jay keeping

scientistmary:

An ice circle (also called ice disc or ice pan) occurs in slow moving water in cold climates. It is thought that ice circles are formed when surface ice gathers in the center of a body of water rather than the edges. A slow moving river current can create a slow turning eddy, which rotates, forming an ice disc. Very slowly the edges are ground down until a gap is formed between the eddy and the surrounding ice.
The gif is from Evan Gregg’s capture of a ice circle in England on January 26th 2013.

(Source: sci-universe, via scenesofviolence)

Blade Runner – Gender – Religion

 Blade Runner is not a pleasant film.  Many of its ideas are

most frightening, also the visual images that are used are quite magnificent yet decadent.  Blade Runner is all about vision. Vision somehow both makes and unmakes the self in the film creating a dynamic between a centred and autonomous subjectivity and the self as a manufactured commodified object.  We are seldom certain of the motivations, which mo

the characters and our protagonist (Deckard, played by Harrison Ford) is not exactly a knight in shining armour. because of this, it seems that to completely understand this film we must look past the actions of the characters and focus instead upon the reasons behind what they do.  In an attempt to accomplish this, we will focus on one particular element of  the film:  It’s allegorical relationship to Christianity.  I do not want first to imply that this is the only subtext in the movie, Or

that it is the major force in driving the characters to behave in such a way as they do.  When we meet Roy Batty telling Sebastian,         

“We’re not computers… we’re physical.”

 It has been said that only as you’ve faced death in the face are you truly alive and the Replicants look into death every minute of their lives. This is because although they that one day they will die; they do not know when their clocks will end.  Knowing only their life spans, J. F. Sebastian is in a way the “missing link” between the Replicants and their human Creators.  He is human in the fact that he was born, rather than created, I find that J.F functions as a symbol of Christ in this film.  First he is a composite of man and replicant, just as

Christ is a composite of God and man. Second, just as Christ

lived among men.  J.F lived among the replicants.  Third, Christ attempted to bring humanity to God, and was killed by

the very people he attempted to help.  J.F. Sebastian also attempted to bring a man (Batty) to his maker (Tyrell) and was then murdered for his trouble.  You see humanity is brought up for definition in this film, as the replicants are in many ways more human than the “real humans” they are Interacting with.  These replicants are artificial organic humanoids, which function as brute labourers.  Tyrell in one of the scenes is a perfect symbol of the New Testament God.

 

o   Slower to anger

o   Quick to forgive

o   He is happy to throw out the past

o   Look only at those things which are positive about his children

 

Batty is not satisfied and begins to make demands of the man who created him?  In the end Roy is like any other man, he is aware of his own mortality.  As he nears the end of his life, Roy begins to change just like the good thief on the hill with Christ when he was crucified the two men either side of Christ at their hour of need just like Roy one of them changed and Christ forgave.   His change is expressed in the film in such a

way that he does not kill Deckard, but saves him from

dropping to his death. Roy batty then becomes a sort of everyman, struggling with what he cannot understand nor change. Just like us sometimes we struggle to understand why things happening to us but eventually we stop trying to alter our fate and instead looks at what he has seen and done. 

 By the time he dies batty has redeemed him by following in the footsteps of Christ.  In the film when batty has a nail in his hand begins to make sense, as Roy is in effect attempting to become Christ like himself.  He is also forgiving others as he would have God forgive him.  Roy newly purified soul is now free, and on the way upward.  The 6 main characters, Rick Deckard, Rachael, Roy Batty, Pris, Zhora and Leon all represent their gender to an exaggerated degree, but this is mainly to its entertainment value.  Rutger Hauer is brilliant as the leader of the Replicant band which has come to earth anyway, in search of the secret to extending their life spans.  He is in many ways the most developed character in the entire film, as we see him laugh and cry, kill and philosophize.  Holden the first Blade Runner we see, is totally lifeless however this was quite probably how Deckard was during his first stint as a runner.   The character Roy I think falls into the stereotypical perception of man he was a soldier.  The great strength of Blade Runner was it very much I think successfully dealt with the tenuous nature of human life, and examined what in fact makes a human person that is what

 

“we must ask ourselves that very question” 

 I find myself pondering on this question,

Is Deckard a Replicant ?

This point is missed by all those who need to determine Deckard’s status, as it seems that the question, which has been asked “Is

Deckard a replicant” has generated more discussion than the existence of God.  I myself would argue that asking the question

is more important than determining the answer, anyway it’s not about Deckard it’s about us.

WHO IS VIVIENNE WESTWOOD ?

Vivienne Westwood was born Vivienne Isabel Swire in Glossop, Derbyshire, in 1941 and has come to be known as one of the most influential British fashion designers of the twentieth century. While she is latterly credited with introducing “underwear as outerwear,” reviving the corset, and inventing the “mini-crini,” her earliest and most formative association is with the sub cultural fashion and youth movement known as punk.

 

Mother of Punk Vivienne Westwood is often cited as punk’s creator, but the complex genesis of punk is also found in England’s depressed economic and sociopolitical conditions of the mid-1970s. Punk was as much a youthful reaction against older generations, considered oppressive and outdated, as a product of the newly recognized and influential youth culture. Creative and entrepreneurial people, such as Westwood, often contribute to an aesthetic that brings a sub cultural style to the forefront of fashion. However, it would be simplistic to claim, as many have, that Westwood and her one-time partner Malcolm

McClaren were uniquely responsible for the visual construction of punk in the mid-1970s, though much of their work captured and co modified the energy and iconoclastic tendencies Of the movement. The New York Effect in the early 1970s, the socioeconomics of New York City were no better than London’s. Local rock groups were reinventing music and style in protest against what had become perceived as the star-centered, showy, and elitist mentality of ’60s super-groups such as the Rolling Stones and the Beatles. These local bands, such as the New York Dolls and performer Richard Hell, were breaking down barriers at the infamous proto-punk club, max’s. Hell was well known for his nihilistic lyrics and wearing of self-styled ripped T-shirts bearing slogans like “Please Kill Me.” The original fanzine of the era, PUNK, was published in New York City and is credited with the first use of the term. Malcolm McLaren, Westwood’s boyfriend and “partner in crime,” was living in New York during this time and briefly managed the New York dolls. According to punk lore, McLaren took this radical New York aesthetic back to London, where he opened the SEX clothing shop with Westwood and managed the Sex Pistols, creating a media frenzy and a prosperous symbiotic relationship between music and fashion that effectively set the tone of popular culture for decades to come.  Westwood’s dialogue with the past intensified in her work from the mid-1980s, reaching back to the Tudor period in her Cut and Slash men’s and women’s collections (Spring/Summer 1991), with their machine-slashed and frayed denim, silk and knitted wool layers revealing unexpected color and pattern when worn. In the Portrait collection (Autumn/Winter 1990–1), her most opulent to date, Westwood drew inspiration from the Wallace Collection of eighteenth century French paintings and decorative arts assembled in the nineteenth century.  Her deconstructed and pared-back interpretations of dress styles as diverse as the coquettish sack-back dresses depicted in Watteau’s paintings of the 1720s or Boucher’s shepherdesses’ corsets bring the dress codes of the Enlightenment into the new light of contemporary manners and attitudes.

Inspired by the seventeenth century French essayist, La Rochefoucault, she revisited this theme in her Spring/   Summer 1996 collection, Les Femmes ne Connaissent pas toute leur Coquetterie (‘Women do not understand the full ext ent of their coquettishness’) with body extensions such as padded busts and hips and metal cage bustles creating an exaggerated hourglass silhouette that took some of her designs close to the realm of the unwearable. Others however, such as the sumptuous, strapless sack-back Watteau evening dress of tumbling green and lilac silk taffeta (famously modeled by Linda Evangelista), brought these exaggerations together in

an unmistakably contemporary statement. A later collection, Café Society (Spring/Summer 1994), again explored the limits of clothing form in a homage to the corseted, S-shaped silhouettes of the English-born Charles Worth and son, Jean-Philippe Worth, couturiers working in late nineteenth century Paris, whose extravagant designs defined the belle époque.  Claire Wilcox notes ‘In Westwood’s clothes, sexuality is determined by sensation. …[Her] intention is arousal, both physical and mental, and to instill the wearer with the confidence that clothes bring not only private and public pleasure but also an increased awareness through dressing up.  In her interpretations of historical dress, Westwood has continued to emphasize the idea of constriction as a way to define the body and its movement and to direct posture. From her early bondage trousers, corsets and bodices to her highly structured tailoring and more recent, looser and deconstructed cutting, she draws attention to the figure through exaggeration and distortion of the body shape. A confident wearer of her clothes will find that with these techniques, Westwood has found a way to theatricals arousal and eroticize power, while celebrating skill and the craft and history of materials. To place such contemporary pleasures in the context of history and cultural interchange with wit and panache continues to be Vivienne Westwood’s unique contribution to fashion and design.  Vivienne Westwood was possessed of a divine lunacy, while the Christian Dior collection expressed an irresistible urge to decorate everything in sight, including sportswear. The Westwood collection was lovable in a slightly batty way; Dior’s was awesome. The two represent the extremes to which fashion has gone in the fall and winter shows here. There is something for everyone, including clothes nobody ever thought they wanted.  John Richmond, swelling the number of British designers who show their clothes here instead of in London, followed Ms. Westwood. Valentino, the Italian designer, who also showed here, comes from the same couture tradition as Dior, but his clothes are less elaborate.  Probably the most useful style at Dior was a white cotton shirt that was shown with slinky brown leather skirts. Gianfranco Ferret, who knows how to glorify sportswear, cut it with dash. Sleeveless leather coats over knitted separates made an impact. But their contrasting piping and bandings as well as the fluffy fur borders made for too much fuss. A jacketed smock the color of mulled wine over snug pants showed the designer at the top of his form. A hot-pink coat over a white shirt and navy pants made a striking, clean-looking outfit.

image But too many folds and ruffles and too much elaborate jewelry were distracting, calling attention to the luxury and playing down the cut. The opulence suggested couture, but the clothes were ready-to-wear. The line between the two is obviously blurring. One of the more endearing notes in the Westwood collection was a model in pin curls showing off nightgowns and lingerie. Other times, they wore fright wigs. Linda Evangelista, Christy Turlington, Naomi Campbell and other top models obviously didn’t mind. They seemed to be having fun in outrageous fake fur coats, bustle-back suits and evening clothes that parodied Hollywood glamour.

“…it’s so important to look to the past.  Because

people did have taste, and they did have ideals

of  excellence, and those things are not going to

come unless people look at the past.”

Vivienne Westwood.

Ms. Campbell even managed to smile when she fell off her sky-high platform shoes, a Westwood trademark, picked herself up and continued down the runway, leaving a trail of pink feathers. With the feather boa, the model was wearing a blue velvet jacket with a plaid kilt from the best sequence in the show, which featured tartan plaids. Of course, Ms. Westwood tarted them up a bit with corset tops and what she called miniskirts.  Vivienne Westwood designed a collection named salon in the spring/summer 1992, taken from her book Vivienne Westwood

“Oscar Wilde said that he knew of a lady in England who tried to open a salon but found that she opened a salon”.

After nine years of absence, Vivienne Westwood is to return to London to show her Red Label collection for Autumn/Winter 2008 at London Fashion Week in February.  The Red Label collection was launched in 1994 to offer Westwood’s inimitable style to a wider clientele.  At its core, the label combines Westwood’s continued interest in Savile Row tailoring and French couture.  As Westwood’s second line of women’s wear the Red Label provides a sexy and elegant look, which differentiates it from the more casual Anglo mania collection.  It is composed of exquisitely cut tailoring and dresses for both day and evening as well as Westwood’s signature knitwear.   The Red Label is targeted at a sophisticated fashion consumer who does not follow trends but looks for innovative design with a strong traditional British sense of style.

Vivienne Westwood says:

“We are back by popular demand. The sales of all of our lines are increasing and we decided that the Red Label, which is successful worldwide and so popular in the UK, should have its own show.”

Scottish singer Sandi thom has been approached to model and sing at Vivienne Westwood’s forthcoming catwalk show to celebrate New York City’s Tartan Week. Westwood, known for her love of tartan in her fashion designs, approached the I WISH I WAS A PUNK ROCKER hit maker to star at the Dressed To Kilt show next month. Thom enthuses, “I’m wearing a Vivienne Westwood dress in tartan and playing a tartan guitar. “I’m really scared at the fact that I’m going to be surrounded by a load of skinny six-foot models when I’m five foot two. But it’s going to be great to be back in New York - I love it there. “It feels good to be representing my country in the official Scottish dress too.”

Celebrity fans

Westwood’s celebrity fans include Sakito of Nightmare (band), Duran Duran, Adam Ant, Gwen Stefani, Jerry Hall, Jean-Yves Thibaudet, Mick Jagger, Pete Burns (who has been wearing her designs continually for more than 20 years and also designed and sold some pieces for VW in the 70s), tetsu of L’Arc~en~Ciel, Mika Nakashima, Marilyn Cole, Shiina Ringo, Marilyn Manson, Toshiya of Dir en grey, Aoi of The Gazette (band), Kanon of Antic Cafe, Fearne Cotton, Ai Yazawa, Hirofumi Araki of D-Boys Tracey Emin, Anne Suzuki, Naomi Campbell and Kitty (from Notorious Marmalade)

Perec’s Observational Exercise

Date: Monday 27th January 2013   Time: 0930am

Observing the Street: Bolton Town Center


The weather: Set Cold but dry

a few people out

mums pushing buggies

old people pulling shopping trollies

birds singing

The cafes are half empty with people drinking there coffee or tea

the streets are paved and generally clean few patches of snow 

there is an old man sat a few feet to my left homeless and smoking a roll up mumbling to himself putting the worlds to right 


council worker dressed in bright yellow jacket pulling some bags of salt just seen the gritter out on roads

few cars on roads i can count them on on my hands

all buses running but really empty with 1 or 2 on there

man staring at me wondering what i am writing

a few beautiful woman most are wrapped up hats/scarves on

mum smoking little boy being dragged round shops expression on face unimpressed

pigeon looking for scraps of food

car stopped in street, switches engine off, waiting for someone, man gets out of car makes phone call, starts shouting with other person on the phone, man gets in car revs engine loudly speeds off 

business man on phone dressed smartly smiles 

middle age man no coat just sweatshirt and SHORTS on CraZZZZZZy    doing a scratch card look of disappointment

two old couple having a disagreement each other man points finger in rage

student at burger van order food not even 10am

Asian woman walks behind husband few feet while man i having a conservation with her 

Asian man young, hand down trousers spits on floor 

Getting colder now few spits of rain

little girl about 2 runs off from mummy, mummy too busy on phone to notice little girl has ran up steps laughing to herself

window cleaner washes windows while looking at the woman

no taxis around in rank

umbrellas going up now raining 

mood of people now changed colder/raining

old man struggling to walk with stick and shopping bags

two old ladies best friends/sisters looking smartly dressed hair set blue rinse came out of salon 

four students eating Mc Dee’s shouting Hash browns laughing to each other

woman with four kids all under age of 4 struggles to carry shopping as one bag splits all over pavement look of pain and anger rushes to her face

two young woman doing street surveys no one stopping far to told to stop look of disappointment on girls faces

shops getting busy now

two young students handing out flyers and free small pieces of cake to promote a local bakery

Time for a coffee ……….

cues out of door waiting to order coffee had choice of four coffee/eating cafes locals use this one more well know than others

other shops main stream shops M&S, EE, Primart, Game, HMV, Spec savers, a number of banks around 

times are hard 4 Empty shops around well know shop closes doors and charity shops sets up

8 charity shops now open

4 pawn shops now open

2 new credit shops open times hard

asian woman dresses in traditional clothes while the husband dresses in western clothes ie: jeans Nike jacket Reebok trainers 

middle age woman trying to dress young hair up in pigtail looks like a pinapple (too funny) with a wide knitted flower head band

brightly colored wellies tall ones short ones and even Leopard ones woman in leopard fir coat with matching wellies

two old ladies dressed smartly going into bingo

old man dressed smartly looking like Dr Doolittle had to double take laughing to myself

 

Rood Vintage showcased some of their latest pieces at the Liverpool Fashion Week event last night.  The vintage clothing store showcased that Vintage fashion is timeless and will forever have a place in the fashion industry.  By updating pretty prom dresses with Dr. Martens and vintage slip dresses with work wear boots they made the vintage pieces current. Next to feature was an amazing array of beautifully styled vintage outfits from Rachel Olivia Owen Design, embracing all of the most popular eras of imitation. Vintage is exceptionally popular in Liverpool and this show emphasized an absolute denial of the negative press surrounding this city’s fashion week and the false notion that Liverpool is all about one particular ‘look’. From 1980s peplums, bouffant tea dresses from the 40s and a nod to the brightly clashing colours teamed with fur from the disco dancing 70s – it was all covered, as well as a parade of beautiful vintage wedding gowns, definitely a reason to consider tying the metaphorical knot in my ongoing

The standout piece has to be the finale Bridal gown, with ivory silk and delicate pleating on the skirt – it was classic beauty at its best.

Take a look through some of the outfits above, which is your favourite?

also check out Rood Vintage website http://www.roodvintage.com

The vintage fashion came from Rood Vintage Rood Vintage showcased some of their latest pieces at the Liverpool Fashion Week event last night. The vintage clothing store showcased that Vintage fashion is timeless and will forever have a place in the fashion industry. By updating pretty prom dresses with Dr. Martens and vintage slip dresses with workwear boots they made the vintage pieces current. The standout piece has to be the finale Bridal gown, with ivory silk and delicate pleating on the skirt – it was classic beauty at its best. Take a look through some of the pieces below, which is your favourite?

The vintage fashion came from Rood Vintage Rood Vintage showcased some of their latest pieces at the Liverpool Fashion Week event last night. The vintage clothing store showcased that Vintage fashion is timeless and will forever have a place in the fashion industry. By updating pretty prom dresses with Dr. Martens and vintage slip dresses with workwear boots they made the vintage pieces current. The standout piece has to be the finale Bridal gown, with ivory silk and delicate pleating on the skirt – it was classic beauty at its best. Take a look through some of the pieces below, which is your favourite?

GB’s Volleyball women go home with pride intact

GB's Volleyball women go home with pride intact

Britain’s women took Japan to the wire in their quest to win a set in the London 2012 Sitting Volleyball tournament but the Paralympic newcomers ended the tournament in eighth place after another 3-0 defeat at ExCeL this morning (Thursday).

Britain put the lively Japanese under pressure in a hard fought first set and almost clinched it after 25 minutes before Japan edged the verdict, 25-23.

The second set was close too, but Japan eventually won it 25-19 before running out winners of the classification match with a more comfortable third set victory, 25-13.

The result means Britain finish eighth on their Games debut, without having won a set from their five matches but with pride intact after another performance which justified their presence at London 2012.

Coach Steve Jones’ team was formed less than three years ago and won a host nation place at the Games. But they acquitted themselves well against the best sides on the world and almost took sets off group winners Ukraine and Brazil, as well as the Japanese.

Britain’s 40 year old captain Claire Harvey said the team has shown how far they have come in such a short space of time.

“This was always going to be a very tough tournament,” she said. “It was all about gaining experience in this sort of arena, which you don’t get anywhere else, and to take our sport into Rio.

“It was all about gaining experience in this sort of arena, which you don’t get anywhere else, and to take our sport into Rio.”Claire Harvey

“Volleyball England, the BPA and ParalympicsGB have been amazing in supporting us and getting us from a group of people who had never played volleyball before to where we are now in two and a half years.”

Japan had proved to be tough opponents when the two sides met in the group stage, having improved considerably since they failed to win a match in Beijing.

Yet, despite their 3-0 defeat in that meeting four days ago, GB went into the game with hopes of revenge and great support from the crowd, especially for Martine Wright, whose return from injury in the London bombings has been one of the stories of the Games.

Britain began in determined mood, matching the Japanese play for play in the opening stages. But some great blocking by Japan’s net players, combined with some deft spikes and shots into the spaces, left the Britons stretched and out-manoeuvred.

In the end Japan simply had a little too much experience.

“We are disappointed, obviously,” said Wright. “But people have to remember that Japan have been to Beijing already and have got one Paralympics over us.

“I feel proud of what we’ve done in this competition. We are the first ever women’s Sitting Volleyball team to be entered by GB so we’ve got to take all these experiences. It’s been absolutely amazing. We’ve got to take them forward, learn from it and come out fighting again.

“It has been an emotional roller-coaster but the strongest emotion I have is pride. I feel so so proud of every woman in this team that we have done our absolute best on court.”Claire Harvey

“It has been an emotional roller-coaster but the strongest emotion I have is pride. I feel so so proud of every woman in this team that we have done our absolute best on court.

“I feel proud to say that crowd out there is our crowd, it’s GB, and without them we wouldn’t have been able to perform the way we have performed.”

For Harvey, who lives in Ashford in Kent, it’s now time to look forward to the next challenge.

“We are already looking ahead to Rio,” she said. We will have to qualify through Europe which is a very tough pool to play in and that is why it was so important to come here to gain the experience and play the competition we are going to have to face in Europe.

“It’s time to regroup. We’ve got a lot of positives to take away but we’ve got a lot of hard work to do too.”

Londoner Wright added that she was happy her new-found fame had helped raise the profile of disability sport.

"Everyone involved in this tournament has been great and I’ve loved every minute of it. It’s been phenomenal.”Martine Wright

“I feel a responsibility to talk about disability sport, I am passionate about it,” said Wright. “To be honest, I will talk about sport all day long. Everyone involved in this tournament has been great and I’ve loved every minute of it. It’s been phenomenal.”

Sitting volleyball has grown to be one of the more popular Paralympic sports due to the fast and exciting action. At club level, the game offers both disabled and non-disabled players the opportunity to compete both with and against each other.

A brief overview of the game includes:

  • Sitting Volleyball is played on a 10 x 6 metre court
  • The game is played with a 0.8 meter-wide net set to a height of 1.15 meters for men and 1.05 meters for women
  • There are six players on each side
  • When hitting or attacking the ball, the player must have one “buttock” or an extension of the torso still in contact with the floor.