroads of Knowledge: The Case of the Benin "Bronzes", 1994

✨Hatt, Michael and Klonk, Charlotte, Art History: A Critical Introduction to its Methods, 2006

✨Meyer Schapiro, H. W. Janson and E. H. Gombrich, ‘Criteria of Periodization in the History of European Art’, New Literary History, 1970 ✨Thomas DaCosta Kaufmann, ‘Periodization and its Discontents’, Journal of Art Historiography, 2010

✨Kathryn Wysocki Gunsch, The Benin Plaques: A 16th Century Imperial Monument, 2018

✨D'Alleva, Anne. How to Write Art History. London: Lawrence King Publishing, 2010/2013/2015

✨Christopher Wilson, The Gothic Cathedral: the Architecture of the Great Church, 1130 - 1530, 1990

✨Anne D'Alleva, Methods and Theories of Art History, 2005/2012

✨Jonathan Alexander and Paul Binski (eds.), Age of Chivalry: Art in Plantagenet England, 1200-1400, 1987 ✨Paul Binski, Ann Massing, and Marie Louise Sauerberg (eds.), The Westminster Retable: History, Technique, Conservation, 2009

✨Christa Gardner von Teuffel, ‘Masaccio and the Pisa Altarpiece: A New Approach’, Jahrbuch der Berliner Museen, 1977 Part 2

✨John Shearman, ‘Masaccio’s Pisa Altar-Piece: An Alternative Reconstruction’, The Burlington Magazine, 1966

✨Kathryn Wysocki Gunsch, ‘Art and/or Ethnographica?: The Reception of Benin Works from1897–1935’, African Arts, 2013

✨Eliot Wooldridge Rowlands, Masaccio: Saint Andrew and the Pisa altarpiece, 2003

✨Svetlana Alpers, The Art of Describing: Dutch Art in the Seventeenth Century, 1983

✨Clementine Deliss, Metabolic Museum 2020 ✨Laura Sangha, ‘On Periodisation: Or what’s the best way to chop history into bits’, The Many Headed Monster, 2016 ✨A Gangatharan, ‘The Problem of Periodization in History’, Proceedings of the Indian History Congress, 2008

✨McHam, Sarah Blake, "Donatello's Bronze David and Judith as Metaphors of Medici Rule in Florence," Art Bulletin, 2001

✨Eve Borsook, ‘A Note on Masaccio in Pisa’, The Burlington Magazine, 1961

✨Gombrich, E.H. The Story of Art, London: Phaidon Press Ltd, numerous editions

✨Paul Binski, 'The Cosmati at Westminster and the English Court Style', The Art Bulletin 72, 1990

✨Lindy Grant and Richard Mortimer (eds.), Westminster Abbey: The Cosmati Pavements, 2002

✨Peter Draper, The Formation of English Gothic: Architecture and Identity, 2006

✨Paul Crossley, ‘English Gothic Architecture’, in Jonathan Alexander and Paul Binski (eds.), Age of Chivalry: Art in Plantagenet England, 1200-1400, 1987

✨James H. Beck, Masaccio: The Documents, 1978 ✨R. A. Donkin, Beyond Price: Pearls and Pearl-Fishing: Origins to the Age of Discoveries, 1998

✨Nanette Salomon, ‘From Sexuality to Civility: Vermeer’s Women’, National Gallery of Art, Studies in the History of Art, 1998

✨Irene Cieraad, ‘Rocking the Cradle of Dutch Domesticity: A Radical Reinterpretation of Seventeenth-Century “Homescapes” 1’, Home Cultures, 2019

✨Walter D. Mignolo, ‘Delinking: The rhetoric of modernity, the logic of colonility and the grammar of de-coloniality’ in culture studies (2000)

✨H. Perry Chapman, ‘Women in Vermeer’s home: Mimesis and ideation’, Nederlands Kunsthistorisch Jaarboek,2000

✨Christopher Wilson, ‘The English Response to French Gothic Architecture, c. 1200-1350’, in Jonathan Alexander and Paul Binski (eds.), Age of Chivalry: Art in Plantagenet England, 1200-1400, 1987

✨Johann Joachim Wicklemann (1717 - 1768) from Reflections on the Imitation of Greek Works in Painting and Sculpture

✨Antonie Cotpel (1661-1722) on the grand manner, from 'On the Aesthetic of the Painter'

✨Andre Felibien (1619-1695) Preface to Seven Conferences

✨Charles Le Burn (1619-1690) 'First Confrence'

✨Various Authors (Reviews) on Manet's Olympia

✨Zionism and its Religious Critics in fin-de-siecle Vienna, Robert S. Wistrich, 1996

✨Sex, Lies and Decoation: Adolf Loos and Gustav Klimt, Beatriz Colomina, 2010

✨Women Writers and Artists in Fin-de-Siecle Vienna, Helga H. Harriman, 1993

✨Fashion and Feminism in "Fin de Siecle" Vienna, Mary L. Wagner, 1989-1990

✨5 Eros and Thanatos in Fin-de-Siecle Vienna, Sigmund Freud, Otto Weininger, Arthur Schitzler, 2016

✨Recent Scholarship on Vienna's "Golden Age", Gustav Klimt, and Egon Schiele, Reinhold Heller, 1977

✨Maternity and Sexulaity in the 1890s, Wendy Slatkin, 1980

✨Andre Breton (1896 - 1957) and Leon Trotsky (1879 - 1940) 'Towards a Free Revolutionary Art'

✨Sergei Tretyakov (1892 - 1939) 'We Are Searching' and 'We Raise the Alarm'

✨George Grosz (1893 - 1959) and Weiland Herzfeld (1896 - 1988) 'Art is in Danger'

✨Paul Gaugin (1848 - 1903) from three letters written before leaving for Polynesia

✨Siegfried Kracauer (1889 - 1966) from 'The Mass Ornament'

✨Victor Fournel (1829 - 1894) 'The Art of Flanerie'

✨Various Author's (Reviews) on Mante's Olympia

✨Rosalind Krauss (b. 1940) 'A View of Modernism'

✨Clement Greenberg (1909 - 1994) 'Modernist Painting'

✨Clive Bell (1881 - 1964) 'The Aesthetic Hypothesis'

✨Catherine Grant and Dorothy Price, 'Decolonizing Art History', Art History 43:1 (2020), pp.8-66.

✨Terry Smith (b. 1944) from 'What Is Contemporary Art?'

✨Geeta Kapur (b. 1943) 'Contemporary Cultural Practice: Some Polemical Categories'

✨Chin-Tao Wu 'Biennials Without Borders?'

✨Edouard Glissant (1928 - 2011) 'Creolisation and the Americas'

✨Rasheed Araeen (b. 1935) 'Why Third Text?'

[technsavi]

Largest Amber-Preserved Flower Finally Identified

Largest Amber-Preserved Flower Finally Identified

Researchers Eva-Maria Sadowski & Christa-Charlotte Hofmann from the Museum für Naturkunde, Leibniz Institute for Evolution and Biodiversity Science in Berlin have published a fascinating paper describing a 28 mm flower preserved in amber, the largest of its kind, so far. For millions of years, amber can preserve ancient insects, or in this case, flowers. However, samples tend to be very small,…

[christas-museum]

Hey. Closing night of Daniella Löffner's Sylvia und Sybille was yesterday.

God, it hurt so much. But I'm so glad to have been able to experience this show as many times as I did.

It was…

It was glorious.

You are very lucky.

At least, no matter what, the story will live on.

[sciencespies]

Early humans may have cooked fish in ovens 780,000 years ago

https://sciencespies.com/humans/early-humans-may-have-cooked-fish-in-ovens-780000-years-ago/

Early humans may have cooked fish in ovens 780,000 years ago

The remains of fish teeth at an archaeological site in Israel appear to have been cooked with controlled heat rather than directly exposed to fire

Humans 14 November 2022

By Christa Lesté-Lasserre

Illustration of hominins cooking fish

Ella Maru / University of Tel Aviv

Microscopic changes in the enamel of ancient fish teeth indicate that humans may have been cooking fish in an earthen oven at least 780,000 years ago.

The findings provide the earliest evidence of actual cooking, as opposed to just throwing meat and bones into a fire, says Irit Zohar at the Steinhardt Museum of Natural History in Tel Aviv, Israel.

“We’ve developed a methodology that allows us to identify cooking in relatively low temperatures, as opposed to burning,” she says. “You cannot immediately correlate the control of fire with cooking unless you show that the food has been cooked.”

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Researchers have previously suggested that humans were cooking meat 1.5 million years ago, based on the discovery of charred animal remains. But that doesn’t necessarily mean people were heating food before eating it, says Zohar.

“Evidence of charred material doesn’t mean cooking,” she says. “It just means the food was thrown into the fire.”

Zohar and her colleagues studied a 780,000-year-old settlement in Gesher Benot Ya’aqov in Israel’s northern Jordan river valley. No human remains have been found there, but based on its age and the stone tools at the site, the inhabitants are most likely to have been Homo erectus.

The researchers noticed clumps of fish teeth – but no bones – around areas where hearths once burned. Most of the teeth belonged to two species of fish known for their nutritional value and good taste – the Jordan himri (Carasobarbus canis) and the Jordan barbel (Luciobarbus longiceps). So they wondered if the fish had been cooked at low heat, which would have made the bones softer and prone to disintegration while preserving the teeth.

To test their idea, Zohar and her team adapted a technique from human forensic investigations in which X-ray diffraction reveals the sizes of crystals in tooth enamel, which vary according to temperature.

The researchers carried out cooking and burning experiments on readily available black carp (Mylopharyngodon piceus), heating them at different temperatures up to 900°C (1650°F), and then examined the resulting crystal sizes in the tooth enamel. They also looked at crystal sizes in three fossilised teeth from 3.15-to-4.5 million-year-old Jordan barbel, which had probably never been exposed to high heat.

Zohar and her colleagues then collected 30 fish teeth from among the tens of thousands available at Gesher Benot Ya’aqov and compared their enamel structures with those of the previously tested teeth.

They found that the fish teeth from the human settlement had enamel structure patterns indicating that they had been exposed to temperatures of 200°C to 500°C (390°F to 930°F) and hadn’t been directly exposed to the fire. Combined with there being nearly no fish bones nearby and the teeth being discovered near a controlled fire source, the findings suggest that the fish were probably cooked whole, perhaps in an earthen oven, says Zohar.

Notably, the results reveal that humans weren’t just eating fish raw and throwing the heads into the fire, because the tooth enamel would have shown exposure to much higher temperatures, she says.

“Each parameter in itself doesn’t mean cooking, but each one fits together like a puzzle so that we can say, ‘OK, now we see that it’s correlated to cooking’,” says Zohar.

Fish are more nutritious, easier to digest and safer to eat when cooked, says Zohar. The fact that these populations were cooking their fish provides evidence of their advanced cognitive abilities, which were perhaps greater than many scientists have previously believed. “If they already knew how to control fire, then it’s just logical that they would use it for cooking,” she says.

Journal reference: Nature Ecology & Evolution, DOI: 10.1038/s41559-022-01910-z

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[leyhejuhyunghan]

Nature Ecology & Evolution The structure of genotype-phenotype maps makes fitness landscapes navigable, FITNESS LANDSCAPES Life finds a way, ley, Ley line, Alfred Watkins (English archaeologist, 1855–1935), Fernand Khnopff (Belgian, 1858-1921), Bible Ephesians 4:16, Mighty to Save - Hillsong Worship, Des'ree - Life (Official Video), MGH Institute NLN Education Summit “Healthy Planet, Healthy People: Leading the Way Through Education, Practice, and Policy”, ‘The Academy of American Poets Fishmonger - Marsden Hartley (American, 1877–1943), An October Garden - Christina Rossetti (English, 1830-94), El Greco, Schoenberg Institute for Manuscript Studies Manuscript Monday: Ms. Codex 1645 – Technical treatise on the painting of miniatures, The Estée Lauder Companies #ClimateWeekNYC Climate Group

Nature Ecology & Evolution The structure of genotype-phenotype maps makes fitness landscapes navigable, FITNESS LANDSCAPES Life finds a way, ley, Ley line, Alfred Watkins (English archaeologist, 1855–1935), Fernand Khnopff (Belgian, 1858-1921), Bible Ephesians 4:16, Mighty to Save - Hillsong Worship, Des'ree - Life (Official Video), MGH Institute NLN Education Summit “Healthy Planet, Healthy People: Leading the Way Through Education, Practice, and Policy”, ‘The Academy of American Poets Fishmonger - Marsden Hartley (American, 1877–1943), An October Garden - Christina Rossetti (English, 1830-94), El Greco, Schoenberg Institute for Manuscript Studies Manuscript Monday: Ms. Codex 1645 – Technical treatise on the painting of miniatures, The Estée Lauder Companies #ClimateWeekNYC Climate Group NatureEcoEvo Nature Ecology & Evolution The structure of genotype-phenotype maps makes fitness landscapes navigable, FITNESS LANDSCAPES Life finds a way, ley an area of land where grass is grown temporarily instead of crops, Ley line, Ley lines are straight alignments drawn between various historic structures and prominent landmarks., Alfred Watkins (English archaeologist, 1855–1935) in 1921 he noticed on the British landscape an apparent arrangement of straight lines positioned along ancient features., Fernand Khnopff (Belgian, 1858-1921), Femme Mysterieuse (Mysterious Woman), 1891 by Christa Zaat, the Bible Ephesians 4: Unity and Maturity in the Body of Christ 16 ‘From him the whole body, joined and held together by every supporting #ligament, grows and builds itself up in love, as each part does its work.’ from Hillsong Church Sunday worship, Mighty to Save - Hillsong Worship, Des'ree - Life (Official Video), MGH Institute NLN Education Summit “Healthy Planet, Healthy People: Leading the Way Through Education, Practice, and Policy”, ‘Teaching for Clinical Reasoning and Rapid Clinical Decision Making: Keys to Developing Expertise in Practice’, Center for the Environment and Health, Speech and Language Literacy Lab, MGH Institute Department of Communication Sciences and Disorders, Poets.org The Academy of American Poets Fishmonger - Marsden Hartley (American, 1877–1943) ‘I sit on the bank of the stream and watch, The grasses in amazement’, Marsden Hartley, Abstraction, 1914, Museum of Fine Arts, Houston., An October Garden - Christina Rossetti (English, 1830-94) ‘That least and last which cold winds balk; A rose it is though least and last of all, A rose to me though at the fall.’, El Greco (Crete, 1541-Toledo, 1614), The Annunciation, 1596-1600, Museo de Bellas Artes de Bilbao., Schoenberg Institute for Manuscript Studies Manuscript Monday: Ms. Codex 1645 – Technical treatise on the painting of miniatures, ‘Includes information on the reduction of images and mixes of pigments for landscapes, skies, varieties of flowers, skin, faces, drapery, and jewels.’, The Estée Lauder Companies #ClimateWeekNYC Climate Group on the global effort to address climate change, The Estée Lauder Companies (ELC) has been a leading supporter of Climate Week NYC over the past six years. 

https://blog.naver.com/artnouveau19/222892309616

https://www.nature.com/articles/s41559-022-01867-z?fbclid=IwAR3XAmhSOUfwfWuZ7ANBt9CliZbAFlLZKXj-qXZAfNrrhcOcfQ0J2xDIn_Y

https://www.nature.com/articles/s41559-022-01877-x

https://www.oxfordlearnersdictionaries.com/definition/english/ley

https://en.wikipedia.org/wiki/Ley_line

https://en.wikipedia.org/wiki/Alfred_Watkins https://www.facebook.com/photo/?fbid=10159308043252151&set=a.10151465215597151 https://www.biblegateway.com/passage/?search=Ephesians%204&version=NIV

https://youtu.be/GEAcs2B-kNc https://youtu.be/BKtrWU4zaaI

https://summit.nln.org

https://www.massgeneral.org/environment-and-health

https://www.mghihp.edu/research/speech-and-language-literacy-sail-lab?fbclid=IwAR1WUr2cSaIWdw-TyfAo0A7X6_5z-zrfzgegD0cx1csTc1GlxCR8388zT7g

https://www.mghihp.edu/academics/communication-sciences-and-disorders-home?fbclid=IwAR149HBYSBRYAlETO4MSOxWNcv079OlnteWC0TxM9oS7EKqmndEh6fBVZDk https://poets.org/poem/fishmonger?fbclid=IwAR0oy1VtB9SBj0ayiSjaVkzGa9hfvi7Xei-k8x4d_LWkn2c9CUopcPDMC1M https://en.wikipedia.org/wiki/Marsden_Hartley https://en.wikipedia.org/wiki/Marsden_Hartley#/media/File:Marsden_Hartley_-_Abstraction_-_Google_Art_Project.jpg

https://poets.org/poem/october-garden?fbclid=IwAR3kSu15QOVi-dnhrGGv4yPA0XVW63orblH8YBWlZ5stuqf-reOGjSDu1gk

https://en.wikipedia.org/wiki/Christina_Rossetti

https://bilbaomuseoa.eus/en/artworks/the-annunciation-69-116/

https://schoenberginstitute.org/2022/10/03/manuscript-monday-ms-codex-1645-technical-treatise-on-the-painting-of-miniatures/

https://www.climateweeknyc.org/news/qa-headline-partner-estee-lauder-companies

NatureEcoEvo

@NatureEcoEvo

·

Sep 30

The structure of genotype-phenotype maps makes fitness landscapes navigable 

https://twitter.com/NatureEcoEvo/status/1575778980937990144

https://www.nature.com/articles/s41559-022-01867-z.epdf?sharing_token=Q-cWSC3Dt0rqu8bDEiZcjtRgN0jAjWel9jnR3ZoTv0PCdBt_t7HPzaxTcnUb1bhQDJV4SHGRy18A7ZlkZTnWeG_gii4QWyxcYz3yOYY2LwBjB06j2evHmWqpHe_M-Oh2mxy5PauUnBw0BfU9qT6WncqN5Aor-SgHN9eNwQlhNwA%3D

Nature Ecology & Evolution

In realistic high-dimensional fitness landscapes of RNA secondary structure, protein tertiary structure and protein complexes, authors of a new Article in Nature Ecology & Evolution find that fitness peaks can easily be reached from any starting point without traversing fitness valleys.

https://www.nature.com/articles/s41559-022-01867-z

nature nature ecology & evolution articles article

Article

Published: 29 September 2022

The structure of genotype-phenotype maps makes fitness landscapes navigable

Sam F. Greenbury, Ard A. Louis & Sebastian E. Ahnert 

Nature Ecology & Evolution (2022)Cite this article

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Metrics https://www.nature.com/articles/s41559-022-01867-z?fbclid=IwAR3XAmhSOUfwfWuZ7ANBt9CliZbAFlLZKXj-qXZAfNrrhcOcfQ0J2xDIn_Y

Abstract

Fitness landscapes are often described in terms of ‘peaks’ and ‘valleys’, indicating an intuitive low-dimensional landscape of the kind encountered in everyday experience. The space of genotypes, however, is extremely high dimensional, which results in counter-intuitive structural properties of genotype-phenotype maps. Here we show that these properties, such as the presence of pervasive neutral networks, make fitness landscapes navigable. For three biologically realistic genotype-phenotype map models—RNA secondary structure, protein tertiary structure and protein complexes—we find that, even under random fitness assignment, fitness maxima can be reached from almost any other phenotype without passing through fitness valleys. This in turn indicates that true fitness valleys are very rare. By considering evolutionary simulations between pairs of real examples of functional RNA sequences, we show that accessible paths are also likely to be used under evolutionary dynamics. Our findings have broad implications for the prediction of natural evolutionary outcomes and for directed evolution.

Main

Ever since they were first introduced in Sewall Wright’s foundational paper1, fitness landscapes have become an enduring and central concept in evolutionary biology2,3,4,5,6. In particular, a low-dimensional picture of fitness ‘peaks’ and fitness ‘valleys’ has played an important role in shaping intuition around evolutionary dynamics. A key prediction is that a population must typically traverse an unfavourable valley of lower fitness to move from one fitness peak to another. But, as already pointed out by many since4,7,8,9,10,11, the space of genotypes is typically extremely high dimensional. As illustrated in Fig. 1, what appears to be a fitness valley in a lower-dimensional landscape could be easily bypassed when dimensions are added9,10,11.

Three key open questions are: (1) does the low-dimensional picture of fitness valleys hold for realistic high-dimensional genotype spaces? And if we define accessible paths of point mutations between a low fitness phenotype and a high fitness phenotype as those with monotonically increasing fitness, (2) what properties of biological systems facilitate their presence and (3) are such paths sufficiently common that they can easily be found by an evolving population?

One way forward is to consider empirical fitness landscapes, where much recent progress has been made5,12, particularly for molecular phenotypes5,13,14,15,16,17,18,19,20,21. This body of work has yielded important insights, such as the role of local epistatic interactions in sculpting evolutionary paths22,23,24. Nevertheless, ruling out high-dimensional bypasses is difficult in empirical studies because genotype spaces, which grow exponentially as KL for alphabet size K and genotype length L, are almost always unimaginably vast25. They are also highly connected since distances are linear; two genotypes are at most L point mutations away, but are connected by up to L! shortest possible paths given the L mutations may occur in any order. For example, even for a very short L = 20 strand of RNA, there are up to 20! ≅ 2 × 1018 paths between any two genotypes. Empirical landscapes can typically only ever sample a small fraction of the full genotype space, so what appears to be an isolated fitness peak, may in fact be accessible via pathways not included in the experiment.

A different strand of work, which can in principle address questions of global accessibility, has focused on model genotype-to-fitness landscapes3,6,10,11,26,27. If fitness is assigned randomly to genotypes, as in Kingman’s ‘house of cards’ model28, then the probability of finding accessible paths is small. If instead there are correlations between fitness and the genotypes, then, depending on details of the model, accessible paths can indeed be common11,29. These correlations are often expressed in terms of ruggedness: a more rugged model has fewer correlations between genotypes and fitness, and so is less navigable. While much progress has been made in this literature, it is not clear how well these models capture the true correlations of biological fitness landscapes.

Here we take a different approach, and build on recent advances showing that many realistic genotype-phenotype (GP) maps share generic structural features that can enhance navigability30,31,32. In contrast to the genotype-to-fitness models studied by others (above), we consider the genotype-to-phenotype-to-fitness map by inserting the GP map as an additional intermediate step that provides the non-random organization of the mapping from genotypes to fitness. This means correlations in fitness are naturally incorporated as a consequence of the GP map, rather than through an assumption explicitly parameterized.

Fig. 1: High-dimensional bypasses facilitate landscape navigability. Illustration of how increasing dimensionality D of the genotype space can affect the navigability and presence of valleys in a fitness landscape.

https://www.nature.com/articles/s41559-022-01867-z?fbclid=IwAR3XAmhSOUfwfWuZ7ANBt9CliZbAFlLZKXj-qXZAfNrrhcOcfQ0J2xDIn_Y

NatureEcoEvo

@NatureEcoEvo

·

Sep 30

Realistic high-dimensional genotype–phenotype maps show that fitness maxima can be reached from almost any other phenotype while avoiding fitness valleys, which are very rare. https://twitter.com/NatureEcoEvo/status/1575809683109122050 nature nature ecology & evolution news & views article

News & Views

Published: 29 September 2022

FITNESS LANDSCAPES

Life finds a way

Jacobo Aguirre 

Nature Ecology & Evolution (2022)Cite this article

209 Accesses

18 Altmetric

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Fitness landscapes were described almost a century ago as smooth surfaces with peaks and valleys that are difficult to navigate. Now, more realistic high-dimensional genotype–phenotype maps show that fitness maxima can be reached from almost any other phenotype while avoiding fitness valleys, which are very rare.

Writing in Nature Ecology and Evolution, Greenbury et al4. show how common properties of high-dimensional genotype–phenotype maps influence the evolutionary navigability of fitness landscapes, making use of biologically realistic models and experimental databases.

https://www.nature.com/articles/s41559-022-01877-x

ley an area of land where grass is grown temporarily instead of crops, Ley line, Ley lines are straight alignments drawn between various historic structures and prominent landmarks., Alfred Watkins (English archaeologist, 1855–1935) in 1921 he noticed on the British landscape an apparent arrangement of straight lines positioned along ancient features.

ley

(also ley line) an imaginary line that is believed to follow the route of an ancient track and to have special powers (specialist) an area of land where grass is grown temporarily instead of crops https://www.oxfordlearnersdictionaries.com/definition/english/ley Ley line Ley lines (/leɪ/) are straight alignments drawn between various historic structures and prominent landmarks. The idea was developed in early 20th-century Europe, with ley line believers arguing that these alignments were recognised by ancient societies that deliberately erected structures along them. Since the 1960s, members of the Earth Mysteries movement and other esoteric traditions have commonly believed that such ley lines demarcate "earth energies" and serve as guides for alien spacecraft. Archaeologists and scientists regard ley lines as an example of pseudoarchaeology and pseudoscience.

The idea of "leys" as straight tracks across the landscape was put forward by the English antiquarian Alfred Watkins in the 1920s, particularly in his book The Old Straight Track. He argued that straight lines could be drawn between various historic structures and that these represented trade routes created by ancient British societies. Although he gained a small following, Watkins' ideas were never accepted by the British archaeological establishment, a fact that frustrated him. His critics noted that his ideas relied on drawing lines between sites established at different periods of the past. They also argued that in prehistory, as in the present, it was impractical to travel in a straight line across hilly or mountainous areas of Britain, rendering his leys unlikely as trade routes. Independently of Watkins' ideas, a similar notion—that of Heilige Linien ('holy lines')—was raised in 1920s Germany.

During the 1960s, Watkins' ideas were revived in altered form by British proponents of the countercultural Earth Mysteries movement. In 1961, Tony Wedd put forward the belief that leys were established by prehistoric communities to guide alien spacecraft. This view was promoted to a wider audience in the books of John Michell, particularly his 1969 work The View Over Atlantis. Michell's publications were accompanied by the launch of the Ley Hunter magazine and the appearance of a ley hunter community keen to identify ley lines across the British landscape. Ley hunters often combined their search for ley lines with other esoteric practices like dowsing and numerology and with a belief in a forthcoming Age of Aquarius that would transform human society. Although often hostile to archaeologists, some ley hunters attempted to ascertain scientific evidence for their belief in earth energies at prehistoric sites, evidence they could not obtain. Following sustained archaeological criticism, the ley hunter community dissipated in the 1990s, with several of its key proponents abandoning the idea and moving into the study of landscape archaeology and folkloristics. Belief in ley lines nevertheless remains common among some esoteric religious groups, such as forms of modern Paganism, in both Europe and North America.

Archaeologists note that there is no evidence that ley lines were a recognised phenomenon among ancient European societies and that attempts to draw them typically rely on linking together structures that were built in different historical periods. Archaeologists and statisticians have demonstrated that a random distribution of a sufficient number of points on a plane will inevitably create alignments of random points purely by chance. Skeptics have also stressed that the esoteric idea of earth energies running through ley lines has not been scientifically verified, remaining an article of faith for its believers. https://en.wikipedia.org/wiki/Ley_line

Alfred Watkins (English archaeologist, 1855–1935) in 1921 he noticed on the British landscape an apparent arrangement of straight lines positioned along ancient features. Alfred Watkins (27 January 1855 – 15 April 1935) was an English author, self-taught amateur archaeologist, antiquarian and businessman who, while standing on a hillside in Herefordshire, England, in 1921 experienced a revelation. He noticed on the British landscape an apparent arrangement of straight lines positioned along ancient features. For these he subsequently coined the term "ley", now usually referred to as ley line, because the line passed through places whose names contained the syllable "ley".

https://en.wikipedia.org/wiki/Alfred_Watkins

Christa Zaat added a new photo to the album: Fernand Khnopff (Belgian painter) 1858 - 1921.

Fernand Khnopff (Belgian painter) 1858 - 1921

Femme Mysterieuse (Mysterious Woman), 1891

pencil and coloured pencil on paper

28 x 17.2 cm. (11.13 x 6.87 in.)

signed FERNAND / KHNOPFF l.l.; marked with the collector's stamp of Gustav Engelbrecth l.r.

private collection

© photo Sotheby's

Catalogue Note Sotheby's

FERNAND KHNOPFF

Khnopff came from an upper middle class Belgian family of lawyers. In 1875 he began to study law at the University of Brussels, but his true passion was literature. He avidly read Flaubert, Baudelaire and Leconte de Lisle, and his circle of friends included many young writers of the day, such as Emile Verhaeren, Max Waller, Iwan Gilkin and Georges Rodenbach. It was not long before he abandoned his law degree and began studying painting under Xavier Mellery. It was in Paris at the Exposition Universelle of 1878 that he discovered the works of Gustave Moreau, John Everett Millais and Edward Burne-Jones, which were to have a decisive influence on his own artistic output. Khnopff made his artistic debut in 1881, at the Brussels Salon held by the group L'Essor. In 1883 he was a founding member of the Belgian avant-garde group Les XX and later also of La Libre Esthetique. He exhibited at the annual Salons of the Rose + Croix in Paris, at the exhibitions of the Vienna Secession, and also started to exhibit regularly in England. The Pre-Raphaelite painters Hunt, Watts, Rossetti, Ford Maddox Brown and Burne-Jones became friends. In 1895 he became a correspondent for the English periodical The Studio, whose Studio-Talk-Brussels column he edited until 1914; he also regularly contributed to the journal of the Vienna Secession, Ver Sacrum.

For Khnopff, the experience of an ideal work of art was a quasi mystical experience, which allowed one to escape the world through imagination. Typically, his paintings are highly enigmatic and have multiple layers of meaning. To achieve this, Khnopff would deliberately isolate the motifs that interested him within a composition, and rearrange them like props on a stage. By choosing and ordering fragments of images on the basis of highly personal analogies, he eliminated every reference to real space and time. Similarly to Odilon Redon (see lots 257-259) Khnopff wanted his works to be contemplated and perceived intuitively rather than analysed and fully understood. It is for this reason that he has often been referred to as a painter of the invisible. For Khnopff, the image was merely the physical expression of the philosophical objective he had set himself, namely to seek out 'ideal beauty'.

Khnopff found the personification of ideal female beauty embodied by his sister, Marguerite, and he depicted her numerous times (see lots 251, 254 and 256). His depictions of her often heighten her androgynous features. Indeed, androgyny is central to Khnopff's work and representative of his belief that women embodied the duality and ambiguity of the world.    

Khnopff very much saw himself as the genius artist who has to renounce the dangers of sensuality in order to fulfil his spiritual and artistic calling. This idea was widespread in symbolist circles at the turn of the century and found expression in the many depictions of Oedipus and the Sphinx (see lot 254). This self-imposed isolation is also expressed by one of Khnopff's maxims, 'My soul is alone and nothing influences it. It is like glass enclosed in silence, completely devoted to its interior spectacle' (quoted by Verhaeren in his memoirs), and is behind the introspective, meditative aspects of many of his works, notably his depictions of unattainable femmes fatales or saintly virgins, and especially works such as Avec Verhaeren. Un Ange, whose stillness is reminiscent of Baudelaire's poem Beauty:

I am fair, O mortals! like a dream carved in stone, 

And my breast where each finds death in turn

Is made to inspire in the poet a love 

As eternal and silent as matter.

On a throne in the sky, a mysterious sphinx, 

I join a heart of snow to the whiteness of swans; 

I hate movement for it displaces lines, 

And never do I weep and never do I laugh.

Poets, before my grandiose poses, 

Which I seem to assume from the proudest statues, 

Will consume their lives in austere study;

For I have, to enchant those submissive lovers,

Pure mirrors that make all things more beautiful:

My eyes, my large, wide eyes of eternal brightness!

(Charles Baudelaire, Flowers of Evil)

Executed circa 1909, the delicate colour harmonies of the present work illustrate the technical experimentation that continued to characterise Khnopff's work into maturity.

Mysticism and eroticism were two prevalent artistic themes at the turn of the century. Khnopff often portrayed women as sphinx-like creatures, mysterious figures harbouring untold secrets - at once vague and defined, aloof and sensual, fragile and powerful, soft and cruel.

According to Gisèle Ollinger-Zinque 'representations of women play a central role in Belgian Symbolism: the figure of Woman is seen as an embodiment of the duality and ambiguity of earthly existence. For Khnopff, Woman is by turns the angel, muse and friend who flies to Man's salvation. Yet she is also the depraved temptress, the femme fatale, the living symbol of Péladan's Le vice suprême. Angel or Demon, she is always alone, isolated from the world and unattainable. She speaks to no one and Love, the very symbol of communion, is denied her.' (Six symbolist works, Patrick Derom Gallery, Brussels, 2005, p. 23). 

Commenting on Femme Mysterieuse, Gisèle Ollinger-Zinque writes: 'This striking, idiosyncratic work, obsesses and is very intense. Around 1909, Khnopff executed a number of works which depict women covered in jewellery.... The faces of these women are enigmatic, their eyes are closed, and nothing can trouble the meditation of these inaccessible princesses of dreams.' (Fernand Khnopff,  Tokyo, Hymenia, Nagoya and Yamanashi, 1990, p. 169).

Traditionally, in the 'language' of flowers, cyclamen were a symbol of diffidence. In the nineteenth century flowers given by a man to a woman had a clear meaning. While red roses for example spoke of passion and love, the message of cyclamen was 'Votre beauté me désespère' (your beauty makes me despair). The cyclamen in the present work are thus representative of the woman's unattainablility.

The stasis of Khnopff's female protagonists is a reflection of their introspection and trance-like state. He believed that an abandonment of consciousness was at the source of dreams, and was fascinated with sleep and hypnotic states. Hypnotizing by its own distant dreaminess, the face of Femme mysterieuse is idealized and impenetrable, her closed eyes creating yet another barrier to deciphering her secret. https://www.facebook.com/photo/?fbid=10159308043252151&set=a.10151465215597151

the Bible Ephesians 4

Unity and Maturity in the Body of Christ

11 So Christ himself gave the apostles, the prophets, the evangelists, the pastors and teachers, 12 to equip his people for works of service, so that the body of Christ may be built up 13 until we all reach unity in the faith and in the knowledge of the Son of God and become mature, attaining to the whole measure of the fullness of Christ. 14 Then we will no longer be infants, tossed back and forth by the waves, and blown here and there by every wind of teaching and by the cunning and craftiness of people in their deceitful scheming 15 Instead, speaking the truth in love, we will grow to become in every respect the mature body of him who is the head, that is, #Christ. 16 From him the whole body, joined and held together by every supporting #ligament, grows and builds itself up in love, as each part does its work.

https://www.biblegateway.com/passage/?search=Ephesians%204&version=NIV

from Hillsong Church Sunday worship internet streaming service 

Mighty to Save - Hillsong Worship https://youtu.be/GEAcs2B-kNc

#Desree #Life #Vevo Des'ree - Life (Official Video) https://youtu.be/BKtrWU4zaaI

MGH Institute NLN Education Summit “Healthy Planet, Healthy People: Leading the Way Through Education, Practice, and Policy”, Teaching for Clinical Reasoning and Rapid Clinical Decision Making: Keys to Developing Expertise in Practice, Center for the Environment and Health, Speech and Language Literacy Lab, MGH Institute Department of Communication Sciences and Disorders

MGH Institute

@MGHInstitute

·

Sep 30

This year's 

@NLNSummit

 theme is, "Healthy Planet, Healthy People: Leading the Way Through Education, Practice, & Policy." Members of The Ctr. for Climate Change, Climate Justice, & Health look forward to presenting at today's #NLNSUMMIT22 Professor Rounds. https://twitter.com/MGHInstitute/status/1575834098572075008

LAS VEGAS September 28-30 Healthy Planet, Healthy People: Leading the Way Through Education, Practice, and Policy https://summit.nln.org

National Faculty Meeting

Patricia Benner, R.N., Ph.D., FAAN - University of California School of Nursing 

Teaching for Clinical Reasoning and Rapid Clinical Decision Making: Keys to Developing Expertise in Practice

https://summit.nln.org/speakers

Center for the Environment and Health

https://www.massgeneral.org/environment-and-health

Speech and Language Literacy Lab https://www.facebook.com/sailliteracylab

https://www.mghihp.edu/research/speech-and-language-literacy-sail-lab?fbclid=IwAR1WUr2cSaIWdw-TyfAo0A7X6_5z-zrfzgegD0cx1csTc1GlxCR8388zT7g MGH Institute Department of Communication Sciences and Disorders https://www.facebook.com/MGHInstituteCSD https://www.mghihp.edu/academics/communication-sciences-and-disorders-home?fbclid=IwAR149HBYSBRYAlETO4MSOxWNcv079OlnteWC0TxM9oS7EKqmndEh6fBVZDk Poets.org The Academy of American Poets Fishmonger - Marsden Hartley (American, 1877–1943) ‘I sit on the bank of the stream and watch, The grasses in amazement’, Marsden Hartley, Abstraction, 1914, Museum of Fine Arts, Houston., An October Garden - Christina Rossetti (English, 1830-94) ‘That least and last which cold winds balk; A rose it is though least and last of all, A rose to me though at the fall.’

Poets.org

@POETSorg

From all these I have made a fish of heaven for you,

Set it swimming on a young October sky.

—Marsden Hartley

https://twitter.com/POETSorg/status/1576995503635664903 Fishmonger

Marsden Hartley (American, 1877–1943) 

I have taken scales from off

The cheeks of the moon.

I have made fins from bluejays’ wings,

I have made eyes from damsons in the shadow.

I have taken flushes from the peachlips in the sun.

From all these I have made a fish of heaven for you,

Set it swimming on a young October sky.

I sit on the bank of the stream and watch

The grasses in amazement

As they turn to ashy gold.

Are the fishes from the rainbow

Still beautiful to you,

For whom they are made,

For whom I have set them,

Swimming? https://poets.org/poem/fishmonger?fbclid=IwAR0oy1VtB9SBj0ayiSjaVkzGa9hfvi7Xei-k8x4d_LWkn2c9CUopcPDMC1M https://soundcloud.com/poets-org/fishmonger-pad-2319?utm_source=clipboard&utm_campaign=wtshare&utm_medium=widget&utm_content=https%253A%252F%252Fsoundcloud.com%252Fpoets-org%252Ffishmonger-pad-2319 Marsden Hartley (January 4, 1877 – September 2, 1943) was an American Modernist painter, poet, and essayist. Hartley developed his painting abilities by observing Cubist artists in Paris and Berlin. https://en.wikipedia.org/wiki/Marsden_Hartley

Marsden Hartley (American, 1877–1943), Portrait of a German Officer, 1914, oil on canvas, 173.4 x 105.1 cm, Metropolitan Museum of Art, New York. https://en.wikipedia.org/wiki/Marsden_Hartley#/media/File:Portrait_of_a_German_Officer,_Marsden_Hartley.jpg

Marsden Hartley (American, 1877–1943), Abstraction, ca. 1914, Museum of Fine Arts, Houston. https://en.wikipedia.org/wiki/Marsden_Hartley#/media/File:Marsden_Hartley_-_Abstraction_-_Google_Art_Project.jpg

The Academy of American Poets 

In my Autumn garden I was fain

     To mourn among my scattered roses;

     Alas for that last rosebud which uncloses

—Christina Rossetti

https://poets.org/poem/october-garden?fbclid=IwAR3kSu15QOVi-dnhrGGv4yPA0XVW63orblH8YBWlZ5stuqf-reOGjSDu1gk

An October Garden

Christina Rossetti - 1830-1894

In my Autumn garden I was fain      To mourn among my scattered roses;      Alas for that last rosebud which uncloses To Autumn’s languid sun and rain When all the world is on the wane!      Which has not felt the sweet constraint of June,      Nor heard the nightingale in tune. Broad-faced asters by my garden walk,      You are but coarse compared with roses:      More choice, more dear that rosebud which uncloses, Faint-scented, pinched, upon its stalk, That least and last which cold winds balk;      A rose it is though least and last of all,      A rose to me though at the fall.

https://poets.org/poem/october-garden?fbclid=IwAR3kSu15QOVi-dnhrGGv4yPA0XVW63orblH8YBWlZ5stuqf-reOGjSDu1gk

Christina Georgina Rossetti (5 December 1830 – 29 December 1894) was an English writer of romantic, devotional and children's poems, including "Goblin Market" and "Remember". She also wrote the words of two Christmas carols well known in Britain: "In the Bleak Midwinter", later set by Gustav Holst, Katherine Kennicott Davis, and Harold Darke, and "Love Came Down at Christmas", also set by Darke and other composers. She was a sister of the artist and poet Dante Gabriel Rossetti and features in several of his paintings.

https://en.wikipedia.org/wiki/Christina_Rossetti

El Greco (Candia, Crete, 1541-Toledo, 07/04/1614), The Annunciation, 1596-1600, Oil on canvas, 113,8x65,4cm, Museo de Bellas Artes de Bilbao. https://bilbaomuseoa.eus/en/artworks/the-annunciation-69-116/ https://commons.wikimedia.org/wiki/File:El_Greco_-_Anunciación,_1597-1600_(Bilbao).jpg

Museo de Bellas Artes de Bilbao

Museo BBAA Bilbao

@bilbaomuseoa https://twitter.com/bilbaomuseoa/status/1576956322129772545 The Annunciation was a subject that he represented on numerous occasions.

This version, dated between 1596 and 1600, was painted for the altarpiece of the Church of the Incarnation of the Colegio de doña María de Aragón in Madrid. https://twitter.com/bilbaomuseoa/status/1576956328051847168

Museo de Bellas Artes de Bilbao 

Can you guess who is the author of this announcement?

He was born in Candia, capital of the island of Crete, 481 years ago. Below are some clues about his life and work:

 He worked in Venice and then Rome, where he was protected by Cardinal Alejandro Farnesio.

 Attracted by the large decorative sets of El Escorial, it moved to Spain in 1577 and settled permanently in Toledo.

 The Announcement was an issue he represented on numerous occasions.

 This version, dated between 1596 and 1600, was painted for the altar of the Church of the Incarnation of the College of Dona Mary of Aragon in Madrid.

 Like the one from Museo Nacional del Prado , this is a reduced version of the large canvas preserved at the Museo Nacional Thyssen-Bornemisza

Do you have the answer yet?

https://www.facebook.com/bilbaomuseoa/photos/a.779909058739710/5615923575138210/

Schoenberg Institute for Manuscript Studies Manuscript Monday: Ms. Codex 1645 – Technical treatise on the painting of miniatures, Includes information on the reduction of images and mixes of pigments for landscapes, skies, varieties of flowers, skin, faces, drapery, and jewels.

Schoenberg Institute for Manuscript Studies

@sims_mss

Manuscript Monday: Ms. Codex 1645 – Technical treatise on the painting of miniatures

https://twitter.com/sims_mss/status/1576974993434595329

https://schoenberginstitute.org/2022/10/03/manuscript-monday-ms-codex-1645-technical-treatise-on-the-painting-of-miniatures/ Manuscript Monday: Ms. Codex 1645 – Technical treatise on the painting of miniatures

Dot Porter, Curator, Digital Research Services at the University of Pennsylvania Library, offers a video orientation to Ms. Codex 1645, an 18th-century copy of a technical treatise on the painting of miniatures, in print from 1673. Includes information on the reduction of images and mixes of pigments for landscapes, skies, varieties of flowers, skin, faces, drapery, and jewels. Slightly more than half the manuscript (through p. 138) closely matches early printed editions; the remainder of the text presents material from other sources, including preparations and uses of gold leaf, varnish, lacquer, and gold and silver inks, and instructions for marbling paper and tinting parchment. It was written in Nancy, France, in 1744.

You can read the complete record for this document (and find links to digitized copies) on Franklin. You can also download a copy of this video from ScholarlyCommons, the University of Pennsylvania’s open access institutional repository.

https://schoenberginstitute.org/2022/10/03/manuscript-monday-ms-codex-1645-technical-treatise-on-the-painting-of-miniatures/

UNIVERSITY OF PENNSYLVANIA

Penn Library's Ms. Codex 1645 - Technical treatise on the painting of miniatures (Video Orientation)

https://youtu.be/kqibmtZWYYo

38 views Mar 29, 2022

SchoenbergInstitute

1.11K subscribers

The Estée Lauder Companies #ClimateWeekNYC Climate Group on the global effort to address climate change, The Estée Lauder Companies (ELC) has been a leading supporter of Climate Week NYC over the past six years. 

The Estée Lauder Companies

@elcompanies

·

Sep 21

During #ClimateWeekNYC Opening Ceremony, 

@ClimateGroup

 sat down with ELC’s Nancy Mahon to discuss how we aim to meaningfully contribute to the global effort to address climate change. 

Click here to learn how we’re #GettingItDone 

https://twitter.com/elcompanies/status/1572284466361663488

https://www.climateweeknyc.org/news/qa-headline-partner-estee-lauder-companies

Q&A with Headline Partner The Estée Lauder Companies

19th September 2022 Nancy Mahon, Senior Vice President, Global Corporate Citizenship & Sustainability at The Estée Lauder Companies 6 min read

Intro from Helen Clarkson, CEO, Climate Group:

The Estée Lauder Companies (ELC) has been a leading supporter of Climate Week NYC over the past six years. Throughout their involvement, the company has joined together with leaders to convene on key issues related to what the broader beauty industry and global stakeholders must do to help address climate change. In particular, ELC has actively built relationships out of Climate Week events in an effort to collaboratively make the progress this moment demands. This year is no different and we’re grateful to have such a meaningful and engaged partner return as Headline Partner.

Climate Group’s key themes this year are accountability, justice and urgency. ELC has done great work in all of these areas, most recently becoming the first beauty company to join our EV100 initiative last month when they announced their plans to electrify their corporate vehicle fleet by 2030; we’re delighted that ELC will be able to celebrate the five-year anniversary of EV100 this week.

The Opening Ceremony launches Climate Week NYC each year. This is a chance for heads of state, government officials, CEOs and civil society leaders, to share their global outlook on climate change and action. This year, as our Headline Partner, ELC has played a key role in the Opening Ceremony of Climate Week NYC and will join us in The Hub Live to share why they are laser-focused on reducing Scope 3 emissions by working with peers to innovate new solutions.

After the Opening Ceremony, Helen had a chance to sit down one-on-one with ELC’s Nancy Mahon, Senior Vice President, Global Corporate Citizenship & Sustainability, to talk about why the global prestige beauty company is staying humble about what they, and the broader beauty industry, must do to help address and accelerate corporate climate action. They discuss why showing up to the conversation is motivating the company to work harder and faster to make the progress that’s needed to “Get It Done.”

https://www.climateweeknyc.org/news/qa-headline-partner-estee-lauder-companies

[dorothea-wieck]

Christa Winsloe is one of a few of my most favourite celebrities. For almost a year, I couldn't put up with the fact that such a person has no museum. So, here it is. The website to commemorate and recearch Christa's life and work.

Für deine liebe, danke für allen 💞 🏳️‍🌈💪🚗👩‍🏫 ✏️📖🐇🐕🐖 (ALL of these emojis are incompleted info about Christa (personality, fields of work, favourite animals.))

[garadinervi]

From: Gegensätze ziehen sich an, SfGZ, Fachklasse für Textilgestaltung, Zürich, 1995-1996 [Museum für Gestaltung Zürich]. Project coordinator: Federica Gärtner. Students: Susanne Trinkler, Cécile Feilchenfeldt, Franziska Born, Rachel Frauchiger, Tanja Jörimann, Christa Michel, Meidönneli Moser

[saintlucyrepresents]

Cody Bratt Griffin Museum

Cody Bratt will be participating in a panel discussion with Eleonora Ronconi and Christa Blackwood at the Griffin Museum on his series, The Other Stories. Bratt will be exploring questions within his family archive, including whether the hushed stories of family secrets are visually discernible in images and what might be exposed from these new narratives.

Reserve your spot for the virtual event on August 6, 2020 with the Griffin Museum here and explore more of Cody Bratt’s work online.