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CitySpeak intro : 'Animals in the city' 🦊🌇

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CitySpeak intro : 'Animals in the city' 🦊🌇

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Victoria Park, Belfast - Street Art Entrance & Birds

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Victoria Park, Belfast - Street Art Entrance & Birds

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Combine a comprehensive Game of Thrones-themed tour with a visit to the Giant's Causeway, a UNESCO World Heritage Site, on this full-day tour from Belfast. Leave the navigation and driving to someone else while you enjoy the scenic ride and listen to behind-the-scenes gossip and filming facts from your guide. Convenient pickup and drop-off from central Belfast makes for a hassle-free trip.

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Victoria Park (Belfast) - 2021 All You Need to Know BEFORE You Go (with Photos) - Tripadvisor

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Combine a comprehensive Game of Thrones-themed tour with a visit to the Giant's Causeway, a UNESCO World Heritage Site, on this full-day tour from Belfast. Leave the navigation and driving to someone else while you enjoy the scenic ride and listen to behind-the-scenes gossip and filming facts from your guide.

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Max Ernst - Monochrome, Rubbings & Frottage ⚪⚫

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Max Ernst - Monochrome, Rubbings & Frottage ⚪⚫

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Max Ernst was born in Bruhl, a place near Cologne, in Germany. He was raised in a strict Catholic family, and both of his parents were disciplinarians who were dedicated to training their children into God-fearing and talented individuals. Although his father was deaf, Ernst learned so much from him, particularly when it comes to painting. In fact, much of his early years were lived under the inspiration of his father who was also a teacher. He was the one who introduced painting to Ernst at an early age.

In 1914, Ernst attended the University of Bonn where he studied philosophy. However, he eventually dropped out of school because he was more interested in the arts. He claimed that his primary sources of interest included anything that had something to do with painting. Moreover, he became fascinated with psychology, among other subjects in school.

Primarily, Ernst's love for painting was the main reason why he became deeply interested with this craft and decided to pursue it later on in his life. During his early years, he became familiar with the works of some of the greatest artists of all time including Claude Monet, Paul Cezanne and Vincent van Gogh. He was also drawn to themes such as fantasy and dream imagery, which were among the common subjects of the works of Giorgio de Chirico.

During World War I, Ernst was forced to join the German Army, and he became a part of the artillery division that exposed him greatly to the drama of warfare. A soldier in the War, Ernst emerged deeply traumatized and highly critical of western culture. These charged sentiments directly fed into his vision of the modern world as irrational, an idea that became the basis of his artwork. Ernst's artistic vision, along with his humor and verve come through strongly in his Dada and Surrealists works; Ernst was a pioneer of both movements.

It was Ernst's memories of the war and his childhood that helps him create absurd, yet interesting scenes in his artworks. Soon, he took his passion for the arts seriously when he returned to Germany after the war. With Jean Arp, a poet and artist, Ernst formed a group for artists in Cologne. He also developed a close relationship with fellow artists in Paris who propagated Avant-Garde artworks.

In 1919, Ernst started creating some of his first collages, where he made use of various materials including illustrated catalogs and some manuals that produced a somewhat futuristic image. His unique masterpieces allowed Ernst to create his very own world of dreams and fantasy, which eventually helped heal his personal issues and trauma. In addition to painting and creating collages, Ernst also edited some journals. He also made a few sculptures that were rather queer in appearance.

In 1920s, influenced by the writings of psychologist Sigmund Freud, the literary, intellectual, and artistic movement called Surrealism sought a revolution against the constraints of the rational mind; and by extension, they saw the rules of a society as oppressive. Surrealism also embraces a Marxist ideology that demands an orthodox approach to history as a product of the material interaction of collective interests, and many renown Surrealism artists later on became 20th century Counterculture symbols such as Marxist Che Guevara. In 1922 Ernst moved to Paris, where the surrealists were gathering around Andre Breton. In 1923 Ernst finished Men Shall Know Nothing of This, known as the first Surrealist painting. Ernst was one of the first artists who apply The Interpretation of Dreams by Freud to investigate his deep psyche in order to explore the source of his own creativity. While turning inwards unto himself, Ernst was also tapping into the universal unconscious with its common dream imagery.

Despite his strange styles, Ernst gained quite a reputation that earned him some followers throughout his life. He even helped shape the trend of American art during the mid-century, thanks to his brilliant and extraordinary ideas that were unlike those of other artists during his time. Ernst also became friends with Peggy Guggenheim, which inspired him to develop close ties with the abstract expressionists.

When Ernst lived in Sedona, he became deeply fascinated with the Southwest Native American navajo art. In fact, the technique used in this artwork inspired him and paved the way for him to create paintings that depicted this style. Thus, Ernst became a main figure of this art technique, including the rituals and spiritual traditions included in this form of art. Pollock, aside from the other younger generations of abstract expressionists, was also inspired by sand painting of the Southwest Native Americans.

Meanwhile, Germany was completely under control by the Nazi Party during the year 1933. In 1937, Hitler was able to gather as much as 16,000 avant-garde artworks that were originally in display in the national museums of Germany. He also ordered to ship about 650 artworks to Munich in preparation for his art exhibition called the Degenerate Art or Degenerate Kunst. Works of many contemporary artist such as Wassily Kandinsky, Marc Chagall, Paul Klee, and Piet Mondrian are included in the exhibition. In the said art exhibition, Ernst had about 2 paintings that were on display. However, these 2 artworks were reported to have disappeared, with the possibility of have been destroyed.

Soon, Ernst decided to leave France and headed to New York to start a new life after becoming interned as a German national thrice. In New York, he joined Piet Mondrian and Marcel Duchamp, who were his fellow avant-garde artists from Europe. With these two artists, Ernst inspired a number of aspiring and professional American artists during that period.

Furthermore, it was in the United States where he met the gallery owner and socialite named Peggy Guggenheim, who eventually became Ernst's third wife. It was Guggenheim who paved the way for Ernst to enter the bustling art scene in New York.

What captivated American artists about Ernst's works was his evident rejection of conventional styles and imageries in painting. These techniques were largely gained from his father's own styles, which he refused to follow in his later works. As young American artists were more interested in fresh and novel approaches to painting, this Ernst's unique style captured the attention of painters who became exposed to his artworks.

In particular, Jackson Pollock was enthralled upon seeing the extraordinary works of Ernst. Hence, the young artist became one of Ernst's followers, among a few others. Specifically, it was Ernst's collage aspects in his paintings that fascinated those who viewed his masterpieces. Additionally, the German artist was able to encapsulate the unconscious with his experimentation with automatic writing and autonomism.

In his later years, he divorced Guggenheim and married Dorothea Tanning, who was a surrealist painter based in Sedona, in Arizona. The couple soon moved to France, in 1953 and settled there. A year after, Ernst receive an award at the Venice Biennale, which was a prestigious awards contest.

Ernst, alongside his wife Tanning, became very active as an artist. They toured to various places throughout the world to learn more about the different art techniques and inspired several artists who witnessed their unique pieces. Over the years there have been many artists associated with Surrealism which continues to exert its influence on art to this day. However, those major figures who were responsible for creating the golden age of Surrealism were Max Ernst, Joan Miro, Salvador Dali and Rene Magritte. In 1976, Ernst passed away, yet his legacy lived on as he continued to become a source of inspiration for artists throughout the world. Along with Persistence of Memory by Salvador Dali, The Son of Man by Rene Magritte, and The Tilled Field by Joan Miro, Ernst's works The Elephant Celebes and The Barbarians have become the iconic images of Surrealism Movement.

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Max Ernst: 50 Famous Paintings Analysis and Biography

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Max Ernst was born in Bruhl, a place near Cologne, in Germany. He was raised in a strict Catholic family, and both of his parents were disciplinarians who were dedicated to training their children into God-fearing and talented individuals. Although his father was deaf, Ernst learned so much from him, particularly when it comes to painting.

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Wildlife documentary series. Cities may seem unlikely havens for wildlife, but for animals able to adapt, the urban world is filled with opportunity.

The world's cities are growing at a faster rate than any other habitat on the planet. And while most of us imagine them to be concrete jungles devoid of nature, for animals of all shapes and sizes they are just a new habitat filled with new and surprising opportunity. With similar needs to humans, these wild animals face similar challenges, and like us, if they play their cards right, they can find everything they need in the city. With the natural world shrinking, and our urban centres continuing to grow, adapting to life in the city has never been more important.

This first episode examines what it takes for these wild residents to thrive in the newest and fastest changing habitat on the planet. From smooth-coated otters at home in Singapore and huge colonies of megabats in Adelaide to reticulated pythons living on the streets of Bangkok, experience our cities through fresh eyes - the eyes of the animals that live in them, and discover a wilder side to a world we think we know.

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BBC Two - Cities: Nature's New Wild, Series 1, Residents

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Wildlife documentary series. Cities may seem unlikely havens for wildlife, but for animals able to adapt, the urban world is filled with opportunity. The world's cities are growing at a faster rate than any other habitat on the planet.

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Music Album Covers by Talk Talk - Birds/Composition

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Music Album Covers by Talk Talk - Birds/Composition

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ABOUT GICLEE PRINTS
All images are optimised for hi-quality print reproduction and exclusively produced on heavyweight matt, Art-Paper, printed using Epson's latest Archival ink Technology: The inks are pigment based, waterproof, highly UV resistant & have the manufacturers print permanence rating Guarantee of: 160 yrs framed with UV filter, 82 yrs displayed under glass, 200 yrs dark storage stability.

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ABOUT GICLEE PRINTS All images are optimised for hi-quality print reproduction and exclusively produced on heavyweight matt, Art-Paper, printed using Epson's latest Archival ink Technology: The inks are pigment based, waterproof, highly UV resistant & have the manufacturers print permanence rating Guarantee of: 160 yrs framed with UV filter, 82 yrs displayed under glass, 200 yrs dark storage stability.

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Luis Seven Martins - Birds & Street Art 🖌

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Luis Seven Martins - Birds & Street Art 🖌

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19/01/2021                                 Tutorial avec Caroline 👩‍💻

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19/01/2021                                 Tutorial avec Caroline 👩‍💻

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To-do List:
Rethink columns - Editing - done
Reflection & Evaluation - done
Contextual Artist - done
Word Documents - done
Parakeets taken over news article - done
Add Artists and research from chat - done

- Check out Cityspeak Padlet Wall which may help with research
-  Photography which links - done (will do more)
- Read research and watch videos evaluate, reflect and some free-writing on the research. (Word Documents)

Discussion Points:(To keep in mind)
Giraffe - Regents Park - locations
Relationships with animals
Animals in the city lockdown and moving and traveling
Animals used as products dairy & clothing

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The Nightwatch is a twenty-channel synched video installation displayed on Hanterex monitors, which are configured in a four-by-five arrangement. Each screen displays a static shot of a room within a deserted art gallery. Within these screens the only discernible movement is that of a fox, which wanders between the rooms, moving across the various screens. The fox periodically pauses to explore underneath the benches or rise up on its hind legs to sniff the paintings. The twenty videos play on a loop. The video can be shown as a standalone piece or installed alongside the maps, sketches and notebooks that Alÿs created while developing the work. When shown, this material is displayed in an adjacent vitrine.

The Nightwatch documents an action realised by Alÿs in 2004 in which he released a fox into London's National Portrait Gallery in the middle of the night and used the museum's CCTV system to follow its movements. The institution was chosen because unlike other institutions it does not conceal its CCTV cameras. The display of the resultant twenty-channel film of Alÿs's action within a bank of monitors mimics the setup you might find in a security office, and places the viewer in the position of the security officer. Alÿs created this work after coming to London because he wanted to scrutinise the prevalence of surveillance within the city: 'You may be used to it as a native to the city, but to a foreigner it's quite shocking, especially when you come from a place like Mexico City ... Apparently the average Londoner is filmed something like 300 times a day. That already says something about the relationship people in London have to the public sphere' (Alÿs in 21 Portman Square 2005, p.26.)

The extensive research process that informed the action and resultant film is documented in the installation's accompanying vitrine. The sketches, notebooks and maps overlaid with the artist's handwritten annotations record the evolution of the work. Alÿs often integrates his preparatory material into his installations in order to deepen the viewer's understanding of the work. The use of CCTV as a form for documenting an action was a new but welcome expansion of Alÿs's practice:

Some of the maps we did while scouting the city were two parallel walks, one following the path of maximum surveillance, the 'route of fame', and another following the path of least resistance, the clandestine way. As an artist who works with performance, I am always struggling when it comes down to the documentation, how can one offer a neutral account of what happened, how can one disassociate the moment of the performance itself ... The omnipresence of CCTV cameras in London offered a unique opportunity to actually have this neutral bank of footage of the performance.
(Alÿs in 21 Portman Square 2005, p.26.)

The Nightwatch is one of nine works in Tate's collection from Alÿs's series Seven Walks. The series was created over the course of six years, as Alÿs wandered the streets of London and mapped its habits, rhythms and rituals in a range of different media. In 2005 the resulting films, videos, paintings, photographs and drawings became Seven Walks; works which either documented the artist's own walks or those enacted by others on his behalf. The art critic Coline Milliard has stressed how the series humanises the city in which it was made:

Alÿs's walking creates a ground-level image of the city, fragmented, subjective and incomplete. It claims space for the fragile, the ephemeral and the poetic. In a commuter city where pedestrianism fights for survival, 'Seven Walks' transforms increasingly alienating surroundings into a new space tailored to human dimensions.
(Milliard 2010, p.4.)

Alÿs has used walking as an impetus for his work throughout his career, including in early pieces such as The Last Clown 1995-2000 (Tate ) and Pebble Walk 1999 (Tate ). Other works in the Seven Walks series include Sunny/Shady 2004 (Tate ) and Railings 2004 (Tate ).

An edition of the single-screen version of The Nightwatch also exists, but the work in Tate's collection is a unique twenty-channel version.

Further reading
Francis Alÿs: Seven Walks, London 2004-5, exhibition catalogue, 21 Portman Square, London 2005.
Nicholas Whybrown, Art and the City, London 2010.
Coline Milliard, 'Walks of Life', Art Monthly, vol.337, June 2010, pp.1-4.

Phoebe Roberts
March 2016
Does this text contain inaccurate information or language that you feel we should improve or change? We would like to hear from you.

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'The Nightwatch', Francis Alÿs, 2004 | Tate

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Artwork page for 'The Nightwatch', Francis Alÿs, 2004 Francis Alÿs' The Nightwatch was made by releasing a fox into London's National Portrait Gallery and following its movement through the galleries using the museum's CCTV system. The installation itself mimics the wall of monitors in a surveillance station.

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Polly Morgan - 3D & using animals themselves 🐍

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Polly Morgan - 3D & using animals themselves 🐍

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Mark Dion (born August 28, 1961) is an American conceptual artist best known for his use of scientific presentations in his installations. His work examines the manner in which prevalent ideologies and institutions influence our understanding of history, knowledge and the natural world. The job of the artist, according to him, is to "go against the grain of dominant culture, to challenge perception and convention". By locating the roots of environmental politics and public policy in the construction of knowledge about nature, Dion questions the objectivity and authoritative role of the scientific voice in contemporary society, tracking how pseudo-science, social agendas and ideology creep into public discourse and knowledge production. Some of his well known works include Neukom Vivarium (2006), a permanent outdoor installation and learning lab for the Olympic Sculpture Park in Seattle, Washington.

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Electric Ladyland wasn't the only thing Jimi Hendrix released in 1968. One day in that tumultuous year he left his flat on Brook Street, Mayfair, and strolled down nearby Carnaby Street with a birdcage in his hands. I like to think that he was dressed in a tasselled jacket and flares, his favourite Fender Stratocaster slung across his back. Or perhaps he travelled incognito, in a trenchcoat and dark glasses. Either way, somewhere on that street, the heart of Swinging London at the height of peace and love, he opened the door of the cage and unleashed two bright green birds: Adam and Eve, a breeding pair of ring-necked parakeets.

As they vanished, a flash of tropical colour against the grey sky, passersby merely shrugged: just more hippy weirdness. Was it a psychedelic stunt? A symbolic gesture of freedom? The result of a week-long drugs bacchanal? No one really knows. What we do know is that this incident is the indisputable origin of London's population of feral parakeets, which now number in the tens of thousands and have spread from Hounslow to Haringey, Croydon to Crouch End.

Unless that story is not true, and actually London's parakeets arrived in 1951 with Humphrey Bogart and Katharine Hepburn. The Hollywood stars were in town filming The African Queen at Isleworth Studios (or Shepperton Studios, depending on who you ask). A romantic adventure set in the equatorial swamps of east Africa, the film required exotic extras, so a flock of ring-necked parakeets was unwisely brought on set. Whether these resourceful birds escaped before, during or after filming has not been definitively established - they certainly don't appear in the film, which I have watched frame by frame - but what lies beyond all reasonable doubt is that these cinematic escapees were the progenitors of today's population.

Unless, of course, that is fake news, and the parakeets owe their current success to George Michael in the 1990s. Either burglars broke into the singer's Hampstead townhouse and wrecked his secret aviary - he never reported the crime, presumably wary of police involvement - or they escaped during a drunken argument involving Michael and Boy George in a flat they are rumoured to have shared in Brockley.

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A parakeet in St James's Park, London. Photograph: Graham Turner/The Guardian

Unless they made their bid for freedom during the Great Storm of 1987.

Unless they escaped from the livestock transportation area in Heathrow airport.

Unless they fled Henry VIII's menagerie at Hampton Court Palace in the mid-16th century and somehow remained hidden for the next 400 years.

If you ask random Londoners how parakeets came to thrive in their city - streaking in squadron-like formations through parks, down roads and along canals, following regular "flyways" as punctually as business commuters - the chances are that one of these theories will be told as fact. No one is ever sure where they heard it. They are classic urban myths, spreading through word of mouth, mutating and evolving a little with every teller. Whatever the truth, or lack of it, these stories are a sign that London's parakeets, in their short time among us, have become deeply lodged in the city's collective imagination.

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Katharine Hepburn cycles to Worton Hall Studios, Isleworth, in 1951 for work on the film The African Queen. Photograph: PA

Sadly, there is a more prosaic explanation. Small, charismatic and brilliantly coloured - though voiced with a horrendous squawk - parakeets have been popular as pets for hundreds of years. We have no idea how many arrived in Britain through London's busy docks, or how many seized the first opportunity to escape, but dozens or hundreds of individuals must have gained freedom over the years, flocking together for protection and enthusiastically breeding.

Their success was limited at first. The earliest recorded sightings were in Dulwich in 1893 and Brixton in 1894. A breeding pair were reported in Epping Forest in 1930. It wasn't until the late 20th century that the first large colony was established, roosting noisily in the trees by the river at Kingston-upon-Thames, where they became such a local feature that many people still know the birds as "Kingston parakeets". For decades they were an exotic novelty, exclusive to south-west London.

Then, perhaps 10 years ago, began the great green expansion.

Parakeet expansion in London map

First they spread into Richmond and Kew. Then they crossed the Thames. They established themselves in Kensington Gardens, Hyde Park and Regent's Park, and moved north into Highgate and Hampstead Heath, west into Holland Park and Notting Hill, and east along the Regent's Canal into Hackney and Walthamstow Marshes. Almost overnight they appeared in places they'd never been in before, and quickly became almost as ubiquitous as pigeons. In the space of a few short years they spread to every borough and even beyond the M25, following in the path of generations of upwardly mobile Londoners by departing the grimy inner city for the Home Counties.

Amazingly, this mass colonisation - an audacious ecological shift - went largely unremarked upon until very recently. Despite the parakeets' colour, numbers and noise, no one (apart from the urban mythologists and boozy anecdotists in pubs) seemed to consider it worthy of attention.

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Henry VIII. Photograph: DEA/G Nimatallah/De Agostini/Getty Images

A clue to their unlikely success can be found in London's map. The capital - soon to be branded the world's first " National Park City " - consists of 47% green space, including 35,000 acres of parks, commons, woodlands, wetlands, cemeteries, allotments and gardens. To avian eyes it is less urban jungle than, well, jungle. This verdant sprawl offers parakeets an enormous range of habitats, with plentiful opportunities for nesting (in old tree cavities and abandoned woodpecker holes) and feeding (on just about everything, from nuts, seeds, fruit and berries to the offerings on bird tables).

They don't have a problem with the climate. Although people commonly assume parakeets are tropical birds - at home, say, in the sweltering jungles portrayed in The African Queen - their south Asian native range extends into the foothills of the Himalayas, so they are unperturbed by mild English winters. As temperatures rise year-on-year they will probably fare even better: not so much climate refugees as climate beneficiaries.

What does this population boom mean for native British birds? Do the parakeets spell disaster for indigenous species? Are they wreaking ecological havoc? Their detractors condemn them as illegal immigrants, invaders aggressively driving out the local population, and the tabloids periodically clamour for a cull. The government has quietly ruled this out as "no longer cost-effective or viable", concluding that there are simply too many of the birds. In other words, they are here to stay. Their defenders admire their beauty and celebrate their diversity, holding them up as paragons of successful integration. As with the myths surrounding them, often the facts become secondary to what people want to believe. Parakeets are blank canvases on to which Londoners project their own prejudices, values, beliefs, hopes and fears. They have been weaponised.

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A woman feeds parakeets in London. Photograph: Tim Mitchell

The general consensus from experts, as always, is a lot more nuanced. Rather than making dire predictions of avian apocalypse, most ecologists agree it is too early to tell. There is some concern that parakeets - smart, fast and sociable - can outmanoeuvre garden birds in the feeding frenzy at bird tables, and their choice of nesting sites brings them into competition with nuthatches and other "secondary cavity nesters" that inhabit old woodpecker holes. But so far there seems to be more than enough food and foliage to go around. In terms of the threats facing native British birdlife, the greatest peril comes not from parakeets, but from native British people.

Green-feathered immigrant surge prompts Greek parakeet count

In an age of climate emergency, with mass extinction ripping apart the fabric of the living world, when the dominant narrative of our times is one of loss and disappearance, collapse and diminishment, parakeets tell a different story. These plucky newcomers beat the odds, not only surviving but thriving. In a nature-depleted culture, when city dwellers are supposedly alienated from the environment and anything that is feral or wild, parakeets are the subject of outlandish speculation, the source of mystery, imagination and everyday wonder. They are a reminder to look up. To keep paying attention.

In the simplest terms, it's hard not to find that uplifting.
The Parakeeting of London: An Adventure in Gonzo Ornithology, by Nick Hunt and Tim Mitchell, is published by Paradise Road Follow Guardian Cities on Twitter, Facebook and Instagram to join the discussion, catch up on our best stories or sign up for our weekly newsletter Topics

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The great green expansion: how ring-necked parakeets took over London

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Electric Ladyland wasn't the only thing Jimi Hendrix released in 1968. One day in that tumultuous year he left his flat on Brook Street, Mayfair, and strolled down nearby Carnaby Street with a birdcage in his hands. I like to think that he was dressed in a tasselled jacket and flares, his favourite Fender Stratocaster slung across his back.

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Ernesto Maranje - Muralist and Street Artist

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Ernesto Maranje is a Miami-based artist. He specializes in street art, murals, and canvas work. His artwork can be found across the globe. Learn more here.

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Even more photos, reflection & making connections at work

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Even more photos, reflection & making connections at work

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Even more Photography, Reflection & Connections 24-01-21

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Phlegm is a British, Sheffield-based, muralist and artist who first developed his illustrations in self-published comics. The name 'Phlegm' came from one of the four temperaments in ancient Greek medicine. Phlegm was believed to be responsible for an apathetic and unemotional temperament. Phlegm's work features in the urban landscape, and can mostly be seen in run-down and disused spaces. Phlegm creates surreal illustrations to an untold story, weaving a visual narrative that explores the unreal through creatures from his imagination.

source: Wikipedia

Artist's links...

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Phlegm is a British, Sheffield-based, muralist and artist who first developed his illustrations in self-published comics. The name 'Phlegm' came from one of the four temperaments in ancient Greek medicine. Phlegm was believed to be responsible for an apathetic and unemotional temperament.

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Free-Writing; Reflection & Evaluation 🌊🔥🥀🐟

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Free-Writing; Reflection & Evaluation 🌊🔥🥀🐟

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'Water Roses' 🥀🌊 - Photos & Mark-making Prints

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'Water Roses' 🥀🌊 - Photos & Mark-making Prints

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Pattern
Movement
Animals
Creative Writing

- Narrowing down to a focus on fishes and the care home being a comfort place - I guess with the people there kind of like a fire to keep me warm
- Think about display & public Art, could be pieces that come together and make one big thing or in a public space pieces that celebrate something
- Emotions, caring, experiences & support. Creative writing, words and language will definitely come up in my work again.
-Animal pattern and behaviours (movement)
- The animals or nature or things you see, video of the fish and their movements could be something developed further.
- Possibly interview people about animals and their relationship with them?

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Demon Slayer: Kimetsu no Yaiba is now streaming on Netflix! The first season of Koyoharu Gotouge's original manga series adaptation made its debut back in 2019, and has not let up off the public conversation ever since. The anime's debut season was such a success that not only did it propel the original manga release to a new height of popularity, but continues to dominate sales charts each and every week. While many fans kept with the Simulcast releases alongside its premiere in Japan, now a whole new audience will be able to see what all of the fuss is about.

Demon Slayer: Kimetsu no Yaiba is now streaming on Netflix. This includes the 26 episode debut season of the series with both its Japanese and English dubbed language tracks with English subtitles. It continues to be one of the biggest action franchises of the last few years, so now many more fans can jump into it for themselves.

When Tanjiro and Nezuko's family is slaughtered by a demon, he'll join the only force capable of stopping the monster threat: the Demon Slayer Corps. The first season of hit anime series Demon Slayer: Kimetsu no Yaiba is now streaming in the US! pic.twitter.com/gPdkeb3hIU
- NX (@NXOnNetflix) January 22, 2021

Although the first season got off to a slow start with many fans, things definitely changed following Episode 19 of the series. Capitalizing on the build up from the first 18 episodes, the series was catapulted into a whole new realm of popularity when fans loved to see how much Tanjiro had improved during one of his toughest fights in the series overall. But that's not where the train stops, however.

Demon Slayer's anime franchise is currently continuing with Demon Slayer -Kimetsu no Yaiba- The Movie: Mugen Train. This film has been one of the most popular anime film releases of all time in Japan, and is aiming for a theatrical release in North America in the near future. Picking up from where the first season left off, now fans finishing the batch of episodes on Netflix will be able to jump into the upcoming movie too when it releases in theaters later this year.

Will you be checking out Demon Slayer: Kimetsu no Yaiba on Netflix? Are you going to be jumping in for another round? Let us know your thoughts in the comments or you can even reach out to me directly about all things animated and other cool stuff @Valdezology on Twitter!

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Demon Slayer is Now Streaming on Netflix

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Demon Slayer: Kimetsu no Yaiba is now streaming on Netflix! The first season of Koyoharu Gotouge's original manga series adaptation made its debut back in 2019, and has not let up off the public conversation ever since. The anime's debut season was such a success that not only did it propel the [...]

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Frank Bowling's first major retrospective celebrates an artist who pushes the possibilities of paint

This exhibition offers a chance to experience the entirety of Bowling 's 60-year career. It showcases his sensual use of colour and bold experimentation.

Born in Guyana (then British Guiana) in 1934, at 19 years old Bowling moved to London. He went on to study painting at the Royal College of Art alongside David Hockney and R.B. Kitaj.

After graduating with a silver medal, he spent the next 60 years criss-crossing the Atlantic between studios in London and New York. Maturing into a master of his medium, he developed a visionary approach that fuses abstraction with personal memories. Now 85 he still paints every day, experimenting with new materials and techniques.

The exhibition brings together a lifetime of large-scale artworks. It includes key series such as the iconic 'map paintings', the visually arresting 'poured paintings' made by pouring paint down an inclined surface, and the sculptural paintings of the 1980s evoking riverbeds, all the way to mature work selected from a recent period of explosive productivity.​

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Frank Bowling - Exhibition at Tate Britain | Tate

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Frank Bowling's first major retrospective celebrates an artist who pushes the possibilities of paint This exhibition offers a chance to experience the entirety of Bowling 's 60-year career. It showcases his sensual use of colour and bold experimentation. Born in Guyana (then British Guiana) in 1934, at 19 years old Bowling moved to London.

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AKA Andre the Giant Has a Posse. A street art project and an experiment in phenomenology by artist and skateboarder Shepard Fairey.

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Responding to Artists' work (Videos from lessons) 🎞👨‍🏫

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Responding to Artists' work (Videos from lessons) 🎞👨‍🏫

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You may gaze into your aquarium sometimes and think about what a peaceful life it must be. After all, fish get to swim around all day in a beautiful tank and get fed and cared for by their owner. Though it seems odd, the truth is that fish can get stressed in much the same way as humans do. Whether it's a messy home, strained relationships with friends and family, or just general business, you can sympathize with a stressed out fish. Just like humans, though, stress in fish can lead to serious health complications, so it's important to be able to recognize when your fish is stressed and what you can do to help.

Symptoms: You should observe your fish often for any of these signs of stress.

Gasping at the Surface: If a fish is gasping his mouth at the surface, this is a sign of stress brought on by poor water conditions, usually a lack of oxygen.

Appetite: If a fish is stressed, oftentimes he will not eat.

Disease: Ich, characterized by white spots on the body of a fish, and other diseases can appear as a result of your stress. If you observe this or any other visible ailments or sores on your fish, you should talk to your veterinarian about possible treatments.

Strange Swimming: When fish are stressed, they often develop odd swimming patterns. If your fish is swimming frantically without going anywhere, crashing at the bottom of his tank, rubbing himself on gravel or rocks, or locking his fins at his side, he may be experiencing significant stress. Talk to your veterinarian about treatment and look into what may be causing the stress and alleviating it.

Causes: Stress in fish is caused by many different factors. Most situations that can result in a change of habitat or a disturbance in routine and behavior are able to cause stress. Here are some examples:

Improper water conditions: The conditions of your fish's water can cause lots of stress if they are poorly maintained. If you see your fish gasping at the surface, you should conduct a water test immediately to find out if there is anything wrong with it. High ammonia or nitrate levels, low oxygen levels, improper temperature or a high or low pH can cause stress. If you have a saltwater tank, incorrect salt levels could have a similar effect.

Troubles with other fish: Like humans, not all fish get along, and they often feel cramped if they live with too many other fish or the wrong fish. Make sure you don't put too many fish in your aquarium, as this leads to various problems in fish combativeness and water quality. Also, fish need multiple hiding spots so that they can avoid aggressors. In addition, when feeding your fish, try to evenly distribute the food, so fish don't have to compete.

Other factors: In addition to those already mentioned, there are some other factors that lead to stress. One of these is the presence of any added chemicals or medications in the fish's tank. Make sure when treating a sick fish, he is properly quarantined first. Additionally, improper diet can cause stress. Make sure you know your fish's ideal diet and do your best to adhere to it. Finally, disturbances of a fish's habitat such as banging or loud noises can lead to stress. If you have children, make sure they know to respect the fish's home.

Next Steps: If you determine that your fish is suffering from stress, you should act quickly to treat him. If left alone, stress can lead to serious and possibly fatal diseases like Dropsy and Fin Rot. First, you should try to determine what is stressing your fish, and eliminate that cause. You can do this by testing the water and examining your fish's behavior. If this doesn't improve your fish's condition, you should talk to your veterinarian about possible solutions.

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Stress in Fish: Symptoms and Solutions | Hartz

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You may gaze into your aquarium sometimes and think about what a peaceful life it must be. After all, fish get to swim around all day in a beautiful tank and get fed and cared for by their owner. Though it seems odd, the truth is that fish can get stressed in much the same way as humans do.

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Betta Fish Video - Dance, Courtship & Life Cycle 🐡💃💕

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Betta Fish Video - Dance, Courtship & Life Cycle 🐡💃💕

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The Complete Betta Fish Life Cycle in 3 Minutes

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Creative Writing 1 - My City speaks - 29-01-21

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Creative Writing Piece 📜 - Chapter 1️⃣ 29/01/2

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Creative Writing Piece 📜 - Chapter 1️⃣ 29/01/2

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Creative Writing Piece 📜 - Chapter 2️⃣ 29/01/2

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Creative Writing Piece 📜 - Chapter 2️⃣ 29/01/2

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rt and life - there is no separation between the two," Oscar Murillo says. It is a line that stays in the mind although it is thrown out casually, part of a longer conversation. What is clear is that Murillo's life is jammed with work to the point where art and life have become almost indistinguishable. He has a solo exhibition, Violent Amnesia (his first in the UK since 2013), at Kettle's Yard in Cambridge; there is a show at David Zwirner's London gallery; he is reviving a show in Berlin; and, later this month, a further show will open at The Shed in New York.

Murillo is also on this year's Turner prize shortlist, saluted by the jury for the way he "pushes the boundaries of materials" - especially in his paintings. In addition, he has been commissioned to do a piece for Art Night in Walthamstow, part of the mayor of London's first London Borough of Culture celebrations in Waltham Forest.

It is a sunny morning, and Murillo arrives late at his Tottenham studio on a bicycle, pleading "the school run" and opening the door to a high-ceilinged, handsome space - several rooms - in which the first thing one notices is a lifesize ragdoll lying on its back like the victim of a crime scene (about these figures, more later). On the opposite wall are two imposing floor-to-ceiling oils in red, black and blue. His paintings are workouts - part of a series called Catalyst - with a fevered cross-hatching of lines.

Their colours carry across the room like voices that cannot be ignored, seeming still to contain the energy with which they were produced. It is only when you look close up that you see the mix of materials: cotton, linen and funereal velvet. He talks about the work as "mark making". He says it is "therapeutic". There is no mistaking its instinctive brilliance. Nor is it difficult to imagine how it was that, about seven years ago, while still doing an MA at the Royal College of Art in his early 20s, he was "discovered".

Success is a mix of luck and talent - Murillo has both, and his rise has been meteoric. He became - thanks, in part, to Donald and Mera Rubell, the Miami-based collectors of contemporary art - an art world phenomenon. In 2013, at Phillips auction house in New York, one of his paintings was estimated at $30,000, and fetched $401,000. But there can be a downside to over-exposure, and from some quarters the critical sour grapes cannot have been easy for a young man (he is now 33).

Murillo has such a gravity of expression that his smile comes as a relief. There is a combative defensiveness, too, mixed up with his generosity. His black jacket is zipped up to the collar on this warm day. He wears a single earring, and his hair is on the edge of exclamatory. He is, unmistakably, a Londoner in his cool garb and yet - for ever - a Colombian. The connection becomes clear on arrival, as he brews an espresso. Generously, he offers me, as a present, a packet of coffee - Valle del Cauca, Roldanillo, from western Colombia, where he was born in a small town called La Paila. He searches his phone for an image of the breathtakingly beautiful blue-green valley where the coffee was grown. A tiny image, so far from Tottenham. We exclaim over it and sit down to talk.

There is in Murillo's work a disturbance, a drama, a sense that paint itself is on the move - this is the defining effect of the Kettle's Yard show. And yet the work is arresting in the fullest sense: you are stopped in your tracks by a blackened canvas hanging in your way like a chaotic garment, part brick-shaped patchwork, part frenzied scribble. Beyond, is a bold, ongoing installation called The Institute of Reconciliation. The floor is covered in black, cast-off canvases - sails turning into a sea. These have been hurled by Murillo against the gallery's white wall, which is now covered in black smudges like the whispered memory of a fight.

Over the road, in tiny St Peter's church, there is an astonishing congregation of Murillo's stricken, papier-mache-faced models (in Colombia, they burn effigies - usually of politicians - at New Year). These ordinary folk sit in pews (purchased from a defunct church in Greenwich) that have been attacked by Murillo with an axe. They seem to await an explanation.

He has always been a versatile artist (painting, video, sound works and performances) and with a particularly authoritative sense of theatre. His most famous piece was his 2014 recreation of a factory from his home town, called A Mercantile Novel, complete with Colombian workers who brought their production line of chocolate-covered marshmallows to David Zwirner's gallery in New York. Some critics thought Oscar and the chocolate factory gimmicky, but no one could deny his daring.

I decide to risk the million-dollar question: how does he define art? He is a nomadic conversationalist, confessing that his talk is as "curving" as a mountain road - in a Colombian landscape, maybe.

"There are two parallel answers to this question," he says. "It's important to be aware of art history. I went to Westminster University, where there was an incredible history of art tutor. This set the tone for my career. We went through art history chronologically. You consider how art interacts with science, politics and religion. As an 18-year-old, you begin to understand the marriage between art and life. You compare historical patronage with the contemporary context."

Art history gave him a "compass" and a "permission" and a "confidence" to do his own thing.

"But history is history and you think: now let me forge my own path, ignoring what is allowed or not allowed... just going for it."

Asked how he feels about being on the Turner prize shortlist, he is reluctant to expand.

My work's been embedded in social discourse for as long as I can remember, and focused on family. That's what matters

"Art is an echo chamber and artists are often in a little bubble." The Turner prize is valuable as a "vessel of discourse". But is he stressed about it? "Not at all."

"Just going for it" means incessant work. He describes himself as a "restless spirit" for whom migration is a problematic subject. He has a way of anticipating difficult conversations before they have materialised: "I'm not interested in a conversation about migration in relation to me; my work does not come from that," he warns.

What's more, migration has a tendency to overpower: "It can be too easy to say that being a migrant is a key to identity."

Murillo came to Hackney, east London, from Colombia at a time of economic meltdown in his country. He was 10 and spoke no English at all - which he has described as "confusing."

In the Kettle's Yard show, there is an extraordinary sound piece called My Name Is Belisario, narrated by Murillo's father in Spanish, about migrating to the UK, which is translated into English, French, German, Hebrew and Arabic. You tune into this babel discontinuously, experiencing his father's dislocation vicariously through sound.

"Like many people throughout history, my father took a decision rooted in desperation, curiosity and desire that radically changed the course of our family's history. A lot of my improvisation is rooted in my father's will as a human being, his restlessness, his desire to go beyond his limited existence."

His father looked at London on a world map and asked himself: "Why not try it over there in that country?" It is moving to learn that he wept all the way from Colombia to London on the plane - distraught at leaving family behind.

Does Murillo think about how different his own life might have been had his father not taken the radical decision to come to the UK?

"Of course... I think about it constantly. I'd most likely have been working in a factory [the marshmallow factory, presumably]. There is a 70% chance that would have been the case."

And where is home emotionally - Tottenham? Colombia?

"Colombia is an incredibly racist and hypocritical country with a quasi-apartheid system. I have this repetitive, waking dream of being in a large water tank, pitch-black. Someone is submerging the top of my head, oppressing me, holding me down, and I have only a little oxygen left. They pull me back up until I'm conscious and able to continue with existence. That is what Colombia is like. The oxygen is the beautiful landscape I just showed you. It's that beauty in nature that keeps people in Colombia alive. People have this existence of - you name it - corruption, racism, oppression. I'm not going to romanticise it at all. It is a terrible country."

He goes back there often, he says.

It is easy to present Murillo's life as an over-simplified rags-to-riches story - to emphasise that he was working as a cleaner in the Gherkin building in the City when he first made a name for himself (the Gherkin, in this Cinderella-esque context, ought to have been a pumpkin). But this take on his story nettles him, because the reality was other - he was a teaching assistant before becoming a cleaner: "The story of me as a cleaner is more sensational than the story of me as a teaching assistant in schools - trying to forge a career as an artist."

It was during the school holidays, he explains, when he was able to work full-time as an artist, that "the penny dropped". He saw he needed more time for his art.

"My priority had never been the teaching - that was just a really sad way of making money. But if you think about cleaning, it's a beautiful thing, because the only sacrifice you have to make is to wake up pretty early [laughs]. When I worked in the Gherkin, I'd wake up at four in the morning - which in the summer was perfect because it is already daylight - and I'd cycle from Dalston to Liverpool Street, a really nice cycle ride, and see busloads of migrants going to the city. And then I'd get there and there'd be nobody there. How much dirt can an office worker produce? It's very minimal. And then, from 9 o'clock until I was really tired, I could go on working [on his art] - my entire day was free."

And when it was no longer financially necessary to work as a cleaner (people used to talk about "the Murillo effect" when discussing the art market), was there any pressure in finding himself suddenly wealthy and conspicuous?

"What do you mean? Where is the peril? What is the concern? When you have an Instagram or Facebook account, most people show the best of themselves, a false profile. Beautiful selfies, holiday pictures, nice hotels. Yet when you meet that person, you'll know that is far from the truth; they have a very normal existence, even if they have made it big. The content of my work is social investigation and collaborative. It has been embedded in social discourse for as long as I can remember, and focused on family life. That's what matters. You are never going to catch me living a life of lavishness, because that is not interesting. And if working with a successful commercial gallery and selling my work means an income, then that is shared among the people I love - my extended family and friends."

There is no overstating the importance of family to Murillo.

"I'm interested in the wellbeing family brings," he says. "That I can have the people I care about round me is a huge virtue."

He has two young daughters and tells me he is determined not to steer his children in an artistic direction - it matters to him that they find their own path.

"My eldest daughter, Valentina, who is nine years old, has an innate interest in art; and once, when we were in New York where I was doing a residency, at two years old she got completely covered in paint - I have the picture of her burnt in my memory... a beautiful sight. But pushing kids towards art because I'm an artist? No, I do not want to impose myself."

His family are to be an important part of Walthamstow's Art Night. He is inviting more than 30 family members and friends to take part. "I'm going to sign them up as members," he says.

Walthamstow Trades Hall is a club for working people. Murillo tells me in advance that it's a sense of the time warp that inspires him when visiting the place: "Gentrification has involved social destruction, but walking into this members' club is like walking 30 or 40 years back in time. It gives you an understanding of a society that has become marginalised."

The building looks as if it has worked and partied hard for decades. The letters on its front door are like a few teeth hanging on in an old man's mouth. T AM OW TR DES A. The club was established in 1920 and now has more than 200 members, with a core group of elderly people (membership £35 per year). Loyal club member Brenda Shearing, who has been on the committee for 17 years, shows me round and says she hopes the club will "go on for ever".

Clubs like this are closing down across the UK, and Murillo's intervention will, they hope, encourage a younger membership - people who want to commit time and TLC to the place. In a later phone call, Murillo talks about "long-term commitment... I don't want Art Night simply to be a gesture". Helen Nisbet, artistic director of the event, suggests that his family and friends will bring "a new conversation and culture" to the place. And his family's membership money will contribute to the club's future.

Visitors to Art Night can look forward to bingo, live music and a large dance floor. In the 70s and 80s, dancers used to queue round the block to get in. And on 22 June, Cathy, one of the club's oldest members, will celebrate her 90th birthday here, with a line-up of crooners. She has been informed about Murillo's performance - she was offered the option to celebrate her birthday on another night, but is staying put. Besides, Murillo will not disturb her, as he is to perform outside. His inspiration will be the 1987 Proclaimers song Letter from America (sung a cappella).

I spent the evening thinking about

All the blood that flowed away

Across the ocean to the second chance

I wonder how it got on

When it reached the promised land?

These powerful lyrics are about people affected by the destruction of industry in the Scottish lowlands in the 1980s, and look back to the 18th-and 19th-century Highland Clearances. There is no puzzle about why they should speak to Murillo or to any migrant who has ever searched for a promised land.

In 2016, Murillo famously tore up his British passport (he also had a Colombian one) and flushed it down the toilet of a plane en route to Sydney (he was detained in Sydney, deported to Singapore, eventually returned to Britain). And there is no mistaking his vitriol when he says he wishes to "hold a mirror up to this country, which is culpable of waves of migration - including the Irish and Scots leaving their homelands because of persecution and having to go to America. There is still a notion that western society somehow occupies a higher moral ground. The discussion about ethnicity needs to be reversed."

The Trades Hall has further concentrated Murillo's mind on what he describes as "the tragic hypocrisy of the British people ...This country has no concern for the working people. It happens in the context of art too. You can talk about race all you like, and yet there is no comparable conversation about class. Yet class touches the core - it is a raw wound. You have people who live below the poverty line on this island."

The outrage in Murillo is tangled up in melancholy. In a leaflet accompanying the Kettle's Yard show, he remembers taking a bullet train in Tokyo, in 2017, and encountering a Japanese phrase, "Mono no aware", which translates as "the pathos of things". He has suggested that this inspired some of the work in his show. Yet the last thing he tells me - offered as an over-arching thought - is more about people than things. He says what concerns him most, in all his work, is "the loss of humanity within our society,whether in my family or other communities". And you can hear, even in his tone of voice, that for Murillo, lamentation is always on the edge of revolt.
Art Night is on 22 June in Walthamstow and King's Cross, London. Oscar Murillo: Violent Amnesia is at Kettle's Yard, Cambridge, until 23 June; Manifestation is at David Zwirner, London W1, until 26 July
Art Night 2019: other highlights

Transforming car parks, malls, a market and more, the fourth edition of Art Night comprises more than 50 projects taking place on 22 June in Walthamstow and King's Cross. Alongside Murillo's work, highlights include:

The first outdoor commission in the UK for over 15 years by veteran US artist Barbara Kruger. The large-scale work, Untitled (look like us, talk like us, think like us, pray like us, love like us), will be in Walthamstow Town Square.

New Yorker Cory Arcangel (who studied classical guitar before turning to art) collaborates with organist Hampus Lindwall for They told me there would be tea in which leading artists have composed new music for the organ of St Mary's church, Walthamstow. Meanwhile, in the more workaday venue of Sainsbury's car park, Joe Namy will create a sound installation using cars (The Eighth Automobile) and, along Walthamstow market, British duoHannah Quinlan and Rosie Hastings will present a musical spectacle exploring gay culture.

In King's Cross, Marina Abramovic fans should seek out the UK premiere of her first virtual reality piece, Rising, while Coal Drops Yard will host US sound artist Christine Sun Kim, who has collaborated with students at Frank Barnes School for Deaf Children for We Mean Business, a three-part commission exploring deafness. Imogen Carter

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Oscar Murillo: 'I want to hold up a mirror to this country'

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rt and life - there is no separation between the two," Oscar Murillo says. It is a line that stays in the mind although it is thrown out casually, part of a longer conversation. What is clear is that Murillo's life is jammed with work to the point where art and life have become almost indistinguishable.

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Flower on Fire & Acrylic Painting 30-01-21

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Reflection, Evaluation & Free-writing on practical 🖊

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Reflection, Evaluation & Free-writing on practical 🖊

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Free-Writing Tutorial 1:1 with Caroline 👩‍💻

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Free-Writing Tutorial 1:1 with Caroline 👩‍💻

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Oscar Murillo is a contemporary Colombian painter and installation artist. Working in a wide-ranging practice that incorporates a variety of different media and techniques, Murillo investigates the cross-cultural ties in a globalized economy. He is noted for his use of text, recycled materials, and fragments collected from his studio. As a painter, he uses a scribbling method of applying looping lines and the occasional word such as milk, pollo, yucca, to the canvas, which is then slowly covered in debris by being left out in the open of his studio, a process the artist has likened to aging cheese. Born in La Paila, Colombia in 1986, he moved to London, England when he was just 10 years old. In 2012, he graduated from the Royal College of Art in London, and joined the stable of David Zwirner gallery's artists a year later. For his first major solo exhibition in New York in 2014, he transformed the David Zwirner gallery space into a fully functional chocolate factory, mimicking the factories in his native Colombia where generations of families had worked together. Murillo has had several solo exhibitions in cities across the globe, including London, Bogotá, and Baku. His long-term project, titled Frequencies, is a global initiative attempting to cover school desktops into canvases to encourage children to paint on them, effectively creating one large, internationally scattered work. Murillo lives and works in London, England.

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Oscar Murillo is a contemporary Colombian painter and installation artist. View Oscar Murillo's 158 artworks on artnet. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. See available paintings, works on paper, and prints and multiples for sale and learn about the artist.

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Current State: 03/02/21 - Flame Cushion ☁️🔥

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Current State: 03/02/21 - Flame Cushion ☁️🔥

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PORTFOLIO IS STRESSING ME OUT SO MUCH AHHHHH 😂

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I'm sorry I couldn't resist having a break its too cute 😂 had to make another one he needs a friend

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06/02/21 : Making more fabric using painting techniques & applying patterned fabric onto painting

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06/02/21 : Making more fabric using painting techniques & applying patterned fabric onto painting

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08/02/21 Focusing on Portfolio atm 3 deadlines next week 🥴😰🥺😭

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08/02/21 Focusing on Portfolio atm 3 deadlines next week 🥴😰🥺😭

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10/02/21 Tutorial with Caroline & Breakout Room - Amber & Sarah ✔✔

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10/02/21 Tutorial with Caroline & Breakout Room - Amber & Sarah ✔✔

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Matches
Video
Flame energy , fabric and painting on a shirt
Danger and Warmth - Contrast
Clothing
Words painted on the white shirt with the same style
Takashi Murakami
Fire/Flame becomes a personal and meaningful symbol in my work
Patches and your dickies jacket could be really cool and then stitch the flame thingies  onto a jacket

Sarah and Amber :))
Cut out the styrofoams
Experiment with them

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No Practical. Busy with portfolio. However, I must do more tommorow and I have gathered ideas. Painting on styrofoam and cutting them into 3D. Painting on white shirt , typography words and flame pattern and idea of stitching patches onto jackets maybe?

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10-15/02/21 Still Busy with portfolio. Will do more practical work soon :)

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10-15/02/21 Still Busy with portfolio. Will do more practical work soon :)

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Age of the image - mini reviews (weekly) 🧩🎲

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Age of the image - mini reviews (weekly) 🧩🎲

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University Status Checklist 👍 - Updated as of 09/03/21.          

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University Status Checklist 👍 - Updated as of 09/03/21.          

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More than 30 years ago, one of them took second place. This time, he wants to win - and he's got nothing left to lose. Watch trailers & learn more.

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20/02/21 - Fabric Exercise - Thinking about design, abstract, layering, flame, typography and combining everything - onto clothing.

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20/02/21 - Fabric Exercise - Thinking about design, abstract, layering, flame, typography and combining everything - onto clothing.

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20th 21:20 - Have work tommorow. More practical next week :)

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20th 21:20 - Have work tommorow. More practical next week :)

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Next: Drawing , Designing and stitching onto back of black bomber jacket.

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A Japanese fish called Hanako is believed to be the longest living Koi fish ever recorded, having made it to the grand old age of 226 before her death in 1977.

The scarlet- female was born in 1751 in the middle of the Tokugawa era in Japan.

said he knew Hanako's age because he had it verified by professor Hiro, who worked at the Laboratory of Animal Science of the Nagoya Women's College.

One of Hanako's scales. Credit: Dr Komei Koshihara/JNPA

In an English transcript from the broadcast, as per , said: " This 'Hanako' is still in perfect condition and swimming about majestically in a quiet ravine descending Mt. Ontake in a short distance.

"She weighs 7.5 kilograms and is 70 centimeters in length.

"She and I are dearest friends. When I call her saying 'Hanako! Hanako!' from the brink of the pond, she unhesitatingly comes swimming to my feet. If I lightly pat her on the head, she looks quite delighted. Sometimes I go so far as to take her out of the water and embrace her.

"At one time a person watching asked me whether I was performing a trick with the carp. Although a fish, she seems to feel that she is dearly loved, and it appears that there is some communication of feeling between us.

"At present my greatest pleasure is to go to my native place two or three times a month and keep company with 'Hanako'."

5 days ago

said he was often asked how he can tell the age of the fish, explaining that it requires 'the aid of a specialist' and a 'microscope'.

" As a tree trunk has its annual rings, so a fish has its annual rings on its scales, and we only have to count them to know the age of a fish ," he said.

Hanako in 1971. Credit: Dr Komei Koshihara/JNPA

also revealed where the fish came from, continuing: " My grandmother on maternal side [...] is said to have been told by her mother-in-law, ' When I was married into this family, my mother-in-law said to me, "That carp has been handed down to us from olden times; you must take good care of it."'

" When I was told this story, I became very curious to know how long the carp had lived. I found out Hanako's age by the before-mentioned method, but you may easily imagine how greatly I was grieved when I was forced to take a scale off her beautiful body.

" I took off two scales from different parts of her body by using a strong tweezer. The scales were examined by Prof. Masayoshi Hiro, D.Sc., Laboratory of Domestic Science, Nagoya Women's College.

"It took two months for him to acquire a satisfactory result. By using the light microscope, he photographed every part of the scales. "

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​The World's Oldest Koi Fish Was 226 Years Old

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A Japanese fish called Hanako is believed to be the longest living Koi fish ever recorded, having made it to the grand old age of 226 before her death in 1977. The scarlet- female was born in 1751 in the middle of the Tokugawa era in Japan.

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Every time Tanjiro used Hinokami Kagura (Dance of the Fire God)

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22/02/21 Clothing & Movement/Dance Concept ⛩🥋

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22/02/21 Clothing & Movement/Dance Concept ⛩🥋

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performance instructions: 2010 frieze projects

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Monster Chetwynd - Video - Performance Instructions: 2010 Frieze Projects

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Video content: Performance Instructions: 2010 Frieze Projects

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Pellet Drum - thinking and linking to my pole, physicality and movement

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Pellet Drum - thinking and linking to my pole, physicality and movement

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It has two heads and is suspended on a rod, with beads or pellets hanging on threads on either sides of the body of the drum. The drum sounds when it is turned on its axis from side to side, causing the beads to strike the heads of the drum.

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It has two heads and is suspended on a rod, with beads or pellets hanging on threads on either sides of the body of the drum. The drum sounds when it is turned on its axis from side to side, causing the beads to strike the heads of the drum.

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Free-Writing and evaluation once again ✔

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Free-Writing and evaluation once again ✔